17732689
Ingratissima Clori
17732689
17732689
17732689
Copyright Material for Preview Only - Sheet Music Plus
Soprano voice & basso continuo
SKU: HH.HH105-FSP
Composed by Benedetto Vinaccesi. Edited by Michael Talbot. Voice (Soprano) & Basso Continuo. Baroque. Full score and parts. Duration 7:00. Edition HH Music Publishers #HH105-FSP. Published by Edition HH Music Publishers (HH.HH105-FSP).
ISBN 9790708041559. 8.27 x 11.69 inches.
IThe text for Ingratissima Clori does not appear in Ottoboni’s Trattenimenti poetici, and its authorship is therefore uncertain. However, it exhibits one of Ottoboni’s most consistent stylistic ‘trademarks’ – the use of end rhyme throughout the recitative stanzas (i.e., not merely in a final couplet) – and the worldly wise view of romantic love expressed in it (amounting to: if one love object is unresponsive to you, seek another) is very much in his vein. It should be considered a candidate for his authorship. The text comprises two arias, each introduced by a short recitative. This is the ‘RARA’ layout that dominated the cantata around 1700, before becoming displaced from favour in its turn by the even more condensed ‘ARA’ layout.
Soprano voice & basso continuo
SKU: HH.HH105-FSP
Composed by Benedetto Vinaccesi. Edited by Michael Talbot. Voice (Soprano) & Basso Continuo. Baroque. Full score and parts. Duration 7:00. Edition HH Music Publishers #HH105-FSP. Published by Edition HH Music Publishers (HH.HH105-FSP).
ISBN 9790708041559. 8.27 x 11.69 inches.
IThe text for Ingratissima Clori does not appear in Ottoboni’s Trattenimenti poetici, and its authorship is therefore uncertain. However, it exhibits one of Ottoboni’s most consistent stylistic ‘trademarks’ – the use of end rhyme throughout the recitative stanzas (i.e., not merely in a final couplet) – and the worldly wise view of romantic love expressed in it (amounting to: if one love object is unresponsive to you, seek another) is very much in his vein. It should be considered a candidate for his authorship. The text comprises two arias, each introduced by a short recitative. This is the ‘RARA’ layout that dominated the cantata around 1700, before becoming displaced from favour in its turn by the even more condensed ‘ARA’ layout.
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