Iestyn Davies Ensemble Guadagni

Handel Nine German Arias Purcell · Buxtehude · Blow WHLive0038 Made & Printed in Iestyn Davies Ensemble Guadagni

Recorded live at Wigmore Hall, London 6 June 2009

01 Jubilate Domino BuxWV64 08.41 02 Gentle Shepherds, you that know 05.52 ‘A Pastoral Elegy on the Death of Mr. John Playford’ Z464 DDD 03 As on his deathbed gasping Strephon lay 03.37 WHLive0038 ‘A Pastoral Elegy on the Earl of Rochester’ C 2010 The Wigmore Hall Trust P 2010 The Wigmore Hall Trust 04 Henry Purcell What a sad fate is mine Z428a 03.28 Made & Printed in England

All rights reserved. Nine German Arias 49.48 Unauthorized copying, hiring, 05 Kühft’ger Zeiten eitler Kummer HWV202 06.41 lending, public performance and broadcasting prohibited. 06 Die ihr aus dunkeln Grüften HWV208 04.56 07 Süsse Stille, sanfte Quelle HWV205 05.20 LC 14458 08 Süsser Blumen Ambraflocken HWV204 06.55 09 Das zitternde Glänzen der spielenden Wellen HWV203 05.15 Wigmore Hall 36 Wigmore Street 10 Singe, Seele, Gott zum Preise HWV206 04.43 London W1U 2BP 11 Meine Seele hört im Sehen HWV207 05.39 www.wigmore-hall.org.uk John Gilhooly Director 12 In den angenehmen Büschen HWV209 03.35 The Wigmore Hall Trust 13 Flammende Rose, Zierde der Erden HWV210 05.48 Reg. Charity No. 1024838 encore 14 announcement 00.10 15 Henry Purcell An Evening Hymn 04.51 ‘Now that the sun hath veiled his light’ Total time: 76.46 ‘Iestyn Davies’s first concert-collaboration with the four virtuosos who make up Ensemble Guadagni. […] Audiences will be able to enjoy many more concerts of the same musical excellence’ (Classical Source) CD Booklet RPM.qxd 16-06-2010 12:12 Page 2

IESTYN DAVIES LIVE AT WIGMORE HALL Since the countertenor is not a ‘natural’ voice, and felt like home. I knew that somehow I would end since each singer must find his own evolutionary up doing it again. But I never thought I’d be an path through virgin vocal territory, Iestyn Davies’s singer, or walk in the footsteps of James route from treblehood to what James Bowman has Bowman. And I never thought about the need for hailed as countertenor mastery is of more than a good singing voice – I just assumed that my passing interest. musicality would carry me through, as it does Born in York in 1979, Davies was encouraged when you are a treble.’ by his father – the first cellist of the Fitzwilliam He started singing countertenor out of sheer String Quartet – to learn the piano and recorder boredom. ‘It just happened. I was sitting there in from a very early age, and he entered the choir rehearsal, and started singing countertenor at St John’s College, Cambridge on his eighth because it felt quite nice – even though it didn’t birthday. Each morning began with instrumental work particularly well. But the feeling reminded practice followed by an hour’s choir rehearsal. me of what it was like to be a treble soloist. There was no voice training as such, he says, but Somebody next to me said it sounded OK, and the singing discipline was fierce. His vocal hero, suggested that I offer myself to the Wells surprisingly, was Aled Jones, whose rendition Cathedral choir.’ He did so, and was invited to of ‘How beautiful are the feet’ he faithfully bolster them as an unpaid ‘dep’ once a week: reproduced for his successful choir audition. ‘That was an apprenticeship of sorts, both At thirteen he was chosen to sing Cupid for daunting and wonderful. My range was appalling, a recording conducted by Richard Hickox of as was my stamina. And I had this typical counter- Purcell’s Timon of Athens, in which the other thing of seeing the high and low notes singers included James Bowman, Ian Bostridge coming, and panicking in advance. At that point I and John Mark Ainsley; in the same year he realized I needed singing lessons.’ So he enrolled enrolled at Wells Cathedral School as a budding for an intensive Eton choral course which offered oboist, and the following year his voice broke. He master-classes, barbershop quartets, and a big sang in the choir briefly as a tenor, before sinking choral service, and as a result was chosen to sing down to bass. ‘But I always wanted to perform’, with Eton’s Rodolfus Choir. he says. He sang what he calls ‘hammy pop tenor, ‘I knew that if I could get my voice right, every- trying to emulate Blur’ in a band at school for thing else would fall into place – my musicianship which he also wrote the songs. ‘But at the back of was fine. So I restarted technically from scratch my mind I always had this pride at having been a with my tutor David Lowe, and it was four yours treble soloist in a good choir – I was always aware before he suddenly said: ‘Now that’s a good that this was an exceptional thing, and it always sound. How did that feel?’ That was the question 2 3 CD Booklet RPM.qxd 16-06-2010 12:12 Page 3

mystery to it.’ One might reply that there was indeed some mystery in how a young singer could emerge with such vocal perfection as Davies’s, with a sound of such refinement, beauty and tensile strength. He went back to St John’s, Cam- bridge as a choral scholar, and got his first big operatic break while still a student at the Royal Academy; his gift for physical comedy – ‘part of me would love to be Rowan Atkinson’ – seems to have been inborn. The Royal Philharmonic Society’s 2010 Young Artist Award has set the seal on his success. For this concert, Davies’s first idea had been a collection of Purcell and Blow elegies, but he rejected that as too depressing: indeed, one of the elegies he actually has included – Blow’s As on his deathbed gasping Strephon lay, which celebrates the final repentance of the Earl of Rochester, a famous rake – is inherently comic. The triumphal cantata by Buxtehude with which Davies and the Ensemble Guadagni open their concert sums up, he says, what it is all about. ‘Though it’s the one sacred piece in the pro- gramme, the texts of Handel’s ‘Nine German Arias’ make them in effect devotional music too.’ GEORGE FRIDERIC HANDEL Davies admits he has taken liberties with Purcell’s ‘Gentle shepherds’, whose closing he constantly asked, and trained me to ask ‘chorus’ calls for a second voice: this is here myself, so that wherever I was, I could survive represented by the viola da gamba; Davies has without having him at my beck and call. Once also transposed the piece down from its original you’ve learned the technical aspects of breathing, scoring for soprano. Meanwhile he has given the and know how it should feel, it’s easy to be bass line for Blow’s elegy to Rochester to the lute. consistent, and monitor your progress. There’s no He has also felt free both to transpose the 3 4 CD Booklet RPM.qxd 16-06-2010 12:12 Page 4

Handel arias, and also to let instinct dictate their example, vividly recalls ‘Va tacito’ from Giulio accompaniment, for, as he points out, they were Cesare. Not published during his lifetime, and simply written out in three lines – instrumental, constituting the last work he wrote in German, vocal and bass. The context in which they would they are the closest thing we have to a Baroque have been performed is not known – they might song cycle. ‘This is real chamber music’, says simply have been experiments, but most likely Davies. ‘You can’t sing them like operatic arias. I they were written for a particular soprano. But hope that on this CD you can hear us listening to they derive from Handel’s most prolific period each other.’ of opera composition, and are full of operatic Notes by Michael Church © 2010 echoes: ‘Die ihr aus dunklen Gruften’, for

www.wigmore-hall.org.uk/live

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DIETERICH BUXTEHUDE (c1637–1707) 1 Jubilate Domino BuxWV64 Jubilate Domino omnis terra Make a joyful noise unto the Lord, all the earth: Cantate et exultate et psallite! make a loud noise, and rejoice, and sing praise. Psallite Domino cithara, Sing unto the Lord with the harp; Cithara et voci psalmi. with the harp, and the voice of a psalm. In buccinis et voce tubae, With trumpets and sound of cornet Jubilate in conspectu regis Domini! make a joyful noise before the Lord, the King. (Psalm 98, verses 4–6)

HENRY PURCELL (1659–1695) 2 Gentle shepherds, you that know ‘A Pastoral elegy on the death of Mr John Playford’ Z464 (1686–7) Gentle shepherds, you that know Strew them gently on his hearse; The charms of tuneful breath And when those short liv’d glories wither, That harmony is grief can show, Crown it with a lasting verse. Lament for pious Theron’s death! Roses soon will fade away, Theron, the good, the friendly Theron’s gone! Verse and tomb must both decay; Rending mountains, Yet Theron’s name, in spite of fate’s decree, Weeping fountains, An endless fame shall meet; Groaning dales No verse so durable can be, And echoing vales, Nor roses half so sweet. If you want skill, will teach you how to moan. Then waste no more in sighs your breath, Could innocence or piety expiring life maintain, Nor think his fate was hard; Or Art prevail on Destiny, There’s no such thing as sudden death Theron still had grac’d the plain, To those that always are prepar’d. Belov’d of Pan, and dear to Phoebus’ train. Prepar’d like him, by harmony and love, Muses, bring your roses hither, To join at first approach the sacred choir above. (, 1652–1715)

JOHN BLOW (1649–1708) 3 As on his death-bed gasping Strephon lay ‘A pastoral elegy on the Earl of Rochester’ (1680–81) As on his death-bed gasping Strephon lay; Strephon the wonder of the plains; The noblest of the Arcadian swains; Strephon the bold, the witty and the gay: With many a sigh, and many a tear he said, Remember me, ye shepherds, when I’m dead.

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Ye trifling glories of the world adieu. Then since your fatal hour will surely come, And vain applauses of the age; Surely your heads lay low as mine, For when we quit this mortal stage, Your bright meridian sun decline, Believe me, shepherds, for I tell you true, Beseech the mighty Pan to guard you home, Those pleasures which from virtuous deeds we have, If in Elysium you would happy be: Create the sweetest slumbers in the grave. Live not like Strephon, but like Strephon die. (Thomas Flatman, 1637–1688)

HENRY PURCELL (1659–1695) 4 What a sad fate is mine Z428a (?1693–4) What a sad fate is mine, But if by disdain My love is my crime; She can lessen my pain, Or why should she be, ’Tis all I implore, More easy and free To make me love less, To all than to me? Of herself to love more. (Anonymous)

GEORGE FRIDERIC HANDEL (1685–1759) Nine German Arias (1724–7) 5 Künft’ger Zeiten eitler Kummer HWV202 Künft’ger Zeiten eitler Kummer Vain care of times to come Stört nicht unsern sanften Schlummer, Does not disturb our quiet sleep, Ehrgeiz hat uns nie besiegt. Ambition has never conquered us. Mit dem unbesorgten Leben, With the carefree life Das der Schöpfer uns gegeben, The Creator has granted us, Sind wir ruhig und vergnügt. We are quiet and contented. 6 Die ihr aus dunkeln Grüften HWV208 Die ihr aus dunkeln Grüften Ye that from dark pits Den eiteln Mammon grabt, Dig out vain Mammon, Seht, was ihr hier in Lüften Behold what rich treasures you have Für reiche Schätze habt. Here in the free and open air. Sprecht nicht: es ist nur Farb’ und Schein. Do not speak: it is all but paint and illusion. Man zählt und schließt es nicht im Kasten ein. You count it but cannot lock it into the coffins.

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7 Süße Stille, sanfte Quelle HWV205 Süße Stille, sanfte Quelle Sweet quiet, gentle fount Ruhiger Gelassenheit! Of carefree stillness, Selbst die Seele wird erfreut, The soul itself rejoices Wenn ich mir nach dieser Zeit When I, after this time Arbeitsamer Eitelkeit Of industrious vanity, Jene Ruh’ vor Augen stelle, Call before my eyes the rest Die uns ewig ist bereit. That awaits us for all eternity. 8 Süßer Blumen Ambraflocken HWV204 Süßer Blumen Ambraflocken, Ambrosial petals of sweet flowers, Euer Silber soll mich locken, Your silvery sheen incites me Dem zum Ruhm, der euch gemacht. To glorify Him that made thee. Da ihr fallt, will ich mich schwingen And as you fall, I will soar Himmelwärts, und den besingen, Heavenward and sing praises Der die Welt hervorgebracht. To Him who created the world. 9 Das zitternde Glänzen der spielenden Wellen HWV203 Das zitternde Glänzen der spielenden Wellen The quivering shimmer of the sparkling waves Versilbert das Ufer, beperlet den Strand. Silvers the bank, bejewels the shore; Die rauschenden Flüsse, die sprudelnden Quellen The murmuring rivers, the gushing springs Bereichern, befruchten, erfrischen das Land Enrich, quicken, refresh the land, Und machen in tausend vergnügenden Fällen And in a thousand delightful ways Die Güte des herrlichen Schöpfers bekannt. Make the Lord's goodness known to us. 10 Singe, Seele, Gott zum Preise HWV206 Singe, Seele, Gott zum Preise, Sing, O soul, God’s praises, Der auf solche weise Weise Who doth in so wise a manner Alle Welt so herrlich schmückt. So gloriously adorn all things. Der uns durchs Gehör erquickt, Let Him who through our hearing doth revive us, Der uns durchs Gesicht entzückt, Who through our sight doth delight us, Wenn er Bäum’ und Feld beblümet, When with blossoms He bedecks the trees and fields, Sei gepreiset, sei gerühmet! Be praised, be extolled! 11 Meine Seele hört im Sehen HWV207 Meine Seele hört im Sehen, My soul in hearing doth see Wie, den Schöpfer zu erhöhen, How to exalt the creator, Alles jauchzet, alles lacht. Everything rejoices, everything laughs. Höret nur, Hark! Do but hear: the burgeoning Des erblüh’nden Frühlings Pracht The burgeoning spring’s beauty Ist die Sprache der Natur, Is the voice of nature, Die sie deutlich, durchs Gesicht, Which clearly through our eyes Allenthalben mit uns spricht. Everywhere speaks to us.

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12 In den angenehmen Büschen HWV209 In den angenehmen Büschen, In the pleasant thickets, Wo sich Licht und Schatten mischen, Where light and shadow mingle, Suchet sich in stiller Lust, In quiet delight eye and heart Aug’ und Herze zu erfrischen. Seek to restore themselves. Dann erhebt sich in der Brust Then my contented spirit Mein zufriedenes Gemüte, Rises up within my breast Und lobsingt des Schöpfers Güte. And extols the creator’s bounty. 13 Flammende Rose HWV210 Flammende Rose, Zierde der Erden, Flaming rose, earth’s ornament, Glänzender Gärten bezaubernde Pracht! Enchanting glory of radiant gardens! Augen, die deine Vortrefflichkeit sehen, All eyes that behold your loveliness Müssen, vor Anmut erstaunend, gestehen, With enraptured amazement must confess Dass dich ein göttlicher Finger gemacht. That a divine finger created you. (Barthold Heinrich Brockes, 1680–1747) English translations by Derek Yeld © harmonia mundi s.a.

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HENRY PURCELL (1659–1695) 15 An Evening Hymn ‘Now that the sun hath veiled his light’ Z193 (1688) Now that the sun hath veiled his light, And bid the world goodnight, To the soft bed my body I dispose; But where shall my soul repose? Dear God, even in thy arms. And can there be any so sweet security? Then to thy rest, O my soul, And singing, praise the mercy That prolongs thy days. Alleluia. (William Fuller, 1608–1675)

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Also available on Wigmore Hall Live from all good record shops and from www.wigmore-hall.org.uk/live

NOT JUST DOWLAND Songs for soprano and lute Carolyn Sampson Matthew Wadsworth WHLive0034 ‘Carolyn Sampson’s pure soprano cossets the words, savouring their expressive implications, relishing their shifts of rhythm and subtly sighing with bliss, yearning or heartache depending on the circumstances’ (The Daily Telegraph) ‘Together [Sampson and Wadsworth] weave a superb tapestry of little-known 17th-century vocal music’ (The Independent)

BLESSED SPIRIT: A GLUCK RETROSPECTIVE Classical Opera Company / Ian Page WHLive0037 ‘Gluck’s journey from the formal opera seria to his mature masterworks … is underappreciated … What emerged most strongly from the Classical Opera Company’s showcase was how organic that development actually was … Stéphany has a terrific cutting edge to her voice added to the charge of the moment. She was in good company, too. Sophie Bevan used her rich and supple soprano with unerring intelligence … Ailish Tynan, a lighter, brighter voice, ploughed sweeter furroughs’ (The Times)

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IESTYN DAVIES

Iestyn Davies studied Archaeology and Festival; Corrado (Vivaldi’s Griselda) in Paris; and Anthropology at Cambridge, where he was a Oberon in Britten’s A Midsummer Night’s Dream choral scholar at St John’s College, before for Houston Grand Opera. He recently made his pursuing his vocal studies at the Royal Academy Covent Garden debut as the Spirit in Dido and of Music. Since making his debut as Ottone in Aeneas. He made his debut with the Orchestra L’incoronazione di Poppea for Zürich Opera with Filarmonica della Scala under Dudamel, and has Harnoncourt, his operatic roles have included performanced Britten’s Canticles, Bach’s Mass in Armindo () for ENO; Ottone for Glynde- B Minor and Handel’s , and bourne; Purcell’s King Arthur for New York City Athalia. Opera and ENO; Hamor (), and L’Humana Iestyn Davies has won praise for the power, Fragilità and Pisandro (Monteverdi’s Il ritorno fullness and sheer personality of his voice; he d’Ulisse in patria) for WNO; Voice of Apollo has received accolades for his musicianship of (Britten’s Death in Venice) for ENO; Azul intelligence and maturity and for his acute (Nadaira’s Madrugada) for the Schleswig-Holstein characterization on the operatic stage.

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ENSEMBLE GUADAGNI Matthew Truscott, violin Jonathan Manson, viola da gamba David Miller, theorbo Robert Howarth, harpsichord and organ

Ensemble Guadagni comprises some of the its name from the celebrated castrato, Gaetano UK’s finest period instrument specialists, each Guadagni, who, amongst other things, created of whom have appeared either as soloists or the role of Orfeo in Gluck’s Orfeo ed Euridice. directors at an international level, and regularly Iestyn Davies has pursued a particular interest perform with the Orchestra of the Age of in Guadagni’s career and repertoire, and hopes Enlightenment, and to explore this more in the future with this Opera, to name but a few. The group takes ensemble. This is their debut collaboration.

Produced by Jeremy Hayes Engineered by Steve Portnoi Recorded live at Wigmore Hall, London, 6 June 2009 Director: John Gilhooly Wigmore Hall Live — General Manager: Helen Peate Photography by Benjamin Ealovega Manufactured by Repeat Performance Multimedia, London 11 12