Bladmuziek
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LOT1
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edited by Cedric Lee
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Lotti produced a wide range of compositions: because of his long career at San Marco in Venice, first as a singer, then in various posts of increasing importance, much of his work was sacred music. He produced many masses and other choral works for the choir at San Marco, as well as motets for solo voice.
He was noted as an opera composer, and produced many other secular works, notably solo cantatas, but also duets, terzetti and madrigals. The majority of the cantatas are for soprano voice with basso continuo; some have accompanying strings, but most of these may be excerpts from operas, whose other music is lost. Ti sento, O Dio bendato is among a small number of Lotti's cantatas which have obbligato instruments.
The source for Ti sento, O Dio bendato is a manuscript in the collection of Richard Fitzwilliam, (7th Viscount Fitzwilliam of Merrion) and is inscribed by him with the date 1774. His entire collection of art, and his library, was bequeathed by him in 1816 to the University of Cambridge, and is housed in the Fitzwilliam Museum. The assistance of the curator of manuscripts in making available a facsimile copy, is gratefully acknowledged.
The text of Ti sento, O Dio bendato presented some difficulty. It contained a number of inconsistent spellings, and an apparent reference to the dog rose ('cane Rose'), the relevance of which remains obscure. (It is just possible that the copyist of this work was struggling with an unclear source, and was not familiar with the Italian language.) I am obliged to my colleague Barbara Sachs, and to Prof. Danilo Romei of the Facoltà di Lettere dell'Università di Firenze, for their suggestion of a possible alternative reading.
The work is distinguished by the unusual treatment of the last line of the central recitative: the passage 'fai soave il languir, caro l'affanno' (you make yearning sweet, anguish to be cherished) is set as a rather solemn, chromatic and somewhat discordant arioso.
The work opens and closes with a da capo aria, in which the voice and the oboe work in a balanced partnership; each finishes with an instrumental reprise. The subject is, as usual, the suffering caused by the god of love.
Componist(en):
Uitgever('s):
Uitgavenummer:
LOT1
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200941
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edited by Cedric Lee
