Handel 2018

Although George Frideric Handel is thought of as the quintessential “English” composer, we should not forget that he was born in Halle, Germany and had a similar upbringing to such contemporaries as Georg Philipp Telemann and Johann Sebastian Bach, among others. His teacher from 1692 was Friedrich Wilhelm Zachau, organist at the Marktkirche, Halle. When Zachau died in 1712, Bach was approached to become his successor in Halle, a position he declined even though a contract had been drawn up and needed only his signature. At that time Handel was well traveled and far from Halle, having spent some years in Hamburg, where he was active in the opera, then more years based in Rome, and by 1712 had already been in London for two years. Thus Handel’s career, and the music he composed, was somewhat different from that of Bach and his contemporaries in Germany. But despite the differences, the roots were the same, and Handel maintained his contacts in Germany and was fully aware of the music being performed there.

Roland Wilson enjoys great esteem as a trumpeter and a cornett player who performs with his own ensemble, and as a musicologist his name stands for the rediscovery of many an early music rarity. On CPO's new recording we hear two highly interesting works that once were (and today still are) ascribed to George Frideric Handel. Johann Mattheson, who was working on the setting of the same libretto in 1723, wrote a detailed review of this Passion probably first performed in 1704 and published anonymously. Although Mattheson does not mention the 'world-famous' man by name, his choice of words repeatedly offers clear references, for example, when he states that the inscription Pilate had put on the cross caused him 'new business' ('neue Händel').

Recorded live in June 2017 at the magnificent Liceu Theatre in Barcelona, this DVD is the companion to Joyce DiDonato's award-winning album In War and Peace: Harmony through Music. Seeking answers to the existential question "In the midst of chaos, how do you find peace?", it makes a compelling piece of music theatre as DiDonato journeys through arias by Handel, Purcell, Monteverdi, Leo and Jommelli with Il Pomo d'Oro and conductor Maxim Emelyanychev…

Acclaimed soprano Carolyn Sampson, partnered by Robert King and The King's Consort,with whom she has been associated throughout her professional career, turns her talents to Handel's two most dramatic cantatas, linked by the theme of abandoned women.

Erin Helyard has been acclaimed as an inspiring conductor, a virtuosic and expressive performer of the harpsichord and fortepiano, and as a lucid scholar who is passionate about promoting discourse between musicology and performance. Erin graduated in harpsichord performance from the Sydney Conservatorium of Music with first-class honours and the University Medal. He completed his Masters in fortepiano performance and a PhD in musicology with Tom Beghin at the Schulich School of Music, McGill University, Montreal. He was named the Westfield Concert Scholar (Cornell University) on fortepiano for 2009–10 and from 2003 to 2012 was a central member of Montreal’s award-winning Ensemble Caprice.

One of opera’s most outspoken and impassioned personalities, Joyce DiDonato reminds us with her new albumIn War and Peace that music “soothes turmoil, threatens power and the status quo, and gloriously exalts the spirit”. Her selection of arias demonstrates how powerfully Baroque opera explores the extremes of human nature – from the tumult of Handel’s Scenes of Horror, Scenes of Woeto Purcell’s descent into despair, Dido’s Lament. Joyce’s longtime partners, the spirited Italian Baroque ensemble Il Pomo d’Oro, join her on this unique journey through sublime, challenging music; through chaos transformed by the eternal search for serenity.

Jennifer Vyvyan is the star of Handel’s Semele in an early recording of the opera conducted by Anthony Lewis and recorded for L’Oiseau-Lyre in 1956; this pioneering Handel recording of the 1950s in a new digital remastering, released on Decca CD for the first time.

Handel's Italian cantatas date from early in his career, with few exceptions (none on display here). As a group they are less well-known than his operas, but they're equally virtuosic, and performances of the cantatas whole, as with the three here, are a bit more satisfying than with the operas. The cantatas were composed for parties among powerful Roman cardinals, and they catch the young Handel at the peak of his first success, as Roman audiences hailed him as "il caro Sassone" (the dear Saxon).