The Consort
Ursula Brett
Summer 2024
Baldassari Galuppi
The two chamber cantatas for Alto on
texts by Pietro Metastasio
ed FABRIZIO AMMETTO and
ALVISE DE PIERO
Vol. 1, La scusa (1780); HH 568
Vol. 2, La gelosia (1782); HH 567
ISMN 979-0708185833
ISBN 978-1910357372 (vol. 1)
ISMN 979-0708185826
ISBN 978-1910359365 (vol. 2)
www.editionhh.co.uk
La scusa and La gelosia are two of three cantatas written by Galuppi for the alto voice. The third is La tempesta – not included here. Editorial introductions in English and German (but not Italian) tell us that Baldassari Galuppi (1706-1785) was born in Burano (an island in the Venetian lagoon). His familiar name was Il Buranello. Internationally famous in his day, he was a very prolific composer, writing in many genres of music. In this capacity, he held a number of important posts in Venice – Maestro di coro at the Ospedale di Mendicanti (1740-51); Vice Maestro at the Ducal Chapel of San Marco (1748-62); Primo Maestro at San Marco (1762-85); and Maestro di coro at the Ospedale degli Incurabili ( 1762-65 and 1768-76). Notably he visited London for a year (1741-42) when he succeeded Handel as Compositore serio del opera Italiano at the Haymarket. Later, he visited St Petersburg (1765-68) at the specific request of Tsarina Catherine II. Despite this knowledge of his whereabouts, little is known about when La scusa and La gelosia were written.
This edition of La scusa has been compiled from four sources, mainly an autograph source (not in RISM). There is no autograph for La gelosia which has been compiled from a copy. Notation of accidentals has been adapted to accord with modern usage and outdated accents in the Italian text omitted, as described in the critical notes. Each cantata comes with a full score together with separate scores for the alto voice, first violin, second violin, viola, and unfigured bass. In the full score, the editors have provided a basic chord realisation for keyboard players but emphasise that instrumentation of the continuo is not defined and more accomplished players are free to do as they wish. The score is uncluttered, largely free of editorial suggestions made in the critical notes. All is nicely laid out and clearly legible but I do have a quibble with the grouping of notes which is supposed to guide the eye regarding rhythmic interpretation. La scusa begins with a time signature of 3/4. Why on earth are quavers in the opening bars grouped in threes as for 6/8 time?
Both cantatas adopt a Recitative - Aria, Recitative - Aria (RARA) format, La scusa having an additional instrumental introduction. Stylistically, they lie in the pre-classical period between Handel and Haydn, sounding more like Handel but with a little of Haydn’s ornamentation decorating the simplicity of Handel’s underlying classical tonality. La scusa is primarily in B flat major but the recitatives, being a little chromatic are written without key signature. La gelosia, probably written earlier than La scusa is less well defined, moving from D major to G major. Baroque features are retained in the use of basso continuo throughout, and the limited written range (d’ to d”) of the alto voice occasionally stretching a little beyond the octave. The violins cover a more extended range of over two octaves but do not venture beyond third position on the E string. The vocalist is expected to insert Handel-type appoggiaturas in accordance with advice given in the critical notes, and a pause at the end of each aria gives scope for more-extended, ‘one-breath’ improvisation by an experienced soloist. A particularly fine examples of this in La scusa can be heard on Youtube where Sara Mingardo sings with the Accademia degli Astrusi directed by Federico Ferri.
Galuppi is noted for the high quality of his chosen texts. La scusa and La gelosia are no exception, both being by Metastasio, one of the most eminent poets of his generation. Their subject matter is similar in that both speak of unrequited love, the swain apologising to his lady love for any misunderstanding or offence he may have caused. He pleads for her understanding and forgiveness. Both the Italian text and its English counterpart translation are set out in parallel columns on a single page, the Italian on the left; English on the right. This is useful, giving clarity of meaning to a demanding Italian text.
The pathos inherent in the arias is beautifully enhanced by the easy flow of Galuppi’s expressive melody lines aided by the commentary of the two violins, often paired in thirds and accompanied by the viola. The recitatives are dramatic – operatic in concept. An unusual feature is Galuppi’s use of accompanied recitative with dramatic instrumental interventions and speed changes indicated in the score so that recitative stromentato becomes more like an excited parlando aria.
In summary, this is a nicely-produced edition of two unusual works. Between 15 and 20 minutes in length, they would make a most attractive and interesting addition to any programme of baroque or classical music. Tuneful and in tune with baroque practice, the edition allows for flexibility of interpretation according to the skill and knowledge of the performers and the choice of continuo instrumentation. Both cantatas come highly recommended as a useful addition to the musical repertoire of the pre-classical period.
We are grateful to the The Consort for permission to reproduce this review.
La scusa
Full score and parts
La gelosia