Alessandro Scarlatti - Cantatas Vol.3

Alessandro  Scarlatti (1660-1725)

Cantatas Vol.3 

Arcadian Academy 

Nicholas McGegan

Brian Asawa

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

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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. There was an emphasis on the poetry that preceded the music. In order to better illustrate the text with which he was working, Scarlatti made frequent use of unusual forms and harmonies.

This collection of five cantatas is morose in spirit, beginning with 'Nel silenzio commune', the text of which portrays a young man suffering rejection, nursing the wounds of love. It has the larger number of movements consisting of 4 recitatives followed by 4 arias; all preceded by a three-movement 'sinfonia'. It is also the earliest of the group.

'Ferma omai'(Escape not)is dated 1724; characterized by a weeping motif, thus prompting darkened harmonies in the accompaniment. It is scored for a string group, and has unusual form - a recitative sandwiched between 2 arias.

In 'Clori vezzosa, e bella' and 'Piango, sospiro, e peno', chromaticism is incorporated as a reflection of despair and loathing.

'Non so qual piu m'ingombra' deviates from typical chamber cantatas in that the subject is not love, but the rapture of the birth of Christ.

This performance conducted by Nicholas McGegan is an excellent portrayal of often-overlooked chamber works for voice and continuo. Countertenor Brian Asawa, discovered his own falsetto voice when he was a young choir member. He liked to sing the soprano part on his way home from choir practice and finally realized maybe that's where he should be singing. He has a purity of tone, resembling a transparent veil, through which he brilliantly conveys the meanings of text and music. His voice actually lies in the 'sopranist' area of the falsetto range; thats my own observation!

This is really a very interesting and entertaining group of cantatas with varying moods and tempos and instruments. Nicholas McGegen and the Arcadian Academy do a splendid job holding it all together.