30 Italian Songs and Arias (17th-18th Cent.) - Collection Med.-Low Bk/CD, Roger Nichols - Sheet Music

$ 21.00

Edition for Medium-Low Voice. This collection includes: word-by-word translations (Italian-English); English singing translations; IPA transliterations of the Italian text; historical notes for each song. A piano-accompaniment CD is included with the book. -- Contents: Caccini: Amarilli, mia bella; Monteverdi: Lasciatemi morire (Lamento dArianna); Gagliano: Valli profonde; dIndia: Torna il sereno Zefiro; Carissimi: Vittoria, mio core; Strozzi: lamante bugiardo; Legrenzi: Che fiero costume; Torelli: Tu lo sai; Scarlatti: Gia il sole dal Gange / O cessate di piagarmi / Sento nel Core / Le Violette / Se Florinda e fedele; Lotti: Pur dicesti, o bocca bella / Padre, addio; Bononcini: Non posso disperar / Per la gloria dadorarvi; Caldara: Sebben, crudele / Alma del core / Come raggio del sol; Durante: Vergin, tuttamor / Danza, danza, fanciulla; Conti: Quella fiamma; Anonymous: Nina; Gluck: O del mio dolce ardor; Giordani: Caro mio ben; Paisiello: Nel Cor piu non mi sento; Parisotti: Se tu mami -- Most of the songs and arias included in this volume have been favorites with singers for many years. However, until now, only selected pieces have been available with stylistically-appropriate accompaniments, replacing the Romantic, late-19th-century legacy of Alessandro Parisotti. In going back where possible to early manuscripts and editions, I have tried to produce accompaniments that the composers of these pieces might have found acceptable. In general I have not doubled the voice parts at pitch, since singers often find this inhibiting. I have not introduced any editorial dynamics, since singers until the mid-18th century were in the habit of applying their own, based on the words they were singing. Todays singers should do the same -- there is no reason to suppose that singers in the 21st century are less imaginative and intelligent. Neither have I introduced editorial phrasing, pedalling, fingering or tempo markings, nor suggested any ornamentation for the vocal lines. This does not mean that singers should forego ornamentation...but I have preferred to leave this to the singers own taste. Parisottis volumes were notably weighted in favor of the 18th century at the expense of the 17th. I have redressed the balance by introducing five pieces from the early 17th century. I have also taken the opportunity to include a more extended version of Monteverdis famous Lamento dArianna. -- Roger Nichols, Editor (taken from the liner notes of this edition).