The cantata was the principal form of Italian vocal chamber music from the end of the 17th c. to the first half of the 18th c. However, the dearth of documentation for the pre- and post-Scarlatti cantatas and for those in the Neapolitan milieu—where the repertoire was extremely large and associated to a restricted and selected public belonging to the aristocracy—renders their study quite problematic. Although Domenico Natale Sarro (1678-1744) is remembered for its operas and as the master of the royal chapel in Naples, he was also the author of many cantatas and seranatas An analysis of Sarro’s cantatas establishes the centrality of the composer in the Neapolitan milieu of the time.
Gialdroni, T.m. (1988). Le cantate profane da camera di Domenico Sarro: primi accertamenti. In Musicisti nati in Puglia ed emigrazione musicale tra Seicento e Settecento (pp.153-211). Roma : Torre d'Orfeo.
Le cantate profane da camera di Domenico Sarro: primi accertamenti
GIALDRONI, TERESA MARIA
1988-01-01
Abstract
The cantata was the principal form of Italian vocal chamber music from the end of the 17th c. to the first half of the 18th c. However, the dearth of documentation for the pre- and post-Scarlatti cantatas and for those in the Neapolitan milieu—where the repertoire was extremely large and associated to a restricted and selected public belonging to the aristocracy—renders their study quite problematic. Although Domenico Natale Sarro (1678-1744) is remembered for its operas and as the master of the royal chapel in Naples, he was also the author of many cantatas and seranatas An analysis of Sarro’s cantatas establishes the centrality of the composer in the Neapolitan milieu of the time.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
