Francesco Cavalli - La Calisto

"'La Calisto' received its premiere at the Teatro Sant' Apollinare, Venice, on 28 November 1651. It was Francesco Cavalli’s fifteenth opera, and his ninth to a libretto by Giovanni Faustini. As the mature fruit of its authors' collaboration, it was the culmination of one of the most productive and enduring partnerships in the history of the genre. Over the previous decade, that partnership had helped to establish many of the basic conventions of Venetian opera, some of which were to endure for centuries. The smallest theater in Venice, Sant' Apollinare was where in 1650 Faustini had started a new venture – after two years (of a three-year contract) as impresario at S. Moisè – to be joined by his brother Marco and other Venetian entrepreneurs. Calisto is one of the few seven-teenth-century operas for which we have substantial information about the production, thanks to the surviving account book of Marco Faustini: we know the names of the singers and the make-up of the instrumental ensemble (just two violins and continuo), and we have a record of the expenses for spectacular machines and scenography as well as itemized information about the preparation of the season, the run of the opera, the attendance figures – even the payments for the prima donna's gondola. Together with the printed libretto and the single surviving musical manuscript, which was used in the production by one of the continuo players, this wealth of evidence makes it possible to undertake a critical edition with a level of comprehension of the work and its text unusual for the period.

"Diverging from most of Cavalli and Faustini’s previous operas, Calisto is based on mythology. It combines two contrasting love stories involving the same Olympian goddess, Diana, which do not seem to have been associated in any previous source, whether ancient or modern. They concern the love between Jupiter (disguised as Diana) and the nymph Callisto; and that between Diana and the shepherd Endymion. The second story refers to still another mythological relationship, the love between Diana and Pan. Faustini articulates a brilliant plot which, while carefully respecting the essential elements of the Classical tradition, allows for the introduction of other elements typical of a Venetian operatic scheme; these include a number of comic and supporting roles, some of which have their own short, witty subplots. The opera was composed for the same season and cast as 'Eritrea' and premiered one month earlier than the usual opening date of the theaters (26 December), probably in order to preempt competition from the two other theaters operating in that season. The production was marked by tragedy: the leading male singer, the alto castrato Bonifazio Ceretti, who was to have sung Endimione, fell ill shortly before the first night and died a few weeks later, with the result that Cavalli was forced to adapt the role for a soprano and recast the production; two weeks later, on 19 December, Giovanni Faustini himself died. It is hard to imagine worse luck for a public entertainment, but nonetheless even after Faustini’s death the opera ran for four more performances. Although it is unclear how directly the double tragedy affected the production, the account book shows that it was a miserable failure: the opera was cancelled after eleven performances and never revived.

"Calisto's modern fortunes have been quite different. As part of Ray-mond Leppard’s rediscovery of Cavalli, it was produced at Glyndebourne in 1970, and there followed both a recording and an edition. Leppard’s score neither was nor pretended to be a critical edition, but was rather a thorough-going adaptation that had in mind a public whose expectations were substantially different from those of the original seventeenth-century audience. The production and edition generated interest in Cavalli’s music, and particularly in Calisto: slowly, over the following decades, the work found increasing popularity both in major opera houses and in smaller, academic venues; some performances were based on Leppard’s score, but many others used editions which never reached the press. The exception was Jennifer Brown’s critical edition, which was used in a number of productions beginning in the mid-1990s and has recently been published. The production for La Monnaie in Brussels in 1993, by René Jacobs and Herbert Wernicke, was also recorded and presented in a number of European cities in the following years, and represents the consacration of Calisto as an icon of Baroque opera. At the end of the first decade of the 21st century, Calisto has found its way into the repertory of opera houses around the world." (Álvaro Torrente. From the introduction to the 2012 Bärenreiter Verlag edition of the opera. Read in full here.)

Performers: Concerto Vocale, René Jacobs, Maria Bayo, Marcello Lippi, Simon Keenlyside, Graham Pushee

1.1. Prologo: Sinfonia. Lento - Presto
1.2. Prologo: Sinfonia. 'Alme Pure E Volanti'
1.3. Prologo: Sinfonia. 'Gran Madre, Ottima Duce'
1.4. Atto I, Scena I: Sinfonia/'Del Foco Fulminato'
1.5. Atto I, Scena II: 'Piante Ombrose'
1.6. Atto I, Scena II: 'De L'offese Del Foco'
1.7. Atto I, Scena II: 'Dunque, Giove Immortale'/'Verginella Io Morir Vo'
1.8. Atto I, Scena III: 'Come Scherne Acerbetta'
1.9. Atto I, Scena III: Sinfonia (Reprise)
1.10. Atto I, Scena IV: 'Sien Mortali O Divini'
1.11. Atto I, Scena IV: 'Non È Maggior Piacere'
1.12. Atto I, Scena V: 'Chi Non Ti Crederebbe'/'In Ricovro Più Ombroso'/'A Baciarsi Andiam, Sì Sì'
1.13. Atto I, Scena VI: 'Va' Pur, Va'pur, Va' Seco'/'Se Non Giovano'
1.14. Atto I, Scena VII: 'Improvisi Stupori'
1.15. Atto I, Scena VII: 'Serenati, O Core'/Scena VIII: 'Pavide, Sbigottite'
1.16. Atto I, Scena VIII: 'Parto, E Porto Partendo'/Scena IX: 'Non È Crudel, Ben Mio'
1.17. Atto I, Scena IX: 'Come Chiude Nel Petto'/Scene X
1.18. Atto I, Scena XI: 'Piangete'
1.19. Atto I, Scena XII: 'Interprete Mal Buona'
1.20. Atto I, Scena XIII: 'Ninfa Bella'
1.21. Atto I, Scena XIV: 'Numi Selvatici'
1.22. Atto I, Scena XIV: Ballo De Orsi. Ciacona

2.1. Atto II, Scena I: Sinfonia. Grave/'Erme E Solinghi Cime'
2.2. Atto II, Scena II: 'Candidi Corridori'
2.3. Atto II, Scena II: 'Bella Quanto Crudele'/Sinfonia
2.4. Atto II, Scena III: 'Alfin La Tanto Rigida'
2.5. Atto II, Scena IV: 'Da Le Gelose Mie Cure Incessanti'
2.6. Atto II, Scena V: 'Sporgate Anco'
2.7. Atto II, Scena VI: 'Espirmerti Non Posso'
2.8. Atto II, Scena VI: 'Calisto, Anima Mia?'/Scene VII
2.9. Atto II, Scena VIII: 'Chi Condusse Costei'
2.10. Atto II, Scena IX: 'Cor Mio'
2.11. Atto II, Scena IX: 'Mercurio, Chi Disfoga'
2.12. Atto II, Scena X: 'Se Tu Nol Credi'/Scena XI: 'Fermati O Mobile'
2.13. Atto II, Scena XI: 'Oh Dio, Così Abbandoni'
2.14. Atto II, Scena XII: 'D'aver Un Consorte'
2.15. Atto II, Scena XII: 'Combattimento Di Ninfe E Satiri'

3.1. Atto III, Scena I: 'Restino Imbalsamate'
3.2. Atto III, Scena II: 'Da Le Sponde'
3.3. Atto III, Scena II: 'Ma Si Fa Gelo Il Sangue'
3.4. Atto III, Scena III: 'Racconsolata E Paga'
3.5. Atto III, Scena IV: 'Perfide, Ancora Osate'
3.6. Atto III, Scena IV: 'O Re De L'universo'
3.7. Atto III, Scena IV: 'Mio Foco Fatale'/'Beata Mi Sento'
3.8. Atto III, Scena V: 'Che Non L'ami Volete?'/Scena VI/Scena VII: 'Ti Segua Questo Dardo'
3.9. Atto III, Scena VII: 'Vivo Per Te Pietosa'
3.10. Atto III, Scena VII: 'Tanto, Dunque, Tu M'ami?'
3.11. Atto III, Scena VII: 'Dolcissimi Baci'
3.12. Atto III, Scena VIII: Sinfonia
3.13. Atto III, Scena VIII: 'Le Stelle Più Belle'
3.14. Atto III, Scena VIII: 'Mio Tonante'/'Vaga Amante'
3.15. Atto III, Scena VIII: Ciacona

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Nicola Porpora - L'Amato Nome: Cantatas Opus 1

"The publication of Porpora’s 'Nuovamente composte opre di musica vocale' (Cantatas op. 1) should be placed within this [18th century English] social and artistic milieu: designed as a collection of twelve Italian chamber cantatas on Arcadian subjects (six for soprano and six for alto), it was published in 1735, and dedicated to Prince Frederick. The collection, destined to become one of the Neapolitan musician’s most successful works, sets texts by Pietro Metastasio, and seems deliberately planned as a display of the composer’s different expressive, formal and stylistic skills, for all that it uses the large-scale alternating structures typical of the genre: Aria-Recitative-Aria or Recitative-Aria-Recitative-Aria. The edition itself was very well designed and luxuriously engraved, and includes corrections and variants inserted by Porpora himself during the printing runs. It was printed on high-quality paper and distributed without a cover price, as if intended as a valuable gift for connoisseurs: a “business card” for the poetic and musical world of which Porpora was considered to be one of the greatest representatives.

"On the front page of this refined little volume, Porpora states that the cantatas were newly composed, and personally approved by Prince Frederick’s 'delicate taste': although not known of in manuscripts copied before 1735, it is certain that part of the music was written before the composer arrived in Britain. One of his pupils, Giuseppe Sigismondo (1739-1826), attests in his 'Apoteosi della musica del Regno di Napoli' that: 'He [Porpora] set out for London together with his pupil Farinelli in order to compensate for Handel’s deficiency in heroic theatre. But being as shrewd as a fox, he completed his 12 cantatas with continuo and no other instruments [...] and as soon as he arrived in London he had them elegantly published in 1735.'

"[...] As opposed to what is usually stated, cantatas should not be regarded in any way as 'small opera scenes'. To the eyes of Porpora’s contemporaries, they were a reality in themselves, much closer to the ancient idea of 'musica reservata' than to something staged or in any sense theatrical. They were rather to be enjoyed by a few intimate connoisseurs, and to be enjoyed in detail and in depth. It was a genre designed for singers (often female) and instrumentalists, who were rarely professionals, but rather highly-trained amateurs, who in their performance engaged with a small number of listeners able to grasp two essential elements: the composer’s expertise in setting to music the poet’s words, and the performers’ expertise in exploiting the verbal and musical refinements scattered throughout the score. It is a small world, characterised by intimacy and intellectual tension, a world in which shepherds and nymphs express and live out an infinite variety of delicately-shaded emotions, with a deep connection to the eighteenth-century ideals of love and beauty, which are perfectly embodied in the verses and strophes of Metastasio, and in Porpora’s music." (Stefano Aresi. From the liner notes.)

Performers: Stile Galante, Stefano Aresi

1.1. Cantata V: I. 'Scrivo In Te L’amato Nome'
1.2. Cantata V: II. 'O Pianta Avventurosa!'
1.3. Cantata V: III. 'Per Te D’amico Aprile'
1.4. Cantata X: I. 'Oh Se Fosse Il Mio Core'
1.5. Cantata X: II. 'Se Lusinga Il Labbro E ’L Ciglio'
1.6. Cantata X: III. 'Mi Fa Barbara E Ingrata'
1.7. Cantata X: IV. 'Sento Pietade, Non Son Crudele'
1.8. Cantata VIII: I. 'Or Che Una Nube Ingrata'
1.9. Cantata VIII: II. 'Senza Il Misero Piacer'
1.10. Cantata VIII: III. 'M’intendi? Io Tutto Dissi: Ahi Qual Tormento!'
1.11. Cantata VIII: IV. 'Contemplar Almen Chi S’ama'
1.12. Cantata III: I. 'Tirsi Chiamare A Nome'
1.13. Cantata III: II. 'Se In Amor Che Sia Vicino'
1.14. Cantata III: III. 'Sì, Sì, Benché L’aspetto'
1.15. Cantata III: IV. 'So Ben Che La Speranza In Fronte A Chi S’adora'
1.16. Cantata IX: I. 'Destatevi, O Pastori: Ecco Il Mattino'
1.17. Cantata IX: II. 'Nei Campi E Nelle Selve'
1.18. Cantata IX: III. 'Tornerò Fra Le Gregge'
1.19. Cantata IX: IV. 'Silvio Amante Disperato'
1.20. Cantata VI: I. 'Già La Notte S’avvicina'
1.21. Cantata VI: II. 'Lascia Una Volta, O Nice'
1.22. Cantata VI: III. 'Non Più Fra’ Sassi Algosi'

2.1. Cantata XI: I. 'Oh Dio, Che Non È Vero: Ogni Gran Piaga'
2.2. Cantata XI: II. 'Quella Ferita Ch’io Porto In Seno'
2.3. Cantata XI: III. 'Passano I Fiumi E I Rivi'
2.4. Cantata XI: IV. 'Se Mi Prestasse I Vanni'
2.5. Cantata IV: I. 'Queste Che Miri, O Nice'
2.6. Cantata IV: II. 'Sei Mio Ben, Sei Mio Conforto'
2.7. Cantata IV: III. 'Credimi, Sì, Mio Sole'
2.8. Cantata IV: IV. 'Amo, Né Sarà Mai Che A Più Vezzosi Rai'
2.9. Cantata VII: I. 'Veggo La Selva E Il Monte'
2.10. Cantata VII: II. 'Le Direi Mormorando Fra’ Sassi'
2.11. Cantata VII: III. 'Poscia, Quando Il Pastor Guida La Greggia'
2.12. Cantata VII: IV. 'Ma La Selva, Il Monte, Intanto'
2.13. Cantata II: I. 'Nel Mio Sonno Almen Talora'
2.14. Cantata II: II. 'Pria Dell’aurora, O Fille'
2.15. Cantata II: III. 'Partì Con L’ombra, È Ver'
2.16. Cantata I: I. 'D’Amore Il Primo Dardo'
2.17. Cantata I: II. 'Fra Gl’amorosi Lacci'
2.18. Cantata I: III. 'Ch’io Mai Vi Possa Lasciar Di Amare'
2.19. Cantata XII: I. 'Dal Povero Mio Cor, Che Vuoi Speranza?'
2.20. Cantata XII: II. 'Mensogniera Dici: "Spera"'
2.21. Cantata XII: III. 'Pallido, Ancor Tremante'
2.22. Cantata XII: IV. 'Ha Scogli E Rie Procelle'

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Francesco Cavalli - Il Giasone

"Composers, arrangers, or copyists who must provide an easily readable score for study or performance purposes, rarely have the chance to come across such an extraordinary work as this 'Giasone'. Accurate editions of minor Western music works give us an increasingly detailed picture of this immensely rich cultural heritage, which belongs to the entire world. 

"Even though today his name is not as well-known as that of Claudio Monteverdi, Francesco Cavalli (who at fourteen was engaged by Monteverdi as a chorister in St. Mark's Basilica in Venice) was undoubtedly an excellent opera composer. Around the middle of the 17th century Cavalli was, indeed, one of the most renowned composers, and his opera 'Il Giasone', first staged on 5th January 1649, met with great success and enjoyed several repeat performances. When we study this score attentively [...] the qualities of Cavalli cannot be missed. The writing, to our contemporary eye, appears flowing and consistent (an opera, then, was mainly based on the basso continuo line and the vocal one on top, while concertati, orchestral/instrumental accompaniment and interludes are rare), but Cavalli's musical temperament is very different from the static gravity of Monteverdi's works. Almost grotesque humour and theatrical effects are intrinsic qualities of this score, and they did provoke a positive response in the audience, at the opera's modern times premiere, at the Vlaamse Opera In Gent on 30th April 2010. Marianne Clement's staging, without gaudy effects but, in line with the music, entertaining and comical, was a success with the public, who made it clear they enjoyed the evening." (Alexander Kampe, tr. Daniela Pilarz. From the liner notes.)

"After seducing Queen Hypsipyle on the island of Lemnos and fathering twins on her, Jason and his Argonauts have arrived in Colchis to conquer the Golden Fleece. But since his arrival at the court of Princess Medea, Jason has spent every night in the arms of a mysterious woman, whose face he has never seen." (Full plot synopsis here.)

Performers: Symphony Orchestra Of Vlaamse Opera, Frederico Maria Sardelli, Christophe Dumaux, Katarina Bradíc, Robin Johannsen

1.1. Sinfonia I
1.2. Prologo: 'Quest’è Il Giorno Prefisso'
1.3. Sinfonia II
1.4. Atto I, Scena I: 'Dall’ Oriente Porge'
1.5. Atto I, Scena II: 'Delizie, Contenti Che L’alma Beate'
1.6. Atto I, Scena III: 'Se Dardo Pungente D’un Guardo Lucente'
1.7. Atto I, Scena IV: 'Ferma, Medea, Deh Ferma Le Fuggitive Piante'
1.8. Atto I, Scena V: 'Fiero L’amor L’alma Tormenta'
1.9. Atto I, Scena VI: 'Son Gobbo, Son Demo, Son Bello, Son Bravo'
1.10. Atto I, Scena VII: 'Voli Il Tempo Se Sa, Rotin Gli Anni Fugaci Al Corso Loro'
1.11. Atto I, Scena VIII: 'O Dio, Giason Arriva E A Me S’invia'
1.12. Atto I, Scena IX: 'Regina, In Questo Giorno Giurai Passar Nel Mostruoso Arringo'
1.13. Atto I, Scena X: 'I Miei Secreti Amori Son Palesi A Costei?'
1.14. Atto I, Scena XI: 'Giasone, È Qui La Sposa, È Qui Colei'
1.15. Atto I, Scena XII: 'Godi, Godi Bella Coppia Che ’l Diletto Tra Quei Nodi Si Raddoppia'
1.16. Atto I, Scena XIII: 'Isifile Infelice Del Bel Trono Di Lenno Esule Sventurata'
1.17. Atto I, Scena XIV: 'Dell’ Antro Magico Stridenti Cardini'

2.1. Atto II, Scena I: 'Oreste Ancor Non Giunge, E Pur Ogni Momento'
2.2. Atto II, Scena II: 'Io Pur Ti Tocco, O Lido, Io Pur Ti Bacio, O Terra'
2.3. Atto II, Scena III: 'Ecco Il Fatal Castello'
2.4. Atto II, Scena IV: 'Effetti Singolari Favori Senza Pari!'
2.5. Atto II, Scena V: Combattimento
2.6. Atto II, Scena VI: 'Sei Ferito, Mio Bene?'
2.7. Atto II, Scena VII: 'Alla Nave, Alla Nave? Medea E Giason S’abbracciano?'
2.8. Atto II, Scena VIII: 'La Regina Di Lenno, Gran Pronipote Mia'
2.9. Atto II, Scena IX: 'Per Ritrovar Suo Onore, Benche S’oscuri Il Cielo E ’l Mar S’adiri'
2.10. Atto II, Scena X: 'Soccorso, Aiuto, Olà: Io Moro, Oimè, Pietà'
2.11. Atto II, Scena XI: 'Scendi, O Bella, Vieni Al Porto'
2.12. Atto II, Scena XII: 'O Dio, Ecco Giasone Con La Beltà Gradita'
2.13. Atto II, Scena XIII: 'Gradite Tempeste, Procelle Adorate'

3.1. Atto III: Sinfonia
3.2. Atto III, Scena I: 'Nel Boschetto Ove Odor Spirano, Vaghi Fiori E ’l Suol Ricamano'
3.3. Atto III, Scena II: 'Sotto Il Tremulo Ciel Di Queste Frondi, Intorno A Cui S’aggira'
3.4. Atto III, Scena III: 'Adoriamoci In Sogno, Anima Mia?'
3.5. Atto III, Scena IV: 'Il Porto, Il Lido, Il Pian, La Valle, Il Monte'
3.6. Atto III, Scena V: 'Giason'/'Besso'
3.7. Atto III, Scena VI: 'Perch’io Torni A Languir Mi Si Nega ’L Morir'
3.8. Atto III, Scena VII: 'Gioite, Gioite, Festosi, Festosi'
3.9. Atto III, Scena VIII: 'Fra I Notturni Perigli, Signora, Ove Vai Tu?'/Scena IX: 'Besso Qui Non Appare, Ed Io Misera Anelo'
3.10. Atto III, Scena X: 'Perché Sospiri, Medea Gelosa, Perché T’adiri, Bella Amorosa?'
3.11. Atto III, Scena XI: 'Di Guerriero Drappello O Veggio O Veder Parmi'
3.12. Atto III, Scena XIII: 'Besso, Besso! Chi Mi Chiama?'
3.13. Atto III, Scena XIV: 'Tormento, Ove Mi Guidi? Ritorniamo A Giason'
3.14. Atto III, Scena XV: 'Non M'Affliger Così'
3.15. Atto III, Scena XVI: 'Ovunque Il Piè Rivolgo'
3.16. Atto III, Scena XVII: 'Giason Qui Parla'
3.17. Atto III, Scena XVII: 'Regina, Egeo, Amici, Supplicat'
3.18. Atto III, Scena XVIII: 'Non Ho Più Core In Petto'
3.19. Atto III, Scena XIX: 'Quante Son Le Mie Gioie'
3.20. Atto III, Scena XX: Ciaccona

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Nicola Porpora - Leçons de Ténèbres

"Porpora's great feeling for the text (also a feature of his operas), becomes more acute, more penetrating in his setting of the deeply moving and desolate words of the Prophet Jeremiah The composer no longer had the constraints of composing recitatives and arias, as in opera. but was free to express himself as he wished. The result is kaleidoscopic, a sort of rich musical rhapsody in which he explores all the expressive possibilities of the solo voice to the full. With consummate skill, he brings out all the pain and distress of the situations described in the biblical verses, dwelling on them for as long as he likes and paying no heed to form. Yet their structure seems simple and plain. It was important not to distract the congregation gathered in penitence in the church by the brilliance of the writing, but to draw its attention to the meaning of the text. The vocal virtuosity that was typical of the Neapolitan school, and notably of Porpora, is not lacking in this music, but it is always subordinate to the sacred nature of the words and their emotional context. 

"It may be useful at this point to take a look at the traditions of the liturgical celebration of Holy Week. The inside of the church, usually decorated with paintings and statues and glittering with light, was suddenly stripped of its riches and plunged into darkness. everything was draped with the purple of mourning, until the moment of the Resurrection. Even the organ was silent in commemoration of the death of Christ, and its front was covered with purple cloth. 

"Thus the Lamentations were performed in a climate of religious and mystical tension, in which the voice, no longer worldly, served to admonish and exhort. The instrumental support had to be in keeping with the general atmosphere. The organ was temporarily excluded, as were bowed instruments, their place being taken by the harpsichord or the chitarrone: sober-sounding instruments but ones that were nevertheless capable of supporting the dramatic singing of the soloist verging on oratory. These two Lamentations were not the only ones Porpora composed, but they are the only ones that are accessible to scholars. Others have been traced to various locations in Italy and other countries, but unfortunately, for various incomprehensible reasons, researchers are denied access to them, so they remain unknown. This deplorable situation shows the difficulties that can hamper and even put an end to research work, which, in this case, could have been of great musical and artistic value.

"The Six Latin duets do not show the same freedom and lively imagination as the Lamentations. These are far-reaching works, rich in chromatic harmonies and with extensive, expansive melodic lines. The seventeenth-century art of counterpoint is combined perfectly with a solidly based harmonic structure, in the form of a dynamic basso continuo supporting the development of the vocal parts." (Jolando Scarpa, tr. Mary Pardof. From the liner notes.)

Performers: Les Paladins, Jérôme Corres

1. Duetto IV: In Hoc Vexillo Crucis
2. Troisième Leçon Pour Le Mercredi Saint: I. Jod (Adagio)
3. Troisième Leçon Pour Le Mercredi Saint: II. Mannum Suam (Con Spirito)
4. Troisième Leçon Pour Le Mercredi Saint: III. Caph (Adagio)
5. Troisième Leçon Pour Le Mercredi Saint: IV. Omnis Populos (Adagio)
6. Troisième Leçon Pour Le Mercredi Saint: V. Vide (Adagio)
7. Troisième Leçon Pour Le Mercredi Saint: VI. Lamed (Adagio)
8. Troisième Leçon Pour Le Mercredi Saint: VII. O Vos Omnes (Adagio)
9. Troisième Leçon Pour Le Mercredi Saint: VIII. Quoniam (Allegro)
10. Troisième Leçon Pour Le Mercredi Saint: IX. Men (Adagio)
11. Troisième Leçon Pour Le Mercredi Saint: X. De Excesso Misit (Allegro)
12. Troisième Leçon Pour Le Mercredi Saint: XI. Num (Tempo Giusto)
13. Troisième Leçon Pour Le Mercredi Saint: XII. Vigilavit
14. Troisième Leçon Pour Le Mercredi Saint: XIII. Jerusalem (Adagio)
15. Duetto I: Crimen Adaequantum Constat
16. Duetto II: Rigate Lagrimis
17. Deuxième Leçon Pour Le Jeudi Saint: I. Lamed (Adagio)
18. Deuxième Leçon Pour Le Jeudi Saint: II. Matribus Suis (Andante)
19. Deuxième Leçon Pour Le Jeudi Saint: III. Men (Largo)
20. Deuxième Leçon Pour Le Jeudi Saint: IV. Cui Comparabote (Allegro)
21. Deuxième Leçon Pour Le Jeudi Saint: V. Magna Est (Adagio)
22. Deuxième Leçon Pour Le Jeudi Saint: VI. Nun (Andante)
23. Deuxième Leçon Pour Le Jeudi Saint: VII. Prophetae (Con Spirito)
24. Deuxième Leçon Pour Le Jeudi Saint: VIII. Samech (Adagio)
25. Deuxième Leçon Pour Le Jeudi Saint: IX. Plauserunt Super Te (Allegro)
26. Deuxième Leçon Pour Le Jeudi Saint: X. Heccine En Urbs (Moderato)
27. Deuxième Leçon Pour Le Jeudi Saint: XI. Jerusalem (Adagio)
28. Duetto III: Mortis Causa Tu Fuisti, O Mortalis
29. Duetto VI: Ab Imo Pectore

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