Handel Cantata HWV 134 “Pensieri notturni di Filli”
Handel Cantata HWV 134 “Pensieri notturni di Filli” (Nel dolce dell’oblio) performed by:
Keiko Enomoto (soprano)
Akira Spitz (traverso)
Nenad Leonart (harpsichord)
Table of contents:
0:00 Prelude (improvised)
1:49 Recitativo “Nel dolce dell’oblio”
2:31 Aria “Giacché il sonno a lei dipinge”
6:09 Recitativo “Così fida ella vive”
6:41 Aria “Ha l’inganno il suo diletto”
Scroll down for the complete lyrics as well as a translation of the Händel cantata.
About the cantata HWV134:
Handel’s autograph of the cantata Pensieri notturni di Filli, meaning Phyllis’ nightly thoughts, was probably composed around 1706, when Handel was spending a period of extended studies in Italy. A whole series of corrections and deletions in the music suggests this might actually be the very first version of the piece. The cantata is registered under the number 134 in the record of Handel’s works (HWV) and is his only cantata existing for this instrumentation.
Video and audio recording were realised 2021 by Leonart Music Video. The recording took place on 16th June 2021 in Toni Areal, Zürcher Hochschule der Künste, Switzerland.
Watch some Bach Cantata recordings here: https://leonart.com/bach-cantatas
HWV 134 Cantata lyrics:
Recitativo:Nel dolce dell’obliobenché riposila mia Filli adorata vegliacoi pensier suoie in quella quieteAmor non cessa maicon varie formela sua pace turbarmentr’ella dorme.
Aria:Giacché il sonno a lei dipingela sembianza del suo bene,nella quiete ne pur finged’abbracciar le sue catene.
Recitativo:Così fida ella viveal cuor che adorae nell’ombre respirala luce di quel solper cui sospira.
Aria:Ha l’inganno il suo dilettose i pensier mossi d’affettostiman ver ciò che non sanno.Ma se poi si risveglia un tal erroreil pensier ridice a noiha l’inganno il suo dolore.
HWV134 Cantata (Nel dolce dell’oblio) translation:
Recitative:In the sweetness of slumber,although she is sleeping,my beloved Phyllis’thoughts are wakingand in the stillnessCupid never ceasesto disturb her peacein many different wayswhile she sleeps.
Aria:Since sleep deceives herwith the illusion of her lover’s image,she imagines, in the stillness,that she is embracing his chains.
Recitative:Thus she remains faithfulto the beloved heartand in the shade she breathesthe sunlightthat she loves so dearly.
Aria:The deceiption enjoys itwhen thoughts are overwhealmed by feelingsand believe the dream to be true.But when thoughts, on waking,reveal the errorthen the deceiption feels its pain.
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The Italian cantata of the late seventeenth and most of the eighteenth centuries is a form of music which differs from that of the German cantata, of which Bach has given us so many examples that it supplanted the madrigal as the popular musical diversion of cultivated society in Italy; that it held the place as vocal chamber music, which instrumental quartets and trios were later to occupy; that all the best Italian composers from Carrissimi to Scarlatti produced them in large quantities; and lastly that Italy, when Handel went there in 1706, was the acknowledged centre of
European music. What Handel composed there—whatever its value may be-was composed for the most important and the most cultivated audiences he was ever likely to find.
George Frideric Handel (23 February 1685 – 14 April 1759) composed works including 42 operas; 25 oratorios; more than 120 cantatas, trios and duets; numerous arias; odes and serenatas; solo and trio sonatas; 18 concerti grossi; and 12 organ concertos.
Collected editions of Handel's works include the Händel-Gesellschaft (HG) and the Hallische Händel-Ausgabe (HHA), but the more recent Händel-Werke-Verzeichnis (HWV) publication is now commonly used to number his works. For example, Handel's Messiah can be referred to as: HG xlv, HHA i/17, or HWV 56.[1] Some of Handel's music is also numbered based on initial publications, for example a 1741 publication by Walsh labelled twelve of Handel's concerti grossi as Opus 6.
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