Scarlatti Cantatas, Volume III / McGegan, Brian Asawa

Editorial Reviews
Amazon.com
The Italian baroque composer Alessandro Scarlatti (1660-1725) wrote more than 600 solo voice cantatas, five of which are included on Volume III of this BMG series. They are performed by the Japanese American countertenor Brian Asawa and the period instruments of the U.S.-based Arcadian Academy, which takes its name from a 17th-century society of artistic and aristocratic intellectuals living in Rome. They would meet weekly for arty discussions and sponsored the careers of certain artists, Alessandro Scarlatti included.

Asawa's operatic voice is high and feminine, which suits Scarlatti, as he composed these cantatas for castrati. All but one are about love, especially the pain of it, which is ironic because the castrati were incapable of it. Asawa sighs and keens with beautiful self-pity as he suffers the cutting edge of Cupid's darts in "Nel silenzio." In "Ferma Omai," he weeps, rejected by a fleeing shepherdess (very Arcadian). In "Clori Vezzosa," he blames his love for his anguish and in "Piango Sospiri e Peno," misery itself makes him miserable. In "Non so qual," he is happy, but that is because Jesus has been born and women are not involved. Conductor Nicholas McGegan keeps the sad, dry, silver strings moving. The harpsichord adds a sparkling continuo and the archlute and theorbo plunk audibly in the background when nothing else is happening. --Rick Jones

Scarlatti Cantatas, Volume III / McGegan, Brian Asawa, Music, Alessandro Scarlatti, Brian Asawa, Arcadian Academy, Classical, Classical Music, Classical Vocals, Solo Voice and Continuo, Vocal
Scarlatti Cantatas, Volume III / McGegan, Brian Asawa
Average customer rating: 4.5 out of 5 stars
  • a voice teacher and early music fan
  • Best of the Three . . .
  • Continuo Anyone? Anyone?
 Scarlatti Cantatas, Volume III / McGegan, Brian Asawa
Brian Asawa , and Nicholas McGegan
Manufacturer: Deutsche Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

All Works by Alessandro ScarlattiAll Works by Alessandro Scarlatti | Scarlatti, Alessandro | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
ASIN: B000023YQ8
Release Date: 2000-04-04

Tracks:

  1. Nel Silenzio Comune: Introduzione - Grave
  2. Nel Silenzio Comune: Corrente
  3. Nel Silenzio Comune: Minuetto
  4. Nel Silenzio Comune: Recitativo Accompagnoato
  5. Nel Silenzio Comune: Aria - Largo: Nel Dormir L'anima Mia
  6. Nel Silenzio Comune: Recitativo: E Pure, E Pure Voi Dormite
  7. Nel Silenzio Comune: Aira - Andante: Pupille Care
  8. Nel Silenzio Comune: Recitativo: Ma No, Dormi, Ben Mio
  9. Nel Silenzio Comune: Aria: Se Nagasti Vegliando
  10. Nel Silenzio Comune: Recitativo: Filli, Filli Crudele Destati
  11. Nel Silenzio Comune: Aria - A Tempo Guisto: Accio Che Rimbombe Intorno Al Ben Mio
  12. Ferma Omai: Andante Moderato:
  13. Ferma Omai: Recitativo: Ov'unque Il Guardo Giri
  14. Ferma Omai: Andante Giusto: Va, Va Che I Lamenti Miei
  15. Clori Vezzosa, E Bella: Recitativo
  16. Clori Vezzosa, E Bella: Aria - Andante Lento: Volgi Lo Sguardo
  17. Clori Vezzosa, E Bella: Recitativo: Vivo Vivo Penando
  18. Clori Vezzosa, E Bella: Aria - Allegro: Si, Ben mio, Si
  19. Piango, Sospiro E Peno: Ariso
  20. Piango, Sospiro E Peno: Aria: Ah'crudele-Non Ti Basta
  21. Piango, Sospiro E Peno: Recitativo: Si, Si Che In Cener Discolto Il Cor Vedrai
  22. Piango, Sospiro E Peno: Aria: Povero Core-Dopo La Morte
  23. Piango, Sospiro E Peno: Recitativo: Dunque Tormenti E Scherni
  24. Piango, Sospiro E Peno: Arioso: L'Amarti O Filli
  25. Non So qual Piu M'ingombra: Allegro - Recitativo
  26. Non So qual Piu M'ingombra: Moderato: Che Die Sara
  27. Non So qual Piu M'ingombra: Recitativo: E Nato, E Nato, Al Fin Mi Dice
  28. Non So qual Piu M'ingombra: Aria Pastorale - Moderato: Nacque Col Gran Messia

Amazon.com

The Italian baroque composer Alessandro Scarlatti (1660-1725) wrote more than 600 solo voice cantatas, five of which are included on Volume III of this BMG series. They are performed by the Japanese American countertenor Brian Asawa and the period instruments of the U.S.-based Arcadian Academy, which takes its name from a 17th-century society of artistic and aristocratic intellectuals living in Rome. They would meet weekly for arty discussions and sponsored the careers of certain artists, Alessandro Scarlatti included.

Asawa's operatic voice is high and feminine, which suits Scarlatti, as he composed these cantatas for castrati. All but one are about love, especially the pain of it, which is ironic because the castrati were incapable of it. Asawa sighs and keens with beautiful self-pity as he suffers the cutting edge of Cupid's darts in "Nel silenzio." In "Ferma Omai," he weeps, rejected by a fleeing shepherdess (very Arcadian). In "Clori Vezzosa," he blames his love for his anguish and in "Piango Sospiri e Peno," misery itself makes him miserable. In "Non so qual," he is happy, but that is because Jesus has been born and women are not involved. Conductor Nicholas McGegan keeps the sad, dry, silver strings moving. The harpsichord adds a sparkling continuo and the archlute and theorbo plunk audibly in the background when nothing else is happening. --Rick Jones

Customer Reviews:

5 out of 5 stars a voice teacher and early music fan.......2007-03-25

Alessandro Scarlatti (1660-1725) noted especially for his operas and cantatas. He was the most widely performed Italian composer of vocal music, with more than 60 operas and well over 600 cantatas..At that time cantatas were regarded as the higher, more concentrated artistic form. The vast majority of the cantatas are for a single high voice(soprano or alto); only a few are for two.
'Nel silenzio commune' (In the covering silence) has the larger number of movements consisting of 4 recitatives followed by 4 arias; all preceded by a three-movement 'sinfonia'. This is the largest of the 5 on this disc and none of the others begin with a 'sinfonia'. It is also the earliest of the group.
'Ferma omai'(Escape not)is dated 1724, and is scored for a string group, and has unusual form-a recitative sandwiched between 2 arias.
'Clori vezzosa, e bella'(Oh charmingly beautiful Chloris). This is a lover's plea to his indifferent mistress,representing a basic pattern of alternating recitatives and arias, and is accompanied only be the basso continuo, which in no way lessens its expressiveness.
'Piango, sospiro e peno'(I weep, I sigh and suffer)The overall shape of this cantata is different, framed fore and aft by B minor Ariosos.
'Non so qual piu m'ingombra' (I Know Not What encumbers me the more) This is a cantata pastorale rejoicing at the birth of Christ.
This is really a very interesting and entertaining group of cantatas with varying moods and tempos and instruments. Brian Asawa is indeed an excellent countertenor with very pleasing tone quality and excellent diction. Nicholas McGegen and the Arcadian Academy do a splendid job holding it all together.

5 out of 5 stars Best of the Three . . ........2000-06-29

If you must have one CD of Alessandro Scarlatti's cantatas, here is the one to get. Cantatas I and II are collecting dust in my CD tower, but I gave this disc a permanent slot in my jukebox. Nicholas McGegan and the Arcadian Academy are competent as usual, but what makes Cantatas III shine is countertenor Brian Asawa's marvelously pellucid voice and his skillful interpreation. If McGegan plans to record a complete cycle of Alessandro Scarlatti's cantatas, he should look again to Brian Asawa, who is a master of early-music. Anecdotal addenda: I played Cantatas III at work, and fellow cubicle-dwellers who are not fans of classical or early-music went out and bought this CD. A co-worker plays Cantatas III during her rush hour commute. Asawa's soothing voice calms her nerves. That's quite a feat in Washington, DC traffic!

4 out of 5 stars Continuo Anyone? Anyone?.......2000-05-21

In the 17th century, Alessandro Scarlatti enjoyed great fame as a composer of opera and chamber cantatas popular in the salons of nobility. The cantata was considered higher art with an emphasis on the poetry that preceded the music. Much of Scarlatti's works are marked by unusual uses of form and harmony, which all served to better illustrate the text. This recording, his third volume of cantatas, is morose in spirit. Beginning with "Nel silenzio comune", the texts portray a young man suffering rejection, nursing the wounds of love. Characterized by a weeping motif "Ferma Omai" prompts harmonies that darken in the accompaniment. In "Clori Vezzosa" and "Piango Sospiri e Peno" chromaticisms are incorporated as a reflection of despair and loathing. The "Non so qual piu m'ingombra" deviates from typical chamber cantatas in that it's subject is not love, but the rapture of the birth of Christ. Recorded by the Arcadian Academy, conducted by Nicholas McGegan, this is an exquisite performance of these often-overlooked chamber works for voice and continuo. At the forefront of a new wave of countertenors, Brian Asawa has a purity of tone, resembling a transparent veil, through which he conveys the text and the meaning of the music with brilliance.

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