Un'alma innamorata
A soul in love

Linda Perillo (Soprano) with

Cordaria
directed by Walter Reiter

As featured on the cover of Classic FM magazine, March 2003

Programme Notes

The emergence of the basso continuo was one of those critical moments in the history of music. The ‘Figured bass’, or bass line upon which a keyboard player or lutenist could realise the harmony indicated by a system of figures (with increasing sophistication as the 17th and 18th centuries progressed), meant that a single musician could provide the necessary harmonies which would previously have needed several players. Fewer musicians meant that melody, rather than counterpoint, could become the focus of the music, and the newfound intimacy also meant that more liberty could be taken regarding tempi. In the early part of the 17th century, as virtuoso techniques and florid improvised ornamentation developed, large numbers of extremely virtuosic solo motets and sonatas started to appear. The combination of solo voice with one instrument and continuo was quite common, and pieces with violin were perhaps the most common of all. The German composer Nicolaus Bruhns allegedly took the genre to the all-time minimalist limit by singing the solo part, covering the accompaniment by double-stopping (playing two or more notes at a time) on his violin, and using his feet to play the bass part on the organ pedals! 

Samuel Capricornus (1628-1665) was one of those composers who died tragically early. Before settling as Kapellmeister at Stuttgart in 1657, he worked in Vienna, Strasbourg, and Pressburg (modern-day Bratislava). Although some of his published sets are conceived on a grand scale, Capricornus was very much a master of the miniature. His Surrexit pastor bonus (which sets a free text based on a passage from the Gospel of St John) survives in the Düben Collection of manuscripts held in the University Library at Uppsala, in Sweden. After a short introduction, the violin and voice engage in an imitative dialogue. The voice then has a recitative-like passage before they join together again, finally dancing a triple-time Alleluia.

Tarquinio Merula (c.1595-1665) held several important organist positions in Italy, including at S. Maria Maggiore in Bergamo. In 1623, he was invited to take up a similar role at the court of the King of Poland. His motet for soprano, violin and continuo, Cantate jubilate, comes from Il primo libro de motetti e sonate concertati, Op. 6, published in Venice in 1624 by the renowned printer Vincenti. The fact that the volume was dedicated to a member of the influential Gonzaga family suggests that he was keen to maintain his links with his native land, to which he, in fact, returned in 1628. He seems to have been something of an awkward character, frequently encountering difficulties wherever he went. At the forefront of musical developments, he was among the first of the Venetian composers to use stringed instruments with solo voices, as is
shown in this motet, where the recurring triple-time Alleluia might be thought of in terms of a ritornello.

Singet dem Herrn (Bux WV98), a setting of verses from Psalm 98, ‘Sing unto the Lord a new song’, by Dietrich Buxtehude (c.1637-1707) also comes from the Düben Collection. Indeed, Buxtehude and Gustaf Düben (who started the collection) were friends, and many of the former’s compositions have survived thanks to the fact that he sent them to the latter in Sweden. The motet has certain structural similarities with the Capricornus: after the opening sonata, the voice and violin combine in dialogue, before this gives way to a recitative-like section for the voice and continuo alone. Here, the piece takes a different turn, with a quite virtuosic interlude for the violin. This leads into another dialogue, then into another recitative, and a further passage where voice and violin swap ideas. The opening sonata is repeated at this point, after which the singer and violin combine with the bass for the final triple-time ‘singet, rühmet und lobet’, but look out for the surprise ending!

It is, perhaps, a little remarkable that the virtuoso violinist, Antonio Vivaldi (1678-1741), appears to have written only one cantata for voice with solo violin accompaniment. Another tale of a shepherd’s unrequited love, Lungi dal vago volto (RV 680) follows the traditional pattern of two pairs of recitatives and da capo arias. In the first, he contrasts the beautiful songs of the little birds in the woods with his own tears. In the second, whose opening theme requires the solo violin to double stop, he is resolved to try again, pleading undying constancy.

Daniel Purcell (c.1664-1717) has always been somewhat overshadowed by his older brother. His cantata Amintas follows the traditional form: the two arias are preceded by relatively brief recitatives. Strangely, though, the singer is expected to be both the narrator and the participants in this mini-opera. The opening recitative tells us of love-lorn Amintas’ failure to convince his nymph that he is true; after his aria, we are told that she half consents, but her final aria asks why she should lose her liberty. Purcell’s cantata reveals his skill as a composer, particularly in the way he employs the violin, sometimes as accompaniment, sometimes as the bass line (when the continuo section drops out), and sometimes as the main interest. His Six Cantatas of 1713 were among the first examples of the genre with English texts. Fashionable Italian opera meant this was a difficult time for composers unwilling to adopt the medium. Slightly short-winded in comparison to songs by his older brother and to similar later works by Arne and Stanley, they are not, however, dissimilar to pieces by Alessandro Scarlatti and his Neapolitan contemporaries.

After a brief spell in Hamburg, the young Saxon composer, Georg Frederic Handel (1685-1759), went to Italy to further his career. He was fortunate enough to enjoy the patronage of
some of the leading figures in Rome’s cultural life, and thereby to come into contact with  many of the country’s outstanding virtuosi, not least of them the violinist, Arcangelo Corelli. Handel’s exceptional output during his Italian period includes the outstanding oratorio, La Resurrezione, other music for the church (such as the psalm settings and motets known as the Carmelite Vespers), and an early opera. Many smaller pieces have also survived, among them the cantata Un’ alma innamorata (HWV 173). This is the longest of the 18th-century works on this recording, as it consists of three recitative-aria pairs. It is also unusual in that the third aria is like a Sarabande (a triple-time dance with a strong second beat), in which the violin and the singer are in unison throughout. The cantata was copied on 30th June 1707, and written for the entertainment of the Marchese Ruspoli, one of the composer’s patrons in Rome.

Georg Philipp Telemann (1681-1767) was a shrewd musician. Not only did he produce more music than any of his contemporaries, but he also saw the means of making money by engraving and selling it either on a subscription basis or periodically. The 72 cantatas that make up the first set of Der Harmonischer Gottesdienst (one for each of the services required by the Lutheran church calendar), which appeared in Hamburg in 1725 and 1726, are scored for solo voice with various solo instruments and continuo. Two arias are separated by a somewhat declamatory secco recitative. Gott will Mensch und sterblich werden is intended for performance on the Feast of the Annunciation, when the angel appears to Mary.

Brian Clark, June 2002

Texts and Translations

[1] Surrexit Pastor Bonus

Surrexit pastor bonus,
qui animam suam dedit pro ovibus suis
et pro grege suo mori dignatus est. Alleluia.

The good shepherd has risen,
he who gave his life for his sheep
and was worthy to die for his flock. Alleluia.

[2] Cantate Jubilate

Cantate, jubilate, exultate et psallite. Alleluia.
Gloria Patri qui nos creavit. Alleluia.
Gloria Filio, qui nos redemit. Alleluia.
Gloria Spiritui Sancto, qui nos sanctificavit. Alleluja.

Sing, rejoice, exult and make music! Alleluia.
Glory to the Father, who has created us. Alleluia.
Glory to the Son, who has redeemed us. Alleluia.
Glory to the Holy Spirit, who has blessed us. Alleluia.

3 Dietrich Buxtehude: Singet dem Herrn

Sinfonia
Singet dem Herrn ein neues Lied, denn er macht Wunder:
er sieget mit seiner Rechten und mit seinem heiligen Arm.

Recitativo
Der Herr lässet sein Heil verkündigen, vor den Völkern lässet er seine Gerechtigkeit offenbaren.

Vivace
Er gedenkt an seine Gnade und Wahrheit dem Hause Israel. Aller Welt Ende sehen das Heil unsers Gottes.

Sinfonia
Jauchzet dem Herrn alle Welt; singet, rühmet und lobet!

Sinfonia
Sing unto the Lord a new song, for he has done marvellous things: his right hand and his holy arm have won him victory.

Recitativo
The Lord has made known his salvation, he has revealed his righteousness in the sight of the nations.

Vivace
He has remembered his mercy and truth toward the house of Israel. All the ends of the earth have seen the salvation of our God.

Sinfonia
Acclaim the Lord, all the earth; Sing, exult and praise him!

[4] Daniel Purcell: Amintas

Recitative
Long had Amintas the unhappy Swain, in silence breathed his passion but in vain. Th’ungen’rous Nymph disdain’d the Shepherd’s care, as he pursues She flys him ev’rywhere; her flight with more uncommon grief he views, and thus thro’ moving language he pursues.

Aria
Stay, oh stay thou flying Fair. Let me not perish in despair;
If Love, bright Nymph, you cannot give, grant me but pitty, I shall live: Pitty will ease my raging Pains, and I’ll with pleasure wear thy Chains.

Recitative
The Nymph thro half consenting Eyes, no longer able to disguise her growing passion, thus replies.

Aria
Since I’m easy, since I’m free, Why shou’d I lose my liberty:
Should’st thou fond swain my pitty move, I fear too soon ‘twou’d turn to Love.

[5-8] Antonio Vivaldi: Lungi dal vago volto

Recitativo
Lungi dal vago volto
della mia bella Elvira
viver non posso. Oh Dio!
E pur crudo destin per mio tormento
or mi condanna a pascolar l’armento.
Ma qual da lungi ammira,
non distinta beltade il guardo mio
pastorella che viene?
Temo d’errar, mi perdo,
corro, mi fermo, rido e sospiro ad un,
ardo, gelo, contento e tormentato.
Mi sembra alla divisa,
non mi par al sembiante;
deh per pietade Amor, amico cielo,
sciogli dal mio bel sol la nube, il velo.

Aria
Augelletti, voi col canto
queste selve impreziosite,
ed io posso sol col pianto
consolare il mio dolor.
Fate voi che dolce incanto,
Con amor o con pietade,
chiami al bosco il mio tesor.

Recitativo
Allegrezza, mio core,
ch’al fin giunse alla meta
l’avida mia pupilla:
Ti riconosco, o bella,
ti riveggio, mio bene,
t’abbraccio, pastorella.
Perdona, o cara, a’miei sospesi affetti,
Perché errante pastor veder non suole
tra queste ombrose frondi aperto il sole.

Aria
Mi stringerai sì, sì,
Non partirai più, no.
Bella, ti rapirò se il cor non cede.
Avvinto al tuo bel sen
ti giuro, amato ben,
che mai ti mancherò d’amor e fede.

Recitative
Away from the fair face
of my beautiful Elvira
I cannot live. Oh God!
And yet a cruel fate for my torment
condemns me now to pasture my flock.
But what shepherdess,
what unrecognized beauty, do my
eyes now see approaching?
I’m afraid to be wrong, I’m confounded,
I run, I pause, I laugh and sigh both at once,
I burn, I freeze, delighted and tormented.
It seems to be her, by her dress,
it seems not to be, by her looks;
ah, for pity’s sake, Love, and friendly heaven,
disperse the cloud, the veil from my fair sun!

Aria
Little birds, you with your song
make these woods precious,
and I can only console
my grief by weeping.
Make it so that some sweet magic spell,
through love or through pity,
calls my precious one to the wood!

Recitative
Be of good cheer, my heart,
for at last my eager gaze
has found what it seeks.
I recognize you, o fair one,
I see you again, my treasure,
I embrace you, shepherdess.
O my dear, forgive my hesitation,
because a wandering shepherd does not often
see the sun displayed among these shady leaves.

Aria
You will hug me, yes, yes,
you will not depart again, no.
Beauty, I shall abduct you if your heart does
not yield.
Clasped to your fair bosom,
I swear, my beloved, that I shall never be lacking in love and faith.

[9-13] Georg Frederic Handel: Un’alma innamorata

Recitativo
Un’alma innamorata, prigioniera d’amore, vive troppo infelice. Divien sempre maggiore il mal che non intende, alor che nell’amar schiava si rende.

Aria
Quel povero core ferito d’amore sospira, se adira, se vive fedel. Sia il solo dolore geloso timore, le pene e catene martire crudel.

Recitativo
E pur benché egli veda morta del suo servir - la speme istessa, vuole col suo languir - viver con essa.

Aria
Io godo, rido e spero ed amo più d’un core e so ridir perché. Se segue il mio pensiero un vagabondo amore, cercate voi dov’è!

Recitativo
In quanto a me, ritrovo del riso ogni diletto, se sprezzo dell’amore le sue severe leggi, ed il rigore.

Aria
Ben impari come se ama in amor chi vuol goder. Non ha pari alla mia brama il rigor del nume arcier.

Recitative
A soul in love,
captive of love,
lives too unhappily.
The pain which it does not understand
becomes greater and greater,
once it surrenders as a slave in loving.

Aria
That poor heart
wounded by love
sighs [and] becomes angry if it lives faithfully.
Let its only suffering
be jealous fear,
And let cruel torments be its pains and chains.

Recitative
And yet, although he sees
hope itself lie dead from its service [of love],
he wants to live with it in his languishing.

Aria
I rejoice, laugh and hope,
and love more than one heart,
and I can tell why.
If my thought follows
a vagabond love,
then you go and find where it is!

Recitative
As for me, I rediscover
all the delight of laughter,
if I scorn the harsh laws
And the severity of love.

Aria
Let him who wants to rejoice in love
learn how one goes about loving.
The severity of the archer-god
Is not equal to my desire

[14-16] Georg Philipp Telemann: Gott will Mensch und sterblich werden

Arie
Gott will Mensch und sterblich werden,
daß der Mensch in seinem Wehe nicht vergehe:
Welch ein Merkmal hoher Treu!
Fordre, kann’s dein Witz erreichen,
Dir ein Zeichen, hier auf Erden,
Oder droben in der Höhe das so groß als dieses sei

Rezitativ
Nein, wenn ich gleich
der Morgenröte Flügel nähme
und bis ans Aüßerste des wilden Meeres käme;
ja!
Könnt ich mich gen Himmel schwingen
und wiederum von da
bis in den tiefsten Raum des Abgrunds dringen,
so find ich überall doch nichts so wunderreich,
als daß der unerschaff’ne Gott,
Jehovah Zebaoth,
zur Kreatur um uns geworden!
Immanuel tritt in der Menschen Orden
und machet sie von ihrer Sklaverei
in seinem Siege frei.

Die beiden wütenden Tyrannen,
die uns in Furcht gebracht,
der wilde Tod, und jener Fürst der Nacht,
erheben sich, durch ihn besiegt, von dannen.
Wohlan, ihr von dem Herrn so hochgeschätzte seelen, verlaßt die schwarzen Trauerhöhlen,
vergnüget euch am Glanze dieser Freudensonne:
dies große Wunderwerk erfordert große Wonne!

Arie
Immanuel ist da!
Triumph, halleluja!
Erfreuet euch, ihr Himmelsthronen,
samt allen, die auf Erden wohnen,
wir sind durch ihn dem Himmel wieder nah!
Was unsrer Seelen Angst erwecket,
hat Jesus in den Staub gestrecket,
auf welchen schon der Väter Hoffnung sah. Triumph, halleluja

Aria
God deigns to become a man and mortal,
that mankind in his misery may not pass away:
what a token of true faith!
Lay claim, if you possess the wit,
to any sign, either here on earth
or yonder up on high, as great as this.

Recitative
No, even if I
were to take the wings of dawn
and gain the utmost end of the tempestuous sea;
yes!
Could I mount even to heaven,
and thence, in turn
plumb the depths of the abyss,
still nowehere do I find something so wondrous,
as that the uncreated God,
the Lord of Sabaoth,
on our account, became a thing created!
Emmanuel takes on the rank of mortals
and frees them from their bondage
through his victory.

Both those furious tyrants
who drove us into fear,
brute Death and the Prince of Darkness,
depart the scene, vanquished by him.
And so, you souls so highly prized of God,
quit your dark haunts of mourning
and delight in the splendour of this glorious sun:
a miracle so great compels a great rejoicing!

Aria
Emmanuel is here!
Triumph, alleluia!
Be glad, heavenly angels,
and all who dwell on earth,
through him we are near again to Heaven!
That which awoke dread in our souls
Jesus has cast into the dust;
even he for whom our fathers watched and hoped.
Triumph, alleluia.