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Mancini, Francesco | Please scroll down to view...

Mancini, Francesco (1672 - 1737)

Aria
  • Caro, s'io moro almeno
    Forces: soprano & continuo
    Aria with notated ornamentation
    This comes from a manuscript in Lbl, the work of Roman copyist Tarquinio Lanciani (who copied works of Handel, A. Scarlatti, and Caldara). It provides a fascinating glimpse into ornamentation patterns familiar to early 18th century musicians.
    Editor: Rosalind Halton
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Continuo cantata
  • Agitato mio pensiero
    Forces: alto & continuo
    Source: BL Add MS 64960 Formerly owned by Maria Ducarel, recorded (f. ii verso) as a gift to her from George Henry Lee, 3rd Earl of Lichfield, in 1768.
    Here Amor is stirring the heart and throughts of an erstwhile lover. With an excellent opening allegro and concluding with a slightly 'crooked' andante this is a jolly sing through one of the genre's typical subjects.
    Range: a - c'
    Editor: James Sanderson
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  • Ahi che moro e ristoro
    Forces: soprano & continuo
    Source: BL Add 14211 ff 132r - 139v
    In aria-recit-aria-recit-aria form with some very odd use of shifting tonality the lover bemoans the cruelty of Amore.
    Range: e' - g#''
    Editor: James Sanderson
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  • Allor ch'il dio di Delo
    Forces: soprano & continuo
    The God of Delos, Apollo comes to earth and sports with the goddess Flora - I think however that her beauty wins the day! In RARARA format with some lovely recitative and a really satisfying text.
    Source: Münster Santini Sammlung HS 865(10)
    Range: d - g'
    Editor: James Sanderson
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  • Allor che ad' altro oggetto
    Forces: soprano & continuo
    The fire and pains of jealousy and unrequited love fan our protagonist's ardour in this lovely cantata. In RARA format, the first aria full of unexpected chromaticism, the second an excellent 'walking bass'.
    Source: Münster HS 2459(6)
    Range: f - g'
    Editor: James Sanderson
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  • Alpestre, Monte e Solitaria Selva
    Forces: alto & continuo
    Source: BL Add MS 14213 124v - 131v
    Oh, the pain that Love causes, and once again it's Nice! Here the lover would willingly shed every last drop of blood to get Nice back. Hello?!!? Two recit and aria format, both arias slow, in the (appropriately) pathetic style.
    Range: a - d'
    Editor: James Sanderson
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  • Ama Tigre crudel
    Forces: alto & continuo
    Tigers love, lions burn with love, the seas love the mountains and rivers, the woods love the forests, why doesn't this girl love him? In RARA format (andante & allegro).
    Source: Münster Santini Sammlung Hs 2461
    Range: G - b'
    Editor: James Sanderson
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  • Arse lunga staggione del bel volto
    Forces: soprano & continuo
    Source BL Add 14211 f 150 - 156
    A curiously formed cantata beginning with secco recitative which becomes 'a tempo' then moves into an aria and finished with a minuet.
    It's inconstant Fille and constant Fileno again, with Fileno venting his sadness.
    Range: d#' - g''
    Editor: James Sanderson
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  • Assai più di quel che sei
    Forces: soprano & continuo
    In love with Filli yet again and boy does Filli have unbeatable charms. "...Not another mouth...not another lover...unless they are more faithful than you..." ARARA format with excellent variation between the arias and the customarily complex recitatives.
    Source: Münster Santini Collection HS 864(15)
    Range: e - a''
    Editor: James Sanderson
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  • Cara qual'or mi giri
    Forces: alto & continuo
    Unrequited love and self-sacrifice are the themes of this restrained and beautiful cantata. Being ignored by his beloved, the protagonist offers his life for just one glance. In RARA format.
    Range: a - d'
    Editor: James Sanderson
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  • Cieli ditemi come potrò
    Forces: alto & continuo
    Unrequited love for Fileno rears its ugly head again in this large and beautiful cantata. "Cruel Destiny may kill the lover, but never the love". In RARARA format with two affettuoso arias, the second having a unusual written link back to the DS and one allegro.
    Source: Münster Santini Sammlung HS 2459(13) WriM. 35
    Range: b flat - d' flat
    Editor: James Sanderson
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  • Clori non ti lagnar
    Forces: soprano & continuo
    Source: BL Add 14211 ff 3r - 10v
    A truly lovely cantata in five movements with Mancini's typical flexible attitude to recitative/arioso/aria combinations.
    A later performer, perhaps even the copyist, has made the note 'cantata bona di partenza' and has personalised a version of the text changing the lovers' names (Clori and Lillo) to Cara and me.
    Range: d' - a''
    Editor: James Sanderson
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  • Clori quant'io t'amai
    Forces: soprano & continuo
    At las Clori is being deserted by her beloved. Curiously, however, she retains her hold over him as he bemoans the cruelty of Fate for separating them. In RARARAR format with the central aria a complicated 3/4 - 6/8 and 4/4.
    Source: Münster Santini Sammlung HS 2459
    Range: e - b''
    Editor: James Sanderson
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  • Da che lungi n'andò
    Forces: soprano & continuo
    Source: BL Add MS 64960 Formerly owned by Maria Ducarel, recorded (f. ii verso) as a gift to her from George Henry Lee, 3rd Earl of Lichfield, in 1768.
    Oh, Lidio is being difficult again and causing heartache. His loving lady wishes rather for death than his absence. Finally, in the last aria, he reappears and is likened to the sun at the break of day banishing sadness. Awww...
    Double recit-aria format.
    Range: d - a'' flat
    Editor: James Sanderson
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  • Dimmi ingrata incostante
    Forces: alto & continuo
    A marvellous work by Mancini in RARA format - the recitatives are extensive and harmonically complex. The subject deals with infidelity and starts with the (female) protagonist railing at Lidio, calling him unfaithful, liar etc. The last aria ends, however, with the decision to match his betrayal with her own!
    Source: Münster HS 2459(12)
    Range: a - d'
    Editor: James Sanderson
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  • E come, e come, O Dio?
    Forces: soprano & continuo
    Source: BL Add MS 64960 Formerly owned by Maria Ducarel, recorded (f. ii verso) as a gift to her from George Henry Lee, 3rd Earl of Lichfield, in 1768.
    With a textual opening classic to the genre the protagonist asks God how he/she can live through the bitter torments of being parted from his/her beloved. The theme of jealousy caused by separation in a musical setting. Dramtic and vivid word-painting characterise the recitatives of this cantata together with two splendid arias Largo and a 12/8 à tempo giusto.
    Range: d - g'
    Editor: James Sanderson
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  • E dove mail l'Inferno
    Forces: soprano & continuo
    "Hell has never had such pain as the pain that love for you causes me - you know of it but do nothing to lessen it", he sings. Of course Cupid is to blame! Some wonderful writing in a large cantata in RARARA format, excellent text to work with both in aria and recitative.
    Source: Münster Santini Sammlung HS 865(9) [WriM. 71]
    Range: b - a''
    Editor: James Sanderson
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  • Frà le morbide piume
    Forces: alto & continuo
    Source: BL Add MS 14213 ff 132r - 135r
    An exciting piece from a very clear copy (a welcome rarity in Mancini's case!) Among the soft feathers the lover rests his soul and dreams of wicked spiteful Clori again! Why do they keep coming back for more? 2 recit and 2 aria (allegretto and allegro) format
    Range: b flat - e' flat
    Editor: James Sanderson
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  • Frà le pene tiranne
    Forces: alto & continuo
    The treachery of Cupid is once the again a hot topic in this RARA format cantata. With two excellent arias which challenge both continuo and singer, this is an interesting addition to our catalogue.
    Source: Münster Santini Sammlung HS 864(13)
    Range: a - d'
    Editor: James Sanderson
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  • Già degl'astri il monarca
    Forces: soprano & continuo
    Source BL Add 14211 f 42 - 50v
    Once again an interesting construction for this extensive cantata. Recit, aria, recit, aria, recit, minuet, recit which becomes arioso. Some very beautiful writing and moods that swing from Adone's lament at Clori's bad behaviour to arias about finding joy only in the beloved's face.
    Range: c#' - g''
    Editor: James Sanderson
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  • Già vicina e quell' hora
    Forces: soprano & continuo
    A substantial work with three well-developed arias and complex recitatives. Tirsi remains as his love departs whilst questioning why she must leave and whether absence will ease her love.
    Source: Münster Santini Sammlung HS 861(4)
    Range: e - a''
    Editor: James Sanderson
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  • Il Pianetta maggiore
    Forces: alto & continuo
    A very short and to the point cantata in RARA format. The power of Cupid found in the beloved's eyes.
    Source: Münster Santini Sammlung HS 860(16)
    Range: b - c#'
    Editor: James Sanderson
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  • L'occhio el labro del mio bene
    Forces: soprano & continuo
    Source: BL Add 14211 141r - 148v
    Not one of his best, but an interesting piece, particularly the use of harmony in the last aria (see MIDI) and the extraordinary way he plays with the text.
    Range: e' - g''
    Editor: James Sanderson
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  • Lacrime sventurate
    Forces: soprano & continuo
    "...How the tears flowing from my heart show my pain..." RARA format, both in triple time, the first a rather lovely Siciliano. The opening recit is also wonderfully chromatic, capturing the image of the flowing tears.
    Source: Münster Santini Sammlung HS 2459(3)
    Range: d# - g#'
    Editor: James Sanderson
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  • Lidia tu non me'l credi
    Forces: soprano & continuo
    A lovely example of the genre, RARA format with, once again from this manuscript, a particularly complex first aria. The subject: "Leave my heart in peace, speak not of love to me" Now, is that a way to go about Arcadian love?
    Source: Müs HS 2459(9)
    Range: f# - b'' (!)
    Editor: James Sanderson
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  • Lumi cari del mio bel sole
    Forces: alto & continuo
    From Santini MS 2459 (16), this delightful cantata has some curiously chromatic twists, particularly in the second aria (listen to preview). "A single glance from your eyes burns my heart, but the certainty of my death can only bring you glory!"
    In ARA format
    Range: b - d'
    Editor: James Sanderson
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  • Occhi vezzosi e belli
    Forces: soprano & continuo
    A delightful cantata from Münster MS Hs 865 (14) in which beautiful eyes make you a prisoner of Love. In RARA format with some delightful chromaticisms and written out return ornament to the da capo.
    Range: d - g#'
    Editor: James Sanderson
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  • Pecorelle correte a quel fonte
    Forces: soprano & continuo
    A charming pastoral cantata with the singer likening his sheep running after water to the lover searching for his beloved. Two delightful arias surround a chromatic recitative. Throughout the piece there are many cromatic twists and turns.
    Range: c - g'
    Editor: James Sanderson
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  • Queste vermiglie note
    Forces: alto & continuo
    An extraordinarily emotional work dealing with the suicide of the distant lover. "These crimson notes, notes which I write to you from opened veins..." Complex recitatives set the scene for two arias largo and affettuoso. Also claimed by some as the work of Bononcini.
    Source: Münster Santini Sammlung HS 2459(17)
    Range: a - d'
    Editor: James Sanderson
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  • Son cosi cosi geloso
    Forces: soprano & continuo
    Source: BL Add 38036 ff 89r - 94r
    A cantata dedicated to the little green demon of jealousy! Three excellent arias, particularly the first and some extensive and carefully crafted recitative.
    From a collection dated 1706, at least know the latest date it could have been written!
    Range: d' - g''
    Editor: James Sanderson
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  • Tinte à note di sangue
    Forces: soprano & continuo
    Source: BL Add MS 14220 ff 18r - 21v
    A complex piece with an excellent vari-tempo final aria. The text can be summed up in two lines from the first recit: Written in blood, these tormented words my betrayed heart sends to you...Think, think how much I have loved you, know that you are not mine, and weep for the pity of my plight
    Range: d - g'
    Editor: James Sanderson
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  • Un amante ama due belle
    Forces: soprano & continuo
    A charming cantata filled with indecision and containing one of Mancini's most beautifula arias (see MIDI). A young man loves both Cintia and Irene and really doesn't know what to do - can you help? RARA format.
    Source: Münster Santini Sammlung HS 3904(5)
    Range: c - g'
    Editor: James Sanderson
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Cantata with obbl. inst.
  • Quanto dolce è quell'ardore
    Forces: soprano, oboe & continuo
    Source: Royal College of Music, London, MS. 697
    A rewarding cantata for the rare combination of soprano, oboe obligato, and basso continuo, showing the rich cantabile style of Francesco Mancini (Scarlatti's deputy in Naples), with a witty final aria.
    Editor: Rosalind Halton
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Cantata with violins
  • La Rosa
    Forces: soprano, strings & continuo
    A large and impressive work, this cantata contains an opening sinfonia, three recits and arias and, unusually, a solo cello line in the middle aria. The story of the first rose and how its beauty compares with that of Clori. Range d' - g''
    Editor: James Sanderson
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  • Se nascessero mille Amori
    Forces: soprano, 2 violins & basso continuo.
    A really stunning example of the genre. In Aria - Recit - Aria and with some very lovely vocal lines, typical of Mancini at his best. It is the story of Eurillo and Clori and how the course of real love never runs smooth.
    Editor: James Sanderson
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  • Sotto l'ombra d'un faggio
    Forces: soprano, violins & continuo
    Beneath the beech tree this time is Dalindo in relective mood. He dwells on the pain of disdain and the 'soothing balsam of love'. In RARA format, the violins providing a ritornello in the first aria and an integral echoing role in the second siciliano aria. Source: Münster Santini Sammlung HS 860
    Range: e - b'' flat
    Editor: James Sanderson
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Duetto da camera
  • Dori, e Mirtillo
    Forces: soprano, alto & continuo
    A charming duo cantata with two duets, a recit and aria each. Dori[nda] wants to die for love (again!) because Mirtillo has rejected her (she thinks). He declares his undying devotion and all is back to normal. Really interesting harmonically with some very clear vocal writing.
    Editor: James Sanderson
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