CRUDO MAR di fiamme orribili, Stradella e la Cantata italiana per Basso
21 October 2023/21h00/ Italy / Torre dei LLoyd - Trieste
Stradella (1643 – 1682)
Sinfonia a tre
in Re maggiore
Sinfonia a tre
in Re maggiore
Stradella
Dalle sponde del Tebro
Basso e continuo
Dalle sponde del Tebro
Basso e continuo
Corelli (1653 – 1713)
Sonata Ciaccona
in sol maggiore – op. II n.° XII
Sonata Ciaccona
in sol maggiore – op. II n.° XII
Stradella
Exultate in Deo fideles
Mottetto per Basso e archi
Exultate in Deo fideles
Mottetto per Basso e archi
Aria – Exultate
Recitativo – Haec sunt munera divinas
Aria – Exaudi supplices
Aria – Bellicosas horribiles furias
Recitativo – Haec sunt munera divinas
Aria – Exaudi supplices
Aria – Bellicosas horribiles furias
Valentini (1681 – 1753)
Sinfonia Op1 n 4 in re minore
Vivace – Allegro assai – Grave – Presto
Sinfonia Op1 n 4 in re minore
Vivace – Allegro assai – Grave – Presto
Stradella
Crudo mar di Fiamme Orribili
à Basso solo, per l’anime del Purgatorio
Crudo mar di Fiamme Orribili
à Basso solo, per l’anime del Purgatorio
Sinfonia
Aria – Crudo mar
Recitativo – Astri, che su nel cielo
Aria – Astri rigidi, se colassù
Recitativo – Ma pur favello indarno
Aria – In mar sì rio
Recitativo – Ahi, lassa, e che deliro?
Aria – Allegrezza
Arioso – Inaudito conforto
Aria – Crudo mar
Recitativo – Astri, che su nel cielo
Aria – Astri rigidi, se colassù
Recitativo – Ma pur favello indarno
Aria – In mar sì rio
Recitativo – Ahi, lassa, e che deliro?
Aria – Allegrezza
Arioso – Inaudito conforto
Esecutori
CENACOLO MUSICALE
Patrizio La Placa – Basso
Gabriele Politi, Leonardo Bellesini – violini
Giancarlo Trimboli- violoncello
Fabiano Merlante – tiorba
Donatella Busetto – organo e concertazione
The figure of Stradella has always lent itself to the romantic embroideries of historians, who have highlighted his amorous whims, often overshadowing his role of primary importance in developing the more complex and daring Italian style, both on the theatrical front than on the cantatastic one and even more properly in the instrumental one (it is the first "concerto grosso" dated 1670, preceding by several years the well-known op. VI by A. Corelli). This program, therefore, aims to highlight the magnificence of his style through cantatas and motets as well as through the approach to contemporary authors from various areas of Italy (where he resided for a certain period of his life ).
The theme of escape from a sea of afflictions towards a port of salvation is the background to the profane cantata Dalle rive del Tebro, elaborated in several arias and recitatives, to be performed without interruption. The text contains the words of a mysterious character who fled from the Latin shores (Tebro is the ancient name of the Tiber) who find asylum and escape from his misfortunes with a Germanic king whom he praises and gratefully appreciates.
It is legitimate to think that many of Stradella's cantatas had links with autobiographical cues; even in this we seem to glimpse a glimpse of the author's life, interwoven with escapes and moves from one city to another in search of a safe haven from unveiled clandestine loves. In the context of vocal production, the theme of Purgatory recurs on several occasions in Stradella's work. Raw Sea of horrible flames is in fact the soliloquy of a soul who describes his suffering from which he fears he will never be relieved. Only when she is at the end of her resistance is she reminded that her presence in Purgatory is due to God's will and she decides to be confident that Heaven will save her. The bass voice is always treated with particular care by Stradella, and this cantata bears witness to it.
The entire composition, dotted with frequent flourishes both in the four arias and in the recitatives, is yet another proof of how ductile and expressive the soloists for whom Stradella conceived these pages must be (often also requiring an unusual breadth of texture both towards the severe than acute).
Gabriele Politi, Leonardo Bellesini – violini
Giancarlo Trimboli- violoncello
Fabiano Merlante – tiorba
Donatella Busetto – organo e concertazione
The figure of Stradella has always lent itself to the romantic embroideries of historians, who have highlighted his amorous whims, often overshadowing his role of primary importance in developing the more complex and daring Italian style, both on the theatrical front than on the cantatastic one and even more properly in the instrumental one (it is the first "concerto grosso" dated 1670, preceding by several years the well-known op. VI by A. Corelli). This program, therefore, aims to highlight the magnificence of his style through cantatas and motets as well as through the approach to contemporary authors from various areas of Italy (where he resided for a certain period of his life ).
The theme of escape from a sea of afflictions towards a port of salvation is the background to the profane cantata Dalle rive del Tebro, elaborated in several arias and recitatives, to be performed without interruption. The text contains the words of a mysterious character who fled from the Latin shores (Tebro is the ancient name of the Tiber) who find asylum and escape from his misfortunes with a Germanic king whom he praises and gratefully appreciates.
It is legitimate to think that many of Stradella's cantatas had links with autobiographical cues; even in this we seem to glimpse a glimpse of the author's life, interwoven with escapes and moves from one city to another in search of a safe haven from unveiled clandestine loves. In the context of vocal production, the theme of Purgatory recurs on several occasions in Stradella's work. Raw Sea of horrible flames is in fact the soliloquy of a soul who describes his suffering from which he fears he will never be relieved. Only when she is at the end of her resistance is she reminded that her presence in Purgatory is due to God's will and she decides to be confident that Heaven will save her. The bass voice is always treated with particular care by Stradella, and this cantata bears witness to it.
The entire composition, dotted with frequent flourishes both in the four arias and in the recitatives, is yet another proof of how ductile and expressive the soloists for whom Stradella conceived these pages must be (often also requiring an unusual breadth of texture both towards the severe than acute).
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