Giovanni 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

 

 

Preface

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

 

Recitativo: 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: Aria: 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. Recitativo: 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. Aria: 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.

Recitativo: 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: Aria: 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. Recitativo: 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. Aria: 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

 

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