Eleven years have passed since the publication of Michael Talbot’s volume dedicated to the Italian chamber cantata (Aspects of the secular cantata in late Baroque Italy (2009)). As was outlined in a review of the book, the volume was the culmination of decades of cantata studies, which until then had not succeeded in representing ‘the variety, versatility and even ambiguity that this repertory often conceals’ (T. M. Gialdroni, ‘The diversity of the Italian cantata’, Early Music, xxxix/3 (2011), p.419). In the same book, Roger Claude Travers provided the first annotated discography of the cantata repertory. This, then, is our point of departure: to compare the performance practice and musicological underpinnings of the Italian chamber cantata since that 2009 milestone. The recordings reviewed below cover repertory dating from Talbot’s ‘classical’ period of the cantata (1660–1740). As scholars have long noted, the choice of those dates corresponded to the period when the cantata was structurally stable, but when terminology, function, consumers and places of consumption—including the instruments involved in modern performance—were less clearly defined. All these elements must be taken into consideration when listening to recordings of cantatas.

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意大利室内颂赞曲：十年的唱片

自迈克尔·塔尔博特（Michael Talbot）专为意大利室内颂赞曲（《巴洛克式晚期意大利世俗颂赞》（2009年））出版以来，已经过去了11年。正如该书的概述所概述的那样，本书的数量是数十年来颂赞曲研究的高潮，直到那时为止，这些颂赞曲一直未能成功地代表“该曲目经常掩盖的多样性，多功能性甚至歧义性”（TM Gialdroni，“多样性意大利颂歌曲”，早期音乐，xxxix / 3（2011），p.419）。在同一本书中，罗杰·克劳德·特拉弗斯（Roger Claude Travers）提供了第一首带注释的颂赞曲唱片目录。那么，这就是我们的出发点：比较自2009年里程碑以来意大利室内奏鸣曲的演奏实践和音乐学基础。下面回顾的录音涵盖了塔尔博特的“经典”颂赞曲（1660–1740）时期的曲目。正如学者们早已指出的那样，这些日期的选择对应于颂赞曲在结构上稳定的时期，但是当术语，功能，消费者和消费场所（包括现代表演所涉及的工具）的定义不太明确时。在听赞美诗的录音时，必须考虑所有这些因素。