292 pp.; 21 x 14,8 cm

The chamber cantata was a most popular 17th- and 18th-century genre. This book examines its editorial history by discussing over a hundred works, printed in Venice, Bologna, Milan, Modena, Florence, Lucca, Rome, Pesaro, and Naples, from Alessandro Grandi's Cantade et arie(Venice, 1620) to Giovanni Battista Pergolesi's Quattro cantate da camera (Naples, 1738). Their peculiarities are highlighted and framed in their respective historical/economic contexts. A section deals with the nature of the cantata, how it was produced and circulated, and its publishers' activity. Another section focuses on the peculiar traits of each production area. A bibliography of cantata editions and transcriptions of the texts are included; these are also freely available on the SEdM web site.

Giulia Giovani got her Ph.D. in History, Science, and Technique of Music at the Rome – Tor Vergata University with a dissertation on the spread of printed chamber cantata. In 2012-2014 she was a fellow at the the Giorgio Cini Foundation, Venice (Istituto Italiano Antonio Vivaldi) and of the Istituto Storico Germanico, Rome. In 2013 she took part in the international project, Printed Sacred Music in Europe. She is currently involved in the project, Creating the Neapolitan Canon. Music and music theory between Paris and Naples in the early 19th century (Bern, Switzerland, Hochschule der Künste), and coordinates another international project, Clori – Archivio della cantata italiana. She has been teaching Music History and Foundations of Musical Language at the Siena University since 2015. Her production includes scholarly editions of cantatas and essays on chamber vocal music, 17th-century music publishing, and the Naples Conservatory library history. She contributed to the SEdM scholarly edition series with cantatas by Giacomo Antonio Perti and Maurizio Cazzati, and Giuseppe Sigismondo's book, Apoteosi della musica.