Aurata Fonte

Among the musical genres that were most appreciated and cultivated in Vienna in the early eighteenth century, one that stands out decidedly is the chamber cantata. The Italian cantatas, which were favourite compositions for the cultivated entertainment of the court, were abundantly circulated in manuscript form and collected in a great quantity of books that made chiefly between the eighteen-tens and the eighteen-forties. Now these cantatas are scattered in collections and libraries that have been the object of important musicological studies. The six cantatas presented in this recording are all drawn from the Mus.Hs.17567 manuscript in the Österreichische Nationalbibliothek of Vienna, and were quite probably all composed there around 1710-1712. It is an extremely interesting handwritten-copy collection formed of twelve compositions that are attributed with certainty to Giovanni Bononcini (three), Francesco Conti (three), Antonio Caldara (three), Emanuele d’Astorga (two), and Andrea Stefano Fioré (one). The two symphonies by Caldara (for solo cello) and Giovanni Bononcini are completing the listening of this cd by the Aurata Fonte ensemble, already protagonist of the recording of some great Italian Baroque music discovery (TC670202, TC611990).

• Astorga: Che ti giova, amor crudele, L. 31
• Bononcini, G B: Non ardisco pregarti, amata bella
• Bononcini, G B: Sinfonia No. 1 for Cello & Continuo in D Major
• Caldara: Arda il mio petto amante
• Caldara: Io soffrirò tacendo
• Caldara: Sinfonia for Cello & Continuo in D major
• Conti, F: Dimmi, o sorte nemica
• Fioré, A: Di quel sguardo fatal