A Scarlatti - Tiranna Ingrata

ALESSANDRO SCARLATTI

Tiranna ingrata Cantata da Camera, Basso con Violini

Editor: James Sanderson

CANTATA EDITIONS [ General Editor: James Sanderson ]

ALESSANDRO SCARLATTI

Tiranna ingrata Cantata da Camera, Basso con Violini

Editor: Rosalind Halton

CANTATA EDITIONS [ General Editor: James Sanderson ]

Alessandro Scarlatti (1660 – 1725) No Italian baroque composer produced more varied or more vividly singable music in his time than Alessandro Scarlatti. A compulsive worker, driven perhaps by the poverty of his childhood in famine-stricken Sicily, he made an early success as an opera composer in Rome, gaining the favour and protection of Queen Cristina of Sweden. With both his sisters giving rise to scandal and gossip, Alessandro and other members of his family left Rome in 1684 for Naples, where he took up the position of maestro di cappella at the vice-regal Court. A year later, in 1685, his most famous son, Domenico, was born. More successful operas followed, but Scarlatti was equally involved in the more intimate genre of the cantata. By 1700 political instability at the court in Naples led him to look elsewhere, first to Prince Ferdinando de' Medici in 1702. He received a few opera contracts - resulting in the composition of the operas he regarded as his best (Lucio Manlio, and Il Gran Tamerlano). These lost works are the subject of a fascinating correspondence between composer and his patron. But Florence did not offer him long-term work and Rome became his base again, with employment at San Maria Maggiore. In 1706 he was at the peak of his activity in Rome, and was elected to the Arcadian Academy, one of few musicians to be so honoured, along with Corelli and Pasquini. Above all, Rome offered Scarlatti the opportunity to develop the cantata and the serenata. Opera was banned altogether by Papal ordinance during much of his time in Rome. But the existence of the Accademia Arcadiana and the regular conversazioni of the Roman artistic patrons, Cardinals Ottoboni and Pamphili, and Prince Ruspoli, regularly brought together poets and musicians, with a sophisticated audience in an environment that encouraged subtlety and experimentation. Rome in 1707 and 1708 was also the scene for Handel's many triumphs in oratorio and cantata. Nothing is documented on the subject, but maybe it is no coincidence that he left Rome soon after Handel's extended visit. 1707 saw Scarlatti in Venice, with a new opera, and a visit to Urbino followed, where he composed a number of chamber duets on pastoral themes. Towards the end of 1708 he accepted the Austrian Vice-Roy's invitation to return to his position in Naples, taking the place of Francesco Mancini, who had served in Scarlatti's prolonged absence. In 1716 he received the honour of a knighthood from Pope Clement XI. From works like his Regole per Principianti, a treatise on figured bass, it seems that Scarlatti was active as a teacher; the German composers Quantz and Hasse were among those who sought him out. His last opera, Griselda composed for Rome in 1721, shows great spirit and energy, as does the cantata, Là dove a Mergellina dated 1725, the year of his death. Studies of composers usually stress the large-scale works - the operas and oratorios - but with Alessandro Scarlatti it is in the cantatas that we see his most perfectly realised and imaginative music. He excelled in the art of the soliloquy and the duet, in detailed imagery, in dialogue between voice and instruments - all features that find unrivalled outlet in his cantatas.

Rosalind Halton, 2000

Editorial Principles The principles behind this series of editions are guided by maximum fidelity to the manuscript sources and an intimate knowledge of current performance practice. The source is a manuscript in the Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli - NA - NA0059 - Cantate 266. The underlay has been maintained as in the source. Both the underlay and beaming in Scarlatti’s autographs often indicate phrasing and where autograph manuscripts have been available, or the copy is particularly precise, this has been maintained in both vocal and instrumental parts. Where no textual comparison is available or the text is indecipherable the most likely reading has been used and the word or words have been enclosed in brackets. Key signatures are maintained as in the manuscripts and follow the baroque practice of using one sharp or flat less than the equivalent modern key signature. In recitatives the copyist generally gives no key signature, allowing the line to move freely through widely disparate tonalities. Time Signatures have been maintained as in the original copies and are generally the same as their modern equivalents. The main exception is that Scarlatti and hence the copyist often grouped triple time measures in units of two. Where this occurs Scarlatti's practice has been maintained, thus 6/4 may appear as 3/4 and 6/8 as 3/8. This series of editions employs the following clefs: for instrumental parts, treble, alto, tenor and bass clefs following modern usage and for the vocal parts, treble, transposing tenor and bass clefs. The copyist followed the 18th century convention whereby chromatic inflections retain their validity only for as long as the note to which an accidental has been prefixed is repeated without interruption, irrespective of bar lines. Conversion to modern notation thus requires the occasional omission or addition of accidentals. In all other instances editorial accidentals are suggestion sonly and are enclosed in parentheses.

All ornaments and embellishments in this score are as in the manuscript source. The copyist used continuo figures both above and below the basso line. In this edition I have standardised this to place all continuo figures below the basso line. James Sanderson’s Scarlatti Project Editions are prepared using Finale® from Coda Music Acknowledgements I would like to thank Dr Rosalind Halton (University of Newcastle, Australia), Director of the Scarlatti Project and Dr Kate Eckersley for their invaluable assistance and inspiration both as performers and musicologists, as well as the staff at the various libraries who have made their manuscript collections available to me. James Sanderson August 2008 London

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Violin I

Violin II

Voce sola

Basso

Spiritoso

‰ œ œ œ œb œ œ œ œ

∑

∑

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œ œ œ œ œ œ œ

‰ œ œ œ œ œ œ œ œ

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œ œ œ ‰jœ œ

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‰ jœ œ ‰ Jœœb

∑

œ ‰ Jœœ ‰ Jœ

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5

œ ‰ jœ œ œb œ œ œ


∑

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œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ

∑

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œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ

∑

œ ‰ Jœb œ ‰ jœ

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8 œ œb œ œ œ œ œ œ œ ‰ Jœ

œ œ œ œ œ œ œ Œ

Ó ‰ Jœœ

Ti ran

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∑

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œ œ œ œ œ ‰ Jœ

œ œb œ œ œŒ

Ó ‰ Jœœ

ti ran

œb œ œ œ œ ‰ Jœ

- - - - - -

Cantata à voce sola di basso con violini Tiranna ingrata

Alessandro Scarlatti

Edition © James Sanderson (Cantata Editions) 2008

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12 œœ Œ Ó

Œ ‰ jœ œ Œ

Jœ Jœ œ œ Jœ Jœ J

œJœ

na=in gra ta, ti ran na=in

œb œ œ œ œœ

Ó ‰ œ œ œ

Ó Œ ‰ Jœ

Jœ Rœ Rœ Jœ Jœ œ ‰ Jœ

gra ta che far do vrW se

œ œ œ ‰ Jœ

‰ œ œ œ‰ œ œ œ

œœ‰ jœ œ ‰ jœ

œ ‰ Jœœ œ Jœ ‰ Jœ

vuoi ch'io mo ra mor

œb ‰ Jœœ ‰ Jœ

- - - - - - - - -

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b

Vln I

Vln II

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15

‰ œ œb œb ‰ œœœ

œ ‰ Jœ œ ‰ jœ

œ ‰ Jœ JœJœ Jœ Jœ

rW per te se vuoi ch'io

œ ‰ Jœœ ‰ Jœ

œ Œ Ó

œ Œ Ó

œ œ Jœ Jœ œ

œt'a mi non piY ri

œ œ œ œ œ œ



œ Œ Ógor,

œ Œ œ Œ

- - -

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b

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b

Vln I

Vln II

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18

œ œ œ œœ œ œ

œ ‰ Jœœ œ œ œ œ œ

∑

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Ti ran na=in gra te

œ œ ‰ œb œ œ

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∑

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che far do vrW

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Œ œœ

‰ Jœ

Œ œ œb ‰ jœ

‰ Jœ Jœ Jœ JœRœb Rœ Jœ Jœ

se vuoi ch'io mo ra mor rW per

œ œ œb ‰ Jœ- - - - - - -

Alessandro Scarlatti - Tiranna ingrata - 2

&

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Vln I

Vln II

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22

œœŒ ‰ œ œ œ

œ Œ Ó

Jœ Jœ Jœ Jœ

˙

te, se vuoi ch'io t'a

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œmi non piY ri

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‰ œ œ œ ‰ œ œ œ

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gor, se vuoi ch'io

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‰ œ œ œ Ó

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œ œ œ ‰ JœJœ Jœ

t'a mi non piY ri

œ ‰ Jœœb œ œ œ

- - - -

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26

‰ œ œb œ œ œ œ œ œ œ œ œ

‰ œ œ œ œ œ œ œ œ œ œ œ

œ Œ Œ ‰ Jœ

gor, non

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‰ Jœ

œœ œ œ œ œ œ œ œ

Œ

œ ‰ Jœ Jœ Jœœ

piY ri gor, non piY,

œ Œ œ ‰ Jœ

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ÓU ≈ œ œ œ œ œ œ œ

Jœ JœJœ Jœ œU Œ

non piY ri gor.

œb œ œ œœU Œ

- - -

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29

≈ œ œ œ œ œ œ œb œ œ œ

œ œ œ œ œ œ œ œ œ ‰ jœ

∑

œ Œ œ ‰ Jœ

‰ jœ œ ‰jœ œ

œ ‰ jœ œ ‰jœ

∑

œb ‰ Jœnœ ‰ Jœ#

‰ œ œb œ œ œ œ œ œ

œ ‰ jœ œ œ œ œ œ œ#

∑

œ ‰ Jœ#œ œ œ

œ

œ Œ Ó

œ Œ Ó

‰ Jœœ Jœ Jœ œ œ

co stan t'e fi


- - -


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b

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b

Vln I

Vln II

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B

33

‰ œ œ œ œ œ œb œ œ

Œ ‰ jœ œ# œ

œ Œ Ódo,

œ Œ œ œ#

œ ‰ Jœœb œ œ œ#

‰ Jœœ œ œ œ œ

∑


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‰ Jœœ Jœ Jœ œ œ

co stan t'e fi

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œ

Œ œ œ œ#

Œ œ œ œ

Jœ Jœ JœJœ JœRœ RœJœ Jœ

do, co stan t'e fi do per te sa

œœ œ œ

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Vln II

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37

œ Œ Œ ‰ jœ

œ Œ Ó

Jœ JœJœ Jœ œ œ# œ

rW, sa rW ser bar ti

œœ œ œ œ œ œ

œœ Œ Ó

∑

‰ Jœ Jœ Jœ˙

la pu ra fX,

‰ œ œ œ œ œœ œ

∑

∑

Ó ‰ Jœ Jœ Jœ

pur che non


∑

Œ ‰ Jœœœ Œ

œ œ œ ‰ Jœ .Jœ Rœ

go de del mio do

œ œ œ ‰œ œœ

- - - - - - -

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Vln II

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41

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lor,

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Jœ

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∑

Ó ‰ œ œ œ

œ œ# œ œ œ œdel mio do

œ œ œ œ œ œ

- -


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Vln II

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‰ œ œ œ œ œ œb œ œ

œ œ œ œ#

œ Œ Ólor,

œ Œ œ œ

œ Œ ‰ œ œ œ

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‰ Jœ Jœ Jœ œ# œ œco stan t'e fi do

œœ œ œb œ ‰ Jœ

Óœ œ œ œ œ œ œ œ

Ó œ# œ œ œ œ œ œ œ

‰ Jœ Jœ Jœb œ ‰ Jœ

per te sa rW, per

œœ œ œb œ Œ

- - - - -

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47 œœ œ œ œ œ œ œ œ Œ

œ#œ œ# œ œ œ œ œ œ Œ

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te sa rW, sa prW ser

œ Œ œ œ œ œ

Œ ‰ Jœ#œœ Œ

∑

œ œ# œ Jœ Jœn Jœb Jœ

bar ti la pu ra

.œjœ œ œ œ œ

Ó ‰ œ œ œ

∑

Jœ Jœ Jœ Jœ œ œ œ

fX, pur che non go de

œœ œ œ# œ œ

- - - - - -

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b

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Vln I

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50

Ó ‰ œ œ œ

‰ œ œ œ œ Œ

‰ Jœ Jœ# Jœ .œ Jœ

del mio do lor, pur

œœ œ Œ

œ œ œb œ œ œ# œ œ

Ó Œ œ

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che non go de del

œ œ œ# œ œ œ œ œ

Da capo

œ œ œ .œ œœ

œ œ œ Œ

œ œ# œ Œmio do lor.

œœ œ Œ

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Recitative

Œ ‰ Jœ JœJœ Jœ Jœ

MZ tY ch'al tro non

w

Jœ Jœ Jœ Jœ œb Jœ Jœ

bra mi ch'il mio duol il mio

w

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pian to, e=i miei so spi ri, di si

˙# ˙n

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4

œ# Jœ Jœ Jœ Jœ Jœ Rœ R

œb

cru di mar ti ri nul la ti

w

Jœ Jœ ‰ Jœ Jœ Jœ Jœ Jœ

ca le, e quel che piY m'af

˙b ˙

Jœn Jœ ‰ Rœ Rœ œ Jœ Jœ

fan na, che tu cru da,=e ti

˙ ˙- - - - - - - - -

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7

Jœ Jœ ‰ Jœ Jœ Jœ Jœ Jœb

ran na mi nie ghi=il bel con

˙b ˙

œb Jœ Jœ œ Jœ Jœ

for to d'un rag gio di

˙n ˙

Jœb Jœ ≈ Rœ Rœ Rœ Jœn Jœ Jœ Rœ Rœ

spe me, ond' io po tes si non di spe

˙ ˙

- - - - - - - - - - -

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B

10 œ ‰ Jœ Jœ Jœb Jœb Jœ

rar di mia pe no sa

˙b ˙

Jœ Jœ ‰ Jœ Jœ Jœ Jœ Jœb

vi ta, e lu sin gar mi=al

˙b ˙

Jœb Jœ ‰ Jœ Jœ Jœ JœJœb

me no col dir ch'un di go

˙ ˙

- - - - - - - - - -

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B

13

Jœb Jœ Jœ Jœ˙b

drW, s'or pian go,=e pe

˙ ‰ œ œb œb

œ œb œ œb ˙

˙ œ œb œ œb

œ œb œ œb ˙b

˙ œ œb œb œ

- - - - - - - - - - - - - - -

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B

16 œ œ œb œ œ œ œ œ#

˙n œ œb

œ# Jœ Jœ œ œ

no, e pe

œ œ œb œ œœ

˙ Óno.

˙ Ó

- - - - - - - - - - - -


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43

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Andante

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∑

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œ œ Œ

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‰ Jœ œ œ ‰ œ œ

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7 œ Œ Œ

œ Œ Œ

Œ .œ Jœ#Af fa

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∑

∑

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na to, tor men ta

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∑

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Œ .œ Jœ#af fa

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∑

∑

Jœ Jœ JœJœ œ

na to, tor men ta

œ œ œ- - - - - - - - - - - -

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Vln II

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13

Œ ‰ Jœ œœ

∑

œ .œ Jœ

to, sen za

œ œ œ

‰ œ œ œ Œ


Jœ Jœ Jœ Jœ œ

spe me di con for

œ œ œ œ œ

∑

œ Œ Œ

œ œ œ

to, mi con

œ œ œ

‰ Jœ œœ‰œ œ

∑

Jœ Jœ#œ œ

vie ne di ser

œ œ œ œ

œ# œ Œ


œ Œ Œvir,

œ œ œ#


œœŒ

∑

œ œ œ#

- - - - - - - -


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Vln I

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19

œ# ‰ Jœ œœ#

œ Œ Œ

Œ .œ# Jœmi con

œ œ# œ

∑

Œ ‰ Jœ œœ

œ œ .œ Jœ

vie

œ œ# œ

Œ ‰ Jœ œ œn

∑

œ œ .œn Jœ

œ œ œ

∑

Œ ‰ Jœn œœ

œ œ .œ# Jœ

œ œ œ#


∑

.œ# Jœ Jœ Jœ

ne, mi con

œ œ œ œ

œ Œ Œ

∑

Jœ Jœ œ œ#vie ne di ser

œ œ œ œ

- - - - - - - - - - - - -

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25


Œ œ Œ

œ Œ Œvir,

œœ œ#

œ œ œ


∑

œ œ œn


œ Œ Œ

Œ .œ Jœ

af fa

œ œ œ#

œ# ‰ Jœn œœ

∑

Jœ Jœœ œ

na to, tor men

œ Œ œ#

∑

Œ ‰ Jœ œœ

Jœ Jœnœ œ

ta to sen za

œ œ œ œ

Œ ‰ Jœ œ œ

∑

Jœ Jœœ œn

mai spe rar con

œ œ œ

- - - - - - - - - -

&

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bb

bb

bb

Vln I

Vln II

V

B

31

∑

‰ Jœ œ œ ‰œ œ

.œJœ Jœ Jœ

for to, mi con

œ œ œ


œ# Œ Œ

.œJœ Jœ Jœ

vie ne, mi con

œ œn œ#

œ Œ Œ

∑

Jœ Jœ .œ# Jœ

vie ne di ser

œ œ œœ

Œ .œJœ#

Œ œ œ

œ Œ Œvir.

œœ œ


œ Œ œ

∑

œœœ

- - - - - - -


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Vln I

Vln II

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B

36

œ œ Œ


∑

œ œ œ#


œ œ Œ

∑

œ œ œn

œ œ Œ


∑

œ œ œ#

‰ Jœ œ œ œ œ#

œ# œ œ œ œ

∑

œ œ œœ

Fine

œ

œ

Œ

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Vln II

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Œ Œ

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.œ Jœ

Et in

œ œ#

∑

∑

Jœ Jœ œ œntan to=af fan no

œ .œ Jœ

‰ Jœ œ œ ‰

œ œ

∑

œ œn œ Œri o,

œ œn œ œ#

œ œ Œ

‰ Jœ œœ ‰ œn œ

∑

œ œ œ

‰ Jœ œ œ œn œ#

œ#œ œ œ# œn

∑

œ œ œœ

- - - -

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bb

bb

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Vln I

Vln II

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B

45

œ œ œn

œ œ œ

Œ .œ Jœ

et in

œœ œ#

œ Œ Œ

œŒ Œ

Jœ Jœ œ œntan to=af fan no

œœ œ

Œ Œ œ

Œ Œ œ

Jœ Jœ.œ Jœ

ri o, non sW

œ œ œ

œ Œ œ

œ Œ œn

Jœ Jœ.œ Jœ

dir se=il do lor

œ œn œ

œn Œ œ

œ Œ œ#

Jœ Jœn.œ Jœ

mi o, fi ne=ha

œ œ# œ- - - - - - - -


&

&

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bb

bb

bb

bb

Vln I

Vln II

V

B

50 œ Œ œ

œ Œ œ

Jœ Jœ.œ Jœ

vrZ col mio mo

œ œ œ

œ Œ Œ

œn Œ Œ

œ Œ Jœb Jœ

rir, fi ne=haœnŒ œ œn

b

∑

∑

Jœb Jœ .œn JœvrZ col mio mo

œ œ œœ

‰ Jœ œœb ‰ œ œ

∑

œ Œ Œrir,

œ Œ œn

œb œ œ œn œ

‰ Jœ œb œ œ œn

∑

œ œ œ œb

- - - - -

&

&

?

?

bb

bb

bb

bb

Vln I

Vln II

V

B

55

œ Œ Œ

œ Œ Œ

Œ .œJœ

et in

œ œ# œb

Œ.œJœ

∑

Jœ Jœ œ# œtan to=af fan no

œ œ# œ

œ œ œ# œ

∑

Jœjœ.œJœ

ri o, non sW

œ œ œ#

œ Œ Œ

Œ.œJœ

Jœ Jœ œ# œdir se=il do lor

œ œ# œ

∑

œ œ œ# œ

Jœjœ .œn Jœ

mi o, ha vrZ

œ œ œ#

- - - - - - -

&

&

?

?

bb

bb

bb

bb

Vln I

Vln II

V

B

60

∑

œ Œ Œ

Jœ Jœ .œ

Jœfi ne col mo

œ œ œn

‰ Jœ œn œ ‰ œ œ

∑

œn .œJœ

rir, ha vrZ

œœ# œ

œ Œ Œ

Œ ‰ Jœ œ œ

Jœ Jœn œ œfi ne, ha vrZ

œ œ œ œ

Œ œ œ

‰ œ œ œ œn

jœ Jœ œ œ#fi ne col mo

œ œ œœ

Da capo

œ Œ Œ

œ Œ Œ

œ Œ Œrir.

œ Œ Œ

- - - - - - -


A Scarlatti - Tiranna Ingrata

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Transcript of A Scarlatti - Tiranna Ingrata