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Giuseppe Corsi (c.1631/1691), known as Celani, was one of the most important composers of the Roman school active in the second half of the 17th century. Corsi's catalogue of works includes around 23 secular compositions including Cantatas for one voice and basso continuo. The protagonist of the cantata Dalle balze sicane is the mythological Enceladus who, having been plunged into the bowels of Mount Etna by the goddess Athena, invokes Jupiter to placate the outrage against him. The character's 'misfortunes' and 'sorrows' of love in Cruda legge del mio fato find analogies with those experienced by the composer. The first aria in this cantata is rich in complex enharmonics, greatly expanded and varied in the repeat, when the voice is engaged in difficult bravura passages. The cantata Abbandonato e solo begins with a veritable monologue from Roman emperor Nero, tormented by his past ghosts. The cantata on this album by Giacomo Antonio Perti (1661-1756), Pompe, voi che ascondete, although attributed to Corsi's favourite pupil, is in fact still of unproven authorship. It is possible that Giuseppe Corsi met Giovanni Battista Vitali (1632-1692). The two composers in 1685 took part in the famous dispute over parallel fifths in Arcangelo Corelli's Sonata Op.2 No.3. The bass of the violin family, of which Vitali was a virtuoso, was widespread thanks to the Este patronage of Duke Francesco I. In his cantatas, Corsi repeatedly insists on the B flat grave, a characteristic of violin bass tuning, and the numerous semiquaver passages are particularly agile on the violone, so it is not unlikely that the composer from Marsica had this instrument in mind. It is also for this reason that Corsi's compositions have been joined by some movements from the Partite sopra diverse sonatas for the violone by Vitali that are particularly pleasing.
Giuseppe Corsi (c.1631/1691), known as Celani, was one of the most important composers of the Roman school active in the second half of the 17th century. Corsi's catalogue of works includes around 23 secular compositions including Cantatas for one voice and basso continuo. The protagonist of the cantata Dalle balze sicane is the mythological Enceladus who, having been plunged into the bowels of Mount Etna by the goddess Athena, invokes Jupiter to placate the outrage against him. The character's 'misfortunes' and 'sorrows' of love in Cruda legge del mio fato find analogies with those experienced by the composer. The first aria in this cantata is rich in complex enharmonics, greatly expanded and varied in the repeat, when the voice is engaged in difficult bravura passages. The cantata Abbandonato e solo begins with a veritable monologue from Roman emperor Nero, tormented by his past ghosts. The cantata on this album by Giacomo Antonio Perti (1661-1756), Pompe, voi che ascondete, although attributed to Corsi's favourite pupil, is in fact still of unproven authorship. It is possible that Giuseppe Corsi met Giovanni Battista Vitali (1632-1692). The two composers in 1685 took part in the famous dispute over parallel fifths in Arcangelo Corelli's Sonata Op.2 No.3. The bass of the violin family, of which Vitali was a virtuoso, was widespread thanks to the Este patronage of Duke Francesco I. In his cantatas, Corsi repeatedly insists on the B flat grave, a characteristic of violin bass tuning, and the numerous semiquaver passages are particularly agile on the violone, so it is not unlikely that the composer from Marsica had this instrument in mind. It is also for this reason that Corsi's compositions have been joined by some movements from the Partite sopra diverse sonatas for the violone by Vitali that are particularly pleasing.
5028421966939
Bass Cantatas
Artist: Celano / Criscuolo / Romabarocca Ensemble
Format: CD
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DISC: 1

1. *** Dalle balze sicane, TriCo 58
2. I. Recitative: Dalle balze sicane
3. II. Aria: Giove tiranno
4. III. Recitative: Anneriscon le sfere
5. IV. Aria: Cieli ingrati
6. V. Recitative: Disseta pur lo sdegno
7. VI. Aria: Li ciechi abissi
8. VII. Recitativo: Tacete, alme
9. VIII. Aria: Agl'urli tremanti
10. IX. Aria: Son sorde a danno mio
11. *** Cruda legge del mio fato, TriCo 57
12. I. Aria: Cruda legge del mio fato
13. II. Aria: Mi stracciano le pene
14. III. Recitativo: Ma non lice al mio core
15. IV. Aria: Se con note di gioia
16. V. Recitative: Ed in stato infelice
17. Vi. Aria: Così confondano
18. VII. Recitative: Pianger non posso
19. VIII. Aria: Cruda legge
20. IX. Recitative and Aria: Or s'è pena il tacer
21. Toccata
22. Ruggiero
23. Bergamasco
24. Chiacona
25. Me lo volete dire?, TriCo 63a
26. *** Abbandonato e solo, TriCo 49
27. I. Recitative: Abbandonato e solo
28. II. Aria: Quella morte che per gioco
29. III. Recitative: Ma che miro!
30. V. Aria: Vieni pur
31. V. Recitative: Ma no. Merta Nerone
32. VI. Aria: Contro l'armi dell'inganno
33. *** Partite sopra diverse Sonate per il violone
34. Capritio sopra ono figure
35. Capritio sopra li cinque tempi
36. Passa Galli
37. *** Pompe voi che ascondete
38. I. Recitative: Pompe, voi che ascondete
39. II. Aria: Perch'io tema bastanti voi siete
40. III. Aria: Nel profondo cieco mondo

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Giuseppe Corsi (c.1631/1691), known as Celani, was one of the most important composers of the Roman school active in the second half of the 17th century. Corsi's catalogue of works includes around 23 secular compositions including Cantatas for one voice and basso continuo. The protagonist of the cantata Dalle balze sicane is the mythological Enceladus who, having been plunged into the bowels of Mount Etna by the goddess Athena, invokes Jupiter to placate the outrage against him. The character's 'misfortunes' and 'sorrows' of love in Cruda legge del mio fato find analogies with those experienced by the composer. The first aria in this cantata is rich in complex enharmonics, greatly expanded and varied in the repeat, when the voice is engaged in difficult bravura passages. The cantata Abbandonato e solo begins with a veritable monologue from Roman emperor Nero, tormented by his past ghosts. The cantata on this album by Giacomo Antonio Perti (1661-1756), Pompe, voi che ascondete, although attributed to Corsi's favourite pupil, is in fact still of unproven authorship. It is possible that Giuseppe Corsi met Giovanni Battista Vitali (1632-1692). The two composers in 1685 took part in the famous dispute over parallel fifths in Arcangelo Corelli's Sonata Op.2 No.3. The bass of the violin family, of which Vitali was a virtuoso, was widespread thanks to the Este patronage of Duke Francesco I. In his cantatas, Corsi repeatedly insists on the B flat grave, a characteristic of violin bass tuning, and the numerous semiquaver passages are particularly agile on the violone, so it is not unlikely that the composer from Marsica had this instrument in mind. It is also for this reason that Corsi's compositions have been joined by some movements from the Partite sopra diverse sonatas for the violone by Vitali that are particularly pleasing.
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