Hasse's "Quel candido armellino": Galant Schemata in a Da Capo Aria скачать в хорошем качестве

Hasse's "Quel candido armellino": Galant Schemata in a Da Capo Aria

Here is an aria from Johann Adolf Hasse's early serenata "Marc'Antonio e Cleopatra" (Naples, 1725). It shows that already at the age of 26, after about three years of study in Naples, Hasse had fully mastered many of the galant schemata that were to serve as his basic musical vocabulary during the rest of his long career. Within the context of a straightforward da-capo structure, Hasse made good use of the Romanesca (as opening gambit), the Ponte, the Monte, the Circle-of-Fifths Prinner, and two sequences built on stepwise ascending bass segments: the ascending 5-6 and the ascending 7-6 (on these last see Sanguinetti, "The Art of Partimento," pp. 136–38). Hasse wrote the role of Cleopatra for the great musico Carlo Broschi (better known as Farinelli) who, like the composer, was near the beginning of his career. In "Quel candido armellino," the doomed queen expresses courage and equanimity by likening herself to an animal that (supposedly) prefered to surrender to the hunter than to have its pure white fur stained with blood. A-section: "The snow-white ermine, to keep its coat unstained, stays close to danger, has no desire to flee, and happily gives itself up to the hunter." B-section: "Before a haughty empire stains my regal honor, I will not fear death's cruel face." The soprano Dana Hanchard, accompanied by Musica Antiqua Köln under Reinhard Goebel, takes the aria faster than other performances on Youtube, endowing Hasse's music with remarkable energy and excitement. For an excellent recent study of Farinelli see Anne Desler, "'Il novello Orfeo' Farinelli: Vocal Profile, Aesthetics, Rhetoric," PhD dissertation, University of Glasgow, 2014: http://theses.gla.ac.uk/5743/1/2014de...