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The Cantatas of Domenico Cimarosa

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The Cantatas of Domenico Cimarosa z\. b'qt The Cantatas of D omen'i,co C,i,marosa ( 1 749-1 80 1 ) by Mørgaret R. Bakleer King, B.Mus.(Hons.) A dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in The University of Adelaide December, 1988 Append'ices 00ô0 "ì' þ"* Appendir I: Documentat'ion from Introduction Joseph Haydn conducted thirteen operas of Domenico Cimarosa at the Eszterhâza Palace between 1783 and 1790. L'italiana a Londra: librettist, Petrosellini, performed 4 May, 1783. Repetitions: 1783 (a); fiBT (3); tz88 (z). Il falegname: librettist, Palomba, performed November, 1783. Repetitions: 1783 (2); 1784 (1). L'amor costante: librettist, Porta, performed 27 Ãprù' 1784. Repetitions: 1784: (9) La ballerina amante: librettist, Casini, 2 April, 1786. Repetitions: 1786 (5). Chi, dell'altru'i, s'i, ueste, presto si spoglia: librettist, Palomba, 2 May' 1786 I due baroni, di, Rocca Azzura: librettist, Palomba, 6 December, 1786. Repetitions: 1786 (2); 1787 (2). Giunio Bruto: librettist, Acanzio, 2 February, 1788. Repetitions: 1788 (2) Il marito disperato: librettist, Lorenzi, October, 1788. Repetitions: 1788 (3) I due supposti cont'i,: librettist, Anelli, February, 1789. Repetitions: 17Bg (6). Il pittore parigino: librettist, Petrosellini, June 1789. Repetitions: 1789 (6). L'impresario in angusfie: librettist, Diodati, Il credulo: librettist, Diodati, 6 June, 1790. Giannina e Bernardone: librettist, Livigni, August, 1790. 1 Isouard, Niccolò, Cimarosa. Operá comique en deux actes. Paroles de N.J. Bouilly. Musique de Nicolò [pseud.] Représenté pour la I ère fois à Paris sur Ie théâtre impérial de I'Opéra comique le 28 juin 1808. Paris: M. Momigny' , Append,ir II: Documentat'ion from Chapter II Part I Paolo Quagliati: La Sfera Armoniosa 1623 Example No. 1. : Duetto Stelle del càel ridenti for the marriage of the Prince Nicolo Ludovisi and the Princess Isabella Gesualdo di Venosa Example No. 2.: Ba,llo e Canzona. Ballo delle Stelle No.l-.: Varíatíons of the bass rhythm Stanza 3 Stanza 4 Stanza 5 No.2.: BaIIo e Canzona Shl - l. 4û ti É-ElG d. b, d¡l I¿.rlo-vi-¡io æl L -dcÞ - q ì.. si. k,gio-l "lucir-u-æ. J ø bn.mo.moi-É - t. dcl l¡.do. Yi-.¡o, æ¡ 3 1620' Alessand.ro Grandi: Cantade et Arie à voce sola Dei Example No' 3 Cantata No.3 Udi'to han Pur i Sonetto Apre I'huomo infelice all'hor Oh c" - ms o &-m¿ sa .B- on- @ mi so Yr4l -["" ¡crd' h- '+* J¿ lti-' mo oa¿'ìl sd sral-l*-mì O ohi qud sd' .o'li¡ so- ond'll sol stol-|,¡ 2. - ata t¡n - ciul lo pol che ¡on Pa 3. ll.(hLe I lo e ñen dl-co Po l¡rn s. 4. 50. Chru dbl fln an-ßu 4 Giovanni Berti: Cantate Ü Ari'e à uoce sola 7624' Example No. 4.: Oh con quanta uaghezza .,Cantate ed Arie" von 1624 Rìlo¡ncllo Priru Panc qu-u dol'ø - uA'rc¡ n'd-lc¡' ti. Spi-rm dol-e pic-rÀ quci rc-¡pi-p¡'¡i" Pic-tÀ qucldol - e t'w Ritondlo Søldr Prrtc @ re Chc tuo þ, Pic-tÀ qucl ø - rc Yr-þ. Sl bq xr pro - vr ¡l ' PGr Non ql-lc,¡-mo- rc, E pur pcr al - tra vi - ¡ mevct'i prs-ri Ntorællo. .-_/ lcn - to io rui non to - to E nm pç-¡¿ COn- *n -to. Oh coo quan - ta vag-hez - za, Oh coo Sa Pcr Prov - eil co - rc Che pcr tuo Giu- rai, giu-rai ben lo, giu-rai Di non VERSE I Ahr non lc pe - oe Pcr- Pian.gi pur¡ el go - dC Sos- pi - ra; YERSB Deht per-don - a3rl cor mi - o, Per-ilon - a-al cot 5 Giovanni Berti Cantate €i Ari'e à uoce sola 1624' Example No.4 .: Oh con quanta uaghezza (verses 1-6) Occhi miei tristi t mhl-let - ta zat!' mor, tc vas - ca- lqrA- mo - re, Amor- 3 Lior mq-al tuo reg - vol - ger Più mai s¡a fug-gi - chè ca- tc - nq,lo - non si Pie - cl- non tb dc E nonsi Pic $a' car - ccÍ fug-gfi - o Dun - lflt - ol Sc dal L Spi- ran dol - ce Piè - quei sos - Pi - E pur pcr al - tra vi - a mo-vc - BO. Ec - cor Pê - rò, mi Pcn gnor m'ha tra to. Quet-la don ' na si - che Ris - cal - daj Pre- $hi Pur; ri -$eJ¡ ra - gto - Co' Pe' rò, ùg 6t. ù O¿clri mi.¿i1¡i - a{i ohi - ft¿ di voi 6 e uoci 1628' Domenico crivellati: cantato, d,iuerse à una, due, tre style elements' Example No. 5.: strophic songs with cantata tl lì Íft|-6 -Frt{:t. I .t S.'l -. ho co.n'es-s.r¡ro- ch' E sø o"o :. ¡--.1----------{- ü-t---f---] c.6 - .a* ll o. dor sn - '[o 1t1- 7 Fþancesco Negri: Arie Musi'cale 'a 1 e 2 uoci 1635 Example No. 6.: Sonetto for two tenors above a basso ostinato' Opening vocal gesture of the aria' Negri's contrasting lyrical styie' Sonetto: 6ol, qn q-moc æl u' dv hebb' io..... ncSEi c-þî ool qn a - mor tol u no ¡iz pa" - cho sol h".b'bí un Aria: ¡¡t an CJÞî si ùtø ní - fn Negri's contrasting lyrícal style' s cÀ¡ . o¿C'oo n¿f\'- ta bo¿ caòe.J W lo d di- {i- ñ,: et- dm l¿ lqb - b* ,,oi, tL 4.s 8 SoIa 1633 Benedetto Ferrari: Musiche Varie à Voce Example No. 7.: Amor, corn'esser'può' + ã ø'ææ' ùw. tl Vt Tl þ crrirdmt - 3a A-^l- t-*- *1 C".n'â J clp ai â¡ o'gtio frlh{o nol kt þA Ct-Vl nd - p ¿) Si btll*y^""ioan si øn- do I Filiberto Laurenzi: Concerti, et Arie 164l' Example No. 8.: Cantata No.1 O di' crud'a beltà. The final part of the four-part work ends with a recitative followed by a playful arioso' --r-- I di lÞ-;., *^_* l, lu, i¡ ri - vo alll Ar- no ¡erc-ru-lie ¡ ir i I i i ri + t li iIt L I rt I { f!r { 1' 10 Giovanni Sances: Cantade 1'633 Example No. 9.: In Ci,acona. Caprici Poetici à Una Doi e Tre Voci 1649 Hor che chiarissime Âdo5;" Ðçh quol vir *,¡-de Éil-U sl chiu- d¿ Âtl3- TiITY f ¡ I ês vol '"*cLi in +Q' C^. - 3o 3l ñor- l si al mio P? - ?o - luÅ,o hov - ce - b.' P.eJo dc,l c,J tnìo qìäl,r-oi Jrco I'or-mt Adogio i i þe .rrú ffli - oo ¿n 'þ - ¡o- brr, JaGÞ t f t¡ ¡. il' {i I I -{ T J 11 mio bel sole Domenico Mazzocchi: cantata s'i'o mi' parto ò Example No. 10. col - - to far Pa- Ma vll, pfìr me vl¡' Pli¡ Pot-¡'lo Plen col crn - lc- ¡c ll mlo -lo - tc,ôc f¡¡ ¡l-r¡ul no - lo tl mlo co¡c'- ¡l - Du>qucPhl-rnè. Pcr - d¡à o 'c¡n rö9 No,- no¡ aor- Do' no' - to- hor- qu¡t Yl - vc r i 'I I 72 Barbara Strozz\; Cieli Stelle. Example No 11 The cantata has a mixture of recitative, arioso and aria. -l* o+aÀç ¿t , r',i:' - j-'ì.rrl ^&-'L I ¡ /t -.+tt¿./ þ,L ?ü . - .-- ,lq ç-J --- --- - ---à¡- t1 r a: . (-4.' '' 13 Barbara Strozz\: Serenakt OP.8' Dxample No. 12.: The continuo accompaniment is supplemented by the addition of two violins. a¿ I:. Iìt )1-- þ QÉF5==.--4- a...ffi c .![1 4uA1-Í¡- --1_r-f-rl r 1tÎ dYr :r:r=: -.at=- -:F-1--17'Í- 'a Jl ç, è:e-wJlv, e 1*- --¿1" c¡- -1.^- I 22/ þ* t1@4aJ 'o ,. :. L -ca¡tü- í-;. ta lfuaw - - I' It r1 !. F 'É t. .4/. ' ' -'.fte It: I I :ë I h [:r I4 Luigi Rossi: La Gelosiø. Example No. 13 A complex solo work with varied dø cøpo form' Stanza 1.: A1 Recitative of 23 bars, which is quoted below' Bl Arioso of 9 bars, see below' C1 Recitative of L9 bars. Stanza 2: A2 Same bass as A1 , new text, varied vocal line' 82 Same bass as 81, new text, varied vocal line. C2 Recitative, same bass as C1, new text' varied vocal line. Stanza 3: A3 Same as A1 , new text' I}3 Same as I}1, new text. C3 Vocal line has slightest variation, last three are melismatic. r, ( <L' - eo tel G¿- l" ¡io Ch'o p - P" co -,o -ê -e'0 ÉI -ËÉ. Da- n¿ b.--mo oIv be-5. chc L"q-m- ,^- ã- 15 r\i più parti Luigi Rossi: Examples of Rossi's arie Example No. 14.: Torna indietro tlie lìrst arietta' Torna ind¡etro, thc lìrst arie(ta f¿ tt' s It ¿E ti ,Á T-- '4 '¡ ,JZ ",''y'tfL"l/./, î¿ ./?a:'11 1 -rC .¿ t/ ,1 ,¿ t; L6 Luigi Rossi: Dxamples of Rossi's melismas' Bxample No. 15.: Iagordo humon desio Gelosio ch'o pæo o Poco 7 taF a - Vt =.L spüít( dal vol,o, loquaci palloi Gelosio ch'a pæo a Pæo a t ¡ a a r taa. +3 Difemli, mlo corc u¡1t n,'c C¡ ¡ Auror, sc detø Piangcre . aaã t p4, Ã.à ,.\ Ja¡tt,tl.h l"L 17 Giacomo Carissimi Nella più uerd,e età. between aria' Example No. 16.: Carissimi employs the alternation recitative and arietta in this cantata' ):?^yJrLlntøvu Q¿i{92^ <-;ttt I ( I J 4 I 25 I \ ( tçt'cd ll,tttJ *ø¡' " 4/ n -= tf\ -'-+rí_- \-t *.
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