Cantata per la traslazione del sangue di S. Gennaro, 1769 (Cafaro, Pasquale)

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Tito Manlio (2016/1/25)

Publisher. Info. Holograph manuscript, 1769
Copyright
Misc. Notes Bibliothèque nationale de France, Musique (F-Pn): MS-1658
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General Information

Work Title Cantata per la traslazione del sangue di S. Gennaro
Alternative. Title Cantata a più voci con varij stromenti per la traslazione del Sangue di S. Gennaro nel Sedile di Nido a 6 Maggio 1769
Composer Cafaro, Pasquale
I-Catalogue NumberI-Cat. No. IPC 7
Movements/SectionsMov'ts/Sec's 18
  1. Chorus: Dal tuo Sacrato soglio
  2. Recitative (Incredulo and Partenope): Pomposamente adorna, da gran Popol seguita
  3. Recitative (Soprano): In candido nitore
  4. Aria (Partenope): Trionfar vedrai la fede
  5. Recitative (Partenope, Incredulo, and Sebeto): Vieni, stranier
  6. Recitative (Bass): Confusa in tuo furore
  7. Aria (Sebeto): Misero! O non comprendi
  8. Recitative (Partenope, Incredulo, Sebeto, Sapienza): Nell' incredulo cor, eterno Dio
  9. Recitative (Tenor): In gaudio tam superno
  10. Aria (Incredulo): Non è mortal ma Nume
  11. Recitative (Sapienza and Incredulo): Sei pur convinto?
  12. Recitative (Soprano): Splendente Olimpi flamma
  13. Aria (Sapienza): Non pui asconde il Ciel gli arcani
  14. Recitative (Incredulo, Sapienza, Partenope, and Sebeto): Dunque non vi' ingannai?
  15. Recitative (Soprano): In Celi obscuro horrore
  16. Chorale: Se offender tuo core
  17. Recitative (Incredulo): Martire glorioso, onor del Cielo
  18. Chorus: (lost, possibly Dal tuo Sacrato soglio)
Year/Date of CompositionY/D of Comp. 1769
First Performance. 1769-05-06 in Naples
Librettist Anonymous
Language Italian/Latin
Composer Time PeriodComp. Period Baroque
Piece Style Baroque
Instrumentation Vocal: Partenope (S), La Sapienza Divina (S), Incredulo (T), Sebeto (B), mixed chorus
Orchestra: 2 oboes, 2 trumpets, 2 horns, strings, continuo

Misc. Comments

Interestingly, all but one of the recitatives are followed by recitatives with Latin text. These Latin versions do not list the role of the singer, although their follow-up arias usually feature the same voice type used in the recitatives. This pattern of Italian-Latin recitatives can be seen in Cafaro's other "Cantatas per la traslazione..." Also, the final recitative also states there is a concluding chorus, but it appears to have been lost (or the composer intended for the opening chorus to be repeated again).

Very little information exists on Cafaro's works online, so help analyzing this piece would be greatly appreciated.