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Ensemble Arcadia Attilio Cremonesi, Direction Graciela Oddone, soprano Lorenzo Regazzo, bass-baritone Ensemble Arcadia Pablo Valetti, concertmaster and solo violin Olivia Centurioni, Lorenzo Colitto, Luca Ronconi, David Plantier, Amandine Beyer, Alessandro Ciccolini, Riccardo Minasi, violin Alessandro Santucci, Judith Földes, viola Gaetano Nasillo, Giovanna Barbati, cello Carlo Pellicione, double bass Thomas Müller, Patrik Gasser, horn Massimiliano Toni, Attilio Cremonesi, harpsichord Attilio Cremonesi, direction Johann Adolph Hasse (1699-1783) Michele Mascitti (1664-1760) La Contadina Concerto op. 7 nº 3 a sei stromenti (1727. G major) Intermezzi in musica (Naples, 1728) – Libretto attributed to Bernardo Saddumene 21 Vivace 3:55 22 Largo 2:44 23 Allegro 1:54 1 Sinfonia: Overture from Astarto (1727) 2:27 24 Largo 2:26 25 Allegro 2:49 Intermezzo primo 2 Cavatina: Alla vita, al portamento (Tabarano) 2:26 3 Recitativo: Tieni lo specchio in tasca? (Tabarano) 1:38 A production of the Schola Cantorum Basiliensis – Hochschule für Alte Musik at the University 4 Aria: Sul verde praticello (Scintilla) 2:00 of Applied Sciences and Arts Northwestern Switzerland ( fhnw ) / Musik-Akademie Basel 5 Recitativo: È qui Don Tabarano (Scintilla, Tabarano) 6:44 Recorded at Schweizer Radio drs 2, Zürich, Switzerland, in November 1998 6 Aria: Più viver non voglio (Scintilla) 4:34 Engineered and produced by Pere Casulleras | Noise (Corbo): Louis van Niekerk 7 Recitativo: Eh! Va via, pesso d’asino (Tabarano, Scintilla) 2:37 Executive producer (Schweizer Radio drs 2): Christiane Nicolet 8 Duetto: Vorrei, o Dio, ma vedo (Scintilla, Tabarano) 3:44 Executive producer & editorial director ( scb ): Thomas Drescher Executive producer & editorial director (Gloss a/ note 1 music): Carlos Céster Intermezzo secondo Design: oficinatresminutos.com | Editorial assistance: María Díaz 9 Recitativo: Ti dico che qui voglio (Tabarano) 1:18 All texts and translations © 2013 Schola Cantorum Basiliensis 10 Ballo da Turco 2:26 © 2013 note 1 music gmbh 11 Recitativo: Cos’è? Vengono? Presto! (Tabarano, Scintilla) 4:46 12 Aria: Strappami il core, ô barbaro (Scintilla) 5:00 Illustrations: 13 Recitativo: A poco amor scaccia lo sdegno (Tabarano, Scintilla) 3:17 p.2: Printed libretto (title page) of performances in Florence, 1735 (Milan, Bibl. Naz. Braidense) 14 Aria: Star allegra, brava, brava (Tabarano, Scintilla) 3:51 p.10: Last page of Balli, ms. (Rome, Bibl. Casanatense) 15 Recitativo: Decir: conoscer bene ti (Tabarano, Scintilla) 1:43 p. 15/20: Beginning of Scintilla’s aria “Più viver non voglio”, ms. (Montecassino, Bibl. dell’Abbazia) 16 Duetto: Deh, ti placa (Scintilla, Tabarano) 3:12 5 17 Recitativo: Cos’è, Corbo? (Tabarano, Scintilla) 1:57 18 Tempo di minuetto 1:21 Schola Cantorum Basiliensis – Hochschule für Alte Musik at the University 19 Ballo di Villano 0:35 of Applied Sciences and Arts Northwestern Switzerland ( fhnw ) 20 Minuetto da capo 0:53 www.scb-basel.ch 4 5 English English scores preserved in the Conservatories of Parma, tainly a great success. After a decade of productions Neapolitan style are virtuosity, naturalness, and graph - Florence, and Brussels; and thirdly, an alteration to exclusively in Italy, a series of performances in ic imagery. As is generally known, the Neapolitans these very sources, substituting Pergolesi’s immense - German-speaking lands followed, as documented by effected a radical simplification of contrapuntal struc - ly famous “Per te ho io nel core” for the final duet. the numerous libretti with German title pages. ture at the beginning of the 1720s. The three- to four- When Caffarelli – the most famous castrato of the Most intermezzi of the 1720s and 1730s have part style of writing usual until then gave way to a two- eighteenth century, aside from Farinelli – set to work their cultural roots in the comic plays of the French part style, as a result of which the violins played in uni - sorting out Pergolesi’s complete works, he also classics. (Correspondingly, the tragic dramas of son with one another as well as with the singer, and Johann Adolph Hasse ascribed La Contadina to his compatriot. Thus veri - Racine, Thomas and Pierre Corneille, and Campis- the violas in octaves with the bass. For those elements fied by an authority and, to top it all, attributed to tron, among others, form the basis of numerous of the story that were to receive special emphasis, all La Contadina Nicola Porpora in yet another source, it took a while opere serie .) In contrast to many similar texts, La the parts were written in unison – in intermezzi this before the intermezzo found its way back to its actual Contadina is apparently not an adaption of a French was employed above all for the accentuation of the composer. The false attribution, however, undoubted - model. Nevertheless, one cannot help but see the comic aspects. This simplification, which at first Johann Adolph Hasse was twenty-nine years old and ly served to boost the work’s popularity. Bourgeois gentilhomme in the demeanour of the rich glance might seem like an impoverishment of expres - on his first visit to Italy when he wrote La Contadina Even today it is not entirely certain who wrote farmer Don Tabarano with his “extremely ridiculous sion, had a surprising effect: It lent the music the abil - in Naples. The music of the intermezzo, which the libretto. Two names are found in the sources: attire”, who in the first aria praises his own dancing ity to follow the text flexibly, and to imitate it in the sparkles with wit and temperament, enjoyed such a Bernardo Saddumene (in a libretto from 1728 pre - skills. And the feint in the second intermezzo – the smallest details. The declamation acquires great great success that a total of thirty-eight productions served in the Naples Conservatory) and Andrea masquerade as Turkish pirates to stage a mock importance and is no longer hemmed in by contra - in major European opera houses can be documented Belmuro (mentioned by Allacci in the Drammaturgia , abduction – is also to be found in Les Fourberies de puntal constraints such as fugal style, imitative struc - between 1728 and 1769. La Contadin a was one of the and by Algarotti in the Catalogo dei drammi musicali Scapin . The subsequent and somewhat precipitate tures, and complicated harmonies. A further charac - hits of the eighteenth century. fatti a Venezia 1637-1778 ). The oldest known libretto dénouement of the dramatic entanglement is cer - teristic of Neapolitan music that Hasse employed Ironically, the fame of this work has at least to a treating this subject-matter is associated with a per - tainly the least successful part of the story. That this extensively is its metrical structure. The arias often certain extent been traditionally linked to another formance that took place in Trieste in 1721. was also perceived by Hasse’s contemporaries is contrast slow and fast motion, or alternate between illustrious composer personality of the same period, In 1728 Hasse’s version was staged in Naples in shown by the large number of scores in which pre - periods of two and three measures. In addition, fer - Giovanni Battista Pergolesi, to whom one readily the Teatro S. Bartolomeo as the entr’acte for the cisely this finale has been altered. matas are used very frequently to bring the music to a attributed successful compositions of the epoch. In opera Clitarco, ossia il più fedel amico by Pietro Scarlatti. Hasse’s music fit well into the Neapolitan tradi - standstill, so to speak. The final duet of the first inter - the case of La Contadina , there were above all three Its placement in the two intermissions of the “main tion, which had developed quickly during the first half mezzo is a good example for the thrilling effect of this factors responsible for this: First, the similarity of the work” explains why the two parts of La Contadina are of the eighteenth century. This tradition was so compositional style. title to that of an intermezzo that was in fact by labeled “Intermezzo primo” and “Intermezzo secon - strongly present in Europe’s cultural panorama that it The recitatives, finally, give the singers the Pergolesi, namely La Contadina astuta (“The cunning do,” respectively, although they really belong together. decisively influenced the course of Italian opera – at greatest possible latitude for their acting abilities peasant girl)”; secondly, the fact that La Contadina is To judge by the large number of reports about this that time practically synonymous with Neapolitan through two constructions that are used alternately. expressly attributed to Pergolesi in the manuscript premiere that have come down to us, they were cer - opera. The most prominent characteristics of the The first is distinguished by its simplicity: Rhythms 6 7 English English and harmonies merely follow the natural declama - synopsis ty she does not love him (“Like a cat loves salad”). her debut at the Teatro Colón, and gave her Europe debut in tion of the text, underscoring it in such a way that the Tabarano then discloses his identity and threatens to 1997 in Schwetzingen and Berlin as Despina in Mozart’s Così singer speaks it, as it were, with all the freedom Intermezzo primo turn her over to the authorities. After she learns that fan tutte under the direction of René Jacobs, with whom she allowed or even demanded of him by the declama - The wealthy, foppish farmer Don Tabarano and his Lucindo has flown and left her sitting, she finally collaborated in further productions. Although her repertoire tion. The second sort grows out of the accompagna - obstreperous, mute servant Corbo meet the peasant- assents – not entirely of her own free will – to a liai - extends to the music of the twentieth century, the main focus mento misurato . Here, the orchestra answers the girl Scintilla in the garden. For Tabarano it is love at son with Tabarano, who is overjoyed at having her, is on the seventeenth and eighteenth centuries.
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