Benedetto Marcello - Cassandra - Aeon: AECD1087 - CD or download

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Release Date: 24th May 2010
Catalogue No: AECD1087
Label: Aeon
Length: 67 minutes

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Marcello, B: Cassandra, Cantata per alto

Work length52:42

$16.00

$24.00

Kai Wessel, David Blunden

Odi, o Troja, Cassandra!

Track length2:19

$1.00

$1.50

Sotto il piè de' soldati, e de' cavalli

Track length3:11

$1.00

$1.50

Nell'aureo Talamo

Track length4:18

$1.00

$1.50

Mà il furibondo Greco

Track length3:48

$1.00

$1.50

Ahi spettacolo mesto

Track length3:13

$1.00

$1.50

e suonan le contrade ampie di Troja

Track length2:47

$1.00

$1.50

Altri pianti et lamenti

Track length2:40

$1.00

$1.50

O come incalza colui che ferì Marte!

Track length3:30

$1.00

$1.50

O misero! non sai

Track length3:26

$1.00

$1.50

Ove mi fugo mai, dove mi celo?

Track length4:15

$1.00

$1.50

Alla corrente del Xanto sbalza

Track length2:01

$1.00

$1.50

O Priamo, egli è tuo sangue!

Track length3:42

$1.00

$1.50

Vieni ò sposa

Track length4:50

$1.00

$1.50

Ei cade sulla polve

Track length2:32

$1.00

$1.50

Va tutta in pianto, ed in tumulto Troja

Track length2:42

$1.00

$1.50

Chi nell'Abisso mi sotterra?

Track length3:28

$1.00

$1.50

Bach, J S: Concerto in C Minor, BWV 981 After Benedetto Marcello

Work length14:27

$4.00

$6.00

David Blunden

I. Adagio

Track length2:36

$1.00

$1.50

II. Vivace

Track length1:58

$1.00

$1.50

III. Adagio

Track length4:06

$1.00

$1.50

IV. Prestissimo

Track length5:47

$1.00

$1.50

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The Venetian poet Antonio Conti received from Marcello the commission for a dramatic text that allows a quick succession of events, rather than the usual succession of recitative and arias.

Cassandra plunges us into Homer’s Trojan War, with its namesake prophetess who has the gift of predicting the future, but whom no one believes. The many [25] extant copies of this cantata, here given its world première recording, testify to the impact it had in its own time. Charles Burney reports a performance in Venice in 1770 at which the cantata was impressively interpreted by a bass, but almost all the manuscripts are headed by ‘Cantata per Alto’. The range of the vocal part stretches more than three octaves, which explains the difficulty in finding an interpreter able to sing it: it may be that Cassandra was sung by a bass performing as an ‘altus’. Following the practice of the time, Kaï Wessel and David Blunden have taken the liberty of improvising interludes at a few points where the action shifts between vision and oracle – in concert these also provide brief moments of rest for the voice.

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