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G 11.008 CoverGiovanni Bononcini (1670–1747)
Giacomo Greber (died 1731)
Fuori di sua capanna

Cantata for alto voice (mezzo-soprano), alto recorder and basso continuo
Edited by Franz Müller-Busch
Realization of the thorough bass by Eckhart Kuper

Girolamo G 11.008, score and 3 parts, € 18,00
ISMN 979-0-50084-033-6

sample page

G 11.007 G 11.009




One work and two composers: this is the best way to describe briefly the situation of sources we were confronted with when dealing with the cantata Fuori di sua capanna.

The cantata exists in two copies:

– Source 1 (S1): Cantata a Voce sola / e Flauto solo / Giacomo Greber; manuscript D-MÜs 3975 (Münster, Library of the Diocese, Santini Collection). This source is part of an extensive volume comprising various vocal and instrumental works by G. Greber, A. Scarlatti and several unknown composers. Giacomo (Jakob) Greber died in 1731.

– Source 2 (S2): Cantata Del Signor / Bononcini: / e flautto; manuscript F-Pn Vm7. 55 (Paris, Bibliothèque nationale). This cantata is part of a volume consisting of 25 Italian cantatas by various composers. Bononcini’s christian name is nowhere to be found. Although the cantata is registered in the index of Giovanni Bononcini’s (1670–1747) works it could also have been written by Antonio M. Bononcini (1677–1726).

The musical contents of both copies is identical, they differ however in the following aspects:

– The flute part in S1 is most certainly intended for the alto recorder due to its pitch range f' to f''' whereas in S2 it is clearly intended for the traverso considering it is partially written an octave lower within the range d' to c'''.

– The bass line in S2 is at some places an octave lower than in S1. On rare occasions the opposite however occurs.

– The figured bass in S2 is more precise than in S1. There are figures in S1 however that do not appear in S2.

– In S2 only four slurs appear whereas S1 contains many more.

After having closely examined the differences between the two manuscripts, it still remains impossible to determine the original composer. Therefore we decided to publish the cantata under both names.

Considering that Greber’s version for alto voice, alto recorder and b.c. has a most unusual instrumentation, source 1 was chosen as a base for this edition. But we took over better solutions for the distribution of words and the more detailed figured bass from source 2. All differences between the two sources have been indicated in footnotes in the score and are documented in the commentary. The accidentals and the spelling of the Italian text have been modernized with no further comment. All additions by the editor are indicated.

Translation: Julia Whybrow

Freiburg, October 2001, Franz Müller-Busch


Fuori di sua capanna
tutto acceso nel seno
per la vaga Licori,
Filen sopra l’erbetta
un dì sedea,
e pensando ai rigor
della Ninfa tiranna
disperato fra sé
così dicea:

Se ne va di faggio in faggio
Rossignuol che prova ardore.
Lieto canta e in suo linguaggio
par che dica, o dolce Amore,
fa che mai si parta il maggio.

Così l’onda amorosa
siegue l’altr’onda,
e così corre al prato
per godersi di fior
veloce il rio,
e sopra verde fronda
ogn’augellin che adora
dichiara il suo desio
con dolce canto
alla nascente aurora.
Ma Licori crudel
co’l suo rigore
fa che per me solo
è tormento amore.

Io pur amo ed il tormento
sempre affligge l’alma mia,
onde privo di contento
mi lamento
di mia sorte sempre ria
e d’amar già mai mi pento.

One fine day
outside his barn
upon the meadow
Filen sat, his deeply loving heart
yearning for wandering Licori,
and while pondering on the
tyrannical nymph’s strict temper
he spoke despairingly
unto himself:

The nightingale that beguiles me so
flies from beech to beech.
Gleefully she warbles and pleads
in her tongue: Oh, Amor sweet,
make that May will never end.

Thus, one soft wave of tenderness
follows the next,
while the brook flows swiftly
amidst the meadows,
delighting in the flowers,
and on the branches green
every loving bird conveys
in sweet song
his longing
to the rising red of dawn.
But alas, the cruel Licori
with her harshness
to me alone
makes Love to sheer torment.

Yet I cease not to love
the pain crushing my soul,
and I again and again complain
restlessly about my hostile fate,
but never ever will I regret
having loved.

Translation: Julia Whybrow