Edited by John Glenn Paton

Each of the two volumes contains the same 15 songs. Two of the songs are in the same key in both high and low volumes. They are: Segui, segui dolente core by Andrea Falconieri, and Ecco, che pur baciate by Domenico Obizzi. Contains commentary on each song, including background, composer, performance suggestions, accompaniment, and source. There is a literal English translation at the bottom of each music page, and in the appendix there are word-for-word English translations and IPA transcriptions of the Italian texts.

Contents:

Gioite al canto mio.....................................Jacopo Peri
Cara è la rosa, e vaga.......................Andrea Falconieri
Segui, segui dolente core*...............Andrea Falconieri
Se pietade in te non trovi..............Domenico Manzolo
Ecco, che pur baciate*......................Domenico Obizzi
Sento un certo non so che............ Claudio Monteverdi
Delizie contente.............................. Francesco Cavalli
A fè! mi fate ridere......................... Francesco Cavalli
O del ben............................................... Antonio Cesti
Io pur seguirò.............................Allessandro Stradella
Già il sole dal Gange....................Allesandro Stradella
Astri fieri............................................... Anonymous
Non posso disperar.......................Giovanni Bononcini
Un certo non so che........................... Antonio Vivaldi
Io vi voglio adorar...........................Rosanna Marcello

110 Pages Smyth-Sewn Medium High Range

ISBN 0-9602296-5-5

Each of the two volumes listed above contains the same 15 songs. *Two of the songs are in the same key in both high and low volumes. They are: Segui, segui dolente core by Andrea Falconieri, and Ecco, che pur baciate by Domenico Obizzi. Mr. Paton wanted to avoid having the young singer go needlessly into the upper passaggio in the medium high range volume.

Every song is taken from original publications or manuscripts found in European libraries, with commentary on each song, including background, composer, performance suggestions, accompaniment, and source. There is a literal English translation at the bottom of each music page (an innovation Mr. Paton first introduced in G. Schirmer’s Vaccai edition of 1975). In addition, L’ARIA BAROCCA contains the same innovative three-line linguistic aids first presented in SONG ANTHOLOGY ONE and SONG ANTHOLOGY TWO: IPA, top line; original Italian text, middle line; and word-for-word translation, bottom line.

"...This excellent collection of ...arias from the seventeenth and early eighteenth centuries is especially aimed at the student, introducing him or her to the Italian language and to the Baroque style of singing... After an informative introduction, Paton provides an excellent, well-planned essay on singing Italian. Finally, there are copious notes giving the historical background of the song, the meaning of the text, both a singing translation and a literal translation— in fact, everything a good coach would tell a student about how to give the best possible performance..."
George Newton
The NATS Journal, January/February 1987