An AndAntino Affettuoso by niccolò Jommelli - Faculty-Web

24 

An AndAntino Affettuoso 

by 

niccolò Jommelli 

From Demofoonte (libretto by Metastasio), Stuttgart, February 11, 1764 

Act 2, Scene 10, Duet of Timante and Dircea, Lovers 

birthday celebr ations for Ca r l eugen, duk e of Würt temberg, were 

crowned with opera seria. As a connoisseur of music, having studied the clavier with no 

less than C. P. E. Bach, the duke expected the very best. Indeed he spared no expense to 

ensure that his court opera was the equal of any in Europe. For his ballet master he 

engaged the famous Parisian Jean-Georges Noverre (1727–1810), for his head chapel mas- 

ter the Neapolitan Jommelli. Great violinists like Antonio Lolli (ca. 1725–1802) and Pietro 

Nardini (1722–1793) played in his orchestra (the theorist Daube sat as second flute). For 

the celebrations of 1764 the renowned tenor Arcangelo Cortoni would sing the role of 

Demofoonte, King of Thrace (and allegorical stand-in for the duke). The loving spouses— 

Timante and Dircea—were sung by the famous castrato Giuseppe Aprile (Naples-trained 

author of the solfeggi discussed in chaps. 2 and 9) and the prima donna Maria Masi-Giura. 

One of the highlights of the evening would be their duet “La destra ti chiedo.” 

A duet in opera seria was an opportunity not only to display the virtuoso talents of two 

such acclaimed singers but also to showcase the ability of the court composer to create a 

compelling musical rendering of the duet’s central message: that two separate identities 

can join together in love and unshakeable fidelity. As mentioned, the two singers represent 

Timante, a prince and son of King Demofoonte, and Dircea, Timante’s beloved but secret 

wife. Condemned to death through no fault of their own, they lament their fate. Each 

singer performs a separate stanza to the same music. Then, in the third stanza, they cry out 

to each other before combining their voices in extended bravura display. Timante, the 

castrato role, is written in the mezzo soprano range, allowing him to join Dircea in long 

roulades of parallel thirds and sixths. These three stanzas form a grand “A” section, which 

is sung twice before the traditional “B” stanza follows with contrasting music. 

315

316 music in the galant style 

Singer Stanza Line Original Text Translation 

Timante Aa 1 La destra ti chiedo, I ask for your hand now, 

2 Mio dolce sostegno, My solace and comfort, 

3 Per ultimo segno As one final gesture 

4 D’amore, e di fè. Of love and of faith. 

Dircea Ab 5 Ah questo fu il segno Ah, this was the sign of 

6 Del nostro contento: Our dearest contentment: 

7 Ma sento, che adesso I sense that from now on 

8 L’istesso non è. It won’t be the same. 

Timante Ac 9 Mia vita, Ben mio . . . My dearest, my only . . . 

Dircea 10 Addio, Sposo amato. Farewell now, my consort. 

Both 11 Che barbaro Addio! What barbarous parting! 

12 Che Fato crudel! What pitiless fate! 

Both B 13 Che attendono i rei What terrors and torments 

14 Dagli astri funesti, Await all the wicked, 

15 Se i premi son questi If thus is rewarded 

16 D’un’ alma fedel? A virtuous soul? 

Jommelli, the central musical figure at the Stuttgart court and one of the most influ- 

ential of all Naples-trained composers, was to set Metastasio’s text to music four times 

(1743, 1753, 1764, 1770). This duet from the version of 1764 lays out a vast musical canvas 

that calls for singers of extraordinary endurance and flexibility, as the music ranges from 

quiet tenderness to resigned pathos to defiant exultation. In terms of schemata, Jommelli 

adapts the familiar Romanesca-Prinner pairing as a stable thematic anchor, followed by 

extensive passagework and cadential bravura (see the list opposite). Jommelli was reported 

to have carefully studied Leo’s scores. 1 Because librettos by Metastasio were set by almost 

every composer of opera, a young musician could study how earlier masters had handled 

the same, or similar, dramatic situation and how they musically embodied the emotional 

moment. The scope and dynamism of this aria aside, one should not overlook its elegant 

and sensitive touches. Especially fine, in my estimation, is the moment when, in measure 

65, the two lovers’ voices come together during the Romanesca theme. They musically 

embrace in the “passion” of a 2–3 suspension whose resolution begins a train of sensuous 

parallel thirds. 

In contrast to the broad lyricism of the A section, the B section is densely canonic, 

with the two singers rapidly chasing each other through a thicket of short, repeating pat- 

terns. Both main sections place exceptional demands on the singers, and since Jommelli 

has largely dispensed with extended ritornellos, there are few moments for the singers to 

catch their breath. Perhaps to address that problem, he wrote a short interlude that appears 

at the end of A1 and of B. Designed on the question-and-answer, digress-and-return frame

Chapter 24 an andantino affettuoso by jommelli 317 

of the Fonte, the interlude is almost like accompanied recitative, and the singers address 

each other in short utterances almost as in speech. In a nice compositional touch, the final 

event of this Fonte—delayed by a fermata to increase expectation—falls on the opening 

tones of the next stanza, A2a. 

As one might imagine, Jommelli was fond of the eponymous Jommelli schema. In 

this grand duet he employed it as an intensified version of the Comma, almost always 

preceding a stronger cadence like the Cudworth. 

Section Line Schema Key 

Stanza A1a 1 Romanesca G 

2 Prinner G 

2 Cadence, Mi-Re-Do G 

3–4 Prinner, modulating G ➪ D 

4 Jommelli D 

4 Cudworth D 

Stanza A1b 5 Romanesca G 

6 Prinner G 

6 Cadence, Mi-Re-Do G 

7–8 Prinner, modulating G ➪ D 


8 Cudworth D 

Stanza A1c 9–10 Quiescenza? bis D / Gm 

10 Quiescenza DM / Dm 

11 D 

11–12 Falling 3rds / Romanesca D 

12 Jommelli, bis D 

12 Cudworth D 

9–10 Quiescenza? bis D / Gm 

11 D 

11–12 Falling 3rds / Romanesca D 

12 Jommelli, bis D 

12 Cudworth, evaded D 


12 Cudworth, evaded D 


12 Cudworth, complete D 

Ritornello R1 Converging / Monte G ➪ A 

Cadence, deceptive D 

Cadence, complete D


( } ] ) 

Interlude 9–10; 1 Fonte Am ➪ G 

% 

Stanza A2a 1 Romanesca G 

2 Prinner G 

2; 5 Cadence, Mi-Re-Do G 

Stanza A2b 6; 9 Romanesca G 

6; 9 Prinner G 

6; 9 Cadence, Mi-Re-Do G 

Stanza A2c 10; 9 Comma, bis C ➪ F 

9–10 Cadence, deceptive C 

9–10 Augmented 6th Cm 

11 G 

11–12 Falling 3rds / Romanesca G 

12 Jommelli, bis G 

12 Cudworth G 

7 Monte C ➪ D 

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12 Cudworth, evaded G 


12 Cudworth, evaded G 

12 Jommelli G 

12 Cudworth, complete G 

Ritornello R2 Prinner G 

( } ) 

Cadence, evaded G 

Cadence, complete G 

Stanza B 13–14 Do-Mi-Sol, canonic C 

14 Comma G 

14 Half cadence G 

15 Fonte, 1st half Am 

15 Am ➪ C 

15–16 Sol-Fa-Mi, canonic C 

15–16 Fonte Dm ➪ C 

16 Cadence, Mi-Re-Do C


15–16 Sol-Fa-Mi, canonic F 

15 Comma F 

15 Comma C 

15–16 Sol-Fa-Mi, canonic C 

15–16 Fonte Dm ➪ C 

16 Cadence, evaded C 

16 Sol-Fa-Mi, bis C 

16 Comma / Jommelli C 


16 Sol-Fa-Mi C 

16 Comma F 

16 Comma / Jommelli C 


16 Jommelli C 

16 Cadence, complete C 

Ritornello R3 C 

Indugio / Fauxbourdon C ➪ G 

Interlude 9–10; 1 Fonte Am ➪ G 

Dal Segno

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An AndAntino Affettuoso by niccolò Jommelli - Faculty-Web

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