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Hasse, Johann Adolph | Please scroll down to view...

Hasse, Johann Adolph (1699-1783)

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  • Aure liete intorno à Clori
    Forces: soprano & continuo
    In this plaint over the pain of love there is a disturbing link between the 'loving chains' and 'sweet signs' of love. ARA format with a lovely andantino to start and a dotted allegro to finish.
    Source: Münster Santini Sammlung HS 2358(8)
    Range: e - a''
    Editor: James Sanderson
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  • Chieggio ai gigle ed alle Rose
    Forces: soprano & continuo
    Source: BL Add MS 14213 ff 23r - 27v (only source)
    Here's where you learn not to ask nature where your love is concealed! One glance and she loses her liberty and gains a lover!! Aria (cantabile) - recit - aria (un poco allegro) format.
    Range: e - a''
    Editor: James Sanderson
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  • Credi ò caro alla speranza
    Forces: soprano & continuo
    Source: BL Add MS 14213 ff 17r - 22v (only source)
    A totally charming work, both musically and textually - despite a little sentimentality. The text can be summarised with one of the lines from the second aria '...there may be more beautiful shepherdesses out there, but you'll never find one as faithful...' Sweet! Excellent largo to start and a stirring presto for the final aria.
    Range: d - g'
    Editor: James Sanderson
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  • Lascia i fior
    Forces: soprano & continuo
    from BL MS Add 14214. Lovely throbbing affettuoso to start and an extraordinary chromatic 'B' section in the second aria. Range d - a'
    Editor: James Sanderson
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  • Lungi d'ogni amoroso
    Forces: soprano & continuo
    Source: BL MS Add 14214
    An interestingly chromatic cantata with a wide range and virtuosic writing for the voice and continuo
    Editor: James Sanderson
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  • O pace del mio cor
    Forces: mezzo-soprano & continuo
    O peace of my heart, where do you wander?
    A beautiful RARA format cantata with roccoco harmony, delightful vocal lines and a real charm.
    Range: c - f'
    Editor: James Sanderson
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  • Orgoglioso fiumicello (alto)
    Forces: mezzo-soprano & continuo
    Source: BL Add MS 14213 ff 28r - 36v
    Edited from an extremely clear copy in a lower key than usual (starts E major), this very popular cantata of the time (1732) exists in at least 8 copies world-wide. With a charming Sì suonar se piace opening with triplets against duplets, the cantata is in aria - recit - aria format. In the Metastasian text, it appears Clori has strayed, but her lover waits for her, knowing that the stream must return to the sea.
    Range: b - g'
    Editor: James Sanderson
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  • Orgoglioso fiumicello (soprano)
    Forces: soprano & continuo
    Source BL MS Add. 14229
    An very interesting cantata with obbligato keyboard accompaniment in first aria. Large range from c - b flat'' Text by Metastasio and from the number of copies extant this must have been a popular piece!
    Editor: James Sanderson
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  • Pur ti stringo in questo petto
    Forces: alto & continuo
    Source: BL Add MS 14213 ff 49v - 55v
    This was a very popular work at the time of its writing. There are no fewer than 7 copies extant, 3 of which are in the UK. The cantata starts with an aria with 'Si suonar se piace' over contrary motion figures in the continuo/upper part. Reminiscent in some ways of Orgoglioso fiumicello. The final section is a recit-cum-arioso apologising for any interruption! Very singable, very enjoyable...
    Range: b - e'
    Editor: James Sanderson
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Cantata with obbl. inst.
  • Fille dolce mio bene
    Forces: soprano, flute & continuo
    Source: BL MS Add 31604
    Particularly 'classical' feel to this virtuoso cantata. 2 recit and aria form
    Editor: James Sanderson
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  • Passa da pena in pena
    Forces: alto, flute & continuo
    To go through many pains to acheive true love seems to be the moral of many of the Pastoral cantata texts and this beautiful example is no exception. In ARA format, the first aria in 2/4 then 3/8, the last a lovely allegro moderato Source: MSS in Münster and the British Library
    Range: c - e'
    Editor: James Sanderson
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  • Quel vago seno
    Forces: soprano, flute & continuo
    Source: Royal College of Music MSS 695
    Charming cantata, widely circulated with two recits and arias, both arias and second recit include flute.
    Research: Kate Eckersley
    Editor: Kate Eckersley & James Sanderson
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  • Scrivo in te l'amato nome (Il Nome)
    Forces: mezzo-soprano, flute & continuo
    Hasse's setting of Pietro Metastasio's Cantata V: Il Nome, a hugely popular cantata text which deals with the lovers Clori and Filomena. Here, using the unusual combination of flute and alto voice in ARA format.
    Source: copy in Münster Santini Sammlung HS 1940.
    Range: b - g'
    Editor: James Sanderson
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Cantata with violins
  • È ver, è ver mia Fille
    Forces: alto, strings & continuo
    Source: BL Add MS 14213 (only source)
    Once again a young man's love is being rejected by a heartless shepherdess. 2 recit & arias format with a large dominant pedal presence!
    Range: d - e'
    Editor: James Sanderson
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  • Infelice tortorella
    Forces: alto, strings & continuo
    Source: BL Add 14213 ff 37v - 48v (only source)
    This a charming cantata with an opening ritornello vaguely reminiscent of the Vivaldi Gloria. Three movements: aria (larghetto e staccato), recitative and aria (allegretto)
    The theme is Arcadian, this time the shepherd(ess) compares him/herself to the dove and the way it behaves when separated from it's love.
    Range: a - e'
    Editor: James Sanderson
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  • Per palesarti appieno
    Forces: mezzo-soprano, strings & continuo
    Dated London, 1751 this cantata can be performed with either violins or flutes/recorders - it is unclear from the source as to which instrument was preferred (althoug if pushed I would probably lean towards flutes/recorders because of the instrumental writing in the first aria - Amoroso).
    The subject is a rather coy lady, probably in love with the Fileno to whom she speaks, but who knows?
    Range: c' - f''
    Editor: Kate Eckersley & James Sanderson
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Marian antiphon
  • Alma Redemptoris Mater
    Forces: alto, strings & continuo
    Source: BL R.M.c.17.(4) 15ff (once the property of Dr Burney)
    In three sections of two hexameters each this is a beautiful setting of the latin text.
    The Alma Redemptoris Mater is one of the four seasonal antiphons prescribed to be sung or recited in the Liturgy of the Hours after night prayer (Compline or Vespers). It is usually sung from the eve of the first Sunday of Advent until the Friday before the Feast of the Presentation.
    Range: b flat - d'
    Editor: James Sanderson
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