Luca Casagrande – “Nel mar che bagna al bel S\u00e9beto il piede”, copy manuscript of ‘700, Biblioteca del Conservatorio di S. Pietro a Majella – Napoli – Italy.
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\nCentaurus Music Int. Studio Recording \u201cAlessandro Scarlatti \u2013 Tiranna Ingrata \u2013 Cantate \u2013 Tre Sonate per Violoncello e Basso Continuo\u201d WORLD PREMIERE RECORDING \u2013 Second edition \u2117 2009
\nFirst Edition \u2117 1997.
\n\u00a9 Luca Casagrande.
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\nLuca Casagrande Baritone
\nScarlatti Camera Ensemble
\nCello Gabriele Garofano
\nHarpsichord M.\u00b0 Lucio Nanni.<\/p>\n
Artistic Director and Producer Luca Casagrande.
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\nThis cantata comes as close to a “standard” type of pastoral cantata as we find ameng the bass sole cantatas, two da arias each
\npreceded by a recitative. The arias have more contrast in meter than in emotional content, however.
\nThe soft a minor opening prepares a mood. for this scene at the mouth of the Sebethos where gentle Winds, denoted in a smoothly flowing coloratura, challenge the boats in their coarse. Elpina and Nice are also challenged, but in a contest of love. The turn to an
\narioso ending in this recitative is used in a different way to the early cantatas. Here. for emphasis. we feel the mounting ardor o:t
\nElpina – the repeated “tutto ardor” – which causes him to, speak his emotions in the following aria.
\nThe expressive g minor theme of the first aria receives four consecutive statements. the continuo alternative with the voice, before
\nan extension which makes use of the second line of poetry brings a cadence in the relative major Bb. An abortive statement of the
\nfirst theme by the continuo in this key brings forth a second theme. Although commencing in Bb, this theme soon hinges on D which is used as a dominant for the return to the tonic tonality. One picturesque play on the word accendermi – “ignite” – is included before the return
\nof a short portion of the principal theme in the continuo. The “B” section, stating acceptance, even enjoyment of the power of love, moves into a major tonality, F. Raving disposed of the text in a short eight measures, Scarlatti lengthens the aria by the simple device of repeating this material a third lower. The pleasure – “godi” – is not as assured this time, however, since the key center has shifted to d minor. The tonalities of the two sections of the aria reverse themselves in an interesting fashion:<\/p>\n
Section “A” – First Statement Minor – Second Statment Major.
\nSection “B” – First Statement Major – Second Statement Minor.<\/p>\n
A unifying motive to the aria is the five-note descending scale figure, stated first on the word “faville” – “sparks”. This pattern of notes reoccurs throughout the aria in the continuo as well as the voice line.
\nIn the second recitative, we find that, in answer to Elpina, Nice is forced.to speak her part. And in her aria, there is a strong thematic resemblance to the first aria, that of Elpina: […] The sequence of statements of the lines of the text is also in close parallel to the first aria. An extension of considerable length, however, occurs in the repetition of the second line with a free association of the words, “voi piagate” – “you wound” – and “accenti” – “you dear words”. The “bitter-sweet” quality of lover’s plaints was never more poignantly expressed.
\nA short “B” section allows Nice to explain that her ardor is also filled with torment. In the affective play on words, there is a diminished fifth in the melody on “soffro” – “suffer” – as there had been on “piagate” in section “A”. The augmented fourth occurs on “tormenti fieri” – “fierce torments”. The use of such “affective” techniques is carried. out in the latest (Scarlatti’s) cantatas in a masterly way.<\/p>\n
(Alessandro Scarlatti: solo cantatas for bass – Collins, Leo Wilkie – Boston University)
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\nNEL MAR CHE BAGNA AL BEL SEBETO IL PIEDE<\/p>\n
Nel mar che bagna al bel Sebeto il piede
\nMentre d\u2019alato pin prora spedita
\nGareggiando col volo
\nOmai non cede ad altra che spedita
\nSfidar nel corso i Zefiri pur tenta
\nTr\u00e0 queste gare ancor
\nGara d\u2019Amore nacque tra Elpino e Nice
\nOnd\u2019egli tutt\u2019ardor cos\u00ec gli dice:<\/p>\n
\u201c Dal tuo guardo cocenti faville
\ntrasse Amor per accendermi \u2018l sen.
\nPur io godo, mie care pupille,
\nNell\u2019ardor per cui l\u2019alma vien men. \u201d<\/p>\n
Cos\u00ec diceva Elpin,
\nMa in quell\u2019istante giudice Amor
\nDi cos\u00ec belle offese
\nDa Nice f\u00e8 narrar le sue difese.
\nQuindi \u00e0 farlo felice
\nQueste voci form\u00f2 la bella Nice: <\/p>\n
\u201c Cari accenti lusinghieri
\nvoi piagate l\u2019alma e \u2018l cor.
\nPur anch\u2019io tormenti fi\u00e9ri
\nPer te soffro tutt\u2019ardor. \u201d<\/p>\n