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Francesco Mancini (b. 16th Jan 1672
d. 22nd Sept 1737) belongs to a generation of
composers including Fago and Sarro who
established themselves during
Alessandro Scarlatti's absence from Naples between 1702 and
1708.
An important teacher, Mancini was Director of
the Conservatorio di S Maria di Loreto as well as being
first organist and maestro of the Capella Reale in
Scarlatti's absence. Upon Scarlatti's return to Naples, Mancini
worked as his deputy, only resuming his previous positions on the
older composer's death in 1725.
Mancini's music is typically Neapolitan. His works are full of the
sudden and unpredictable harmonic shifts which made early 18th
century Neapolitan music sound so dramatic. His works include 29
operas, his operatic style combining contrapuntal elements of the
past with the new buffa style, 7 serenatas, 12
oratorios, more than 200 hundred secular cantatas in
addition to assorted sacred music and a small amount of
instrumental music.
Perhaps best known for his recorder sonatas, Mancini’s vocal works
are greatly undervalued and show a concise and masterful
style in miniature, influenced of course by his master
Scarlatti, but displaying an individual inventiveness
in melody and recitative structure.
James Sanderson
Easter, 2005 |
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STOP PRESS!! There are now modern performing editions of 55 of Francesco Mancini's compositions available at this website with the addition of James Sanderson's edition of Francesco Mancini's D'un garrulo ruscello for soprano & continuo:
Elisa is clearly unhappy in love and asks the silver brook to join her in her sorrows. Well, that's the first half! By the second recit-aria pair of the cantata she has worked herself up into quite a state and is crying 'Perfidy', and 'Treacherous...let us speak of love no more...I am your sworn enemy...' The first aria is a languid Larghetto, the second a fiery Allegro. Source: Naples Conservatorio Library.
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