Handel: Handel

Latest release on VIVAT brings Mendelssohn’s astonishing reconstruction of Handel’s great oratorio Israel in Egypt. Mendelssohn’s 1833 Düsseldorf performance has been painstakingly reconstructed from fragments and sources across Europe: the large and colourful orchestra, playing nineteenth-century instruments, produces vivid new sonorities, and the double choir sings magnificently. Listeners familiar with Handel’s 1739 version will also find new numbers, significant changes to the order of movements and very different orchestrations.

The Concerto Copenhagen is Scandinavia’s most renowned Baroque ensemble and one of the most innovative such formations worldwide. Its trademarks are its unusual program combinations featuring Scandinavian rarities and famous Baroque masterpieces. This world-class orchestra now turns to Handel’s great Brockes-Passion in a CD recording based on the Halle edition of this composer’s works. The Passion text published by the well-to-do Hamburg resident Barthold Heinrich Brockes was a literary bestseller during the early eighteenth century.

The present recording honors three important composers celebrating major anniversaries in 2009: Handel, Mendelssohn and Haydn. George Frideric Handel’s Dettinger Te Deum is presented here not in its original version, but rather in an arrangement by Felix Mendelssohn Bartholdy, who rendered outstanding service to music not only through the revival of Bach’s choral works, but also through those of Handel. In addition, The Storm, the little-known choral work by Joseph Haydn, is also to be heard here. He composed it during his first visit to England and later arranged it for a large ensemble.

When Handel had a difficult time as opera manager, in the 1730s, he turned to oratorios, which required neither the expensive Italian soloists nor complicated sets. Saul, based on the First Book of Samuel, written in 1738, and first performed in 1739, was relatively popular, with Handel reviving it several times through 1754. With all of the dramatic features of Handel’s oratorios, this work, featuring a bass in the starring role, opens with a festive four-movement instrumental Symphony.

Georg Friedrich Händel wrote musical history with his operas. In his chosen domicile, London, he had to fight off italian competition, but having already studied their style in Rome he was well-equipped to mount the most important of the world's stages.

Betrayal, revenge, inheritance conflicts and forbidden love at the Persian court: in 1728 this explosive mixture inspired Handel to compose the successful opera 'Siroe, Re di Persia', one of his last compositions for the Royal Academy of Music at the King’s Theatre. Handel based his work on the libretto by the famous poet Pietro Metastasio. In its first season 'Siroe' was performed on 18 successive evenings, but was never subsequently revived in Handel’s lifetime.

Saul is one of Handel's most dramatic and touching oratorios. Saul's insane jealousy and its tragic results are movingly told, with rich characterizations for the main characters and some of the composer's most colorful music. The addition of a carillon is exotic and flavorful; the trumpets and drums are exciting. McCreesh underlines the drama with his orchestra's crisp attacks and the chorus has real personality, whether in the songs of praise or the laments. Neil Davies' rich bass is remarkably expressive and fluid as Saul, while countertenor Andreas Scholl is triumphant as David; his tone is rich and full, capable of expressing anger, grief, loyalty. Mark Padmore uses his lovely, pliant tenor with warmth as Jonathan, and Susan Gritton's Merab is stunning.

If only for his melodic genius, Handel would have been forever acknowledged as one of history's greatest composers. These delightful sonatas for recorder provide abundant evidence to support that claim, and Marion Verbruggen's warm, resonant recorder and brilliant flute prove the perfect partners for bringing these rarely heard pieces to life.

Alexander's Feast (HWV 75) is an ode with music by George Frideric Handel set to a libretto by Newburgh Hamilton. Hamilton adapted his libretto from John Dryden's ode Alexander's Feast, or the Power of Music (1697) which had been written to celebrate Saint Cecilia's Day. Jeremiah Clarke (whose score is now lost) set the original ode to music.
Handel composed the music in January 1736, and the work received its premiere at the Covent Garden Theatre, London, on 19 February 1736.

Handel's Saul is an operatic oratorio with ever intensifying action and increasingly drastic scenes. Handel seems to have been especially moved by this particular text. He gives each of the five main soloists a distinctive profile. Even the vocal supporting roles are unique and intentionally individual. In none of his other oratorios does Handel call for a more differentiated orchestra. Alongside the strings, he uses oboes, recorders, bassoons, trumpets, timpani and trombones. For me, Saul is one of the great high points of Handel's works. All of the performers on this recording thoroughly enjoyed taking on the challenges brought forth by this music.