Giovanni Bononcini Giovanni Bononcini
         
         
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Front cover of 1721
Cantate e duetti
Cantata Editions Catalogue


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Bononcini, Giovanni | Please scroll down to view...

Bononcini, Giovanni (1670-1747)

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  • All'or che il cieco nume
    Forces: soprano & continuo
    '...it is better to have loved and lost...' could easily be the motto of this cantata. Despite pleading to Cupid for mercy the 'blind God' remains silent and leaves the protagonists to their misery. RARARAR format
    Source: BL Add 31547 f25r - 33r
    Range: e - a''

    Editor: James Sanderson
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  • Amo, e ridir nol posso
    Forces: soprano & continuo
    To love and not be able to express it cannot be an easy thing. Suffering, burning, the flames and pains of love. In RARA format, the arias a sweet largo and a bright vivace.
    Source: BL Add MS 31545
    Range: e - g#'

    Editor: James Sanderson
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  • Amo, peno, gioisco
    Forces: soprano & continuo
    "I love, I suffer, I rejoice..." Once again our happy/sad lover is back with his masochistic take on love. In RARA format with two great arias, the first with some double-stopping in the continuo, this is another delightful cantata by Mr Bononcini.
    Source: Münster Santini Sammlung Hs 895 (5)
    Range: c - g'

    Editor: James Sanderson
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  • Amor, tiranno amor
    Forces: soprano & continuo
    A very strict warning about trusting in the fidelity of Cupid. Tyrannous Love has been causing mischief again in this ARARA format cantata. In the copy all the da capo sections have been written out in full with varied style of repeat. Perhaps an aural copy as there are no figures...
    Source: BL Add 31518 9r
    Range: d - g'

    Editor: James Sanderson
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  • Anche i tronchi
    Forces: soprano & continuo
    'Even the trees and rocks know of my suffering - only you ignore it'. This soprano cantata also exists in transposition for alto in a contemporary MS (also available on request). The demanding cello part especially in aria 2 reflects the virtuosity of the composer Bononcini (presumably Giovanni). A-R-A-R-A
    Sources: MÜs 3903 & BL Add MS 31547
    Range: d'-g''
    Alto: g-c''

    Editor: Rosalind Halton
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  • Ch'io ti manchi di fede
    Forces: tenor & continuo
    A large cantata edited from the Chandos collection copy in the British library. Unusual in that it's a contemporary copy from before 1720 (the date of the donation of the collection) for tenor. The transposition has provided some odd crossing of parts. Diverse aria structures (including a non-da capo aria) and interesting harmonic progressions.
    Editor: James Sanderson
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  • Cieco nume tiranno spietato
    Forces: soprano & continuo
    One of Bononcini's most beautiful cantatas, the subject here deals with Love's blind cruelty. In 5 sections with no da capo arias and with a recurring theme of the title text, the last section presto assai is particularly virtuosic, though broken by emotional largo sections.
    Source: BL Add MS 31546 f74v-79r
    Range: c# - g'

    Editor: James Sanderson
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  • Clori bell' idol mio
    Forces: alto & continuo
    Bononcini at his sinuous best here. In RARA format with two affettuoso arias singing of the tears that fall from being parted from the beloved 'Clori my beautiful idol, I am a faithful lover of your beauty'. Source: Naples Conservatorio
    Editor: James Sanderson
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  • Clori, mi sento al core
    Forces: soprano & continuo
    A story about the close relationship between pain and pleasure in love. Clori is the inspiration again! In RARARARA format - yes it's a long one... Lovely text, varied arias, expressive recitatives.
    Source: BL Add MS 31547 f47r - 53r
    Range: e - g'

    Editor: James Sanderson
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  • Clori, mio ben mia vita
    Forces: soprano & continuo
    Clori had quite a hold over her men! Here our erstwhile suitor complains of the joy she takes in causing him pain and suffering. RARA format, the first recit being particularly expressive. Both arias in triple time with slightly off-beat word setting.
    Source: BL Add MS 31545
    Range: d# - b flat'

    Editor: James Sanderson
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  • Da te che pasci ogn'ora
    Forces: soprano & continuo
    Here our protagonist is literally wanting to die for love. Once more a rejected suit leads him to suffer so! In RARA format with a sinuous first aria Affettuoso, e cantabile and an excellent vivace to finish.
    Source: British Library copy of the 1721 edition
    Range: e - a''

    Editor: James Sanderson
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  • Dal giorno fortunato
    Forces: soprano & continuo
    "...on that fortunate day when first I gazed into your eyes...the playful God of Love enflamed my heart for eternity..." I wonderful work in RARARA format including a beautiful affettuoso, a sprightly menuetto and a virtuosic presto to finish.
    Source: British Library Add MS 31545
    Range: c - a''

    Editor: James Sanderson
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  • Dall'incurvato ferro
    Forces: soprano & continuo
    The cruelty and spite of the gods to our young protagonist is the theme, leaving him in the position of offering his life for one day of happiness with his beloved.
    Excellent recitatives and some very enjoyable arias (RARARA format)
    Source: Münster HS 3915(19)
    Range: e - g'

    Editor: James Sanderson
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  • Del suo fedel, e taciturno ardore
    Forces: soprano & continuo
    A large and unusual piece, both in terms of the aria formats and the characters. In RARARA format, none of the arias are da capo form, the subject deals with the joys and pains of the love of Floridalbo and Fille.
    Source: Münster Santini Sammlung HS 865
    Range: f - a''

    Editor: James Sanderson
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  • Del Tebro in sù la riva
    Forces: alto & continuo
    On the banks of the Tiber a young girl sits and weeps at the cruelty of her beloved. A single glance from him can simultaneously revive and dash her hopes of love. In RARARA format with quite a low range. Good 'pathetic' arias and a faster 12/8 to finish.
    Source: Münster Santini Sammlung HS 3915(17)
    Range: F - d'

    Editor: James Sanderson
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  • Dolente, e mesta vò sospirando
    Forces: soprano & continuo
    Sadly sighing she longs for her lover Elpino. She searches the shepherd's hut, the fields and can't find him, finally singing a con spirito aria calling to him to come to her. In ARA format with a deliciously chromatic opening cantabile, et affettuoso. Interestingly, the continuo line drops to a BB, which would require some retuning.
    Source: 1721 edition in the British Library
    Range: d - g'

    Editor: James Sanderson
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  • Dove sei mia bella Irene?
    Forces: alto & continuo
    Where are you my beautiful Irene?...Where are you hiding? The sun shines among the shadows and leaves but it does not shine for me." The God of Love has been busy giving that pain only Love can bring... A very attractive, short cantata in ARA format with a final recitative instead of a da capo. A lugubrious Adagio to start and a semi-ground andante to finish.
    Editor: James Sanderson
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  • Filli, dell' tuo partire
    Forces: soprano & continuo
    Deserted by cruel Filli our lover remains alone and suffering. "...remember the sighs of the one who dies for you..." RARARA format with a lovely triple time largo and two sprightly arias to follow.
    Source: BL Add MS 31545
    Range: c - g'

    Editor: James Sanderson
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  • Già la stagion d'Amore
    Forces: alto & continuo
    Even in the season of Love, the course of true love does not run smooth! RARA format with two really lovely arias, Affettuoso e Cantabile and Vivace.
    Source: 1721 edition in the British Library.
    Range: a - c'

    Editor: James Sanderson
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  • Io son lungi alla mia vita
    Forces: soprano & continuo
    Typical of cantatas with the subject matter of distance and longing, Bononcini gives his singer a difficult time with the third note forming a major seventh over the bass. Full of plangent harmony and some lively coloratura. ARARA format.
    Source: Münster Santini Sammlung HS 3977
    Range: c - g'

    Editor: James Sanderson
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  • Irene Idolo amato
    Forces: soprano & continuo
    Within the classic 'partenza' cantatas this is unusual as it refers directly to going off to war and perhaps dying in battle. Some lovely linguistic turns and this RARA format cantata.
    Source: Münster Santini Sammlung HS 3915(16)
    Range: c# - f#'

    Editor: James Sanderson
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  • Lasciami un sol momento
    Forces: alto & continuo
    "Leave me but a moment..." to wallow in self-pity of course. The sad story of the doomed love of Eurillo and Dorinda in ARA format. An excellent chromatic largo to start and a lively tempo giusto to finish.
    Source: 1721 edition in the British Library
    Range: b flat to d'

    Editor: James Sanderson
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  • Lidio, schernito amante
    Forces: soprano & continuo
    The agony of love unrequited returns in the text of this work. The 'delirium of Love', the 'agony of the heart'. Excellent and virtuosic recitatives link three delightful arias covering a two octave range.
    Source: Münster Santini Sammlung HS 3915(12)
    Range: b - b''

    Editor: James Sanderson
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  • O frondoso arboscello
    Forces: soprano & continuo
    Another good reason not to fall in love with shepherds and shepherdesses! How cruel they are to each other. RARA format, with 'classic' pairing of affettuoso and vivace arias.
    Source: British Library copy of 1721 edition
    Range: d - a flat''

    Editor: James Sanderson
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  • O mesta tortorella
    Forces: alto & continuo
    The image of the turtle dove taking away sorrow and bringing contentment to the unhappy shepherdess longing for her beloved Tirsi. In RARA format with a throbbing affettuoso and a sprightly con spirito, ma non presto. Great writing for the continuo as well!
    Source: British Library copy of the 1721 edition
    Range: a - d'

    Editor: James Sanderson
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  • Peno, peno e l'alma fedele
    Forces: soprano & continuo
    Arcadia is in turmoil and Tirsi is really suffering with a wicked, lying beloved here. '...to hope for fidelity is torment...' A large piece with 3 recits and 3 arias finishing with a delightful minuet.
    Source: BL Add MS 31546 22v
    Range: c# - g'

    Editor: James Sanderson
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  • Per sollevar quest'alma
    Forces: soprano & continuo
    A slightly odd and disturbing discussion about how close our love of love is to our love of a little torment. RARA format with two sprightly arias.
    Source: British Library Add MS 31545 ff 7r - 12r
    Range: d - g'

    Editor: James Sanderson
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  • Pur vi riveggio ancora
    Forces: soprano & continuo
    In this pastoral scene the golden shafts of Cupids darts fly from the beloved's eyes and pierce his heart. Despite the pain he decides that mercy and silence are the only solution. RARAR format, lento, allegro and the last recit becoming an arioso.
    Source: BL Add MS 31545
    Range: c - g'

    Editor: James Sanderson
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  • Quanto peno e quanto piango
    Forces: soprano & continuo
    Source: BL Add MS 14211 52r
    Short aria - recit - aria format but absolutely delightful! What we go through for love. Despite being cruel, unkind, like a serpent, still he loves her and yearns for her - such pain, such tears!
    This would be an excellent piece for a difficult spot in a program - total duration is only around 4 or 5 minutes
    Range: f - g'

    Editor: James Sanderson
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  • Son io barbara donna
    Forces: alto & continuo
    Source: BL Add MS 14213 ff 103v - 110r
    Bononcini's setting of a very popular cantata text. A boy unhappy with his Clori again. She is a minx! Two very different arias with a lovely sobbing line in the first sospira à miei sospiri and a matter-of-fact final andante - pensa ch'un nouvo amante non ti sarà costante!Range: c - d'

    Editor: James Sanderson
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  • Stanca di più penar
    Forces: soprano & continuo
    Finally the boys are getting their revenge on Clori. Tired of too much suffering, she turns to the God of Love to ask for pity, but does he help her...? In RARARA format with two sprightly vivace arias following an expressive largo.
    Source: BL Add MS 31545
    Range: e - a'

    Editor: James Sanderson
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  • Sventurato Mirtillo, e che farai?
    Forces: soprano & continuo
    Miserable Mirtillo is complaining of the rigours and upsets of his love for Dorinda. In RARA format, allegro and adagio arias provide pathos and brilliant coluratura. Range: d# - a''
    Editor: James Sanderson
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  • Trà l'amene delitie
    Forces: soprano & continuo
    Veiwing the painful side of love, Eurilla searches for her Armindo in the garden of Love, but can find not even a breath of him. In RARAR format with two curiously 'twisted' arias - affettuoso and largo and finishing with a sinuous recitative.
    Source: BL Add MS 31545
    Range: d - g'

    Editor: James Sanderson
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  • Usignuol che col mio pianto
    Forces: alto & continuo
    Here our lover tells the nightingale to be silent and simply moan at the sadness he feels. Beautiful music with a depressing subject. Dori, it seems, is playing hard to get and our protagonist is lamenting the fact. Very much an alto cantata (going down to a bottom G) this is a fine example of the simpler ARA format with some delightful word-painting in both arias and recitative. Source: Naples Conservatorio.
    Editor: James Sanderson
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  • Vanne si ruscelletto contento
    Forces: mezzo-soprano & continuo
    Source: BL Add MS 64960
    Formerly owned by Maria Ducarel, recorded (f. ii verso) as a gift to her from George Henry Lee, 3rd Earl of Lichfield, in 1768. This charming cantata uses the water flowing into the sea simile to describe longing for the beloved. In aria (Larghetto) - recit - aria (Allegro) format.
    Range: b - e'

    Editor: James Sanderson
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  • Viver e non amar
    Forces: soprano & continuo
    "...to live and not to love..." is a crime according to our erstwhile lover here. She, however, loves Tirsi above all else and credits Cupid with her choice. In RARA format, including a beautiful largo and a delightful menuetto - short and with a small (one octave) range.
    Source: BL Add MS 31545
    Range: a' - a''

    Editor: James Sanderson
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Siedi Amarilli mia

         
         
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