Content
- Donn'Elena, séu qua?
- Putte, cosa dixéu?
The eighteenth century saw a great increase in secular music for solo voice and continuo set to texts in Venetian, then a recognized literary language rather than a mere Italian dialect. Most of these compositions are short gondola songs or canzonettas, but a few are cantatas in several movements, indistinguishable from their counterparts with Italian texts except in language and subject matter, which favours contemporary themes treated in a comic manner. The two Venetian cantatas for soprano and continuo by Diogenio Bigaglia (1678–1745) published here – probably the first of their type ever to appear in a modern edition – are excellently crafted, revealing an unexpectedly racy side to the composer, a Benedictine monk. One is a set of shopping instructions given by a nun to her aged servant; the other is a woman’s catty description of the rise from rags to riches of one of her neighbours through prostitution. The edition comes with translations of the texts and a brief note on Venetian pronunciation.
Kantate zum 12. Sonntag nach Trinitatis
Urtext Stuttgarter Telemann-Ausgaben
for: Voice (soprano/tenor), 2 violins, basso continuo
Score (Urtext edition)
Item no.: 234572
Kantate für drei Singstimmen (SSB) und Basso continuo
Stuttgarter Buxtehude-Ausgaben
for: 3 voices (SSB), basso continuo
Score
Item no.: 234346
for: SOLOGESANG (INCL. MEHRERE SOLOSTIMMEN) EINE SINGSTIMME SINGSTIMME MIT TASTENINSTRUMENT
Item no.: 463723
Maders Kleine Musikbibliothek
for: Voice (alto), 2 violins, basso continuo
Item no.: 551077
Cantio Sacra 5
for: Voice (bass), basso continuo
Item no.: 132068
for: Voice (soprano), violin [flute], basso continuo
Score, Parts
Item no.: 553961