Beatrice Palumbo, Contrasto Armonico, Marco Vitale, Roberta Mameli - Handel: Cantate 01-03 (2014-2019)
BAND/ARTIST: Beatrice Palumbo, Contrasto Armonico, Marco Vitale, Roberta Mameli
- Title: Handel: Cantate 01-03
- Year Of Release: 2014-2019
- Label: Ayros
- Genre: Classical
- Quality: flac lossless
- Total Time: 03:05:55
- Total Size: 919 mb
- WebSite: Album Preview
Tracklist
Handel: Cantate 01
01. Notte placida e cheta, HWV 142: I. Recitativo - "Notte placida e cheta"
02. Notte placida e cheta, HWV 142: II. Aria - "Zeffiretti, deh venite"
03. Notte placida e cheta, HWV 142: III. Recitativo - "Momento fortunato"
04. Notte placida e cheta, HWV 142: IV. Aria - "Per un istante"
05. Notte placida e cheta HWV 142: V. Accompagnato - "Ma già sento che spande"
06. Notte placida e cheta, HWV 142: VI. Aria - "Luci belle, vaghe stelle"
07. Notte placida e cheta, HWV 142: VII. Accompagnato - "Oh delizie d'Amor"
08. Notte placida e cheta HWV 142: VIII. Aria - "Che non si dà qua giù"
09. Qualor l’egre pupille, HWV 152: I. Recitativo - "Qualor l’egre pupille"
10. Qualor l’egre pupille, HWV 152: II. Aria - E' il pensier nella mia mente
11. Qualor l’egre pupille, HWV 152: III. Recitativo - "Lungi del caro oggetto"
12. Qualor l’egre pupille HWV 152: IV. Aria - "S’altri gode pensando al suo bene"
13. Qualor l’egre pupille, HWV 152: V. Recitativo - "Chi chiama amor tiranno"
14. Ne’ tuoi lumi, o bella Clori, HWV 133: I. Aria - "Ne’ tuoi lumi, o bella Clori"
15. Ne’ tuoi lumi, o bella Clori, HWV 133: II. Recitativo - "Credi che quanto dolci"
16. Ne’ tuoi lumi, o bella Clori, HWV 133: III. Aria - "Superbetti occhi amorosi"
17. Ne’ tuoi lumi, o bella Clori, HWV 133: IV. Recitativo - "Sul pallido mio volto"
18. Ne’ tuoi lumi, o bella Clori, HWV 133: V. Aria - "La mia piaga, se v’appaga"
19. Dietro l’orme fugaci (Armida abbandonata), HWV 105: I. Accompagnato - "Dietro l’orme fugaci"
20. Dietro l’orme fugaci (Armida abbandonata), HWV 105: II. Aria - "Ah! crudele"
21. Dietro l’orme fugaci (Armida abbandonata), HWV 105: III. Recitativo - "Per te mi struggo, infido"
22. Dietro l’orme fugaci (Armida abbandonata), HWV 105: IV. Accompagnato - "O voi, dell’incostante"
23. Dietro l’orme fugaci (Armida abbandonata), HWV 105: V. Aria - "Venti, fermate, si"
24. Dietro l’orme fugaci (Armida abbandonata), HWV 105: VI. Recitativo - "Ma che parlo, che dico?"
25. Dietro l’orme fugaci (Armida abbandonata) HWV 105: VII. Aria - "In tanti affanni miei"
Handel’s cantatas represent an important musical repertoire that until recently has been little known. Consisting of about 100 separate works, most were written over a period of a few years for private performance in Italy.
They range from musical miniatures containing only two arias connected by recitative and accompanied by continuo (a bass line typically realized by cello and harpsichord) to larger works with named characters, a dramatic story, and rich instrumental forces. Telling more often than not about the pangs of love, these are intimate works, with texts frequently written by (and sometimes about) members of the privileged audience for which they were composed. A number of Handel’s cantatas have texts by one of his important Italian patrons, Cardinal Benedetto Pamphilj.
The project of Marco Vitale to record all of Handel’s cantatas is thrilling. The continuo cantatas have never been recorded in full and many have never been recorded at all. Thus, this project will bring to life largely unknown music by one of the world’s greatest composers. Further, performance all the cantatas will place the larger, instrumental works in the musical context of their creation.
This project is the continuation of the ‘Handel Complete Cantatas’ series appeared recently on the market with four volumes issued. This is the first volume presented by the ayros recording label, as continuation of the series . This CD features the great soprano Roberta Mameli, an acclaimed specialist of the Handel repertoire and it includes the wonderful cantatas “Notte placida e cheta” and “Armida abbandonata”.
Handel: Cantate 02
01. Sonata Op. 4 No. 5: I. Preludio
02. Sonata Op. 4 No. 5: II. Allemanda
03. Sonata Op. 4 No. 5: III. Corrente
04. Sonata Op. 4 No. 5: IV. Gavotta
05. Spande ancor a mio dispetto: I. Spande ancor a mio dispetto
06. Spande ancor a mio dispetto: II. O! che da fiere pene
07. Spande ancor a mio dispetto: III. Da balza in balza
08. Dalla guerra amorosa: I. Dalla guerra amorosa
09. Dalla guerra amorosa: II. Non v'alletti un occhio nero
10. Dalla guerra amorosa: III. Fuggite, si fuggite
11. Dalla guerra amorosa: IV. La bellezza è com'un fiore
12. Dalla guerra amorosa: V. Fuggite, si fuggite, a chi servo d'amor
13. Sonata Op. 4 No. 3: I. Preludio
14. Sonata Op. 4 No. 3: II. Corrente
15. Sonata Op. 4 No. 3: III. Sarabanda
16. Sonata Op. 4 No. 3: IV. Tempo di Gavotta
17. Nell'Africane selve: I. Nell'Africane selve
18. Nell'Africane selve: II. Langue trema
19. Nell'Africane selve: III. Nice là, fra confine
20. Nell'Africane selve: IV. Chiedo amore, altro non bramo
21. Cuopre tal volta il cielo: I. Cuopre tal volta il cielo
22. Cuopre tal volta il cielo: II. Tuona, balena
23. Cuopre tal volta il cielo: III. Così fiera procella
24. Cuopre tal volta il cielo: IV. Per pietà de'miei martiri
Handel’s cantatas represent an important musical repertoire that until recently has been little known. Consisting of about 100 separate works, most were written over a period of a few years for private performance in Italy.
They range from musical miniatures containing only two arias connected by recitative and accompanied by continuo (a bass line typically realized by cello and harpsichord) to larger works with named characters, a dramatic story, and rich instrumental forces. Telling more often than not about the pangs of love, these are intimate works, with texts frequently written by (and sometimes about) members of the privileged audience for which they were composed. A number of Handel’s cantatas have texts by one of his important Italian patrons, Cardinal Benedetto Pamphilj.
The project of Marco Vitale to record all of Handel’s cantatas is thrilling. The continuo cantatas have never been recorded in full and many have never been recorded at all. Thus, this project will bring to life largely unknown music by one of the world’s greatest composers. Further, performance all the cantatas will place the larger, instrumental works in the musical context of their creation.
This project is the continuation of the ‘Handel Complete Cantatas’ series appeared recently on the market with four volumes issued. This is the second volume presented by the ayros recording label, as continuation of the series . This CD features the bass-baritone Mitchell Sandler, who worked in other CD productions of Contrasto Armonico (Aci, Galatea e Polifeo & La Resurrezione). The CDs contains also two trio-sonatas by Arcangelo Corelli.
Handel: Cantate 03
01. Alpestre monte, HWV 81: Accompagnato. Alpestre monte
02. Alpestre monte, HWV 81: Aria. Io so ben ch’il vostro orrore
03. Alpestre monte, HWV 81: Recitativo. Quindi men vengo a voi
04. Alpestre monte, HWV 81: Aria. Almen dopo il fato mio
05. Chi rapì la pace al core, HWV 90: Aria. Chi rapi la pace al core?
06. Chi rapì la pace al core, HWV 90: Recitativo. Figlio d'un fabbro, e amore
07. Chi rapì la pace al core, HWV 90: Aria. Pupilla lucente
08. Pensieri notturni di Filli, HWV 134: Recitativo. Nel dolce dell'oblio
09. Pensieri notturni di Filli, HWV 134: Aria. Giacché il sonno a lei dipinge
10. Pensieri notturni di Filli, HWV 134: Recitativo. Così fida ella vive
11. Pensieri notturni di Filli, HWV 134: Aria. Ha l’inganno il suo diletto
12. Ah, che pur troppo è vero, HWV 77: Recitativo. Ah, che pur troppo è vero
13. Ah, che pur troppo è vero, HWV 77: Aria. Col partir la bella Clori
14. Ah, che pur troppo è vero, HWV 77: Recitativo. In solitaria parte
15. Ah, che pur troppo è vero, HWV 77: Aria. Care mura!
16. Ah, che pur troppo è vero, HWV 77: Recitativo. Numi ingiusti spietati
17. Ah, che pur troppo è vero, HWV 77: Aria. Da che perso ho la mia Clori
18. Non sospirar, non piangere, HWV 141: Aria. Non sospirar, non piangere
19. Non sospirar, non piangere, HWV 141: Recitativo. Sol potrai co' respiri
20. Non sospirar, non piangere, HWV 141: Aria. Sì bel foco è quel che t'arde
21. Figlio d'alte speranze, HWV 113: Recitativo. Figlio d'alte speranze
22. Figlio d'alte speranze, HWV 113: Aria. Troppo costa ad un’alma
23. Figlio d'alte speranze, HWV 113: Recitativo. Era conforto il suo penar tra i fiori
24. Figlio d'alte speranze, HWV 113: Aria. Sia guida, sia stella
25. Figlio d'alte speranze, HWV 113: Recitativo. In così dir previde
26. Figlio d'alte speranze, HWV 113: Aria. Brillava protetto
Handel’s cantatas represent an important musical repertoire that until recently has been little known. Consisting of about 100 separate works, most were written over a period of a few years for private performance in Italy.
They range from musical miniatures containing only two arias connected by recitative and accompanied by continuo (a bass line typically realized by cello and harpsichord) to larger works with named characters, a dramatic story, and rich instrumental forces. Telling more often than not about the pangs of love, these are intimate works, with texts frequently written by (and sometimes about) members of the privileged audience for which they were composed. A number of Handel’s cantatas have texts by one of his important Italian patrons, Cardinal Benedetto Pamphilj.
The project of Marco Vitale to record all of Handel’s cantatas is thrilling. The continuo cantatas have never been recorded in full and many have never been recorded at all. Thus, this project will bring to life largely unknown music by one of the world’s greatest composers. Further, performance all the cantatas will place the larger, instrumental works in the musical context of their creation.
This project is the continuation of the ‘Handel Complete Cantatas’ series appeared recently on the market with four volumes issued. This is the third volume presented by the ayros recording label, as continuation of the series and it features the Italian soprano Beatrice Palumbo.
Contrasto Armonico presents here 6 cantatas, with an outstanding dramatic value and an extended palette of instrumental colors, grouped by the common theme of unrequited love.
Alpestre montre (Florence/Venice, 1709?) depicts a young man in despair over an unrequited love. The setting is a craggy, alpine forest, where dark shadows and spectres mirror the thoughts and invade the heart of an unrequited lover who says that he will only find peace in death. In the final aria, he asks only that his beloved offer a final farewell at his grave.
Chi rapì la pace (Florence, 1706) may be one of Handel’s earliest Italian works. In the movement pattern aria-recitative-aria, it depicts a similar story. The lover asks, “Who stole the peace from my heart?” and decides it was Cupid who wounded him.
Ah, che pur troppo è vero (Florence, 1707 or 1709) once again presents an unrequited lover. The difference here is that the beloved is distant rather than unresponsive, so the lover, after contemplating death, chooses to hope.
Pensieri notturni di Filli (“Nel dolce dell’oblio”) (Rome, 1707), for soprano, recorder and basso continuo, cannot be precisely dated, but the paper and layout of Handel’s score matches other works from his first year in Rome. In the text of the cantata, the singer watches Phyllis, whom he loves, as she dreams of her own beloved. Apparently, there is a chain of unreciprocated love: the narrator loves Phyllis, who loves another, who seems, alas, to love still another. The singer concludes that being deceived in a dream can have its delights, but when one awakens delight turns to sorrow.
Non sospirar (Florence, 1707 or 1709) is a continuo cantata with two recitative aria pairs. Like Chi rapì il pace, it follows the somewhat reduced pattern of aria-recitative-aria, and, once again, the singer suffers from love. In the first aria, the singer tries to suppress his sighs and tears, keeping his sadness “inside himself completely.” And, once again, Handel turns to a sharply-dotted rhythmic pattern in the bass to depict the lover’s distress, a continuing motive in his compositional style.
Figlio d’alte speranza (Son of high hopes), set for soprano, violins, and continuo in three recitative-aria pairs, tells the story of King Abdolonymus, born to greatness, reduced to being a gardener, and restored to the throne of Sidon. Unlike the typical cantata in which the singer speaks in the first person, this story is narrated in the third person, giving it an unusual formality. Although the image of a “wheel of fortune” is never specifically mentioned in the text, Handel builds all three arias on this concept using distinct turning motives in the accompaniment of each.
Handel never published his cantatas, probably because they were written in private circumstances, but as a result they served him as a repository of inventive material throughout his life. Especially as he moved from city to city before settling for good in London, Handel chose to give his new audiences a chance to hear music he had written elsewhere.
Handel: Cantate 01
01. Notte placida e cheta, HWV 142: I. Recitativo - "Notte placida e cheta"
02. Notte placida e cheta, HWV 142: II. Aria - "Zeffiretti, deh venite"
03. Notte placida e cheta, HWV 142: III. Recitativo - "Momento fortunato"
04. Notte placida e cheta, HWV 142: IV. Aria - "Per un istante"
05. Notte placida e cheta HWV 142: V. Accompagnato - "Ma già sento che spande"
06. Notte placida e cheta, HWV 142: VI. Aria - "Luci belle, vaghe stelle"
07. Notte placida e cheta, HWV 142: VII. Accompagnato - "Oh delizie d'Amor"
08. Notte placida e cheta HWV 142: VIII. Aria - "Che non si dà qua giù"
09. Qualor l’egre pupille, HWV 152: I. Recitativo - "Qualor l’egre pupille"
10. Qualor l’egre pupille, HWV 152: II. Aria - E' il pensier nella mia mente
11. Qualor l’egre pupille, HWV 152: III. Recitativo - "Lungi del caro oggetto"
12. Qualor l’egre pupille HWV 152: IV. Aria - "S’altri gode pensando al suo bene"
13. Qualor l’egre pupille, HWV 152: V. Recitativo - "Chi chiama amor tiranno"
14. Ne’ tuoi lumi, o bella Clori, HWV 133: I. Aria - "Ne’ tuoi lumi, o bella Clori"
15. Ne’ tuoi lumi, o bella Clori, HWV 133: II. Recitativo - "Credi che quanto dolci"
16. Ne’ tuoi lumi, o bella Clori, HWV 133: III. Aria - "Superbetti occhi amorosi"
17. Ne’ tuoi lumi, o bella Clori, HWV 133: IV. Recitativo - "Sul pallido mio volto"
18. Ne’ tuoi lumi, o bella Clori, HWV 133: V. Aria - "La mia piaga, se v’appaga"
19. Dietro l’orme fugaci (Armida abbandonata), HWV 105: I. Accompagnato - "Dietro l’orme fugaci"
20. Dietro l’orme fugaci (Armida abbandonata), HWV 105: II. Aria - "Ah! crudele"
21. Dietro l’orme fugaci (Armida abbandonata), HWV 105: III. Recitativo - "Per te mi struggo, infido"
22. Dietro l’orme fugaci (Armida abbandonata), HWV 105: IV. Accompagnato - "O voi, dell’incostante"
23. Dietro l’orme fugaci (Armida abbandonata), HWV 105: V. Aria - "Venti, fermate, si"
24. Dietro l’orme fugaci (Armida abbandonata), HWV 105: VI. Recitativo - "Ma che parlo, che dico?"
25. Dietro l’orme fugaci (Armida abbandonata) HWV 105: VII. Aria - "In tanti affanni miei"
Handel’s cantatas represent an important musical repertoire that until recently has been little known. Consisting of about 100 separate works, most were written over a period of a few years for private performance in Italy.
They range from musical miniatures containing only two arias connected by recitative and accompanied by continuo (a bass line typically realized by cello and harpsichord) to larger works with named characters, a dramatic story, and rich instrumental forces. Telling more often than not about the pangs of love, these are intimate works, with texts frequently written by (and sometimes about) members of the privileged audience for which they were composed. A number of Handel’s cantatas have texts by one of his important Italian patrons, Cardinal Benedetto Pamphilj.
The project of Marco Vitale to record all of Handel’s cantatas is thrilling. The continuo cantatas have never been recorded in full and many have never been recorded at all. Thus, this project will bring to life largely unknown music by one of the world’s greatest composers. Further, performance all the cantatas will place the larger, instrumental works in the musical context of their creation.
This project is the continuation of the ‘Handel Complete Cantatas’ series appeared recently on the market with four volumes issued. This is the first volume presented by the ayros recording label, as continuation of the series . This CD features the great soprano Roberta Mameli, an acclaimed specialist of the Handel repertoire and it includes the wonderful cantatas “Notte placida e cheta” and “Armida abbandonata”.
Handel: Cantate 02
01. Sonata Op. 4 No. 5: I. Preludio
02. Sonata Op. 4 No. 5: II. Allemanda
03. Sonata Op. 4 No. 5: III. Corrente
04. Sonata Op. 4 No. 5: IV. Gavotta
05. Spande ancor a mio dispetto: I. Spande ancor a mio dispetto
06. Spande ancor a mio dispetto: II. O! che da fiere pene
07. Spande ancor a mio dispetto: III. Da balza in balza
08. Dalla guerra amorosa: I. Dalla guerra amorosa
09. Dalla guerra amorosa: II. Non v'alletti un occhio nero
10. Dalla guerra amorosa: III. Fuggite, si fuggite
11. Dalla guerra amorosa: IV. La bellezza è com'un fiore
12. Dalla guerra amorosa: V. Fuggite, si fuggite, a chi servo d'amor
13. Sonata Op. 4 No. 3: I. Preludio
14. Sonata Op. 4 No. 3: II. Corrente
15. Sonata Op. 4 No. 3: III. Sarabanda
16. Sonata Op. 4 No. 3: IV. Tempo di Gavotta
17. Nell'Africane selve: I. Nell'Africane selve
18. Nell'Africane selve: II. Langue trema
19. Nell'Africane selve: III. Nice là, fra confine
20. Nell'Africane selve: IV. Chiedo amore, altro non bramo
21. Cuopre tal volta il cielo: I. Cuopre tal volta il cielo
22. Cuopre tal volta il cielo: II. Tuona, balena
23. Cuopre tal volta il cielo: III. Così fiera procella
24. Cuopre tal volta il cielo: IV. Per pietà de'miei martiri
Handel’s cantatas represent an important musical repertoire that until recently has been little known. Consisting of about 100 separate works, most were written over a period of a few years for private performance in Italy.
They range from musical miniatures containing only two arias connected by recitative and accompanied by continuo (a bass line typically realized by cello and harpsichord) to larger works with named characters, a dramatic story, and rich instrumental forces. Telling more often than not about the pangs of love, these are intimate works, with texts frequently written by (and sometimes about) members of the privileged audience for which they were composed. A number of Handel’s cantatas have texts by one of his important Italian patrons, Cardinal Benedetto Pamphilj.
The project of Marco Vitale to record all of Handel’s cantatas is thrilling. The continuo cantatas have never been recorded in full and many have never been recorded at all. Thus, this project will bring to life largely unknown music by one of the world’s greatest composers. Further, performance all the cantatas will place the larger, instrumental works in the musical context of their creation.
This project is the continuation of the ‘Handel Complete Cantatas’ series appeared recently on the market with four volumes issued. This is the second volume presented by the ayros recording label, as continuation of the series . This CD features the bass-baritone Mitchell Sandler, who worked in other CD productions of Contrasto Armonico (Aci, Galatea e Polifeo & La Resurrezione). The CDs contains also two trio-sonatas by Arcangelo Corelli.
Handel: Cantate 03
01. Alpestre monte, HWV 81: Accompagnato. Alpestre monte
02. Alpestre monte, HWV 81: Aria. Io so ben ch’il vostro orrore
03. Alpestre monte, HWV 81: Recitativo. Quindi men vengo a voi
04. Alpestre monte, HWV 81: Aria. Almen dopo il fato mio
05. Chi rapì la pace al core, HWV 90: Aria. Chi rapi la pace al core?
06. Chi rapì la pace al core, HWV 90: Recitativo. Figlio d'un fabbro, e amore
07. Chi rapì la pace al core, HWV 90: Aria. Pupilla lucente
08. Pensieri notturni di Filli, HWV 134: Recitativo. Nel dolce dell'oblio
09. Pensieri notturni di Filli, HWV 134: Aria. Giacché il sonno a lei dipinge
10. Pensieri notturni di Filli, HWV 134: Recitativo. Così fida ella vive
11. Pensieri notturni di Filli, HWV 134: Aria. Ha l’inganno il suo diletto
12. Ah, che pur troppo è vero, HWV 77: Recitativo. Ah, che pur troppo è vero
13. Ah, che pur troppo è vero, HWV 77: Aria. Col partir la bella Clori
14. Ah, che pur troppo è vero, HWV 77: Recitativo. In solitaria parte
15. Ah, che pur troppo è vero, HWV 77: Aria. Care mura!
16. Ah, che pur troppo è vero, HWV 77: Recitativo. Numi ingiusti spietati
17. Ah, che pur troppo è vero, HWV 77: Aria. Da che perso ho la mia Clori
18. Non sospirar, non piangere, HWV 141: Aria. Non sospirar, non piangere
19. Non sospirar, non piangere, HWV 141: Recitativo. Sol potrai co' respiri
20. Non sospirar, non piangere, HWV 141: Aria. Sì bel foco è quel che t'arde
21. Figlio d'alte speranze, HWV 113: Recitativo. Figlio d'alte speranze
22. Figlio d'alte speranze, HWV 113: Aria. Troppo costa ad un’alma
23. Figlio d'alte speranze, HWV 113: Recitativo. Era conforto il suo penar tra i fiori
24. Figlio d'alte speranze, HWV 113: Aria. Sia guida, sia stella
25. Figlio d'alte speranze, HWV 113: Recitativo. In così dir previde
26. Figlio d'alte speranze, HWV 113: Aria. Brillava protetto
Handel’s cantatas represent an important musical repertoire that until recently has been little known. Consisting of about 100 separate works, most were written over a period of a few years for private performance in Italy.
They range from musical miniatures containing only two arias connected by recitative and accompanied by continuo (a bass line typically realized by cello and harpsichord) to larger works with named characters, a dramatic story, and rich instrumental forces. Telling more often than not about the pangs of love, these are intimate works, with texts frequently written by (and sometimes about) members of the privileged audience for which they were composed. A number of Handel’s cantatas have texts by one of his important Italian patrons, Cardinal Benedetto Pamphilj.
The project of Marco Vitale to record all of Handel’s cantatas is thrilling. The continuo cantatas have never been recorded in full and many have never been recorded at all. Thus, this project will bring to life largely unknown music by one of the world’s greatest composers. Further, performance all the cantatas will place the larger, instrumental works in the musical context of their creation.
This project is the continuation of the ‘Handel Complete Cantatas’ series appeared recently on the market with four volumes issued. This is the third volume presented by the ayros recording label, as continuation of the series and it features the Italian soprano Beatrice Palumbo.
Contrasto Armonico presents here 6 cantatas, with an outstanding dramatic value and an extended palette of instrumental colors, grouped by the common theme of unrequited love.
Alpestre montre (Florence/Venice, 1709?) depicts a young man in despair over an unrequited love. The setting is a craggy, alpine forest, where dark shadows and spectres mirror the thoughts and invade the heart of an unrequited lover who says that he will only find peace in death. In the final aria, he asks only that his beloved offer a final farewell at his grave.
Chi rapì la pace (Florence, 1706) may be one of Handel’s earliest Italian works. In the movement pattern aria-recitative-aria, it depicts a similar story. The lover asks, “Who stole the peace from my heart?” and decides it was Cupid who wounded him.
Ah, che pur troppo è vero (Florence, 1707 or 1709) once again presents an unrequited lover. The difference here is that the beloved is distant rather than unresponsive, so the lover, after contemplating death, chooses to hope.
Pensieri notturni di Filli (“Nel dolce dell’oblio”) (Rome, 1707), for soprano, recorder and basso continuo, cannot be precisely dated, but the paper and layout of Handel’s score matches other works from his first year in Rome. In the text of the cantata, the singer watches Phyllis, whom he loves, as she dreams of her own beloved. Apparently, there is a chain of unreciprocated love: the narrator loves Phyllis, who loves another, who seems, alas, to love still another. The singer concludes that being deceived in a dream can have its delights, but when one awakens delight turns to sorrow.
Non sospirar (Florence, 1707 or 1709) is a continuo cantata with two recitative aria pairs. Like Chi rapì il pace, it follows the somewhat reduced pattern of aria-recitative-aria, and, once again, the singer suffers from love. In the first aria, the singer tries to suppress his sighs and tears, keeping his sadness “inside himself completely.” And, once again, Handel turns to a sharply-dotted rhythmic pattern in the bass to depict the lover’s distress, a continuing motive in his compositional style.
Figlio d’alte speranza (Son of high hopes), set for soprano, violins, and continuo in three recitative-aria pairs, tells the story of King Abdolonymus, born to greatness, reduced to being a gardener, and restored to the throne of Sidon. Unlike the typical cantata in which the singer speaks in the first person, this story is narrated in the third person, giving it an unusual formality. Although the image of a “wheel of fortune” is never specifically mentioned in the text, Handel builds all three arias on this concept using distinct turning motives in the accompaniment of each.
Handel never published his cantatas, probably because they were written in private circumstances, but as a result they served him as a repository of inventive material throughout his life. Especially as he moved from city to city before settling for good in London, Handel chose to give his new audiences a chance to hear music he had written elsewhere.
Year 2019 | Classical | FLAC / APE
As a ISRA.CLOUD's PREMIUM member you will have the following benefits:
- Unlimited high speed downloads
- Download directly without waiting time
- Unlimited parallel downloads
- Support for download accelerators
- No advertising
- Resume broken downloads