Beruflich Dokumente
Kultur Dokumente
By Scott C. Witzke
The Lute Society of America Quarterly is proud to celebrate these works: Ms.lII.11.46.a Fascicule I bears the title 4 Marchel J
1
the tercentenary of the birth of Johann Adolf Hasse ( 1699-1783) •
Simfonie/ 3 I Ari en von Hassen aus diversen Opern ... OpernArien/
Hasse, of all of the major composers before the nineteenth- aufdie Laure verse:et./ Anno 1755.! di R. This manuscript includes
century, is one of the most poorly researched and published. His selections from various Operas performed in Dresden between the
music has unjustly suffered the consequences of a predilection years 1747 and 1755. This is a period very important to Dresden.
towards the music of Bach. Paul Henry Lang eloquently leading up to the exile of the court as a result of the Seven years war
crystallizes this point by stating that: in 1756. Fascicule 2 is entitled 14 Stitck/ Hassesche Opern
Arien/ auf die Laute. . and contains basso-continua
~ o other composer has been so idolized by his realizations drawn mostly from the Opera Cleofide.
c:ont<'mpornri<'s :is Has.'><". Italy admirf'd him, call- Hasses first Opera composed for Dresden.
ing him simply fl Sassone, ;.The Saxon"; Germany Ms.III.11.46.b is entitled IV Suonate di Hassel ac-
was proud of him and placed him high above commodate peril Liuto!fatte per La/ Real Delfina
the "learned contrapuntalists", Bach and di Francia and contains intabulations of the
Handel; and England saw him as the very Harpsichord pieces. This intabulation corre-
2 spond to the works listed in the Breitkopf fac-
symbol of Italian opera.
simile of 1767, only in a different order.
He goes on to state that Hasse, along with his Berlin M~.III.11.46.c contain:; a Suonma del Sig.
counterpart Carl Heinrich Graun ( 1703/4-1759), Hasse intabulated for the lute 3 as well as five
were the: sonatas for cembalo written out in staff nota-
tion. The Opera and Oratorio parts and the
apostles of a new musical era in Germany, scores for the obbligato arias are housed in the
an era which rediscovered and reinstated Dresden Stadtbibliothek. In addition there are
good ta;;tc in music. They found the dra- sources from Munich, Rostock, and Strasbourg.
matic style of this Italianized German of such (See attached for an itemized list of titles.)
perfection of affective representation that no single scene Research into the life and works of Hasse have been steadilv
could ever be forgotten. His influence paved the road for increasing with several notable contributions specific to the lut~.
many a great composer, among them Gluck, Haydn and Karl-Ernst Schrdder's arti~le in the Basler Jahrbuch fur
Mozart. He was the most brilliant master of the stylized Historische Musikpraxis looks into the basso-conti.nuo rea!izat[ons
concert opera in the service of the social conventions of forthe lute of arias from his opera Cleofide, analyzing among others
the era of rationalism and, with Metastasio, the undis- things, various forms of arpeggiation. Timothy Burris, in his
puted ruler of Italian opera ... the nineteenth-century dissertation on the lute activities in vocal music from Dresden
judged fl Sassone harshly. devotes an entire chapter to the Theorbobucher-the continua
performance parts- from eight of his Operas. These performance
His style represents a new musical aesthetic-a transition in parts contain important pencil additions by Weiss.
style from Baroque to Classical-marked by short, clearly delin- When first looking at the collection of 31 arias I tried to
eated phrases with an accompaniment intended solely to support a determine if these parts were continua realizations or
prominent, lyrical and pleasing melody. In addition, Hasse was a intabulations? Were they for solo lute or intended to be sung with
master at setting the Italian language to music. lute accompaniment? Were the instrumental parts from the original
Hasses corpus of works for the lute, be they first hand or works necessary? Well the answer is that they are for solo lute
contemporaneous arrangements, includes: obbligato parts to arias however there are an umber of factors which lead me to believe that
in staff notation, realizations of basso-continua parts to operas, they could work very nicely as accompaniments to the voice.
intabulations of keyboard works, intabulations of marches and a Knowing that this collection was not intimately involved in the
sinfonia, as well as performance parts to Operas and Oratotios. court performance but rather intended for the enjoyment of an
The Musikbibliothek der Stadt Leipzig contains the majority of individual or individuals shows that there are a myriad of possibili-
November 1999 7
Hasse Operas performed in Dresden
#of Title place of performance Librettist
Arias
16 Cleo fide [Al lesandro nell 'lndie] court. 13 Sep l 731 M.A. Boccardi, after Metastasio
1 Cajo Fabricio rev. court. 8 Jul 1734 after Zeno
Senocrita court, 27 Feb 1737 S. B. Pallavicino
Atalanta court, 26 Jul 173 7 S. B. Pallavicino
Asteria (Favola pastorale) court, 3 Aug 1737 S. 8. Pallavicino
Tito Vespasiano [La clemenza di Tito] rev. court. 17 Jan 173 8 Metastasio
Irene court, 8 Feb 1738 S. B. Pallavicino
Alfonso court. 11 May 1738 S. B. Pallavicino
Cleon ice (Demetria) court, 8 Feb 1740 Metastasio
Numa Pompilio Huberstusburg. court. 7 Oct l 741 S. B. Pallavicino
Lucio Papirio court. l8 fan l742 Zeno
Dido abbandonata Hubertusourg, court. 7 Oq 1742 F. Algarotti, after Metastasio
Antigono Huberstusburg, court, I 0 Oct I 743 Metastasio
or 20 Jan l 744?
Annino court, 7 Oct 1745 Pasquini
rev. court, 8 Jan 1753
Semirarn1de riconosciuta court, 11Jan1747 Metastasio
La spartana generosa, ovvero Archidamia court, 14June 1747 Pasquini
2 Leucippo Hubertusburg, court. 7 Oct 1747 Pasquini
rev. 1748
rev. Zwinger, 7 Jan 1751
Demofoontc court, 9 Feb 1748 Metastasio
II natal di giove Hubertsburg, court. 7 Oct l 749 Metastasio
2 Attilio Regolo court, 12 Jan 1750 Metastasio
7 Ciro riconosciuto court, 20 Jan 1751 Metastasio
Ipcrmestra Huberstusburg, court, 7 Oct 175 l Metastasio
Rev 7 Jan 1752
Adriano in Siria court, 17 Jan 1752 Metastasio
8 Solimano court, 5 Feb 1753 G.A. Migliavacca
rev. court, 7 Jan 1754
L'eroe cinese Hubertusburg, court, 7 Oct I 7'i~ Metastasio
Artemisia court, 6 Feb 1754 Migliavacca
rev. 1755
8 Ezio court, 20 Jan 1755 Metastasio
rev. 1756
II re Pastore Huberstusburg, court, 7 Oct 1755 Metastasio
rev. 3 nov 1755 and 7 Jan 1756
L'Olimpiade court, 16 Feb 1756 Metastasio
8 LSA Quanerly
ties when it comes to performance. The vocal parts are not indud~d ferrnata over a 6 4 chord. \Vhat then foilows is up to the inventions
however they were m.:ces~ible. For rhe most part the keys coordi· of the perfonner. They can be ::is simple as a scalt:r passage or as
nate with the keys from the initial performance indicating that they drawn out as possible however ttey should go along with the
had access to the scores. The c:hoice of keys is rather curious for mood of the aria. The cadenza is tenninated by a trill on the
dominant followed by an anticipation of the tonic finally rcsol ving
although the vast majority are in common keys such a~ F <i.w.l Bb
ti:• the. t0r ic. The typical place for a cadenza is at the clos;: 0f the
major, there are ~ix :!has in E major. Most Baroque lutenists know
first section only on its recapitulation, however as the century
of the struggle to play in this atrocious key from attempting the
Bach lute suite in E, however these E major intabulations work progressed so too did th1" n11merous insertions of cadenzas. (See
ex. I.)
very well on the instrument.
The words are of the utmost importance to the music. The . Their inclusion is a strong argument that they are solo pieces
performance of these works wold have been fresh in the listeners for It seems quite unlikely that the lute would take precedence over
mind however this is most likely not the case for us today. Just as the voice.
with the performance of intabulations after sixteenth-centurv Hasse had more exposure to the lute than most of his eigh-
vocal models requires knowledge of the text and context so to~ teenth-century counterparts. Sylvius Leopold Weiss was the p;o-
does the performance of these intabulations. The vocal line is tagonist for much of Hasses use of the lute. Weiss' stature in
doubled which leads one to believe that it is a straight intabulation. Dresden has been well documented and the respect in which he
was held is evident in him being the highest paid instrumentalist
The Orchestral parts were subservient, but also helped to add
at the Dresden court in 1744. Weiss named his eldest son Johann
importance, to the voice. Analysis of the scores shows that Violin
I typically doubles the vocal line, Viol in II played sometimes in Adolfus Faustinus Weiss. Hasse would have had exposure to the
Operas of Francesco Bartolomeo Conti (1682-1732) both in
unison other times in parallel thirds. The bass works to add
emphasis to the harmonic outline. These are intabulations where Hamburg and in Vienna. Conti was a prominent theorbist working
the lute part doubles Violin I, sometimes plays violin II, rarely play at the imperial court in Vienna were he earned the title "first
4
the viola and the bass is sometimes altered from the original bass theorbistofthe world." . In 1713 he succeededJohannJoseph Fux
line and frequently changes cctaves in accordance with the general us court composer remaining active until 1727. The cheorbo held
a prominent place in the Viennese court orchestra durincre the
practices of the day.
beginning of the eighteenth-century however Conti only em-
The manuscript of 31 arias is important because, in some
ployed solo lute in three operas and three oratorios. 5 in adJition.
instances, there arc written out cadenzas for the lute. Ca1..knzas are
extemporized passages near the end of an aria or concerto and an Hasse must surely have come in to contact with Baron while in
indispensable skill for a soloist. The cadenzas found within these Berlin.
arias are quite harmonically and rhythmically amorphous. They Born from a musical family, Hasse studied in Hamburg from
1714-18. In 1722 he left for Italy, travelling to Venice. Bologna,
typically take small motifs .from the aria and display contrasts of
Florence and Rome finally settling Naples where, in 1725, he
eighth note and triplets, long scaler passages and sequences. They
conform to the confines established in conternpornry treatises such began studies with Niccolo Porpora and Alessandro Scarlatti, the
later being short lived for Scarlatti died on October 29, 1725.
as Quantz and C.P.E. Bach. Cadenzas are indicated usually by a
r /.I
I
I ;'v
6et't bVa,
/'·
I•
~l't·
/'
r J
(t "qe1111~:
1/
' cc) r
I
•
I
3\ /A
/
1 %
/A
vf ~( I
v 5'
·,< f\ · zYtc
v
r\ u \ w<
I ( ?!
,: I / ( ( 1A
November 1999 9
While in .\iaples. Ha~se obtained a position as coun composer and perfonners and composers of this time include Quantz, Pisendel.
rapidly grew into one of the chief com[.)osers of the new school of Veracini and Weiss.
Neapolitan Opera alongside Scarlatti. Porpora. and Vinci. By The highlight of the 1731 opera season was the perfor-
1730 his fame spread far beyond Naples and so he traveled to mance of Has~e · s Opera Cle()fide". This Opera L:Ontains the aria
Venice. This move proved to be the most advantageous for Hasse "Cervo al bosco·· for obbligato lute and Como da caccia. The Jutes
for it resulted not only in the meeting of his future wife Faustina role in this aria is rather inconsequential, consisting of nothing
Bordoni. the famous prima donna, but also m his appo1m:nent as more than two small solo section~;. Zti1 oc~asional arpeggio or scalar
court composer in Dresden. In June of 1730 the two were married passage, but mostly a continua part. (See ex. 2.)
and a little over a year later they arrived in Dresden. When August l died m l TJ3, Hasse was recalled to Dresden
Dresden was the foremost symbol of cultural achieve- and officially began his appointment as Kappellmeister on Good
ment during the Age of Absolutism. The Saxon-Polish alliance Friday 1734 with the performance of his oratorio II cantico de 'tre
created one of the strongest and wealthiest city-states in Europe, fancuili. This works contains another aria for the lute, 'Tutte
7
so much so that Dresden was often referred to as the "Florence on all'invito de' nostri accenti" . It appears that, between these two
the Elbe". Under the reign of Fredrich August I (ruled 1694- works, Hasse gained some insight, perhaps from Weiss, as to how
1733)-known as August the strong-Dresden entered one of its to write more idiomatically for the instrument for this aria works
most brilliant and extravagant periods. The culmination of this much better. As with "Cerva al bosco'', this aria mention
artistic escalation. requiring enormous expenditures, was reached specifically Arciliuto. Knowing that Weiss was the perfonner of
in 1719 with the festivities for the wedding of Crown Prince this aria and that he played ad-minor it seems the Hasse use uf the
Friedrich August to Maria Joseph. daughter of emperor Joseph I. term archlute stems from his exposure to the Venetian tradition,
In 1720 the entire Italian Opera company was dismissed as a result which more often employed the archlute. Also. knowing that
of an incident in the production of Johann David Heiniehcn's W ciss was fluent at reading from staff notation I have taken the
Opera Fiavio Crispo. r\s a result French musician were brought in bass down the octave. where possible, thus making the part more
however this proved not very successful for by 1730, the court idiomatic to the instrument. This corresponds to the traditional
contained more Italian performers than it had in 1719. Prominent practice of making the bass an octave below written pitch. We can
Ex. 2. Two solo parts from the aria "Cerva al bosco"' from Cleotide.
i·
I
tr
-
r =<
10 LSA Quarterly
see this practice being displayed ... moods or affects. Its intention wa<: to present a series of.
in some of the manuscripts where discrete expressive moments. each devoted exclusively to a
there are notes crossed out and particular mood; in order to call forth the necessary variety
taken down an octave. (See ex. and intensity of moods, situations were contrived with little
3.) This is not as destruc- attention to unity or consistency of plot and with correspond-
tive as one might think ing indifference to realism either in subject matterorin details
9
for, with octave of dramatic deve!opment."
stringing, the upper
note is heard, but is The typical opera season in Dresden began with a revival of
harmonically rein- an older work during carnival followed by a new work. An opera
forced by the lower was also performed for the Kings birthday-October 7-usually
octave. This prac- in Huberstusburg-the royal hunting lodge. Operas were often
tice makes the right performed for the court while in exile in Warsaw.
hand fingering As the plots became more orderly and formalized so to-C(did
much easier and the music. The incessant alternation of da capo aria and secco
thus more capable of recitative, emotionally restrained and high moral tone, and the
sus• taining a lyrical line, but does conventions of the exit aria with its inevitable Lieto fine -happy
make the right ham! mum challenging. I havt: imlii.:alt:U slurs where ending-all contributed to a more artifo.:ial pt:rfurmanct: with
marked in the score however the lutenist would most likely have much slower pacing in comparison to the newer styles of Opera
slurred where possible. In the rare instances where there are scaler buffa and singspiel. Hasse devoted his entire life to opera seria and
passages I have tried to add campanella where possible. The made no attempts to move into these faster paced formats. Subjects
intabulaterofthe arias tends to most often place the fingered Bb on for Opera seria were typically taken from classical antiquity, a few
the first fret sixth course, however I have chosen to choose a draw their characters from exotic and far off places (Cleofide-
popular alternative of the third fret of the seventh course India: L'eroe cinese-China; and Solimano-Turkey). The typical
Throughout Hasses tenure as Kappelmeister he divided ex- Opera Seria libretto was set in three acts. Act I representing an
tended stays between Dresden and Italy. The highlight of the 1747 exposition, Act II the development of some crisis and Act II
season was the performance of La Spartana Generosa in celebra- containing resolution of the conflict. There were typically six
tion of the doubk marriage between Frederick Christian and the characters containing two pairs of lovers, a king and a general: a
Saxon princess Maria Anna and Bavarian Elector Maximillian. On confidant and a sage. In contrast to the French Overtures of
April 13 1748, Niccolo Porpora was hired as maestro di cappella Baroque Opera, Neapolitan opera opened with Italian Sinfonias of
creating two holders of this position. In tum Hasse took another the fast-slow-fast variety. Isolated marches often accompanied the
leave of absence. From April through October of 1750, while the entrance of the King and his court. Choruses were rare and
court was in Warsaw, Hasse and Faustina traveled to Paris, staying typically reserved for the end.
with the Saxon Dauphine, Maria Joseph. for whom Hasse com- The aria was at the heart of the opera and began to be
posed four harpsichord sonatas titledfatte per la real Deljlna di fonnalized to the point of absurdity. Many factors contributed to
Francia. The production of lavish works with vast expenditures a great importance being placed on the aria as
was at its zenith with the performances of Solimano in 1753 and well as its disintegration. The evolution of
Eju in 1755, the later being so large that the performance took the genre know as "Pasticcio" (u·anslates
place outside the Court Theater in the Zwinger. Act II Scene 7 literally to "pie .. and relates to the exist-
ofSo/imano included elephants. horses, camels and other beasts, t:nce of a giv'en work comprised if indi-
and literally hundreds of soldiers. ''Ezio was even more spectacular vidual arias from other operas) created
than Solimano: it included 8000 lamps and candles, carried by 250 a patchwork of unrelated arias that
supernumerary actors and the triumph entry of Ezio in act lII may be musically pleasing, but
included 400 men, I 02 horses, 5 wagons, 8 mules, and 8 bactrian do harm to the drama. Hasse
camels and lasted a total of 25 minutes." 8 As a result of the onset was less concerned with a
of the Seven Years War, the lastofHasse's Operas to be performed specific tonality scene.
in Dresden was L'Olimpiade, performed in February of 1756. The He would often change
Peace of Huberstusburg was signed on February l 5. 1763, the arias to better suit the
court returned to Dresden in April ::ind on October 5, 1763 August singer. sometimes borrow-
II died. Hasse and Faustina were released without pension. Fol- ing from earlier works, other
lowing a period of activity in Vienna, Hasse and Faustina retired times entirely reworking or
to Venice where they were both buried at the church of San transposing. This practice,
Marcuola. confined to the rigid laws of
Eighteenth-century Opera Seria, or Dramma per musica was the libretco created a colder
in essence a staged, concert opera in costume. Textually, it was work in comparison to the
comprised of various: "lighter" forms.
The text was usu-
November 1999 II
ally comprised of two stanzas (A. 8) that typically contained four. operas texts. composed in Dresden ''':re taken from works of the
sometimes three. five. or eight line stanzas. The A section opened court poets Stefano Benedetto PallJvicino (1672-1742).Claudio
1
with a Ritorne!fo in the tonic key. The first stanza I A ) employed Pasquini. hired in 17 42 and a protege of Metastasio; and Giovann
the opening theme, coloratura or fioriture was often added and Ambrogio Migliavacca, hired in l 752 and remained until the mid-
then modulated either to the dominant or relative major if in minor. 1780' s. Millner calls Migliavacca a ··med10cre poet and worse for
11
The fir:;t :;tar:7a then closed with a ritornello, again employing the Hasse, not a prolific author." In 4 years he wrote only 2 opera
opening theme. The second stanza was sung again modulating seria librettos.
quickly back to the tonic, sometimes containing brief digressions The music presented within these manuscripts is quite enjoy-
2
to other keys. This stanza often contained a cadenza. The A able and it is hoped that the pieces contained within will receive
ritomello confirms the tonic and serves as the fine after the D.S. more attention by both scholars and performers alike. Let not th1~
The second stanza often contains related material, however it can twenty first-century judge fl Sassone harshly as well.
be newly composed. The stanza begins most often in a new key and
then modulates to a new key. The D.S sends the music back to A·.
However the aria did not rule the perfonnance. This was the ' I would like to thank Thomas Schall for initiating this article and to
age ot"the singer. the age of the castrato, which has never since been Ft:rnamlu Yas4uez fur hb ht:lp in copying the original scores to some of
equaled. These individuals were the eighteenth-century equiva- the arias studied here. Thanks to the Stadtische Bibliotheken der Stadt
Iency of today's professional athletes. This collection is interesting Leipzig for the permission to publish the four marches.
2
Paul Henry Lang, Music in Wesrern Civilization p 459.
for it states some of the primary singers associated with the 3
This correlates to the s;:.me Breitkopf facsimile as well as opus 7.
Dresden court. This glorification of the singer resulted in them No 4 as published by Walsh.
taking precedence over the drama as a whole. Their elaborate 4
Kochel Kaiserliche hof Musikkapel/e in Wien von 15./.3-1867.
11oloramra and cadenzas became showpieces of virtuosity but also p.226.
5
contributed to the downfall of the aria. Faustina Bordoni and "'Se mai dal crudo" fromArchelao (Scene IV, act vii), "Adorato
Giovanni Belli are mentioned the most, each containing five arias. di tante fa ville" from fl martirio di S. Lorenz.a (Part II), "Dei colli nostri"
Angelo Maria Monticelli. Venturino Rochetti, Teresa AJbuzzi- from fl trionfo dell 'amicizia e defl'amore(I,ix) for mnndolin and theorbo
Todeschini. and Caterina Pilaja each receive four arias. The: accompaniment as well as a later aria in scene xiii for theorbo, "Cor
famous castrato Felice Salimbene has three arias, Angelo .\1.mfa costante. ed umil'" from Galatea vendicata ( 1719), as well as arias in both
Ii David perseguiwto da Saul and David.
Amerevo!i has two arias and Bartolameo Putini with one aria. 6
It is reported that Johann Sebastian l:lach was in attendance for he gave
Faustina Bordoni Hasse was one of the greatest singers of her a recital on the following day in Dreden.
age. Her association with Hasse created one of the most fruitful 7
See modem edition in this issue.
musical relationships of the eighteenth-century. Felice 8
F.l. \1iller ThP Operm of Johann Adolf Hasse p.54
Salimbene(c.1712-1751) was a famous castrato working in Berlin 9
J. Donald Grout.History of Opera p. 208
10
for Frederick the Great. The Saxon court acquired Salimbene on Groutp.212
11
January 1. 1750, possibly in retaliation for Frederick's hiring away Millner, p. 51.
of Joachim Quantz in 1742. Other reports state that, Frederick
kicked him out, blaming him for the failure of one of Graun's The drawings contained within
recent operas. His official debut in Dresden was as Primo Uomo in this issue of the Quarterly are
Hasses Leucippo. for which Hasse rewrote all of his arias for the of some of the famous sing-
performance. Angelo Maria Amerevole was an Italian tenor, hired ers from the Dresden Op-
in 1742, who lived in Dresden from 1745 until his death. He retired era company. in cos-
from the stage in 1764. Teresa Albuzzi-Todeschini (d.1760) was tume designs for
hired in 1750 to replace Anna-Maria Negri and, with the exception one of Johann
ofFaustina, was the highest paid singer. Jn 1752 there was a major A d o l f -alll::S!i__..
reorganization of the opera company in Dresden: Monticelli was Hasse's
hired in January to replace Domenico Annibali, Pilaja hired in Operas.
April to replace Albuzzi, Belli was hired in July replacing Bindi,
and Puttini replaced Venturino Rochetti until 1755.
Hasse' s rise to prominence occurred at a time of major libretti
reform instated by its two chief proponents, Apostolo Zeno ( 1688-
1750) and Pietro Metastasio ( 1698-1782). This reform sought to
"reduce the multiplicity of arias and to eliminate the intermingling
of tragic-heroic and comic elements." 10 Metastasio, in particular,
shared many remarkable similarities with Hasse: Metastasio was
born in 1698, Hasse in 1699; both began their careers in Naples;
both completed their first works in 1721; Metastasio received his
first appointment at the Viennese court in 1729, Hasse at Dresden
in 1731; the last works for both was Reggiero; Metastasio died in
1782, Hasse in 1783. Aside from the above librettists, Hasses other
12 LSA Quarterly
Johann Adolf Hasse (1699-1783)
Lute Works
Vocal
Tablature
November 1999
l 9-20v D#/5 .I Spero si che Amor Aria. Allegretto [Cleofide,II.13.]
2 t-22v A#/6/ Son qual misera Colomba Aria [Cleofide.II. l 5. J
23-24v E#/71 Digli ch 'io son Jedele [Cleofide,II.9.]
25v-26v E#/4./ Che sorte crude le [Cleofide,I, I.]
2
Rostock, Universitatsbibliothek Ms. Mus. Saec. X VIII-13 c.
8 Aria dell'Opera de Tito ex c. mol!.-del Sig. Hasse [la Clamenza di Tito,//, 15.J
Un poco/Lemo/Se mai senti spirarti/ volto
Theorbenbticher
Dresden Mus. 2477-F-9a Cleofide
Dresden Mus. 2477-F-l la Cajo Fabrizio
Dresden Mus. 2477-F-24a Irene
Dresden Mus. 2477-F-12a Demetrio
Dresden Mus. 2477-F-28a Numa Pompilio
Dresden Mus. 2477-F-32a Lucia Papirio
Dresden Mus. 2477-F-35a Didone abbandonata
Dresden Mus. 2477-F-58a 11 Natal di Gtove
Dresden Mus. 2477-D-18 La Caduta de Gerico
Dresden Mus. 2477-D-19 La Desposizione dalla Croce
Dresden Mus. 2477-D-13 11 Giuseppe riconosciuto
Dresden Mus. 2477-D-20 Sant'Elena al Calvario
Dresden Mus. 2477-E-538 Venite, Pastores, venite exultemus
Dresden Mns. 2477-D-12 I ,a Virtu appie dell a croce
14 LSA Quarterly
Instrumantal
IV Suonate di Hassel accommodate peril Liuto/Fatte per Lal Real Delfina di Francia
1v-3 Ad Suonata I. di Hasse.
[no title ]/Menuet
3v-5 cf Suonata II. di Hasse.
[no title]/ Allegretto
5v-8 f'1 Suonata III del Sigr Hasse.
Allegro ma/alla Pollaca/Allegro
9-10 Ad Suanata /Vta di Hasse
[no title J/ Allegretto-Fine
November 1999
Music
The aria presented here is taken from the Oratorio fl cantico de 'tre fanciulli (The song or
the three Maidens),
first perlormed at the Dresden court chapel on April 23, 1734 which officially marked Hasses tenure as Kappelmeister
in Dresden. The libretto is by court poet Stefan0 Benedetto Pallavicini (1672-1742) is loosely based on Daniel 3
and tells of three Israelites before the King Nebukadnezzar. The three maidens are named Misaele, Azaria, and
Anania who sing this aria. The Oratorio itself consists of 22 "numbers": 9 recitatives, 9 arias, 2 choruses, 1 sinfonia
and l trio.
In addition to the modem edition I have also include one possible intabulation for the lute. This is merely an
in tabulation. that works for me and his been based on the contemporary in tabulations of the other Hasse arias.
Errata:
Score
m. 53 - both the e in the top and bottom staff should be natural.
m. 92 of the lute part the penultimate note of the bass cleff should be an eb, not an f.
mm. 98- LOO - the lute should play col basso.
mm. 101-107 - the lute part is missing in the score but should play col basso as well.
Tabulature
At the end of the 4th system of page 1- the low f should be up an octave.
In the middle of the 2"d staff on page 2 - the eb's should be natural, this requires taking the
lowest eb up an octave.
At the end of the first complete measure on staff 7 of page 1 the last two notes are eighth notes.
In the 4th measure on the 8th staff - the trilled note should be a c natural, not an eb.
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