Editorial July 29, 2023

Immagine di default notizia
Saturday 29 July 2023

We are pleased to announce an important update and upgrade for Clori. Archivio della cantata italiana, a project promoted by the Centro studi sulla cantata italiana (University of Rome Tor Vergata, University of Pavia, University of Siena), the Società Italiana di Musicologia, the Istituto italiano per la storia della musica, the Istituto di Bibliografia Musicale IBIMUS and RISM.
In particular, the improvements concern the technological infrastructure of the project:

  • Search engine enhancement: A new database search engine is now available, which allows both "Google-like" searches and specific (and cross) searches on the entire form, or for specific fields;
  • Improved presentation of results: Filters have been added to refine search results more quickly and effectively;
  • Authority files control and remediation: Thanks to new authority files, control tools, massive control and remediation interventions of the controlled vocabularies (uniform titles, names, watermarks, etc.) have been carried out and planned;
  • View on mobile devices: The view on mobile devices has been further improved;
  • New management procedures: Old management procedures subject to rapid obsolescence and burdensome in terms of sustainability have been abandoned;
  • New interface for cataloguers: A new interface reserved for cataloguers and administrators makes inserting and correcting cards easier and less at risk of compilation errors.

We appreciate every suggestion, offers of collaboration, notices of omissions and/or inaccuracies and any information about cantata manuscripts or prints (preferably unknown or absent in other inventories) to be included in Clori: the homepage gives the addresses where all reports can be sent.

In the new webpage you will find the links to Clori’s Facebook page.

Latest sources catalogued.

At present, Clori has achieved over 12,000 published records we furnish. Below is a brief description of the sources catalogued in recent months and are now online with the IT updates:

  • F-Pn, Rés Vmf. MS-45
    Manuscript containing six cantatas attributed to Giovanni Lorenzo Lulier and Alessandro Scarlatti, a collection probably commissioned by Cardinal Benedetto Pamphilj (author of the text of some of the compositions), then owned to Henry Prunières and Geneviève Thibault. The copying can be traced back to Tarquinio Lanciani.
  • I-GR, Crypt.it.4
    Manuscript compiled in 1664 by Agostino Dante, containing 41 compositions, including cantatas and arias, attributable to Giacomo Carissimi, Antonio Cesti, Atto Melani and Agostino Dante himself.
  • I-Nc, 22.1.4 [olim Cantate 36]
    Manuscript containing three arias and five cantatas ascribed to Nicola Fago, Domenico Galasso, Ascanio Rossi and Domenico Sarro.
  • I-Nc, 33.4.7a [olim Cantate ibride 7]
    Manuscript containing 37 ariettes taken from operas performed around the 1670s (including L'OrfeoIl MassenzioAmor per vendetta, ovver L'Alcasta, Claudio CesareIl TeodosioEnea in ItaliaL'Adone in CiproGiulio Cesare in Egitto), set to music by Leonardo Antonio Scrascia, Giovanni Antonio Boretti, Giovanni Legrenzi, Carlo Pallavicino, Bernardo Pasquini and Antonio Sartorio. At the end of the manuscript are counterpoint exercises bearing the date 1677.
  • I-Nc, 33.4.16(A) [olim Cantate 48.1]
    Manuscript containing 26 ariettes taken from operas performed around the 1670s (including Il TeodosioEteocle e PoliniceCandaule re di LidiaGiulio Cesare in Egitto), set to music by Antonio Farina, Giovanni Legrenzi, Antonio Sartorio, Antonio Francesco Tenaglia and Pietro Antonio Ziani.
  • I-Nc, 33.4.36B
    Manuscript containing 34 ariettes taken from operas performed in the second half of the seventeenth century (including RosauraIl FlavioL'amazzone corsara o l'AlvildaLa Tessalonica, Il re infante, Antonino and Pompeiano), set to music by Vincenzo Albrici, Carlo Pallavicino, Bernardo Pasquini, Antonio Sartorio and Alessandro Scarlatti.
  • I-Nc, Cantate 33 [olim 60.1.47]
    Manuscript containing 13 cantatas and one aria (from Tullio Ostilo), set to music by Giovanni Battista Bassani, Giovanni Bononcini, Giovanni Paolo Colonna, Bartolomeo Monari and Marc'Antonio Ziani.
  • I-Bc, DD.45
    Manuscript containing 17 cantatas attributed to Emanuele d'Astorga, Giovanni Bononcini, Tommaso Carapella, Carlo Francesco Cesarini, Monsieur Chevalier, Franco Saverio Geminiani, Antonio Lotti, Nicola Porpora, Luca Antonio Predieri, Domenico Sarro, Alessandro Scarlatti, Franco Supriani and Agostino Tinazzoli.
  • I-Rc, Ms. 2463
    Manuscript containing four duets and seven trios, all anonymous. These are chamber pieces, not taken from operas, the copying of which could be ascribed to Giovanni Antelli. One duet has concordant sources with attributions to Carissimi and Stradella. The manuscript is part of the collection that belonged to Giovanni Baini.
  • I-Rc, Ms. 2476
    Manuscript containing 26 ariettes taken from four operas performed for the first time in 1695 (Clearco in NegroponteIl GiustinoMuzio ScevolaNerone fatto Cesare), set to music by Giovanni Bononcini, Carlo Francesco Cesarini, Luigi Mancia, Tommaso Bernardo Gaffi, Giacomo Antonio Perti. The manuscript is part of the collection that belonged to Giovanni Baini.
  • I-Rc, Ms. 2483
    Manuscript with coat of arms of the Lante Della Rovere-Altemps family, containing nine cantatas with attributions to Carlo Caproli, Luigi Rossi, Mario Savioni. The copying can be traced back to Antonio Chiusi. The manuscript is part of the collection that belonged to Giovanni Baini.
  • I-Rc, Ms. 5095
    Manuscript containing 14 ariette, all anonymous, taken from operas performed around the 1680s (including Ottone il GrandeFurio CamilloL'onestà negli amoriEnea in ItaliaL'Arianna), set to music by Paolo Biego, Carlo Ambrogio Lonati, Bernardo Sabadini, Antonio Sartorio. The manuscript was compiled in 1687 (date written at the end of the same) and is part of the collection that belonged to Wilhelm Heyer.
  • I-Rc, Ms. 5109
    Manuscript containing 21 arias and 1 cantata. All the compositions are anonymous (except for othe cantata attributed to Bencini). The arias are taken from operas (including La caduta del regno delle AmazzoniLa PartenopeGli equivoci gelosiGli equivoci nel sembianteIl VespasianoIl re infante),set to music by Bernardo Pasquini, . Three arias are taken from cantatas. The manuscript is part of the collection that belonged to Wilhelm Heyer.
  • V-CVbav, Chigi Q.IV.10
    Manuscript bearing the Chigi coat of arms, containing seven cantatas and two ariette (the latter in Spanish). The first cantata bears the name of Alfonso IV, king of Portugal since 1656, on the decorative initial. The copying of some compositions can probably be traced back to Antonio Chiusi.