CD, стоящие на полке рядом : Classics (Reconstruction)      

Chiara Banchini unveils a fresh seranata written by Bononcini when he was 23, where voices and instruments compete of sensuality and poetry in order to express the beauty of love. Rival to Alessandro Scarlatti in Rome, Bononcini travelled all over Europe to become Haendel challenger in London...

Serenate : A new type of cantata developped by Bononcini & Scarlatti

Giovanni Bononcini composed the majority of his cantatas - nearly 300 - during his first Roman period, and it is these works that won him renown throughout Europe. He and Alessandro Scarlatti were the most important italian composers of cantatas in the early eighteenth century. Because some of these works - which were commissioned by Prince, Cardinals, Academies such as Arcadia and by diplomats who dedicated the works to their wives - were performed at night, they began to be known as Serenatas. They resemble large cantatas or small operas (in terms of plot). Bononcini's first 6 serenate were written between 1692 and 1697 for the feast day of Lorenza Colonna, his patron's wife. Alle the works were composed in the month of August, and had libretti by Silvio Stampiglia. They assured Bononcini's international reputation.

La Nemica d'Amore fatta Amante received its first outdoor performance at the Palazzo Colonna on August 10th 1693, when Bononcini was only 23. According to a contemporary italian source, the Serenata was "sumptuous" and "all Roma" was in attendance. Bononcini's great popular success can be explained by vigorous and varied bass lines. Bononcini's music is often compared to that of Alessandro Scarlatti, though the "noble and majestic" phrases od Scarlatti's music made it somewhat less accessible to the public.

La Nemica d'Amore fatta Amante boasts an especially rich orchestral accompaniment. Its opening Sinfonia is composed along the lines of a concerto grosso, with alternating soli and tutti passages, and its arias both begin and end with orchestra ritornelli. Special care was taken by Bononcini to achieve balance between the orchestra and the singers. He alsotook pains to bring out the solo instruments, as in the arias of Clori(Tortorella innamorata accompanied by a solo violin) and Tirsi (Purti riveggio ancor which features a solo on the cello, the instrument with which Bononcini was so familiar). The cantata also illustrates Bononcini's facility in effectively combining music and text.

- Violain Cornut

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