The cantatas of Provenzale present a great variety of solutions both stylistic and formal. The group of cantatas for soprano and basso continuo preserved in the Biblioteca del Conservatorio S. Pietro a Majella, Naples (I-Nc), do not follow codified formal structures but adapt themselves rather to the peculiarities of the texts with great originality. Particularly interesting is Squarciato appena havea, a parodistic lament for Queen Christina of Sweden that alternates between a long recitative and popular motives. The two cantatas kept in the Fondo Noseda of the Conservatorio di Milano (I-Mc) conform to the usual cantata structure (recitative, aria, recitative, aria)
Gialdroni, T.m. (1987). Francesco Provenzale e la cantata a Napoli nella seconda metà del Seicento. In La musica a Napoli durante il Seicento (pp.125-150). Roma : Torre d'Orfeo.
Francesco Provenzale e la cantata a Napoli nella seconda metà del Seicento
GIALDRONI, TERESA MARIA
1987-01-01
Abstract
The cantatas of Provenzale present a great variety of solutions both stylistic and formal. The group of cantatas for soprano and basso continuo preserved in the Biblioteca del Conservatorio S. Pietro a Majella, Naples (I-Nc), do not follow codified formal structures but adapt themselves rather to the peculiarities of the texts with great originality. Particularly interesting is Squarciato appena havea, a parodistic lament for Queen Christina of Sweden that alternates between a long recitative and popular motives. The two cantatas kept in the Fondo Noseda of the Conservatorio di Milano (I-Mc) conform to the usual cantata structure (recitative, aria, recitative, aria)I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
