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LUCY CROWE, Soprano the ENGLISH CONCERT HARRY BICKET SassoneIl caro HANDEL IN ITALY LUCY CROWE, soprano THE ENGLISH CONCERT HARRY BICKET PRODUCTION USA LUCY CROWE, soprano Il caro THE ENGLISH CONCERT Sassone HARRY BICKET HANDEL IN ITALY Armida abbandonata, HWV 105 La Resurrezione, HWV 47 1 | Accompagnato: Dietro l’orme fugaci 1’03 14 | Aria: Disserratevi, o porte d’Averno 5’25 2 | Aria: Ah! crudele, e pur ten vai 5’29 3 | Recitativo: Per te mi struggo, infido 0’24 Tu fedel? tu costante?, HWV 171 4 | Accompagnato: O voi, dell’inconstante 0’50 15 | Sonata (2 violins & continuo) 2’30 5 | Aria: Venti, fermate, sì 2’54 6 | Recitativo: Ma che parlo, che dico? 0’57 Alpestre monte, HWV 81 7 | Aria: In tanti affanni miei 4’51 16 | Accompagnato: Alpestre monte e solitaria selva 0’55 17 | Aria: Io so ben ch’il vostro orrore 5’29 Delirio Amoroso, HWV 99 18 | Recitativo: Quindi men vengo a voi 0’56 8 | Sonata (Oboe solo, strings, continuo) 5’00 19 | Aria: Almen dopo il fato mio 4’39 Il trionfo del Tempo e del Disinganno, HWV 46a Sonata a 5, HWV 288 9 | Aria: Lascia la spina 5’20 20 | Andante (violin solo, 2 oboes, 2 violins, viola, continuo) 3’36 Salve Regina, HWV 241 Clori, Tirsi e Fileno, HWV 96 10 | Salve Regina, mater misericordiae 3’10 21 | Recitativo: Tirsi, mio caro 0’58 11 | Ad te clamamus 3’22 22 | Aria: Barbaro, tu non credi (violin obbligato) 8’26 12 | Eia ergo, avvocata nostra 3’51 13 | O clemens, o pia, o dulcis 1’47 Aminta e Fillide, HWV 83 23 | Aria: Se vago rio 2’43 2 Il caro Sassone HANDEL IN ITALY Lucy Crowe, soprano The English Concert Director & harpsichord Harry Bicket Violin I Nadja Zwiener (leader) Anonymous Viennese, c.1770s Sophie Barber Antonios Bagatella, Padua 1749 Graham Cracknell Joseph Gagliano, c.1760 Thérèse Timoney Jacob Stainer, 1684 Silvia Schweinberger Sebastian Klott, c.1764 Violin II Walter Reiter Mathias Klotz, Mittenwald, 1727 Claire Duff Marcus Snoeck, c.1720 Iona Davies Tyrolean, c.1760 Kristin Deeken Tilman Muthesius 2006, after Jacob Stainer Viola Alfonso Leal del Ojo Anonymous mid 18th Century German Louise Hogan Rowland Ross, 1997 after Andreas Guarneri, 1676 Violoncello Joseph Crouch George Stoppani, 1995 Timothy Kraemer Barak Norman, St Paul’s Alley, 1701 Double bass Peter McCarthy Brescia region, 17th century Archlute William Carter Klaus Jacobsen, 1998 Oboe Katharina Spreckelsen Paul Hailperin, 2003, after P. Paulhahn, c.1720 Hannah McLaughlin Paul Hailperin, 1999, after P. Paulhahn, c.1720 Bassoon Sally Jackson Matthew Dart, after J C Denner, c.1700 Trumpet Neil Brough Matthew Parker, 1995, after Johann Leonhard Ehe II, Nürnberg, c.1700 Michael Harrison Matthew Parker, 1998, after Johann Leonhard Ehe II, Nürnberg, c.1710 Organ Alastair Ross Italian harpsichord, single manual, after Carlo Grimaldi, Naples, c.1700 by Ducornet, 1998 Supplied by Malcolm Greenhalgh and tuned by Keith McGowan and Malcolm Greenhalgh Chamber organ by Robin Jennings, 2005. 8’ gedact, 4’ principal, 4’ stopped flute. Supplied by Malcolm Greenhalgh and tuned by Malcolm Greenhalgh and Keith McGowan Pitch: A = 415 Hz / Temperament: Valotti / Young II 3 english the Apennines), complains about his cold-hearted nymph Nice, Il caro Sassone HANDEL IN ITALY resolves to commit suicide, and hopes that she will visit his grave. From the beautiful scenic accompanied recitative that commences In 1703 Handel quit his job as organist at the Calvinist cathedral in his the cantata until its tender concluding farewell (‘Almen dopo il fato native Halle and travelled to Hamburg, where he worked as a back- mio’) Handel’s music is already emotionally, psychologically and desk violinist at the Gänsemarkt opera house and gradually rose up stylistically masterful within only a few months of him arriving south through the ranks until his first opera Almira was premiered there in of the Alps. January 1705. According to John Mainwaring’s anecdotal biography Handel’s Italian tour lasted just over three years. Between late of Handel (published 1760), it was at around this time that the eager 1706 and early 1710 he obtained high-profile commissions from young musician was persuaded to visit Italy by an eminent visitor Florence, Naples and Venice, where his Italian adventure ended with – probably Gian Gastone de’ Medici (later the inglorious last Medici Agrippina; Mainwaring reported that during the opera’s twenty- ruler of Tuscany): seven performances the theatre ‘at almost every pause, resounded with shouts and acclamations of viva il caro Sassone! and other The Prince was a great lover of the art for which his country expressions of approbation too extravagant to be mentioned.’ If is so renowned. Handel’s proficiency in it . occasioned a Handel was anxious to compose music for the theatre, it is curious sort of intimacy betwixt them: they frequently discoursed that he spent most of his time in Rome, where public opera was together on the state of Music in general, and on the merits of forbidden by Papal decree. Despite politely resisting all entreaties Composers, Singers, and Performers in particular. The Prince to convert to Roman Catholicism, Handel’s prodigious talents would often lament that Handel was not acquainted with flourished briefly in the Papal city because he impressed influential those of Italy; shewed him a large collection of Italian Music; sponsors with his keyboard playing, spectacular church music, his and was very desirous he should return with him to Florence. first oratorios and a host of exquisite secular cantatas probably . The Prince then intimated, that if he chose to return with created for Sunday afternoon conversazioni hosted by members him, no conveniences should be wanting. Handel, without of the Arcadian Academy (a group of literary, artistic, and musical intending to accept of the favour deigned him, expressed his connoisseurs whose members included eminent poets, famous sense of the honour done him. For he resolved to go to Italy musicians, powerful cardinals and wealthy aristocrats). on his own bottom, as soon as he could make a purse for that occasion. The most frequent of Handel’s Roman patrons was Francesco Maria Ruspoli, who was made Prince of Cerverteri by the grateful Pope By autumn 1706 the independent Handel saved a fund of 200 ducats Clement XI in 1708 for funding mercenaries to defend the Papal States and set out on his extended voyage around Italy’s most prestigious during the War of Spanish Succession. From 1707 Ruspoli made his musical cities. Mainwaring claimed that ‘FLORENCE, as it is natural gardens on the Esquiline Hill available for meetings of the Arcadian to suppose, was his first destination’, but it is possible that Handel’s Academy and also hosted elaborate musical entertainments at his relationship with the Medici was exaggerated. Very few of his Italian- rented home, the Palazzo Bonelli. Ruspoli’s account books (now in the period compositions can be securely associated with his visits to Vatican archives) contain proof that many of Handel’s Italian cantatas Tuscany, but it has been speculated that the melancholic cantata were first performed under such circumstances, and also reveal that Alpestre monte (HWV 81) might have had Florentine origins: a the composer resided as an honoured guest at the Palazzo Bonelli for hopeless male lover wanders through desolate mountains (perhaps at least some of his time in Rome. 4 english Handel’s first major cantata for Ruspoli might have been the pastoral Handel’s elaborate Roman cantata Clori, Tirsi e Fileno was probably dialogue Aminta e Fillide; although a performance certainly took first performed for Ruspoli in October 1707. The two-timing place for Ruspoli on 14 July 1708, it has been speculated that perhaps shepherdess Clori (probably Durastanti) deceives her hapless lovers a shorter earlier version was performed during Christmas 1706. Set Tirsi and Fileno, playing them off one against the other, professing in Arcadian hills, the shepherd Amita is passionately in love with the undying fidelity to each separately, and refusing to choose between aloof nymph Fillide (who has inconveniently dedicated her chastity them. The amoral Clori is one of Handel’s most adorable faithless to the Gods), and he patiently tries different means to seduce her. tarts, and it is impossible to dislike her languid sensuality, petulance Fillide’s mean resistance crumbles swiftly after Aminta’s hushed love and capricious coyness. ‘Barbaro, tu non credi’ is an entertaining song ‘Se vago rio’, which uses a plucked accompaniment of spizzicato rebuttal of Tirsi’s (correct) accusations that she has been unfaithful; strings to evoke the popular Venetian vilota dance form. he has compared her words to the lethal hissing of a serpent, or the Armida abbandonata was probably performed in May-June 1707 by raucous sounds of the fickle waves (which she and the audience both Ruspoli’s resident soprano Margherita Durastanti, who later sang know is perfectly true), but she launches into an exaggerated denial. in Handel’s operas for Venice and London. The sorceress Armida, In cahoots with a dazzling violin obbligato, Clori bitterly complains forsaken by Rinaldo, hopelessly watches his ship sail over the horizon; about Tirsi’s supposed cruelty and deflects attention away from her turbulent emotions veer between eloquent lamentation (‘Ah! her own culpability by theatrically threatening to kill herself; Clori’s crudele, e pur ten vai’), wild vengefulness wishing him to be devoured distress is obviously an instance of the lady protesting far too much, by sea monsters (the furioso accompagnato ‘O voi, dell’incostante’), but her manipulative charms continue to cuckold the gullible Tirsi – second thoughts as she desperately reins the stormy sea back under at least for the short term. her control (‘Venti, fermate, sì’), and the pathos-laden lamentation The most opulent commission Handel undertook in Italy was La that she cannot cease loving him (the heart-rending siciliana ‘In tanti Resurrezione.
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