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• 13 Gen 2017

Luca Casagrande – “Nel mar che bagna al bel Sébeto il piede”, copy manuscript of ‘700, Biblioteca del Conservatorio di S. Pietro a Majella – Napoli – Italy.
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Centaurus Music Int. Studio Recording “Alessandro Scarlatti – Tiranna Ingrata – Cantate – Tre Sonate per Violoncello e Basso Continuo” WORLD PREMIERE RECORDING – Second edition ℗ 2009
First Edition ℗ 1997.
© Luca Casagrande.
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Luca Casagrande Baritone
Scarlatti Camera Ensemble
Cello Gabriele Garofano
Harpsichord M.° Lucio Nanni.

Artistic Director and Producer Luca Casagrande.
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This cantata comes as close to a “standard” type of pastoral cantata as we find ameng the bass sole cantatas, two da arias each
preceded by a recitative. The arias have more contrast in meter than in emotional content, however.
The 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
arioso ending in this recitative is used in a different way to the early cantatas. Here. for emphasis. we feel the mounting ardor o:t
Elpina – the repeated “tutto ardor” – which causes him to, speak his emotions in the following aria.
The expressive g minor theme of the first aria receives four consecutive statements. the continuo alternative with the voice, before
an extension which makes use of the second line of poetry brings a cadence in the relative major Bb. An abortive statement of the
first 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
of 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:

Section “A” – First Statement Minor – Second Statment Major.
Section “B” – First Statement Major – Second Statement Minor.

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.
In 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.
A 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.

(Alessandro Scarlatti: solo cantatas for bass – Collins, Leo Wilkie – Boston University)
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NEL MAR CHE BAGNA AL BEL SEBETO IL PIEDE

Nel mar che bagna al bel Sebeto il piede
Mentre d’alato pin prora spedita
Gareggiando col volo
Omai non cede ad altra che spedita
Sfidar nel corso i Zefiri pur tenta
Trà queste gare ancor
Gara d’Amore nacque tra Elpino e Nice
Ond’egli tutt’ardor così gli dice:

“ Dal tuo guardo cocenti faville
trasse Amor per accendermi ‘l sen.
Pur io godo, mie care pupille,
Nell’ardor per cui l’alma vien men. ”

Così diceva Elpin,
Ma in quell’istante giudice Amor
Di così belle offese
Da Nice fè narrar le sue difese.
Quindi à farlo felice
Queste voci formò la bella Nice:

“ Cari accenti lusinghieri
voi piagate l’alma e ‘l cor.
Pur anch’io tormenti fiéri
Per te soffro tutt’ardor. ”