Consolali espera from /figenia in Tauri (1713) Domenico Scarlatti [ifidgenja in tauci] [domeniko skarlatzti] (Naples, 1685 — Madrid, 1757) konsolati espera se kandsa_ daspet:to 1 Consolati, € spera: SSecangia ’aspetto, Console-yourself and hope; if it-changes in-aspect, i daltro —_od:getito altro oggetto you-will-be-able of-another object pwo ankoa laf:fan:no 6 Pud ancora Paffanno can yet the-worry pju ljeto goder mutare in pjatfer 3Pitv lieto goder. ‘7 Mutare in piacer. more happy to-enjoy. la stel:la pju figea 4La stella pitt fiera, ‘Thestar most cruel, Poetic idea “Cheer up and hope; even the worst fate can change for the bet- ter.” The singer is Dorifile, daugh- ter of the king of Tauris. She is singing to Ismeno, who also has royal blood. She foresees a happy ending for herself, but he is pessi- mistic. (The librettist added these characters to form a romantic sub- plot to the original Greek tragedy.) Background Domenico Scarlatti, the sixth child of Alessandro and Antonia Scarlatti, was born in the same year as J. S, Bach and G. F. Han- del. Trained by his father, Do- menico became the organist of the royal chapel in Naples at the age of fifteen. In 1709 he moved to Rome, where he played the harpsi- chord in friendly competitions against Handel. In that year he also became the musical director at the court of the former Polish (Queen Maria Casimira. Domenico change into pleasure. composed seven operas for her private theater. All of them had li- brettos by her secretary, Capeci, and sets designed by the famous Filippo Juvarra. The sixth of these ‘operas was [figenia in Tauri, creat- ed in 1713. Later in life Scarlatti served the royal families of Portugal and Spain. Cut off from the opera world, he wrote hundreds of key- board pieces, becoming one of the foremost keyboard composers of all time, Sources The complete score of ifigenia in Tauri has been lost; two arias sur- vive in: (1) Manuscript collection of arias, Sachsische Landesbibliothek, Dres- den, Mus. 1-F-30, pp. 96-98. For voice (alto clef), unison violins and continuo, Original key: A minor. Meter signature: C (but every ‘measure contains two quarter- note beats). 100 W lalian Arias ofthe Baroque and Classical Eras (2) Libretto, Biblioteca musicale governativa del Conservatorio di Musica “S. Cecilia,” Rome, G. Li- bretti Vol. 178. ‘The continuo part is silent dur- ng most of this aria. In the original score the unison violins either dou- ble the voice an octave above or move in imitation of it, Because the high register of the piano will not have the same brilliance as vi- olins, this edition suggests playing the violin part in octaves. Banck may have used the Dresden manuscript, but he gave the aria a highly romanticized treatment with a fully harmonized piano accompaniment throughout. Banck suggested a tempo marking of Andantino. In borrowing from Banck, Parisotti added a metro- nome marking of 44 to the quarter note, slowing the tempo to less than half the speed Scarlatti prob- ably intended.Consolati, e spera Carlo Sigismondo Capeci Domenico Scarlatti Realization by John Glenn Paton Allegro vivo, J= 96-108 Con + 50 - la-ti, ® trai dal-troog - get-to___ pi der, Con - so-la = tiy © Ian inzodvetion is desiced, play measures 98-101. Idiomatic translation: Cheer up and hope. You will yet have cause t0 be hAPPY-wai d'al-troog- get-to__ pid. lic - t go - der, 102 MW Consoles, e spera