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Tiranna ingrata
ALESSANDRO SCARLATTI
Cantata da Camera, Basso con Violini
Tiranna ingrata
EDITOR: James Sanderson Editions Copyright 2008 James Sanderson (Scarlatti Project): Snaresbrook, London, UK All rights reserved Edition Ref. TSP-2008-CCV/TI Published in the UK by Cantata Editions
Editorial Principles
The principles behind this series of editions are guided by maximum fidelity to the manuscript sources and an intimate knowledge of current performance practice. The source is a manuscript in the Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli - NA - NA0059 Cantate 266. The underlay has been maintained as in the source. Both the underlay and beaming in Scarlattis autographs often indicate phrasing and where autograph manuscripts have been available, or the copy is particularly precise, this has been maintained in both vocal and instrumental parts. Where no textual comparison is available or the text is indecipherable the most likely reading has been used and the word or words have been enclosed in brackets. Key signatures are maintained as in the manuscripts and follow the baroque practice of using one sharp or flat less than the equivalent modern key signature. In recitatives the copyist generally gives no key signature, allowing the line to move freely through widely disparate tonalities. Time Signatures have been maintained as in the original copies and are generally the same as their modern equivalents. The main exception is that Scarlatti and hence the copyist often grouped triple time measures in units of two. Where this occurs Scarlatti's practice has been maintained, thus 6/4 may appear as 3/4 and 6/8 as 3/8. This series of editions employs the following clefs: for instrumental parts, treble, alto, tenor and bass clefs following modern usage and for the vocal parts, treble, transposing tenor and bass clefs. The copyist followed the 18th century convention whereby chromatic inflections retain their validity only for as long as the note to which an accidental has been prefixed is repeated without interruption, irrespective of bar lines. Conversion to modern notation thus requires the occasional omission or addition of accidentals. In all other instances editorial accidentals are suggestion sonly and are enclosed in parentheses. All ornaments and embellishments in this score are as in the manuscript source. The copyist used continuo figures both above and below the basso line. In this edition I have standardised this to place all continuo figures below the basso line.
James Sandersons Scarlatti Project Editions are prepared using Finale from Coda Music
Acknowledgements
I would like to thank Dr Rosalind Halton (University of Newcastle, Australia), Director of the Scarlatti Project and Dr Kate Eckersley for their invaluable assistance and inspiration both as performers and musicologists, as well as the staff at the various libraries who have made their manuscript collections available to me. James Sanderson August 2008 London
Violin I
b c b &
Spiritoso
Violin II
&b c ? c b ?b c
b J
Voce sola
Basso
5
Vln I
&b
Vln II
b & ? b J b J
j b b b
b J
bJ j J
?b
8
Vln I
b b & &b
Vln II
?b
J J
na=in -gra - ta,
j j
j b
? b b
Ti -ran
b J
b J
ti -ran -
12
Vln I
&b
Vln II
&b
J J ?b J J J J ? b b
15
vuoi
R J R J J
gra - ta che far do - vrW
J J
na=in-gra
ta,
ti - ran -na=in
se
J J J J
ch'io mo - ra
b J
mor -
Vln I
b b b & &b ?b ? b J
Vln II
gor,
- rW
J J J J J J
per te
se vuoi ch'io
J J
J j
ri
18
Vln I
&b
b b J
Vln II
& b J ? b
? J b
J J bJ
J J J
che far do-vrW
J b J J J R R J J b J
22
Vln I
&b &b
Vln II
?b J J J J ?b
26
J J
-
J J J
mi
J J J . J
non piY ri - gor,
b J J J
U
se vuoi
ch'io
t'a - mi
b J
non piY ri -
Vln I
b b & & b ?b ? J
piY
b j J
Vln II
- gor,
non
b b
J J
U b
U J J J J
J J
t'e fi -
29
Vln I
b & b & b ? ? b b
Vln II
j #
b J
n J
# J
# J
co -stan
J
-
33
Vln I
b b & b # J &b ?b ?b j# # J
Vln II
- do,
J J J J
J J J J J J R R J J J J
co -stan
t'e fi
37
Vln I
&b &b
Vln II
? b J J # J J ? b J b j
- rW, sa - rW ser -bar - ti
j n # j J J . J J
la pu -ra fX,
J J J
pur che non
J J J. R
go - de
del mio do -
41
Vln I
& b . & b b. ? . b ? . b
Vln II
do -
- lor,
b. J
. n J # . J
#
del mio
n . J
44
Vln I
b &b &b ?b ?b #
# J
Vln II
- lor,
J J # J b #
ti co - stan - t'e fi -
do
b J J J
per te
b J
sa - rW,
per
47
Vln I
&b &b
# J J n bJ J J j
Vln II
? b # ? b
te
J J J J J
sa - rW,
la pu - ra
J J J J #
-
de
Da capo
50
Vln I
&b
b # .
che
Vln II
&b ? # . J J J b ? b
del mio do - lor,
J
del
#
mio
pur
non go
de
do - lor.
?c
Recitative
J J J J J
?c w
4
b J J J J w
J J
il mio
pian - to,
# J J R R R J J R R
e=i miei so - spi - ri,
di si
n n J J RR J J
? # ? w
J J J R b J J J J R J J J J J
ti ca - le,
? J J J bJ b J J J J b n J J J J J R R R J J J R R ? b
- ran - na mi nie -ghi=il bel con - for - to d'un rag - gio di spe - me, ond' io po - tes - si
non di - spe -
b J bJ J J J
b J J J J J b J J
col dir ch'un di
10
? ? b
- rar
di mia pe - no - sa
vi - ta,
J b J J J J J J
e
go -
b b
b b b
13
b ? b J J J J ?
b b
#
-
b b
-
b b
16
? b # ? n
-
no,
J J
e
no.
pe
b
Alessandro Scarlatti - Tiranna ingrata - 6
Vln I
3 bb 4 # &
Andante
b J n
J #
Vln II
b 3 &b 4 3 ? bb 4
J #
# J #
3 ? bb 4
7
Vln I
b &b
# J #
Vln II
b &b
? bb . # J J J J J ? b b
13
to,
. # J J J J J
Vln I
bb J & b &b
# J # J J
Vln II
J J J J J J
-
J #
? b . b
J
vir,
? b b
- to, sen - za
ser
19
Vln I
# b & b # J b &b ? bb # . ? bb #
mi
J n
nJ
J J J J J
Vln II
con - vie
. J
-
J n.
-
#. J
-
#. J
-
# JJ
ser -
# n J
25
Vln I
b & b J b &b ? bb # ? b b
- vir,
Vln II
b J .
af -
# J
JJ #
n J J
n J J
31
Vln I
b &b
Vln II
b # &b J . ? b b ? b b
- for
J J J J #
. # J
J J J
.
-
J #. J
di
ser - vir.
36
Vln I
b &b
b J
# J
Fine
Vln II
# J
Vln I
J J J
J n J n
ri o,
Vln II
n # J # n J n
n # J # n
Et
in
Vln I
b & b n b &b ? b . b ? b b
et
Vln II
# J
in
n J J J
tan -to=af-fan - no
ri - o, non
. J J
sW
. J J J
dir se=il do
lor
mi - o,
n . J J #
fi
ne=ha -
50
Vln I
&b
b b n J J
b
Vln II
b &b
J b n
? bb . J J ? bb
55
mo - rir,
b b n. J J J J n
b
mo - rir,
n . J
Vln I
& &
bb bb
# J . j J
# j n . J J
Vln II
? bb .
et
? b # b
b
60
in
# J J J #
ri - o, non
sW
# J J J #
mi - o, ha
vrZ
#
Da capo
Vln I
&
bb
J n n J .
ha -
Vln II
b &b
? b J . b J ? b b
fi - ne col
n J j # J
fi - ne
mo - rir,
vrZ
n J J
rir.
fi - ne, ha - vrZ
col
mo