Arie antiche

by Luigi Speranza for "Gli Operai"jlsperanza@aol.com


vol. 1

Carissimi Vittoria, mio core!

Cesti Intorno all’idol mio

Legrenzi --- Che fiero costume. 1680. Eteocle.

Bononcini Deh più a me non v’ascondete

Alessandro Scarlatti O cessate di piagarmi. 1683. "Pompeo".

---- Se Florindo è fedele

---- Son tutta duolo

---- Spesso vibra per suo gioco

---- Se tu della mia morte

Vivaldi Un certo non so che

Lotti Pur dicesti, o bocca bella

Caldara Sebben, crudele

---- Selve amiche, ombrose piante
---- Come raggio di sol

Domenico Scarlatti Consolati e spera!

Handel Affanni del pensier

----- Ah! mio cor

Marcello Il mio bel foco

Pergolesi Ogni pena più spietata

----- Stizzoso, mio stizzoso
----- Se tu m’ami, se sospiri

Gluck O del mio dolce ardor

Jommelli Chi vuol comprar la bella calandrina

Traetta Ombra cara, amorosa

Piccinni O notte, o dea del mistero

---- Chi vuol la zingarella

Paisiello Nel cor più non mi sento

----- Il mio ben quando verrà

Martini Plaisir d’amour

Volume 2


Del Leuto Dimmi, amor

De Luca Non posso disperar

Falconieri Vezzosette e care

Rontani Se bel rio

Caccini Amarilli, mia bella

Monteverdi Lasciatemi morire! 1608. Arianna.

Cavalli Delizie contente, che l’alma beate

Tenaglia E quando ve n’andate

---- Quando sarà quel dì

Cesti Tu mancavi a tormentarmi

Stradella Ragion sempre addita

---- Se amor m’annoda il piède

Fasolo Cangia, cangia tue voglie

Alessandro Scarlatti Sento nel core
---- Su, venite a consiglio
---- Già sole dal Gange. 1680. "L'honesta negli amori"
---- All’acquisto di gloria PDF

Bassani Dormi, bella, dormi tu? PDF
---- Posate, dormite Posate, dormite
---- Seguita a piangere PDF

Gasparini Caro laccio, dolce nodo PDF
--- Lasciar d’amarti PDF

Bononcini Per la gloria d’adorarvi

Sarri Sen corre l’agnelletta PDF

Durante Vergin, tutto amor
--- Danza, danza, fanciulla gentile

Marcello Non m’è grave morir per amore

Paradies M’ha preso alla sua ragna PDF

Giordani Caro mio ben

Piccinni Se il ciel mi divide

"While in all art a loving investigation of ancient forms is an unfailing bourn whence flow the most fitting resources for the purification of taste, this applies most fully to opera, which, eluding plastic realism, can readily derive from grand models whatever it may need for the improvement and development of its productions."

This assertion appears like, and in fact is, a paraphrase of the well-known saying of our great modern melodramatist, the sense of which may perhaps be more directly and forcibly felt in the original general form."

"And since the new is no-a-days growing scarcer and scarcer, its place may fortunately be filled by the resurrection of the ancient."

"The more, because it has appeared for some time as if such a resurrection would interest patrons of art far more than current novelties.

For these two reasons, then, the time seemed to be ripe for the present publication; and it cannot fail to be a source of real benefit to our beloved art of song, to point out a means for certain improvement both on the aesthetic and practical side.

These arias were gleaned from old manuscripts and ancient editions, where they lay in unmerited oblivion.

In undertaking this work of exhumation, such an abundance of material was unearthed that the task of rejection, necessitated by the modest proportions of this volume, became difficult and grievous.

[Since the above was penned, the very favorable reception accorded to this first volume has encouraged the preparation and publication of a second.]

In transcribing the melodies the utmost care was taken to alter nothing in the originals, and often various manuscripts were consulted to ascertain the most elegant and correct form.

Obsolete abbreviations were written out in full, and the melodies so selected that none overstep the range of an ordinary voice, thus making them accessible to all.

Further, in adding the accompaniments and harmonizing the bassi continui, care was taken to insert nothing out of keeping with the words or character of the compositions, or with the style of the author and his period.

During this work constant reference was made to the models left by the greatest masters in this style of chamber-music, placed in centuries past at the lofty elevation which is theirs of right.

Having explained the scope of this publication, a few observations on the correct mode of interpreting the music will be offered.

The main characteristics peculiar to the composers of the 17th and 18th centuries are clearness and simplicity of form, depth of feeling, and a suave serenity whose grateful influence permeates their entire style.

The music of to-day on the contrary, is neurotic, full of startling effects and violent contrasts.

In the interpretation of these ancient songs, therefore, a prime requisite is the avoidance of any exaggeration of coloris, of all strained delivery.

The singing must be simple, unaffected, tranquil, legato; the tempi quiet, without any precipitation whatever; the embellishments executed with studious attention, to insure clearness and accuracy; words and tones welded to form one indissoluble whole, so that the hearer cannot fail to comprehend their meaning.

The whole delivery; in short, should show delicacy of intuition and a thorough understanding of the laws of the good Italian style.

It should be at once calm, elegant, correct, and expressive, yet without coldness or heaviness.

No unusual powers are required for singing these ancient songs, though they demand an exact observance of the notes and directions.

A modicum of good taste, and a genuine love of study, will do the rest.

Roma, November, 1885

-----


This is the source of most of the songs in the popular “24 Italian Songs and Arias” collection that is used by voice teachers around the world.

While in many cases, the songs have been given over romanticized accompaniments, these are the versions most familar to modern singers. They were also part of the larger Arie Antiche collection by Parisotti published by Ricordi. The first volume of which is available on Google Books.

Songs from these volumes have been uploaded, though some still need song posts to be created for them.

If you would like me to give priority to a song that is not yet posted, please let me know via the contact page.

I find it somewhat funny that Parisotti goes out of his way to say how faithful he intended to be to the style of the composers. Of course, for the period when he wrote this, this was probably as faithful as it got.

I wonder at some of the differences between his views on appropriate Baroque style and what is currently considered “Historically Informed Performance”.

But I shall presume that his insistence on a calm delivery and lack of “violent contrasts” are in reaction to excesses of his contemporaries.

Another thing worth noting about this 2 volume set… These 59 songs were further refined into the 24 song set that became wildly popular in vocal pedagogy, but they were derived from the larger, 100 song, 3 volume set “Arie Antiche” which was published by Ricordi.

I don’t have a copy of the Ricordi set, and the closest library copy is 90 minutes away; nor do I consider it a major priority to add it here.

However, I’ll eventually want to scan at least the 41 songs not already represented.

Alessandro Scarlatti: Se tu della mia morte (If you of my death…) « An art song a day says:
March 15, 2009 at 11:59 pm
[...] Sometimes, though, teachers and students alike weary of these tried-and-true friends. The Anthology of Italian Song of the 17th and 18th Centuries includes not only all of the 24 Italian Songs and Arias, they include many less-familiar gems, as [...]

Giovanni Maria Bononcini: Deh piu a me non v’ascondete (Hide from me no more) « An art song a day says:
September 17, 2009 at 10:50 am
[...] teaching, I’ve got the 24 Italian Songs and Arias down, but there are quite a few out of the Anthology of Italian Song of the 17th & 18th Centuries that I’m not as familiar with. Playing them through at the piano is one thing, but hearing is [...]