Poetic idea 1 shall never stop loving you and only you.” Background “Tis lively arn charming ari was long reganfed as a composi of Renee to Marcelo, a prominent and sola Venetian compet. A mystery devel oped in recent decades. howev rmusicologists carried out ambitious and thorough studies of Matec ‘wthout discovering the source of “Quella fiamma.” in 1992 Dr. nor Selfridge-Field published aa exhaustive thematic mex ofthe works of Benedetto Marcello, his brother ‘Alessandro and his wife Rosanna. Having examined and catalogued bun- dreds of early manuseripts of Marcel~ Jo's music, Dr. Selfridge-Field found no cary manuscript of this aria. A clue turned up when Allan Rogers of Boston informed me that 9 certain German edition from the 1800s presented “Quella fiamma” as the final movement of a solo cantata that begins with the words “Dopo pene” (After so many, Knowing the title of the cantata and suspecting that the source might be found in Germany, | searched for it in Berlin and found it under the title "Cantata di Cont." Ths refers 10 Francesco Bartolomeo Conti (1681-1732), a native of Florence who made his career primarily in Vienna. The source is Manuscript 30.226 (previously numbered 9,065), Staatsbibliothek zu Berlin, PreuBis- cher Kulturbesitz, The volume includes cantatas by several com- posers, including one by Benedexo Marcello. The original was written for voice (soprano clef) and continuo inthe key of C minor. The identification of Conti is trustworthy because iti in the same Songs and Arias Francesco Cont franifesko konti | Awel la Quella flamma che That flame whl | anja itfe. tqntoal: gto n tanto all's bao pleases so-much of-the]-soul mi ke _dyamamgi sestionvers al sestinguerd Che Rama nh fatoa voi mi rende SS tes ol rend, ‘And if {the} fate to you me returns, A i Je i mai del miobel 50 Voghl ral del mio bel sol, lovely rays ofthe) my beautiful sun, feekla non wale ala Iueelia son wat tra luce ella ‘ther light it (does) not want ne voler d3am:mai potra Né voler glammal potrd. nor to-wish ever Will be-able. handwriting as the aria. However, composers did not normally write their own names on music, so this manuscript was probably written by a professional copyist, Dr. Hermine W. Williams, who wrote her dissertation on F. B. Conti, also confirmed in a personal letter that * tante pene" was Conti Source: In the 1870s a German editor, A. G, Ritter, published the complete canta- ta, naming Benedetto Marcello as the composer. It is no longer known where Ritter found the cantata nor why he ascribed it to Marcello, One of the distinctive features of this aria is the vigorous melodic move- ment of the bass part. Unfortunately, Ritter transferred some of the bass melody to the right hand of the piano, enedetto Marcello Be tH, auteibated Morenedet:to marfello His error was adopted by all later edi- tors, including Ferdinand Si whose collection called Cai in print in Germany. Carl Banck published the aria detached from the rest of the cantata in Arien und Gesiinge dlterer Tonmeis- ter (Leipzig: F. Kistner, 1880). Banck added an inauthentic recitative and otherwise distorted the aria: he cut several measures, added a four-mea- sure vocal coda, and elaborated the accompaniment in a virtuosic style Parisotti borrowed Banck’s version, 38 Well as ten others of his arrangements, for his Arie antiche, Vol. 1 (Mila Ricordi, 1885). Banck’s version is re Printed here except that some of bis expression markings are eliminated along with the coda, which is entirely foreign to Baroque style, ocannea with LamocantQuella fiamma Flames within me ynknown ' icesco Cont (1681 a won buted to Henedettn Marcello (1686, "yy pod version by Abe ened Mari 124-1722) eon ito, d= 1 Altered hy John Glenn Paton Allegretta, d= et +f Quel = fa fiam= mache nae crn - de Flames with == in me, Merce ly. burn Ing, r r r p a nf Quel - Ia. Flames with >? B pi | f_ ? Val-ma Pia ce tan- to aHf'al- ma So a light my fad - ing h So a- light my fod-ing in Songs and mm ocannea with LamocantTat he slamnemgh we tine = Tha neon se stin-pue + 8 ve-wtin sno miore shal He, no more "Bie @ tempo 5 — m i tanto pl al ae Hight my fad a tempo ri_steestin - gue > 13, die,—no more shall die, s'e-stin-gue- ra, no, nev er = more, that it will never be extinguished, U2 W126 Trelian Songs and Arias + ma + mg Che giam That — = mai ney mis a apt it — crese, sempre Che giam - mai That it nev —~" ¢rese, semprel Se-stin-gue - na, "90 more shal ocanned with Lamocanrm-de, Va shi rai del_mjo bel so Ie, AN ta us cegh- te Pg fate oon er Tead_-me back a+ pain, with your wan tring 71 ——. 3 =! == se —_—— — =e 7 we: = = =— @, P —_—= + = a — Se SSS F ‘ — NE vo- mw . le Né vo- ler giam-mai po- tra, Ne a nn 1 ll seek mo othser__ let 1 wit =a SS = 1 = = ie. a —— pert poco apoco = $ — ie at = er__giam-mai po- tray Né vo - Ier, né vo - ler sigm - r— no oth - er Might, J will seek, 1 will seek = = — SS == = SSS * F = 7 Pr Dopo rr? we ye } S : a ce s - +e ——_ a =~ T Lot — — and if fate retums me to you, lovely rays of the beautiful sun, my soul does not desire any other light, nor will it ever want any other. 26 Wallan Songs and Arias @ 13 ocanned with Vamocantnévo = lor giam-maj 1 wt — seek Po. iam smal pos th m om. & — = pe asempo Tt —_— — _ P Quel = Ia fiam = ma—_ che mac = cn - de Pia-ce tan-to al - l'al-ma Flames with-in me fierce ty, bum » tng, So alight ‘my fad ing et r E P Pia-ce tan + to abt'al - ma Che giam-mai_s'e -stin - gue - So a-tight iF fad «ing - That ft nev - er ~more shall — 2 > Md 26 Traian Songs and Arias ocanneda with Vamocanla =. SS qa ass 7 se-stin-gue = 13, yy i cmone ett ie SENN +e Pinsce tans tyal fal = ma — “ a“ wart te soon Night me fot “—— Che— giam = mai Steestin- gue - pe Soe oat spirit That — never more- shalt tall de, ST eres wt =—_ fit. a> ia Stes tin = gue - Jestin= gue - 1,——— sie-stin = gue 7 no, nev- er > ‘More, ——— m col canto fF 2% Italian Songs and Aria: ocanned with Vamocan