HANDEL AT VAUXHALL, VOL.1

w The Melancholy Nymph, HWV 228 No. 19 G. F. Handel [3.35] 1 Sinfonia from Acis and Galatea, HWV 49 G. F. Handel [3.36] Charles MacDougall tenor

2 Organ Improvisation in the style of John Worgan and Handel [0.59] for Strings and No 1 in A Major Daniel Moult organ e Adagio [1.59] r Fuga [1.55] Op. 4 No. 2 in B flat Major, HWV 290 G. F. Handel t Largo [1.33] 3 Sinfonia: A tempo ordinario e staccato [0.49] y Allegro [3.33] 4 Allegro [4.56] 5 Adagio e staccato [0.48] u As steals the morn upon the night G. F. Handel [6.12] 6 Allegro ma non presto [3.07] from L’Allegro, il Penseroso ed il Moderato, HWV 55 Daniel Moult organ Eleanor Dennis soprano Greg Tassell tenor 7 Accompagnato: Ye verdant plains and woody mountains G. F. Handel [0.42] 8 [Air] Hush, ye pretty warbling ! [5.43] Total timings: [48.18] from Acis and Galatea, HWV 49 Kirsty Hopkins soprano

9 Colin and Phoebe A Pastoral [3.34] Eleanor Dennis soprano Greg Tassell tenor LONDON EARLY Benjamin Bevan baritone BRIDGET CUNNINGHAM CONDUCTOR

0 Dead March from , HWV 53 G. F. Handel [3.06] DANIEL MOULT ORGAN SOPHIE BEVAN • ELEANOR DENNIS • KIRSTY HOPKINS q The Advice G. F. Handel [2.10] CHARLES MACDOUGALL • GREG TASSELL • BENJAMIN BEVAN Sophie Bevan soprano www.signumrecords.com HANDEL AT VAUXHALL Vauxhall though, was never a simple pleasure unfortunately memorable phrase, Dr Johnson time. Much of it was written specifically for David E. Coke park. It began under the Stuarts as a common tells us that the music there was “not too performance at the pleasure gardens, and tavern garden, but with the Georgians it was refined for the general ear”, and for a long time, almost all of it was very new; some, indeed, Vauxhall Gardens, on the south bank of the turned into a real force for good in the the phrase ‘pleasure garden music’ has evoked would certainly have been too sophisticated ‘for River Thames just upstream from Lambeth transformation and modernisation of London, the 18th century equivalent of ‘easy listening’. the general ear’, while some of the rest would Palace, was the pre-eminent pleasure garden helping to make it the most elegant and polite To those who have been misled by Dr Johnson have had a broad appeal. Despite the rival of Georgian . It was the largest, the capital city in Europe. Part of the reason for and others, this CD will come as a revelation, attractions of the artworks, the food, the most commercially successful, and the most this cultural impact was the artistic patronage maybe even a shock. Vauxhall’s music was displays, and the company, it was always music influential of all the sixty or more such places in of its remarkable proprietor, Jonathan Tyers the best and most original that England had that was the centre of attention at Vauxhall London. ‘Pleasure gardens’ were private commercial (1702-1767), who played such an important to offer, not just as regards composition, but Gardens, at least from the mid 1730s until resorts where visitors could expect, for a small role in the development of English art and also in terms of its performance, executed by the second decade of the 19th century, when admission charge, to be entertained with music in the 18th century. Under his management, some of the outstanding musicians of the other more spectacular attractions began to music, refreshments, and a pleasurable rural Vauxhall became a hot-bed of artistic creativity atmosphere; most had little or no horticultural right at the centre of the cultural and social interest. Vauxhall attracted some 100,000 life of London, where a success would advance visits each Summer season, and it thrived a career, and a failure hardly mattered. William as a business for nearly two centuries, from Hogarth helped Tyers to turn it into the first 1661 until 1859. great public gallery for contemporary British art, and found there The gardens became internationally famous, the ideal outlet for his secular music, in spawning many imitators not only in London particular his grand ceremonial pieces, performed and the British Isles, but throughout the World, there to an entirely new audience, amongst from Charleston in the USA to Dunedin in whom his fame would quickly spread. New Zealand. Vauxhall Gardens featured in the drama and fiction of its time, ensuring its For a long time, we have been authoritatively literary immortality, and it is still used by persuaded that the music performed at Vauxhall romantic novelists today, as it was in the Gardens in the 18th century is hardly worth 18th century, as a shorthand for sexual adventure our notice – mere background noise to the and intrigue. main entertainments of the gardens. In an T. Bowles after Samuel Wale, A View of the Chinese Pavilions and Boxes in Vaux Hall Gardens, engraving, hand-coloured, detail (1751).

- 4 - - 5 - monopolise public wonder. Jonathan Tyers, ‘There was a concert, in the course of which, a of assignation, approached by boat across internationally known. Having great vision the developer and sole proprietor of Vauxhall hautbois concerto was so charmingly played, the river Thames. It had a large garden of and being inspired by many things including Gardens from 1729 until his death, consistently that I could have thought myself upon enchanted avenues, flowerbeds and private arbours. the concept of John Milton’s L’Allegro and Il invested heavily in music, not only in the fees ground, had I had spirits more gentle to associate The refreshments were basic and often Penseroso, Tyers went on to commission and salaries of performers and composers, but with. The Hautboy in the open air is heavenly’. supplemented by visitors’ own provisions. architects, painters and sculptors to decorate also in the design and erection of high quality The entertainments, such as they were, were and furnish the gardens, and he employed specialist permanent buildings; these were Vauxhall was an outdoor entertainment, which generated by strolling performers or by the professional musicians to entertain his guests. some of the first such buildings in Europe, came into its own after dark under artificial visitors themselves. This was not yet a classic Among the works of art was the remarkable intended to present the performers to the lighting. This novel convivial diversion was pleasure garden, but the great appeal of the series of fifty or more modern genre paintings greatest advantage for their new audience, open every day from May to September, usually place was that the sexes could meet freely designed by Francis Hayman, a close many of whom would never have been exposed from 5 or 6 o’clock in the evening until the there, without the constraints that circumscribed colleague of , to decorate the to music of this quality before. early hours of the morning. For the charge of the tricky process of socialising among young supper-boxes which surrounded the Grove, the just one shilling, the equivalent cost of men and women in polite society; dozens of central gathering place of the gardens, and What is clear is that part of the fascination admission to a major art exhibition today, Tyers’s the visitors on any one evening would the remarkable life-sized marble statue of of Vauxhall was the experience of listening to visitors, drawn from a huge cross-section of certainly be working girls from the streets Handel, the presiding musical genius of Tyers’s music in the open air, with the opportunity of the public, could, for the first time, freely of London, looking out for new clients. Pepys Vauxhall, designed and created by Louis trying all sorts of different places to listen from; enjoy top quality music alongside original himself, though married at the time, would François Roubiliac. To Tyers, though, the art this was quite new to an audience more used contemporary architecture decorated with some regularly take lady-friends to the gardens for and music at Vauxhall were never just to sitting in a relatively fixed position in a of the best available contemporary visual art. some amorous dalliance after dark. decoration or entertainment – as far as he was concert room or theatre. Music heard while If they wanted, they could also purchase some concerned all the arts were morally redemptive, drinking in a supper-box or strolling in a very expensive refreshments, but this was When Jonathan Tyers took over the New Spring the civilising influence in a chaotic world, so distant point of the garden would have entirely voluntary, even though it was the sale Gardens, Vauxhall, in 1729, he could see that it his investment in the arts was as much produced entirely different experiences from of food and drink that produced the bulk of was ripe for a complete transformation; he had idealistic as commercial. that of standing in front of the Orchestra itself, Tyers’s profits. ambitious ideas for the place, and a mission or on the balcony around the organ. On her visit to impose apparent moral order and civility on Tyers re-launched his garden with a grand to Vauxhall, Fanny Burney’s heroine Evelina is We know from Samuel Pepys and others that this suburban tavern. As part of his plan to re-opening, called a Ridotto al Fresco, on 7 impressed by the al fresco music, despite her seventeenth century Vauxhall, then known as re-brand and civilise the site, Jonathan Tyers June 1732, for which the steep admission ungracious companions: the New Spring Gardens, had been little more dropped the old name in favour of the simpler charge of one guinea was demanded, so as to than a popular country ale-house and place ‘Vauxhall Gardens’, by which it soon became keep the ‘company’ as select and fashionable

- 6 - - 7 - as possible. Following this much publicised followed after an interval by martial music, rich Hebden ‘ and . Others were a strikingly original image, showing the composer re-launch, which was attended by Frederick in brass and, after a second interval, dance more specialised, like Valentine Snow, the completely relaxed, at work on his own. He is Louis, the young Prince of Wales (Vauxhall’s music and wind . After 1745, however, distinguished trumpet-player and leading portrayed ‘in undress’, sitting down in his ground-landlord) and his retinue, and many the concert was given greater popular appeal light of the important brass section. There is house-coat and slippers, resting his left elbow other distinguished guests including Handel, by the addition of songs, which alternated little doubt that the quality of the musical on a pile of his own music books. The composer Vauxhall became London’s most fashionable with the instrumental pieces. It was at this performance was, in fact, second to none. is shown hard at work plucking Apollo’s lyre, evening promenade, due in large part to the point that the regular balanced programme took while a putto at his feet writes the notes on attraction of royal patronage and royal ownership, on its standard form of sixteen pieces in two acts The fashion was for visitors to promenade and a sheet of paper resting on the back of a ; much exploited by Tyers. every evening, eight instrumental and eight vocal. chat during the instrumental music, and to other instruments and books surround the figure. return to the Orchestra for the performance This is a bold and innovative composition for Music played a vital role in Tyers’s Vauxhall. After 1737, when the grand organ was installed of songs. As a result of their starring role a public sculpture. Even its material was It was the element that set the tone of the behind the Orchestra, one of the instrumental at Vauxhall, many of the singers became contentious – normally reserved for noble statues gardens; it not only provided visitors with a pieces had to be an organ concerto, often celebrities in their own right. Songs, whether of royalty, or of dead military heroes in rich topic of polite conversation and discussion, composed by the in-house organist (Thomas pastoral ballads, love songs, patriotic airs, Roman costume, precious white Carrara marble but it also encouraged people to relax and Gladwin from 1737 until 1744, and James songs based on themes of hunting, soldiering or is here used for the informal portrait of an enjoy themselves, and to behave in an orderly Worgan until 1750), and all the singers would spurious regional dialect, became a regular and ordinary living person, just a musician. In fact, manner during their visit. join in a spirited ensemble piece for the popular part of the entertainment. With lyrics however, it is not just a portrait; in its elegant finale. The new organ meant that the band at in English, by contemporary poets like John informality it is a visual manifesto for the Tyers’s early concerts were never advertised in Vauxhall could be relatively small, probably Lockman, Christopher Smart, or Thomas Tyers, English Rococo movement, and it is also an the press except in the most general terms, no more than twelve men on any one evening. set to music from Handel’s , or from the allegory representing the virtues of hard work, and are poorly documented, but it is clear from Employed for the summer months at Vauxhall, works of Thomas Arne, English singers could and of humility – Handel does not care how the reports that do exist that he consistently these men also played in the London theatres perform understandable and accessible words people see him, even in such a public space favoured British composers and performers. during the winter, when the pleasure gardens set to excellent modern melodies. as Vauxhall. He is presented as an engaging, Thomas Augustine Arne, who lived next door were closed. It is clear that these musicians approachable man in his early fifties, rather to the gardens, became the in-house composer were generally versatile, and well able to play Handel is closely identified with the early than the impersonal, elevated composer of in the 1740s, and it was his music, with that two or three different instruments each, allowing development of Tyers’s gardens, where his music incomprehensible Italian operas; he had also of Handel himself, that dominated the for a huge variety of music to be played. was so often played, and where his likeness become a constant presence in a place where programme. An evening’s concert at Vauxhall James Worgan, for example, played organ, dominated the Grove for eight decades. his likeness would be seen and remarked upon began with an organ concerto or , violoncello, and , and John Roubiliac’s life-sized marble portrait presented by thousands of people every season. As far as

- 8 - - 9 - Tyers was concerned, he gained, in this statue, The continual playing of Handel’s music at of our finest Instrumental Performers; who a useful talking point, both inside and outside Vauxhall really is an extraordinary feature of will play (beginning at Five every Evening during the gardens, and an image that was to become the three or four decades of Jonathan Tyers’s the Summer-Season) the Compositions of Mr. a recognisable personification of his gardens. management. There was a huge musical Handel, and other celebrated Masters. More importantly, this work gave Tyers a solid repertoire available, and musicians were used artistic credibility as an established patron, to a wide variety of work, so it must imply a The few compositions specifically reported in especially amongst leading artists and musicians. positive choice by Tyers. His commission of the media as being performed at Vauxhall in the Handel statue appears to confirm that the 1730s and ‘40s are all Handel’s: the What the relationship between Tyers and Handel the choice was his, as does his support of Dead March from his new oratorio Saul (first actually was is not clearly understood. Tyers the composer through the purchase of fifty performed 16 January 1739 at the King’s loved Handel’s music and was a constant tickets for Handel’s benefit concert on 28 Theatre), his setting of God Save the King supporter of his work, and Handel certainly March 1738 at the King’s Theatre, Haymarket from the the Priest, saw in Vauxhall a useful business opportunity, – a very generous gesture on his part, both to and Hush ye Pretty Warbling Choir from Acis to be encouraged and supported. Whether it the composer and to the recipients of those and Galatea. The first and last of these went further than this is yet to be discovered, tickets, possibly Tyers’s favoured employees. were included in the programme of 7 May, although it seems likely that a real friendship 1739, a widely reported occasion on which did exist. A fascinating footnote to this The many media ‘puffs’ which consistently the Prince of Wales visited the Gardens. relationship appears in the nineteenth century promote Handel but determinedly exclude other Handel’s God save the King was performed in-house periodical, the Vauxhall Observer of composers suggest that Handel’s own publicity regularly at Vauxhall; there is a mention of it 1823: ‘we are informed the first piece of music machine, just as efficient as Tyers’s, might being performed there during an impressive Handel had belonging to himself, was one of A view of Roubiliac’s statue of Handel from the 18 June 1859 issue have been allowed some involvement at thunderstorm on 7 September 1745. The Dead of the Illustrated London News, wood engraving. his own making, which he presented to the Vauxhall. A typical notice is the one published March from Saul, scored for a typical Vauxhall then Proprietor of the Gardens [Jonathan by the Daily Advertiser on the unveiling of ensemble of trombones, timpani, flutes, Tyers], and which is now in the possession talents.’ This most unusual gift (now lost) the Orchestra building at the opening of the strings and organ, appears regularly in press of the present Proprietors [Thomas Bish and would suggest the likelihood of a tie of 1735 season: reports from 1739 onwards, demonstrating Frederick Gye]; it is rough in its composition, friendship between the two men, that would that it became something of a recognisable yet, as an early specimen of that great man’s lead the composer to give the younger man There is built in the Grove of the Spring- archetype of Vauxhall music. skill, must always be considered a most something so personal as one of his own Gardens at Vaux-hall, an Octagon Temple, valuable relic by the admirers of his unrivalled early manuscripts. intended to serve as an Orchestra, for a Band

- 10 - - 11 - The music performed at the gardens was Gladwin and the Worgan brothers, must all 11am. It was reported that between eight Even if only half of the reported 12,000 visitors not so different from that performed (by the have derived considerable income from Tyers’s and twelve thousand visitors flocked to the actually arrived, this would still have produced same musicians) at the theatres and in the concert programmes. gardens for this event, causing a memorable £750 income for Tyers (more than one tenth concert halls of London, but with a strong three-hour traffic jam on London Bridge. of his annual profits), just for one morning’s British bias. It was this relatively sophisticated At all times, the music at Vauxhall was heavily The tradition also maintains that a hundred entertainment outside his main summer season. but attractive repertory that was favoured by biased towards British composers (amongst musicians were engaged for the occasion. There Tyers’s visitors, who, even though they did not whom Handel, of course, was pre-eminent), is reason to doubt both these numbers, simply By the time of the Fireworks Music rehearsal know exactly what they were going to hear on a and British performers. Most people viewed in view of practical considerations, but it is in 1749, the Rotunda, the first real indoor particular evening, would go along anyway in Italian opera as effete, exclusive, and inclined clear that a phenomenal number of people space at Vauxhall, had been completed. the knowledge that, whatever the musical to deprive Englishmen of their natural did attend and did pay the 2s.6d. admission This building, opened for the 1748 season, programme was to be, it would be of sufficient manliness. Indeed, there was something un- charge. Many news reports confirm this, the incorporated an orchestra stage and organ, quality and range for them to enjoy at least parts English and even unpatriotic in anything most striking of which refers to the 1,025 where the music was played whenever the of it, or to feel flattered by the assumption that savoured of the Jacobite movement or of coaches which passed the turnpike on their weather was unsuitable for the more usual that they, as what Tyers always called ‘persons the Catholic church; this included most way to Vauxhall from the jam at London outdoor concerts. Tyers believed that the al of quality,’ were sophisticated enough to things Italian and French, especially around Bridge. Assuming that each coach carried an fresco element of Vauxhall was vital to its appreciate it. the time of the 1745 uprising; so the public average of three people, and that these were success – a belief that was eventually vindicated image of Vauxhall’s hard-working performers, only a fraction of those who made the journey, in the enduring success of Vauxhall for Apart from Handel’s Hornpipe Compos’d for composers and singers was more wholesome with others coming by water or on foot, it more than fifty years after the rival gardens the Concert at Vauxhall, of 1740, it is hard and generally more acceptable than that of appears that at least six to eight thousand Ranelagh, which had a larger indoor space, to say whether any new works received their their much criticised European counterparts, people did attend this one event, an had been demolished. first performance at Vauxhall, but there is no who were being paid such vast sums at the extraordinary record which remained unbroken reason why not – Vauxhall’s appetite for new London theatres. for many years. Jonathan Tyers, the son of a Bermondsey British music was so huge that the operas tradesman, was a businessman and manager and incidental music at the theatres may have The outstanding musical event at Vauxhall in Handel himself had not wanted to hold the of astonishing skill, creativity and acuity; been insufficient to satisfy it. Composers like the first half of the 18th century, and probably rehearsal at Vauxhall, possibly because of its his pleasure garden at Vauxhall was one of , , John the best-attended of any event for the limitations of scale, and its location across the great success-stories of 18th century Stanley, the anglicised Germans J.C. Smith thirty-eight years of Tyers’s management, the river. This rehearsal, six days before the London, and is the precursor of many of our and M.C. Festing, not to mention the ‘in was the rehearsal for Handel’s Music for the final event in Green Park, was attended by modern social entertainments. But his house’ composers such as Dr. Arne, Thomas Royal Fireworks, on Friday 21 April, 1749 at the Duke of Cumberland representing the king. outstanding talent lay in knowing his own

- 12 - - 13 - limitations, and in his ability to select just HANDEL AT VAUXHALL Coke, note 32 p.147 Vauxhall Gardens, A History, Even after the opening of the nearby Westminster the right people to work with him to achieve An Evening’s Concert Yale). It is possible that this may just have Bridge in 1750, people normally arrived at his ambitious objectives. In John Lockman Bridget Cunningham been a rehearsal that the tourist saw, or indeed Vauxhall by boat as it was an integral part of he found the ideal publicist; through William he may have misunderstood what somebody the evening’s fun. They would listen to glorious Hogarth, he gained access to the most Vauxhall Pleasure Gardens really was the most told him because April was outside the normal and often patriotic music near the bandstands interesting and original visual artists and significant of the Georgian Gardens due to opening period of Vauxhall. Despite this and and promenade in the illuminated gardens. designers; and with George Frideric Handel the successful relaunch by the new proprietor the lack of any financial evidence at all for The only real description of the music at as his adviser and presiding musical genius, Jonathan Tyers from 1729 – 1767 showcasing Handel working at Vauxhall on any consistent Vauxhall and its effect on the audience he ensured that Vauxhall’s daily concerts delightful performances and exuberant promotion basis at this time, we can take it that Handel appears in Section 12 of a French periodical, were some of the finest to be heard anywhere of Handel’s music. took a very strong interest in the Vauxhall the Mercure de France of November 1750, in Europe. concerts, and that he probably was, at the very which published a poem written in French by Apart from Tyers’s commission of the remarkable least, advising Tyers (like Hogarth), and maybe an English author, probably John Lockman, © David E. Coke, 2015. statue of Handel from Roubiliac in 1737: mentoring the leader of the band. who was a translator, and always on the look-out for new ways to publicise Vauxhall. ‘his Effigies should preside there, where his Handel at Vauxhall Volume One contains music This wonderful response to the Vauxhall Harmony has so often charm’d even the by Handel and his English contemporaries. It concert gives us an idea of the balance it greatest Crouds into the profoundest Calm and reconstructs the first act in a typical evening’s achieved and the way it aroused the emotions most decent Behaviour’ (the Daily Post 1738). concert at Vauxhall Gardens during the 1740s of its audience. when the programme became more standardized, The other direct hint we have of Handel actually usually with a set of 16 pieces a night including working there comes from a written account an opening piece, organ concerto, wind music, by an unknown French tourist, now in the instrumental pieces and dances and vocal Folger Shakespeare Library, Washington DC music including solo and group songs which (M.B.49.1220-1221). This tourist recalls a visit Jonathan Tyers reputedly introduced for the to the Gardens early in the 1738 season, when first time on the advice of Dr.Arne. The music, he saw that ‘M. Hindel celebre compositeur which was significantly by English composers, dirige ce concert et fournit les pieces.’ (Mr was performed by a small band with players Handel, famous composer, directs this concert doubling up on instruments and singers with and provides the music - translation by David very different types of voices.

- 14 - - 15 - Vauxhall De moment en moment se change, Follows the other from moment to moment, Et de ce surprenant melange And from this surprising medley Quelles douceurs surnaturelles! What magical delights! Nait une vive emotion. An intense emotion is born. Quels sons! Quells airs mélodieux! What sounds! What melodies! A ces Concerts mélancoliques, At these affecting Concerts, Zéphir porte-t’il sur ses ailes Does Zephyr carry on his wings Les cors de chasse, les hautbois, The hunting horns, the , Les Concerts des célestes lieux? The concerts of the Elysian Fields? Font succéder les airs rustiques Are succeeded by the country songs Tantôt je marque la cadence Sometimes I mark the pace Des heureux habitans des bois, Of contented woodsmen, D’un vif & léger menuet; With a bright and lively minuet; Qui dans leurs paisibles retraites Who in their tranquil retreats Par une douce violence Through a gentle ferment Enflant leurs tendres chalumeaux, Play their sweet Shawms, Je sens ranimer en secret I feel my overwhelming urge Rassemblant au son des musettes Which sound just like reed-pipes Mon gout dominant pour la danse; To dance secretly revived; Les Bergeres de leurs hameaux, And the shepherdesses from their villages, Mes mouvemens suivent l’archet. My measure follows the bow. Et dansent à leurs chansonettes Dance to their little songs Tantôt la trompette guerriere, Sometimes the war-like trumpet, Sous les hetres & les ormeaux. Beneath the beech-trees and elms. Sur les tons les plus éclatans, With its lustiest tones, Exprime les combats sanglans, Brings to mind bloody battles * Il s’agit ici de la Marche des Morts, The Dead Translation © Coke / Cunningham 2015 Et la victoire meurtriere. And murderous victory. March, morceau fameux d’un Concert Spirituel de M. Handel, intitulé Saul. Sons étouffés! Tristes accens!* Muffled sounds! Tragic cadences!* Sanglots melés de cris perçans! Weeping and piercing cries! * This refers to the Dead March, a famous funeral Lente & funebre symphonie! Stately and funereal symphony! anthem from Mr Handel’s oratorio called Saul. J,éprouve les charmes puissans I sense the powerful appeal De votre lugubre harmonie. Of your mournful harmony. Les tymbales & le bassoon The kettle- drum and the bassoon Portent dans mon ame attentive Awaken in my receptive soul L’horreur, la consternation; The horror, the dismay, La langueur, la compassion, The languor, the compassion, Suivent de la flute plaintive Then follows from the plaintive flute Le touchant & douloureux son. The touching and sorrowful sound. Ainsi par un contraste étrange, So, by an uncommon diversity, Chaque nouvelle passion Each new passion

- 16 - - 17 - HANDEL AT VAUXHALL In 1737 the new organ had been installed at a suggestion that an organ keyboard of some it typified the sound of the pleasure gardens VOLUME ONE Vauxhall and later on had new mechanisms sort could have been alongside the other from 1737 onwards. Handel and the Worgan THE MUSIC added to it including a much admired musicians of the band, making ensemble brothers were all accomplished improvisers Bridget Cunningham ‘symphony of singing -birds’ and a carillon, playing easier for the organist rather than and keyboard players and Handel is widely which were possibly heard for the very first being yards away in the actual Organ building. attributed as remarking about John Worgan. The Sinfonia from Handel’s Acis and Galatea time in a widely reported programme of 7 This great organ was possibly built by Richard ‘..he plays my music very well at Vauxhall’. (HWV 49) opens the programme and sets the May, 1739. This was an occasion in which Bridge with the assistance from John Byfield Organ concertos were very much a part of an scene recreating a magical evening at the the Prince of Wales visited the Gardens and the Elder and was unveiled in 1737 to a large evening concert and the programme continues gardens. Acis and Galatea was written in Hush ye pretty was played on the carillon, and fashionable audience. The organ music with an Organ Improvisation, in the style of 1718 for James Brydges, Earl of Carnarvon accompanied by the ‘artificial birds. As far included an overture, ‘that had a delightful John Worgan and Handel, leading into Handel’s and later Duke of Chandos to be performed at as we know, no English organ has survived effect in the various parts of the Garden’ and Organ Concerto Op 4 No 2 in B flat major Cannons, his unfinished country residence in with an integral carillon or birdsong machine, allowed the band to be heard throughout the (HWV 290). Handel’s organ concertos Op 4, Middlesex. This original and extremely popular like in this organ at Vauxhall, so for this garden. Therefore the organ did the job of HWV 289–294, refer to the six organ concertos English version had various incarnations recording we recreated the sound with the several musicians and was economically a for chamber organ and orchestra composed including a reworking as an Italian serenata. addition of a bird whistler. sound investment for Tyers allowing the ‘in by Handel in London between 1735 and 1736 Later revisions reverted again to the all- English house’ composers to showcase their latest and published in 1738 by John Walsh. Cannons version including one in 1739 with The Organ building was constructed in the sub- compositions. The band itself at Vauxhall was added and carillon and a final revision in Palladian manner as a square structure behind led by violinist Richard Collett and presumably Colin and Phoebe A Pastoral ‘Be still O ye 1742 when Handel worked in and again the Orchestra building, which together formed directed from the . winds and attentive ye Swains’ was written used different instrumental forces, this time the most innovative and extraordinary by Thomas Augustine Arne (1710 - 1778) without a carillon. (Further recordings in this installation by Tyers at Vauxhall. This Organ James Worgan (1715-1753) and Thomas and was printed by William Smith in London in series include more detailed notes on Handel building contained three levels with the pipes Gladwin (c.1710-1799) were both organists at 1745 in a collection of his works entitled in Ireland). and possibly the main organ console on the Vauxhall during the 1730s and John Worgan Lyric Harmony Consisting of Eighteen Entire first floor while the belfry contained louvred (1724-1790) succeeded his brother as organist New Ballads... As perform’d at VauxHall Hush ye pretty warbling choir! is from the first semicircular openings in all four facades in 1751, as well as being director of the Gardens..Opera Quarta with text by Edward Act of Acis and Galatea when a semi-divine projecting the sound to the far distances of music for a year and an ‘in house’ composer. Moore. This first Vauxhall songbook, Lyric nymph, Galatea, is in love with the shepherd the gardens. Circumstantial evidence suggests Both Worgan brothers were responsible for Harmony was announced and publicised in Acis and tries to gently hush the birds that that there was a ‘long movement’ installed in making the organ an indispensable part of advance in the General Advertiser and offered ignite her passion for him. the adjacent Orchestra bandstand, so there is Vauxhall’s music, and combined with the band, by subscription which was unusual for Garden

- 18 - - 19 - songs. Subscribers benefitted by getting the of singing was infinitely superior to that of of discussion at the time and one that Tyers and expensive songbook (1737 - 1739), showing book at 5 shillings instead of the sale price any other English woman of her time’ and employed as a decoration on one of his something of his interest in this kind of music. of 6 shillings and were to receive the very had ‘the finest tenor voice’. silver season tickets. The Dead March precedes first ‘impression’. the Elegy on the Death of Saul and Jonathan The Advice set by Mr Handel, is from the Thomas Arne himself directed the music at in Act III from Handel’s oratorio Saul (HWV Muses Delight (1754) another collection of Colin and Phoebe was such a popular pastoral Vauxhall from 1745 and was also the principal 53) of 1738. popular songs which contains some simplified love song that it really helped to establish ‘in house’ composer at Vauxhall where he also versions of the original pieces and prints only Arne’s reputation at Vauxhall Gardens. Music lived. He was notably a difficult man in both As Tyer’s had ingeniously converted his own the melodies and bass lines with no figuring or historian reported about its his public and private life and as his house’s ball-room into a raised pavilion with a instrumental lines. The music from this song is popularity and the inclusion of vocal music in Catholicism prevented him from taking a church private dining room and open loggia for Prince from the close of Handel’s opera Ezio (HWV 29), the summer programme of 1745: or court appointment, he composed for the Frederick, Vauxhall’s ground - landlord, the of 1732, ‘Stringo al fine il mio contento’ which entertainment of London. He became a leading Prince of Wales became a regular and popular develops into the final chorus but this time set ‘On this occasion the orchestra was enlarged, English theatrical and vocal composer from the attendee at these Vauxhall concerts bringing as a solo song with cheerful light text in English. and Mr Arne’s ballads, dialogues, duets and 1730s bringing a new structure and discipline with him his youthful energy and a large trios, were performed here with great applause, to the music; his nationalistic and natural following of fashionable society. The Dead Contrasting with this, is The Melancholy Nymph and circulated all over the kingdom. During melodic style suited the public that resorted to March was performed for Prince Frederick on (The Faithful Maid, ‘Twas when the seas this first summer, his little dialogue of Colin the pleasure gardens. His nuances of dynamics 7th May 1739 and regularly thereafter, with were roaring) (HWV 228.19) set by Handel; and Phoebe, written by the late Mr. Moore, author and articulation indicate an ‘affecting’ style brass, winds and strings, and organ becoming the melancholic element was a fashionable of Fables for the Female Sex, was constantly and the ‘forte’ and ‘tutti’ endings were probably an archetype of Vauxhall music. It was later style of Vauxhall Garden song as well as the encored every night for more than three so marked to raise a public cheer and to played annually on the anniversary of the romantic ballad style, nationalistic and lighter months, successively’. sustain the sound whilst performing at the death of Jonathan Tyers, 26th June as well as songs. Written in 1715 it was first performed at Gardens in the open air. at several state funerals. Drury Lane Theatre and probably sung in This was performed at Vauxhall by soprano John Gay’s Comic Tragick Pastoral Farce or Mrs Cecilia Arne (née Young), tenor Mr Thomas In a typical evening’s concert, a mixture of styles Many Vauxhall songs were written for the What D’ye Call it, (Act II) and in Gay’s Beggar’s Lowe and very possibly the bass Mr Henry of music was important, juxtaposing popular gardens and were introduced by Tyers who Opera. It can be found in several sources Theodore Reinhold. All three sung regularly at songs and dances with more solemn, serious employed the singers and many were reprinted including Bickham’s Musical Entertainer, Vol 1 Vauxhall and were highly esteemed performers; music and martial airs reflecting the contrast in subsequent collections or song sheets. of Walsh’s The Merry Musician, Calliope or according to Burney, Cecilia Arne had a ‘good between Apollo (sophisticated, lyre playing) Tyers himself subscribed to George Bickham’s English Harmony and The Muses Delight. natural voice and fine shake’ and ‘her style and Marsyas (rustic pipes), a popular subject Musical Entertainer a beautifully illustrated

- 20 - - 21 - The Concerto for Strings and Basso Continuo, T’were needless to regret the melting Sound - the latter considered the great composer TEXTS No 1 in A major from a set of six is by John Since, near thy rival Bow, the like is found’. of English music, and the former, one of Hebden (c1712 - 65). Originally from Yorkshire, the greatest figures of English literature. 7 - 8 Hush ye pretty warbling choir! he moved to London and played principal cello The duet As steals the morn upon the night and second bassoon in the Vauxhall band in closes the first half of this programme and is Without Handel, the music of eighteenth : the 1740’s and 1750’s and also played in from Handel’s pastoral ode L’Allegro, il Penseroso century London would have been very different; Ye verdant plains and woody mountains, performances of Messiah for Handel at the ed il Moderato (HWV 55), of 1740 to which his enormous value was summed up in Purling streams and bubbling fountains, . He was also a cellist in Tyers subscribed. The oratorio-style libretto John Potter’s 1762 Observations on the Present Ye painted glories of the field, Thomas Arne’s orchestra at Vauxhall, Drury Lane from John Milton’s poem (c 1632), L’Allegro State of Music: Vain are the pleasures which ye yield; and and in 1758 was appointed and Il Penseroso, was prepared by James Too thin the shadow of the grove, musician-in-ordinary (bassoon) to George II. Harris (1709-1780) and further developed by ‘English music may with justness be called Too faint the gales, to cool my love. Charles Jennens (1707-1773). Handel’s music and every musician, the son Despite working at Vauxhall, Hebden did not of Handel; ... He has join’d the fullness and Air: publish any songs or keyboard solos which The Arcadian idylls described in John Milton’s majesty of the German music, the delicacy Hush, ye pretty warbling choir! might have added to his income but instead L’Allegro and Il Penseroso inspired Tyers’s and elegance of the Italian, to the solidity of Your thrilling strains produced his highly disciplined six solos for vision for Vauxhall with arched walks, sweet the English; constituting in the end a magnificence Awake my pains, flute and basso continuo (London, c1745) and music, revelry and feast. There was originally of stile superior to any other nation’. And kindle fierce desire. concertos (London, c1749)) which combine a statue of Milton in the gardens at the Cease your song, and take your flight, Italianate majesty with highly beautiful smooth northern end of the Cross walk apparently Handel at Vauxhall Volume Two will be available Bring back my Acis to my sight! slow movements reflecting his English heritage displaying Milton as Il Penseroso seated on in the near future from Signum Records and Hush, ye… (da capo) with nuances of Yorkshire country dances. a rock, eyes gazing upwards and ‘in an again contains more glorious music by Attitude listening to soft Music’, perhaps Handel and his English contemporaries at 9 Colin and Phoebe A Pastoral A mezzotint by J. Faber after P.Mercier, 1741 instilled in him by his father, who was a Vauxhall Gardens. with a verse by John Lockman is part of the composer. Facing Milton from the other end COLIN Gerald Coke Handel Collection at the Foundling of the walk was a statue of Apollo, the patron © Bridget Cunningham 2015 Be still O ye winds and attentive ye Swains Museum stating: of music and poetry and sun god showing the ‘Tis Phoebe invites and replies to my Strains balance of understated virtue with brighter The Sun never rose on search all the world thro’ The finest Voice that e’er sooth’d mortal Ear sensual pleasure. This statue of Milton was A Shepherd so blest or a fair one so true If, lost, thy Accents are so sweetly clear intended to complement the statue of Handel

- 22 - - 23 - PHOEBE q The Advice w The Melancholy Nymph How can they say that nature Glide softly ye Streams, O ye Nymphs round me throng Has nothing made in vain? ‘Tis Colin commands, and enlivens my Song; Mortals wisely learn to measure ‘Twas when the seas were roaring, Why then beneath the water Search all the World over, you never can find Life by the Extent of Joy; With hollow blasts of wind, Do hideous rocks remain? A Maiden so blest, or a Shepherd so kind. Life is short, and fleeting Pleasure, A damsel lay deploring, No eyes those rocks discover, Then be gay, while you may, All on a rock reclin’d; That lurk beneath the deep; CHORUS And your hours in Mirth employ. Wide o’er the rolling billows To wreck the wand’ring lover, ‘Tis Love like the Sun, that gives light to the year, She cast a wistful Look, And leave the maid to weep. The sweetest of blessings, that Life can endear, Never let a mistress pain you, Her head was crowned with willows Our Pleasures it brightens, drives Sorrow away, Tho’ she meets you with disdain; That trembled o’er the brook. All melancholy lying, Gives Joy to the Night, and enlivens the Day. Fly to wine, ‘twill soon unchain you, Thus wail’d she for her dear; Cheer the heart, and all smart, Twelve months were gone and over, Repaid each blast with sighing, COLIN In a sweet oblivion drown. And nine long tedious days, Each billow with a tear: Ye Shepherds, that wanton it over the Plain, Why didst thou vent’rous lover? When o’er the white waves stooping, How fleeting your Transports, how lasting your Pain; If love’s fiercer flames should seize thee, Why didst thou trust the seas? His floating corps she spy’d; In constancy shun, and reward the kind she, To some gentle maid repair; Cease, cease then cruel ocean, Then, like a lilly drooping, And learn to be happy, from Phoebe and me. She’ll with soft endearments ease thee, And let my lover rest; She bow’d her head and dy’d. On her breast, lull’d to rest, Ah! what’s thy troubled motion PHOEBE Eas’d of love and free from care. To that within my breast? u As steals the morn upon the night Ye Nymphs, who the pleasures of Love never try’d, Attend to my strains, and take me for your Guide; Friendship, wine and love united, The merchant, robb’d of treasure, As steals the morn upon the night, Your Hearts keep from Pride and Inconstancy free From all ills defend the mind; Views tempests in despair; And melts the shades away, And learn to be happy from Colin and me. By them guarded and delighted, But what’s the loss of treasure So truth does Fancy’s charm dissolve, Happy state, smile at fate, To the losing of my dear? And rising Reason puts to flight CHORUS And leave sorrows to the wind. Should you some coast be laid on The fumes that did the mind involve, ‘Tis Love like the Sun.. Where gold and diamonds grow, Restoring intellectual day. You’d find a richer maiden, But none that loves you so.

- 24 - - 25 - SOPHIE BEVAN Waldvogel Siegfried, Ilia Idomeneo, Sophie Der She has appeared as a soloist on the concert Rosenkavalier, Pamina Die Zauberflöte and platform for Harry Christophers, Sir John Eliot Sophie Bevan graduated from the Benjamin Susanna Le nozze di Figaro. She made her Gardiner, English Chamber Orchestra, Orchestra Britten International Opera School. Glyndebourne Festival debut as Michal Saul of the Age of Enlightenment, Aurora Orchestra and her debut at the Teatro Real, Madrid and Hamburg Symphony Orchestra. She also as Pamina. sings with and last year returned for the Eric Whitacre Late Night Prom in which Sophie was the recipient of the 2010 she performed a short solo in his Cloudburst. Critics’ Circle award for Exceptional Young Kirsty is a keen recitalist and this summer Talent. She was nominated for the 2012 performed Dame Penelope Keith’s favourite Royal Philharmonic Society Awards and was and songs from shows for West Green Opera. the recipient of The Times Breakthrough Award at the 2012 South Bank Sky Arts Awards and the Young Singer award at the 2013 Britten’s Spring Symphony with the Vienna Radio inaugural International Opera Awards. Symphony Orchestra and Beethoven’s Missa Solemnis at the Three Festival. ELEANOR DENNIS The Observer, reviewed her performance in Conductors she works with include Pappano, Scottish soprano Eleanor Dennis is a graduate the title role of Handel’s Rodelinda: ‘she has Harding, Nelsons, Gardner, Elder, Marriner and of the Royal College of Music’s International a marvellous future. I’m not sure I can ever Mackerras. A noted recitalist, she has performed Opera School and is a Harewood Artist at the remember one who so obviously deserves to at Amsterdam’s Concertgebouw and London’s English National Opera. be a star’. Wigmore Hall. Sophie has also appeared at the BBC Proms and the , Aldeburgh and Recent highlights include Contessa Le nozze di KIRSTY HOPKINS Tanglewood Festivals. Figaro and Micaela in Carmen at the English National Opera, Elgar’s Une Voix dans le Désert Kirsty Hopkins read Music at Manchester Passionate about stage work, Kirsty has Her operatic roles include Polissena Radamisto, with the CBSO, Beethoven’s Egmont with University and Trinity College of Music where appeared in diverse productions such as Telair Castor and Pollux, the title role in The the BBC Philharmonic, Strauss’ Vier Letzte she won the Elizabeth Schumann Lieder Prize. Thomas Tallis (Sam Wanamaker Playhouse, Cunning Little Vixen, Ninetta La gazza ladra, Lieder with the Royal Philharmonic Orchestra, Shakespeare’s Globe); Bray Entanglement (Nova

- 26 - - 27 - Music); Betrayal (I Fagiolini); Beamish Hagar Cathedral, choral scholar at Exeter Cathedral in the Wilderness (Nova Music); Purcell King and as a postgraduate at the Royal Academy Arthur (New ); Labyrinth of Love of Music under Ryland Davies and David Lowe. (Rambert) and Purcell Bonduca (OAE).

BENJAMIN BEVAN

Benjamin Bevan is the youngest of fourteen and as a child sang in the family choir. After a spell in the wine trade, Benjamin won a scholarship to study at the Guildhall School of Music and Drama.

He then went on to sing roles with Scottish Provence, Canterbury and the Perth International Handel’s Messiah (Telemann Chamber Orchestra, Opera, Welsh National Opera, Nationale Festival in Australia. Benjamin lives in Kent Hitomi Memorial Hall, Tokyo); Bach’s Christmas Reisopera, The Royal Opera, English Touring with his wife and two children and is a keen Oratorio (Telemann Chamber Orchestra, Izumi Appropriately for this CD he is now a musician Opera, Opera de Lausanne, The Royal Danish cricketer and tennis player and wine aficionado. Hall, Osaka); Evangelist in Bach’s St. John’s who lives in and works around London. He Opera, Dijon Opera and at Garsington Opera. Passion (Dalby Kammachör, Sweden); and Bach teaches singing privately and at Ibstock Place CHARLES MACDOUGALL Early (Les Inventions, Dijon Opera School in Roehampton, not far from Vauxhall. On the concert platform, Benjamin has worked House). He is an animateur for the LSO, the He is in huge demand around the UK for oratorio with Bach Collegium Japan under Mazaaki British tenor and animateur Charles MacDougall Philharmonia Orchestra, and the London Youth with regional choral societies and recital Suzuki, The English Concert with Harry Bickett, gained his Phd in Classics and Musicology at Choirs; Vocal Coach at Portsmouth Cathedral, appearances with piano, guitar and organ. The Royal Northern Sinfonia with Paul McCreesh the University of London. Whitgift School, and for the RSCM; and directs Greg has recently recorded his début album of and with a The Stavanger Symphony orchestra two community choirs in London. English Songs by Dibdin, Stanford and Elgar under the direction of John Butt. He was a founder-member of VOCES8 and sang with pianist Gary Branch at Museum. with them until 2012. Since then, his solo GREG TASSELL He has previously worked with London Early Benjamin has sung at many of the notable highlights have included: creating the role of Opera in Bach’s Christmas Oratorio and in festivals including Three Choirs Festival, London Richard III in John Webb’s The Last Plantagenet Born and raised on a hop farm in Kent, Greg recitals at the London Handel Festival and the Handel Festival, the Northlands Festival, Aix en (Philharmonia Orchestra, De Montford Hall); Tassell trained as a chorister at Durham Handel House Museum.

- 28 - - 29 - DANIEL MOULT the use of film as a means of promoting organ Yale University Press in 2011. This was the music, and has presented and performed in culmination of thirty years’ fascination with Daniel Moult, “one of the finest organists of various DVD and CD releases, as well as playing the subject, during which he curated the our time” (The Organ), is renowned for virtuosic, regularly on BBC Television and Radio. Daniel Vauxhall Gardens section of the 1984 ‘Rococo’ intelligent and engaging performances of performs, teaches and adjudicates throughout exhibition at the Victoria & Albert Museum, repertoire from the 14th to the 21st centuries. the UK, Europe, Australia and Singapore. He as well as two smaller exhibitions on the His musicianship has been praised as has recently edited two organ anthologies Gardens, ‘The Muse’s Bower’ at Gainsborough’s “exhilarating” (Gramophone), “dazzling” (The for Bärenreiter. House (1978) and the ‘The Triumph of Pleasure,’ Organ), and “formidable” (Organists’ Review). at the Foundling Museum, London (2012). DAVID E COKE He currently runs a website on the gardens at www.vauxhallgardens.com David E. Coke is a cultural historian, and was Director of Gainsborough’s House in Suffolk BRIDGET CUNNINGHAM and, later, of Pallant House in Chichester. Vivaldi. She has a wide musical background as With his colleague Dr Alan Borg, he wrote Bridget Cunningham is an international opera well as Early Music from performing Piazolla ‘Vauxhall Gardens, a History’, published by the conductor, prizewinning harpsichordist, presenter with the RTE Irish Chamber Orchestra live and musicologist who trained at the Royal on Lyric Radio, to conducting recordings of College of Music, London. early 20th Century English music composed by George Butterworth. Bridget conducts and performs regularly at venues and festivals throughout Europe As a solo harpsichordist, Bridget has broadcast including St Martin-in-the-Fields, London, Festi on Austria’s National Radio Stephansdom and Classique, France and Innsbruck Festival, was invited to perform for Prince Charles at Daniel studied at (where he gained Austria. She has conducted several operas, Buckingham Palace. She regularly gives lecture the Fellowship diploma of the Royal College oratorios and works such as Purcell’s Fairy recitals and concerts at Art Galleries and of Organists with three of the top playing Queen, Mozart’s Magic Flute, Handel’s Semele opened; ‘Watteau: The Drawings Exhibition’ at prizes and was jointly awarded the University and Vivaldi’s Gloria for orchestras including the Royal Academy of Arts in London. She has of Oxford John Betts Organ Scholarship) and London Early Opera, Music of the Spheres performed and presented on several Radio and the Amsterdam Conservatorium. He has pioneered Ensemble and the Schola Pietatis Antonio TV programmes for BBC, SkyArts, RTE, Radio

- 30 - - 31 - Stephansdom and Radio France including recordings. Handel in Italy Volume One, released LONDON EARLY OPERA BBC 2’s Messiah, BBC 4’s Vivaldi’s Women, from Signum Records 2015 has been reviewed Violin 1 Cello Flute Timpani Radio 3’s The Kings James and has with international acclaim; Adrian Butterfield (Leader) Jennifer Bullock Rachel Brown Sarah Stuart filmed for the Handel House Museum, Brook Eleanor Harrison Rachel Latham Street, London. “The quality of the musicianship is high.” Double Bass BBC Music Magazine, October 2015 Violin 2 Kate Aldridge Recorder Cesar Queruz Bridget conceived this new Handel series - Kirra Thomas Louise Strickland Philip Yeeles Organ from researching each recording, choosing the “Splendid in every respect.” Belinda Paul Daniel Moult repertoire, performers, the colour, shape and BBC Radio 3 CD Review, October 2015 Ann Allen Andrew Harwood-White detail of the music as well as conducting the Alexis Bennett Tom Lees Harpsichord/Conductor Bassoon Philip Dale Bridget Cunningham Zoe Shevlin

London Early Opera (LEO) have been established LEO are conducted from the harpsichord by and performing since 2008 and registered Bridget Cunningham who researches and as a UK charity in 2011 at the forefront of explores the background of the music and coaches research and performance. LEO work and directs the instrumentalists and singers. with leading historians and specialists and record recently discovered and unusual This series of recordings really sets the scene of programmes in a thorough historical context. Handel’s colourful life, influences and experience which inspire and nuance his magnificent output All members of LEO are leading exponents of and musical legacy. early music and offer concerts, operas, oratorios, lecture recitals, educational workshops and More to come in this series from Signum Records recordings. LEO is keen to collaborate with include Handel in Italy Volume Two, Handel at sponsors and supporters promoting music Vauxhall Volume Two and Handel in Ireland with future recordings and live music. which again include extended CD booklet notes See www.londonearlyopera.org to give the historical context to the music enhancing pleasure for the listener. J.S. Muller after Samuel Wale, A General Prospect of Vaux Hall Gardens, engraving, hand-coloured (1751).

- 32 - - 33 - These high quality performances and recordings with many hours of detailed With thanks to the Trustees of London Early Opera, Jennifer Hassell, Jane Gibson, Elizabeth Tompkins, Richard and Jane Lawson, Hargreaves and Ball Trust, Katharine Hogg, Colin Coleman, The Foundling Museum, Vocal adviser Ildiko Allen, Will Fraser, St Peter’s Church Vauxhall, research all require ongoing funding. The Handel House Museum and the Royal College of Music Library.

Vauxhall Gardens A History by David E. Coke and Alan Borg www.vauxhallgardens.com We ask you to visit the Charity website to see ways of financially supporting future Yale University Press: www.yalebooks.co.uk performances and recordings for your pleasure and education. Recorded at Saint Jude-on-the-Hill, Hampstead, London 7 - 9 May 2012 Series Producer and Conception - Bridget Cunningham We are able as a charity to recover Gift Aid on donations made and also ask our Producer - Christopher Alder supporters to use our web portal for online purchases [EASYFUNDRAISING.ORG.UK] , Recording Engineer - Neil Hutchinson, Classic Sound Orchestral Manager - Andrew Carver recycling of mobile phones and or our crowd funding schemes to further the production and benefit of future projects which we hope you will enjoy. Keyboard instruments supplied by Malcolm Greenhaulgh, Keith McGowan and Andrew Wooderson. Organ - Collins 3 stop chamber organ Harpsichord - Wooderson Blanchet copy of a Ruckers double manual Donations may be sent to 415 Hz pitch - Shifted Vallotti temperament

Cover Image – Shutterstock LONDON EARLY OPERA Design and Artwork – Woven Design www.wovendesign.co.uk 6 FRINTON ROAD Historical Images from the collection of David Coke

THORPE LE SOKEN P 2016 The copyright in this sound recording is owned by Signum Records Ltd ESSEX © 2016 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd CO16 0HS Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. www.londonearlyopera.org SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] London Early Opera UK CHARITY NUMBER: 1143989 www.signumrecords.com

- 34 - - 35 - ALSO AVAILABLE COMING SOON

Handel in Italy, Vol. 1 Handel in Italy, Vol.2 Benjamin Bevan, Mary Bevan, Sophie Bevan Sophie Bevan, Mary Bevan, Benjamin Bevan London Early Opera London Early Opera Bridget Cunningham, conductor Bridget Cunningham conductor SIGCD423

“The playing is so beautifully focused...Splendid in every respect.” BBC Radio 3 CD Review

“This is as polished an account as any on account of Sophie Bevan’s unerring sense of decorum for what each movement requires.” Editors Pick, Gramophone Magazine

“A dazzling disc.” The Observer

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

- 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD428 BLACK Job Title: Handel Vauxhall

SIGNUM CLASSICS SIGCD428 HANDEL AT VAUXHALL, VOL.1

1 Sinfonia from Acis and Galatea, HWV 49 G. F. Handel [3.36] HANDEL AT VAUXHALL, VOL.1 VOL.1 VAUXHALL, AT HANDEL 2 Organ Improvisation in the style of John Worgan and Handel [0.59] Daniel Moult organ 3 - 6 Organ Concerto Op. 4 No. 2 in B flat Major, HWV 290 G. F. Handel [9.40] 7 Accompagnato: Ye verdant plains and woody mountains G. F. Handel [0.42] 8 [Air] Hush, ye pretty warbling choir! [5.43] from Acis and Galatea, HWV 49 Kirsty Hopkins soprano 9 Colin and Phoebe A Pastoral Thomas Arne [3.34] Eleanor Dennis soprano, Greg Tassell tenor, Benjamin Bevan baritone LONDON EARLY OPERA / CUNNINGHAM / OPERA EARLY LONDON 0 Dead March from Saul, HWV 53 G. F. Handel [3.06] LONDON EARLY OPERA / CUNNINGHAM q The Advice G. F. Handel [2.10] Sophie Bevan soprano w The Melancholy Nymph, HWV 228 No. 19 G. F. Handel [3.35] Charles MacDougall tenor e - y Concerto for Strings and Basso Continuo No 1 in A Major John Hebden [9.00] u As steals the morn upon the night G. F. Handel [6.12] from L’Allegro, il Penseroso ed il Moderato, HWV 55 Eleanor Dennis soprano, Greg Tassell tenor

HANDEL AT VAUXHALL, VOL.1 Total timings: [48.18]

LC15723 Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD428 CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2016 Signum Records DDD SIGCD428 © 2016 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 04282 3 SIGNUM