Tra speranza e timore


Alessandro Scarlatti (1660-1725)

Editor: Edited by Timothy Roberts

for bass (B-e'), violin and bc

Ref. no Sca 6 (in 'cantatas')           sample page      cover page      To order:     

The original describes the work as a cantata ‘con violini’, suggesting orchestral accompaniment this is confirmed by the indication ‘unis.’ at the start of the last movement. The use of an orchestral body of violins playing in unison is typical of Scarlatti’s opera, and of much other Italian music at this time. However, there is no musical reason why Tra speranza e timore should not be performed as a chamber cantata with solo violin.

The customary appoggiaturas to strong syllables in the recitatives are indicated in this edition by small notes above the stave. It is striking that the composer takes special care to show that each recitative should run directly into the ensuing aria; dramatic continuity is essential in the performance of Italian secular cantatas. For the same reason, it is preferable not to delay the recitative cadences in the familiar fashion.