Table of Contents

Contents: Preface; The when and how of Arioso in Stradella's cantatas, Carolyn Gianturco; A lost volume of cantatas and serenatas from the 'original Stradella collection', Colin Timms; Narration, mimesis and the question of genre: dramatic approaches in Giovanni Legrenzi's solo cantatas Opp 12 and 14, Hendrik Schulze; A tale of 2 cities: cantata publication in Bologna and Venice, c.1650-1700, Reinmar Emans; 'Al tavilino medesimo del compositor della musica': notes on text and context in Alessandro Scarlatti's cantate da camera, Norbert Dubowy; Bononcini's 'agreeable and easie style, and those fine inventions in his Basses (to which he was led by an instrument upon which he excels)', Lowell Lindgren; The 'humble' and 'sublime' genres, the pastoral and heroic styles: rhetorical metamorphoses in Benedetto Marcello's cantatas, Marco Bizzarini; Investigations into the cantata in Naples during the first half of the 18th century: the cantatas by Leonardo Vinci contained in a 'Neapolitan' manuscript, Giulia Veneziano; The orchestral French cantata (1706-1730): performance, edition and classification of a neglected repertory, Graham Sadler; Patterns and strategies of modulation in cantata recitatives, Michael Talbot; 'Imitando l'Arietta, ò altro allegro, cantata di fresco': keyboard realization in Italian continuo arias, Giulia Nuti; The revival of the Italian chamber cantata on disc: models and trends, Roger-Claude Travers; Bibliography; Indexes.

About the Author

Michael Talbot is an Emeritus Professor at the Liverpool University, UK Carolyn Gianturco, Colin Timms, Hendrik Schulz, Reinmar Emans, Norbert Dubowy, Lowell Lindgren, Marco Bizzarini, Guilia Veneziano, Graham Sadler, Michael Talbot, Guilia Nuti, Roger-Claude Travers.

Reviews

’This collection of essays by an international group of writers is much to be welcomed in contributing to scholarly studies on a relatively neglected area of academic research. ...This volume repays close attention.’ The Consort ’Focusing on the solo cantata, as conceived by Italian-born composers working between 1650 and 1750, the essays in this volume offer something for everyone, whether the reader is new to the genre, a seasoned performer, or a veteran historian... all of the essays offer important contributions to our understanding of the genre...’ Early Music America 'The volume's strength is its diversified approach, which makes it useful on various levels. ... These essays collected together by Talbot stand as a milestone in modern studies on the cantata, a further essential advance in knowledge of this repertory...' Early Music