Neapolitan Cantatas

$6.99
Label
Brilliant Classics
Release Date
March 15, 2019
Format
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    Featuring ⌄
    • COMPOSER
      HASSE MANCINI PORPORA PORSI
    • PERFORMER
      Dorigo, Ledda, Catania, Morelli
    Product Details ⌄
    • RELEASE DATE
      March 15, 2019
    • UPC
      5028421957784
    • CATALOG NUMBER
      BRI95778
    • LABEL
      Brilliant Classics
    • NUMBER OF DISCS
      1
    • GENRE
      Classical
    Works ⌄

    1. Aria: Passa di pena in pena

      Composer: Johann Adolf Hasse

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    2. Recitative: Dunque che far dovrai

      Composer: Johann Adolf Hasse

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    3. Aria: Sospiri del mio seno

      Composer: Johann Adolf Hasse

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    4. Il ritorno di Ulisse alla patria: La costanza con amore

      Composer: Giuseppe Porsile

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    5. Freme il mar, e col sussurro

      Composer: Nicola Porpora

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    6. Fileno abbandonato

      Composer: Nicola Porpora

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    7. La pastorella lascia la villa

      Composer: Nicola Porpora

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    8. Il ritorno di Ulisse alla patria: È prigioniero questo mio core

      Composer: Giuseppe Porsile

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    9. Aria: Non lasciarmi o bella speme

      Composer: Anonymous

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    10. Recitative: Togli dalla mia mente

      Composer: Anonymous

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    11. Aria: Non m'è si grave la lontananza

      Composer: Anonymous

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    12. Il ritorno di Ulisse alla patria: Ho visto al pianto mio

      Composer: Giuseppe Porsile

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    13. Recitative: Filli mia

      Composer: Francesco Mancini

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    14. Aria: Io sono in braccio al duolo

      Composer: Francesco Mancini

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    15. Recitative: Ma no, la pace tua

      Composer: Francesco Mancini

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli

    16. Aria: No, non lo far cupido

      Composer: Francesco Mancini

      Performer: Antonello Dorigo, Giuseppina Ledda, Fabio Catania, Pierluigi Morelli


The works in this collection attest to the high standard of music-making in Naples. The composers here recorded were at the forefront of the achievements of Neapolitan music in the first half of the 18th century, the golden age of music production in the southern Italian centre. And the Neapolitan style at this time was fashionable beyond the borders of Italy, as well. Among all the composers presented, only Mancini lived and worked almost all his life in Naples. The others spent their lives travelling or serving foreign courts. This programme exploits the felicitous pairing of the voice with flute, two instruments similarly tied to the expressivity of human breath. Throughout this programme a baroque transverse flute, or ‘traverso’, is used, either called for specifically or substituted for the recorder. When these pieces were written the two types of flute still existed alongside each other as equals, as they had done for centuries before the transverse variety began to dominate later in the 18th century. Use of the viola da gamba for the bass part also finds justification in Naples. While in Rome the instrument had almost completely disappeared by the first half of the 17th century, it endured in Naples and continued to be used. Several mid-18th-century viole da gamba, preserved to this day, in various sizes by luthiers from the Neapolitan Gaglian family attest to the much later persistence of this instrument in that area.