b San Vito degli Schiavoni, 5 Aug 1694; d Naples, 31 Oct 1744

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Leo, Leonardo | Please scroll down to view...

Leo, Leonardo (1694 - 1744)

Aria
  • Qual farfalla innamorata
    Forces: soprano, strings & continuo
    From Leo's extraordinary opera Zenobia in Palmira this is Decio's Act II, scene vii aria: 'Like a butterfly crazed with love, the hope I harbour within my heart flutters forever around the flame'. And we all know what happens when butterflies get burnt!! Love with danger here. Also on the Cecelia Bartoli recording 'Sacrificium'.
    Editor: James Sanderson
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Continuo cantata
  • A te vengo o prato ameno
    Forces: soprano & continuo
    Source: BL Add 14213 v 154r - 157v
    This time the poor shepherd is dying for love of cruel Aminta. No matter what he does, beauty of her hair and her breast(!) force him to fall in love.
    The opening aria, probably largo has some interesting figurations which in most situations would be ornaments (32nd notes). Aria - recit - aria form.
    Range: d - g'

    Editor: James Sanderson
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  • Amo la bella, ah nò
    Forces: soprano & continuo
    Source: BL Add MS 14220 f73r - 76v
    The lover is torn between his head and his heart with love for his 'beauty'. Who wins? Two recit and aria form with a stunning first Largo (see MIDI) and a fiery presto to finish.
    Range: d - g'

    Editor: James Sanderson
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  • Aure liete intorno à Clori
    Forces: soprano & continuo
    Leo's setting of this popular text. Whilst Clori sleeps her lover guards her rest and surrounds her with flowers (whilst binding himself in the pleasant chains of love). ARA format with two sensuous arias.
    Source: Münster Santini Sammlung Hs 2358(7)
    Range: d - a flat''

    Editor: James Sanderson
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  • Ch'io non conosco Amore
    Forces: soprano & continuo
    Not knowing Love, not knowing of his sighs, how can Irene recognise his ardor? The lovers complaints (and his happiness) of and in love. ARA format with a larghetto, e cantabile and an aria non presto. The recitative is typically intricate and the harmonic world is complex.
    Source: Münster Santini Sammlung HS 2358(1)
    Range: d - a''

    Editor: James Sanderson
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  • Dal di che in questo petto
    Forces: alto & continuo
    A delightful RARA format cantata for alto and continuo in which our erstwhile lover tries to convince Nice that love is just a game and forgiving his infidelity is her only course of action. Hmmm...interesting theory...
    Editor: James Sanderson
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  • Dopo lunga dimora
    Forces: soprano & continuo
    A stunning example of the genre showing Leo at the height of his powers in this field. RARA format with two complex and beautiful arias and the expected involved recitatives. The straying shepherd returns to the banks of the River Arno to find both love and infedelity in his beloved Amarillis.
    Source: Münster Santini Sammlung HS 2358(2)
    Range: d - a'' flat

    Editor: James Sanderson
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  • Frangi Cupido i dardi
    Forces: alto & continuo
    Source: BL Add MS 14210 ff24r - 29r
    Once more, the lover is tired of being struck by Cupid's darts and begs him to break them - he hasn't the strength to resist any more! Cupid however has other plans and torments the lover further. 2 recits with andante and affettuoso arias.
    Range: c - d'

    Editor: James Sanderson
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  • Io seguir il Nume arciero
    Forces: alto & continuo
    Source: BL Add MS 14210 ff18r - 23v
    The follower of the God of Love is regretting his decision and exhorts us to choose freedom over the chains of love! 2 recit and aria format with excellent contrast between the arias and interesting and involved recits.
    Range: b flat - d'

    Editor: James Sanderson
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  • Non potrei benche volessi
    Forces: soprano & continuo
    Source: BL Add SM 14112 ff 111r - 114r
    As the stream to the sea, so am I drawn to you. Thus runs the final aria and summarises this charming cantata (despite Clori's continued infedelity). Aria (Affettuoso) - recit - aria (Non presto) format.
    Range: d - g'

    Editor: James Sanderson
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  • Oh' Dio qual duolo sia
    Forces: soprano & continuo
    "What sadness to be parted from the beloved" It is a beautiful example of a lontananza cantata with stunningly sinuous writing within the ARA format. The first aria has a 3-8 B section, the recit is involved and expressive and the final aria is a wealth of beautiful music.
    Editor: James Sanderson
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  • Oimè, che veggio?
    Forces: soprano & continuo
    The pain of betrayal and the anguish it causes is the theme of the first part of this delightful cantata. The sobbing of the affettuoso aria is beautiful. The second half of the cantata, however, sees our young man in a fury! His long recit and final 'rage' aria (with its contrasting 3/2 middle section) are a piece of virtuosic writing of the first order.
    Editor: James Sanderson
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  • Or che barbara sorte
    Forces: soprano & continuo
    Source: BL MS Add 14210 ff 10r - 17r
    In classic two recit and aria format with some wicked chromatic shifts in the recits, the lover bemoans the cruelty of Fate which has parted him from his beloved.
    Range: c - g'

    Editor: James Sanderson
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  • Pianger vidi appresso al fonte
    Forces: soprano & continuo
    With a sorrowful image of the shepherdess weeping near the fountain, hand on heart, the erstwhile lover claims that if she were with him she would have no cause to complain! ARA format, both arias wonderfully plaintive.
    Source: Münster Santini Sammlung Hs 2358
    Range: d - a''

    Editor: James Sanderson
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  • Piansero Eurilla mia
    Forces: soprano & continuo
    Source: BL Add MS 14210 ff 2r - 9v
    A gentle and loving story of a man abandoned in the woods (amongst flowers and verdant fields, of course)by his beloved Eurilla. Still he loves her - your blond hair, your white hands, your faithfulness(!). 2 recits (both quite large and complicated) and 2 arias (moderato and allegro with a slower(?) reflective middle section in triple time).
    Range: d - g''

    Editor: James Sanderson
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  • Quel usignuolo che in quella pianta
    Forces: soprano & continuo
    As the nightingale sings of the pains of love, Filli's lover swears his devotion to her and begs her to ignore all the lies and jealousies that plague young love. ARA format, the first a complex and virtuosic larghetto, e cantabile, the last marked non presto
    Source: Münster Santini Sammlung Hs 2358
    Range: e - a''

    Editor: James Sanderson
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  • S'io credessi il cor costante
    Forces: soprano & continuo
    'If' is, of course, the important word in this cantata. "If I belived in a faithful heart..." A discussion of the pain caused by loving too much. ARA format, both arias excellent and sinuous.
    Source: Münster Santini Sammlung Hs 2358(3)
    Range: d# - a''

    Editor: James Sanderson
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  • Sotto l'ombra d'un faggio fermò l'incerto passo
    Forces: soprano & continuo
    Source: BL Add MS 14210 ff 35v - 41v
    The young man, perhaps unlucky and unhappy Tirsi, finds himself once more beneath the shade of a beech tree lamenting the cruelty of his beloved Dorinda. 2 recit and aria form with some stylish vocal passage work in both arias.
    Range: d# - g#''

    Editor: James Sanderson
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Cantata with violins
  • Che farai, Lidia cara!
    Forces: alto, strings & continuo
    Sources: BL Add 31618 f20v - f38 and MS 22.g.9.8
    The subject matter is Arcadian and concerns the unrequited love of a young man for Lidia.
    A string prelude 'Alla francese' with two recit and aria pairs. The arias are particularly beautiful.
    Range: b' - f#''

    Editor: James Sanderson
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  • Chiesta da numi a morte (L'Andromeda)
    Forces: soprano, strings & continuo
    Source: BL RM MS 22.g.9 (9)
    From a copy in the Royal Music Collection thought to be the only one (Pastore), this is a wonderful piece with a flaw. It is missing the first two lines of text for the second recitative - odd! It works, however and the poetry balances without it. Something strange here so we have decided to make it available. In 2 recit and aria form (arias con spirito e vivace and tempo giusto the second recit accompagnato) it describes the plight of Andromeda, her plaint to the Gods, the arrival of her erstwhile rescuer Perseus and his call to the Gods to have mercy. It is full of 'pre-classical' markers such as strong dominant pedals, greater chordal movement in accompanying parts, the use of chromatic melody, many dynamic markings and rapid changes from passages in tonic major and tonic minor.

    Editor: James Sanderson
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  • Di contento di gioia e diletto (arr)
    Forces: soprano, violins & continuo
    Leo's Christmas cantata realised for violins, soprano and continuo. Two arias separated by a recitative, last aria is a particularly beautiful Siciliano.
    Editor: James Sanderson
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  • Dite vedesti forse una donzella
    Forces: soprano, violins & continuo
    The never-ending search for Nice fills this virtuosic cantata. Lovely imagery including lions, tigers, waves and ships in RARA format. The first aria is full of pathos, calling for the nightingale, the second, following a recitativo accompagnato is fast and furious, a 'navigante' aria. with a range extending to high B flat, this is quite a piece of work!
    Editor: James Sanderson
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  • Dove son, dove m'aggiro?
    Forces: soprano, strings & continuo
    Source: BL R.M. MS 22.g.9.6
    A lovely work with some terrific chromatic melodic and bass lines mimicking the sighs of the disappointed lover - very experimental? This lover is totally confused and is suffering greatly from the vicissitudes of Amor.
    Range: c - b flat''

    Editor: James Sanderson
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  • Il Figliuol Prodigo
    Forces: soprano, strings & continuo
    Source: BL RM 22.g.9(4)
    With a text written in the first person from the point of view of the Prodigal Son, this is a splendid example of both piety and inventiveness. Using all the chromatic skill typical of the so called 'Neapolitan School' Leo weaves an emotional musical story around the text. The form is (instrumental) introduction, recit, aria, recit, aria with a great deal of variation.
    Range: d - g'

    Editor: James Sanderson
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  • Il Giudizio
    Forces: soprano, strings & continuo
    Source: BL RM 22.g.9(5)
    A call to repent and follow Christ in this superb example of the genre. Substantial (Instrumental introduction, recit, aria, recit, aria - both recits secco and accompagnato).
    Range: d - g'

    Editor: James Sanderson
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  • Or ch'è dal sol difesa
    Forces: soprano, strings & continuo
    Source: BL Add 31618
    In this delightful pastoral cantata, Angelica dallies in the fields and love is compared to all the flowers, but don't forget the thorns which also come with the most beautiful roses! The trials and tribulations of love in aria - recit - aria format.
    Range: c# - a''

    Editor: James Sanderson
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  • Sorge Lidia la notte
    Forces: soprano, strings & continuo
    Source BL Add 31618 - a manuscript conatining a number of orchestral cantatas by Leo in copies of varying quality.
    The format is sinfonia - recit - aria - recit - aria and the general feel is that peculiar pre-classical sound with repeated bass notes and many pedals. A charming cantata in which the lover compare's the beloved's absence to the shadows of night. Very romantic!
    Range: Bb - g'

    Editor: James Sanderson
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  • Tormentoso pensiero
    Forces: soprano, strings & continuo
    Source: BL MS Add 31618
    From a selection of Leo orchestral cantatas in copy, this is a charming example of the genre. Two recit and aria format, both arias in an extremely late baroque style.
    The text deals with a young man's absence from his beloved Eurilla.
    Range: d - b flat''

    Editor: James Sanderson
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  • Vado dal piano al monte
    Forces: soprano, strings & continuo
    Source: BL Add 31618
    Searching from field to plain the lover cannot find his beloved Clori and his sadness is killing him - the melodrama! Aah...
    In aria - recit - aria format, the first a beautiful Larghetto the last a gracious Allegretto.
    Range: e - a''

    Editor: James Sanderson
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Cantata spirituale
  • Adorato Giesù
    Forces: alto & continuo
    Source: BL MS Add 14112
    The first of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
    Consisting of recit - arioso - recit - largo - recit - largo - recit - largo assai, with the last being non-da capo. The theme is one in which the listener is exhorted to find love through Christ.
    Range: a - c#'

    Editor: James Sanderson
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  • Di contento di gioia e diletto
    Forces: soprano & continuo
    Source BL Add 14212 f150 - 153
    This is a particularly beautiful Christmas cantata for soprano with a 'si sona' obbligato part for either cembalo or strings.

    Editor: James Sanderson
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  • Dove fuggo, a che penso
    Forces: alto & continuo
    Source: BL MS Add 14112
    The second of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
    Starting with a great recit with the bass line flying around the vocal part, the works consists of three recit and aria pairs. The second aria (MIDI preview) being wonderfully chromatic. The subject matter concerns the sinner's unwillingness to return to Godliness.
    Range: Bb - d'

    Editor: James Sanderson
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  • S'offendesti il mio Signor
    Forces: alto & continuo
    Source: BL MS Add 14112
    The fifth of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
    In three recit and aria form with an extraordinarily beautiful first aria (Largo). The text describes a desire not to be born if, during life, one could offend God.
    Range: a - d'

    Editor: James Sanderson
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  • Sono piene di serene
    Forces: alto & continuo
    Source: BL MS Add 14112
    The last of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
    In three arias & two recits form, the subject matter boils down to redemption only being found through God.
    Range: a - d'

    Editor: James Sanderson
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  • Tremolanti d'intorno
    Forces: alto & continuo
    Source: BL MS Add 14112
    The third of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
    An atmospheric opening recit. with the vocal line imitating the trembling of the title, the cantata contains three recit and aria pairs. The text concerns the devout's willing sacrifice for love of God.
    Range: Bb - d'

    Editor: James Sanderson
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  • Vissi nol niego
    Forces: alto & continuo
    Source: BL MS Add 14112
    The fourth of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
    In three recit and aria form with some extraordinary chromatic shifts. The text concerns redemption through contrition and the desite to be with God in death.
    Range: Bb - d'

    Editor: James Sanderson
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Solo motet
  • Beatus vir
    Forces: alto, violins & continuo
    A substantial setting of the psalm 112 for alto, violins and continuo. Virtuosic in style and showing galant musical characteristics. In seven movements.
    Source: Münster HS xy175
    Range: a - d'

    Editor: James Sanderson
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  • Laudate pueri
    Forces: alto, 2 corni, 2 oboi, violins,
    viola & continuo
    A substantial setting of the psalm 113 from what is reputed to be an autograph source. Galant in style and virtuosic for the singer.
    Source: Münster HS xy175
    Range: b - d'

    Editor: James Sanderson
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Marian antiphon
  • Salve Regina (c)
    Forces: soprano, strings & continuo
    A darker and more complex setting of the Marian antiphon than the well-known F major version. Some exquisite harmonic shifts, changes in instrumentation and beautiful, singable vocal writing. Divided into 5 sections (one in two parts) the text is painted with a vivid palette of instrumental and vocal colour.
    Source: BL MS R.M.23.c.17.(3), once the property of Dr. Burney.
    Range: d - a'' flat

    Editor: James Sanderson
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  • Salve Regina (F)
    Forces: soprano, strings & continuo
    Source: Royal Music Collection 23.c.17.(3)
    A new edition of Leo's exquisite Salve Regina in F major.
    In 6 sections - Largo, Allegro, Largo, Allegretto, Recitativo, Largo it has excellent variation between sections, the fourth running directly into the recit using a descending figuration. This piece has the ability to really move the listener. It is one of the works which make one ask, "Why, to a large extent, was this composer forgotten for so long?"
    Range: d - b flat''

    Editor: James Sanderson
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Liturgical (other)
  • Graduale: Eripe me Domine
    Forces: SATB & continuo
    Source: BL Egerton MS 2466
    Gradual for Passion Sunday.

    Editor: James Sanderson
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  • Introit: Judica me Deus
    Forces: SATB & continuo
    Source: BL Egerton 2466
    The introit for Passion Sunday. Dramatic with some very interesting harmonic language.

    Editor: James Sanderson
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  • Introite e Graduale per le Ceneri
    Forces: SATB & continuo
    Source: BL Egerton MS 2466
    The complete introit, graduals, tracts etc for Ash Wednesday under the old (pre-Vatican II) rite including:
    Judica me Deus;
    Eripe me Domine;
    Invocabit me;
    Angelis suis Deus;
    Scapulis suis obumbrabit tibi;
    Jerusalem lĉtare;
    Lĉtatus sum (minus last two verses);
    Misereris omnium Domine;
    Miserere mei Deus quoniam in te confidit;
    Misit de cĉlo et liberabit me;
    and
    Adjuva nos Deus salutaris noster.

    Most suitable for liturgical or concert use.

    Editor: James Sanderson
    No preview available | Price: £ 15.95 | 
  • Lezione del Giovedì Santo
    Forces: soprano, alto & continuo
    Source: BL Add MS 14112, Egerton MS 2466
    The Lessons for the Thursday of Holy Week from the IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. Divided primarily into the three sections, 'De lamentatione Jeremiĉ prophetĉ. Heth. Cogitavit Dominus disspare', 'Lamed. Matribus suis dixerunt', and 'Aleph. Ego vir videns paupertatem', the first and last for soprano, the central section for alto, each section is then subdivided into many smaller quasi-aria, arioso, and recitative sections which make up the whole, each ending with the imploring Jerusalem convertere ad Dominum Deum tuum - Jerusalem, return to your God. They are extraordinary works with great variation and some truly extraordinary invention both in terms of melody and harmony. The range, both dramatic and vocal is extraordinary.

    Editor: James Sanderson
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  • Lezione del Mercordi Santo
    Forces: soprano, alto & continuo
    Source: BL Add MS 14112
    The Lessons for the Wednesday of Holy Week from the IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. Divided primarily into the three sections, 'Incipit lamentatio Jeremiĉ Prophetĉ. Aleph. Quomodo sedet sola civitas', 'Vau. Et egressus est a Filia Sion', and 'Manum suam misit hostis (missing the Ioth. at the start of the verse)', the first and last for soprano, the central section for alto, each section is then subdivided into many smaller quasi-aria, arioso, and recitative sections which make up the whole, each ending with the imploring Jerusalem convertere ad Dominum Deum tuum - Jerusalem, return to your God. They are extraordinary works with great variation and some truly plangent harmonies. This first of the three Lezione uses much variation between violoncelli and bassi.
    Range (soprano): b flat - b flat''
    Range (alto): G - e flat'

    Editor: James Sanderson
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  • Lezione del Venerdi Santo
    Forces: soprano, alto & continuo
    Source: BL Add MS 14112
    The Lessons for Good Friday from the IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. Divided primarily into the three sections, 'De lamentatione Jeremiĉ Prophetĉ. Heth. Misericordiĉ Domini', 'Aleph, quomodo obscuratum', and 'Incipit oratio Jeremiĉ Prophetĉ. Recordare Domine', the first and last for soprano, the central piece for alto, each section is then subdivided into many smaller quasi-aria, arioso, and recitative sections which make up the whole, each ending with the imploring Jerusalem convertere ad Dominum Deum tuum - Jerusalem, return to your God. They are extraordinary works with great variation and some truly plangent harmonies.
    Range (soprano): b flat - b flat''(sometimes in one four note phrase)
    Range (alto): a - e'

    Editor: James Sanderson
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  • Madrigale à 9: Heu nos miseros
    Forces: SSATB, SATB & continuo
    Source: BL Add MS 14112
    Leo's moving 'Madrigale a nove' for nine part chorus is a wonderful example of the development of the 'older' style of polyphony in the first half of the 18th century.

    Editor: James Sanderson
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  • Miserere mei deus
    Forces: SATB, SATB & continuo
    Described by Wagner as "...A mighty cathedral, sublime and magnificent..." Leo's Miserere is a complex and beautiful work which is hugely rewarding both to sing and to listen to.
    Editor: James Sanderson
    MIDI Preview | Price: £ 7.95 | 
  • Miserere mei Deus: quoniam in te confidit
    Forces: SATB & continuo
    Source: BL Egerton MS 2466
    The title page describes this work as being written for the Capella Reale di Napoli in 1744 (the year of Leo's death). It is not the Psalm 50 but the gradual and tract versicle for Ash Wednesday (in 1744). Divided into three sections: Miserere mei Deus, Misit de cĉlo (the gradual for Ash Wednesday in 1744) and Adjuva nos, Deus salutaris noster (the tract versicle for Ash Wednesday in 1744) there is real beauty in its simplicity. See also the Misereris omnium, Domine which is the 1744 introit for Ash Wednesday.

    Editor: James Sanderson
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  • Misereris omnium Dominum
    Forces: SATB & continuo
    Source: BL Add. MS 14112
    This is the first piece in a collection of music for Ash Wednesday and Holy Week, written for the Royal Chapel, Naples in 1744 (the year of Leo's death). In four sections, the work provides the introit, gradual and tract for Ash Wednesday in a sublime polyphonic setting - much beautiful harmonic movement. A stunning work.

    Editor: James Sanderson
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  • Praebe Virgo benignas
    Forces: soprano, obligato organ & continuo
    An extraordinary work written for the unusual combination of soprano and obligato organ. Both parts are virtuosic, the vocal part being particularly challenging. In ARAR format it may have been meant to stand alone or as an introduction to another, larger, liturgical work.
    Source: Münster Santini HS 2351
    Range: e - c''

    Editor: James Sanderson
    MIDI Preview | Price: £ 9.95 | 

Collection
  • IX Lezione per la Settimana Santa
    Forces: soprano, alto & continuo
    Sources: BL Add MS 14112, Egerton MS 2466
    The complete IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. See the individual descriptions for details.

    Editor: James Sanderson
    No preview available | Price: £ 24.95 | 
  • Sei cantata spirituale
    Forces: alto & continuo
    Source: BL MS Add 14112
    The six cantate spirituale from the above MS in a collected form. Beautiful writing both in recitative and aria.
    Save £££ by buying all these as a collection.
    For previews see the individual cantatas:
    Adorato Giesù
    Dove fuggo, a che penso
    Tremolanti d'intorno
    Vissi nol niego
    S'offendesti il mio Signor
    Sono piene di serene

    Editor: James Sanderson
    No preview available | Price: £ 19.95 | 

Solfeggi
  • Dodeci Solfeggi à voce sola (part 1)
    Forces: soprano & continuo
    In the great tradition of vocal exercise, we present the first six of Leo's Dodeci Solfeggi. Viruosic, but extremely vocal writing. Great for developing flexibility.
    Source: Münster Santini Sammlung Hs 2369
    Range: c - b''

    Editor: James Sanderson
    MIDI Preview | Price: £ 10.95 | 
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