The virtually untapped gold mine of Alessandro Scarlatti's cantatas - there are more than 600, of which only a handful have been recorded or even transcribed - yields some further nuggets in this third volume. Of these five, only Clori vezzosa e bella, as far as I can discover, has been recorded before (and that a long time ago, on a delightful disc - reissued on Belart, 5/98 - from that underrated artist, Helen Watts). That particular cantata is a miniature, just two arias with a recitative preceding each - two very attractive arias, however, with a note of gentle, minor-key pathos characteristic of Scarlatti.
The longest cantata here is the first, Nel silenzio comune, which has a brief three-movement overture followed by four arias, each with its introductory recitative. Brian Asawa makes much of the long first aria in particular, with the unexpected twists of its almost voluptuous lines; the delightful second has a charming interplay of dialogue and echoes between voice and violin; while the concluding aria happily represents the words ('trombe d'amante desio') with its trumpety triad figures in the violins and the voice. The violin playing has some subtly sensuous touches of timing, too, especially in the second aria.
Fermate omai (a late work, from 1724) is shorter, just two arias enfolding a recitative, to a text about a heartless shepherdess denying her lover his pleasure. But the music is vivacious enough, depicting the amorous games with a lot of charm, and even hints of wit when Thyrsis - in his long, winding lines and sharp, 'agonised' breaks - sings of his torment and her cruelty. Much more intense is Piango, sospire, e peno, a setting with two violins and continuo that begins with a rich arioso, full of expressive suspensions, and ends with an aria representing the lover's despair (short, broken phrases, with echoes on the violins) and then a recitative and, lastly, another brief arioso.
Finally, Non so qual piu m'ingombra, from 1716, which is a Christmas piece, with two arias, the second a flowing siciliano. To all this music, Asawa brings a clear, ringing countertenor, often (particularly in the outer items) rising quite high, an unaffected expressive manner, a real feeling for Italian words and their place as part of the music and a welcome precision over detail. And even if some may feel that the countertenor isn't quite the ideal instrument for Scarlatti's cantatas there is no question but that Asawa's understanding and artistry are very persuasive. McGegan's interesting but not obtrusive harpsichord accompaniments are another positive feature of this very pleasing CD.'