John Kitchen Plays Handel Overtures on the 1755 Kirckman Harpsichord from the Raymond Russell Collection GEORGE FRIDERIC HANDEL (1685–1759): OVERTURES & SUITES

John Kitchen plays Handel Overtures on the 1755 Kirckman harpsichord from the Raymond Russell Collection GEORGE FRIDERIC HANDEL (1685–1759): OVERTURES & SUITES

Overture to the Occasional Oratorio Suite in G (HWV 450) 1 [Largo] [1:14] 22 Preludio [2:27] 2 Allegro [2:35] 23 Allemande [2:21] 3 Adagio – [1:56] 24 Courante [1:52] 4 March [1:51] 25 Sarabande [3:23] 26 Gigue [0:58] Overture to Athalia 27 Menuet [1:05] 5 Allegro [2:35] 6 Grave – [0:47] Overture to Il Pastor Fido 7 Allegro [2:23] 28 Largo – [1:18] 29 Allegro [2:16] Overture to Radamisto 30 A tempo di Bourrée [1:59] 8 Largo – [1:11] 9 Allegro [2:01] Overture to Teseo 31 Largo – [1:30] Suite in A (HWV 454) 32 Allegro – [1:20] 10 Allemande [5:48] 33 Lentement – [0:35] 11 Courante [3:25] 34 Allegro [1:52] 12 Sarabande [2:22] 13 Gigue [2:55] Overture to Rinaldo 35 Largo – [1:10] Overture to Samson 36 Allegro [3:08] 14 Andante – [3:17] 37 Adagio – [0:55] 15 Adagio – [0:11] 38 Giga, presto [1:22] 16 Allegro [1:47] 17 Minuet [2:20] Total playing time [79:50] Overture to Saul 18 Allegro [4:27] Recorded on 17-18 December 2008 Image (p2): MS excerpt from William Babell’s Delphian Records – Edinburgh – UK 19 Larghetto [2:01] at St Cecilia’s Hall, Edinburgh transcription of Rinaldo www.delphianrecords.co.uk Producer/Engineer: Paul Baxter Photography: Raymond Parks 20 [2:54] Allegro 24-bit digital editing & mastering: Paul Baxter Design: Drew Padrutt With thanks to the University of Edinburgh 21 Andante larghetto [minuet] [1:59] Instrument preparation: John Raymond Booklet editor: John Fallas and to Eleanor Smith and Wayne Weaver Notes on the music The overtures to Handel’s operas and oratorios more, some rather clumsily or over-literally trumpet key of D major. The customary two on Telemann and Muffat). Handel concludes enjoyed a wide currency both during and transcribed by unknown hands. His various sections of the French overture are followed by with an elegant minuet in ABA form, its beyond his own day, often independently publications include Handel’s Sixty Overtures a lyrical adagio in B minor and a rousing march germ borrowed from Reinhard Keiser but, in of the works to which they belonged. from all his Operas and Oratorios Set for the Unusually, the overture to Athalia (1733) is the words of Winton Dean, ‘improved and Documentary evidence attests to this, as Harpsicord or Organ (c.1755), and Handel’s not in the French style, but is cast in the developed … beyond measure’. do the sets of orchestral parts published Overtures from all his Operas and Oratorios three-movement (fast–slow–fast) Italian plan: 6 (and subsequently reprinted) by John Walsh Set for the Harpsicord or Organ (1760). The a spirited allegro in 8 time, a linking grave The overture to Saul is expansive: four separate between the 1720s and 1750s. The overtures overtures continued to be played as solo which requires embellishment, and a further movements, appropriately setting the mood of were also transcribed for solo keyboard keyboard pieces throughout the nineteenth allegro in duple time. Some of this musical splendid celebration and pageantry with which performance and evidently much played in that century, often from reprints of Walsh’s editions material was also used as the basis for the trio Act I of the oratorio commences. The opening form; we cannot doubt that Handel approved and latterly in inflated, if undeniably effective, sonata in G, Op. 5 no. 4, and in the overture allegro in C major, the key in which the oratorio of this, because he himself made keyboard late Victorian arrangements by organists such to Parnasso in Festa (a work which borrows is largely based, exploits the interplay of various arrangements of a number of them. Handel’s as W.T. Best and others; indeed, the practice extensively from Athalia). instrumental groupings, which can be reflected friend, the formidable Mrs Delany, whose continued well into the twentieth century. The on the keyboard only to some extent. The copious correspondence is a source of so music is so strong and of such integrity that it Radamisto begins with a strong, arresting gentle larghetto in A minor leads into a further much valuable first-hand information, refers to survives transcription well. musical gesture, and makes much use of C major allegro which features the organ as a Handel playing excerpts of oratorios and other tirades, those characteristic upbeat flourishes solo instrument. Once again, Handel concludes works on the harpsichord. Of the eight transcriptions included here, which had been a feature of the French with a minuet in which his extraordinary Radamisto and Teseo are believed by Terence overture since its invention by Lully in the melodic gift is apparent in the soaring violin line Five transcriptions of overtures survive in the Best to be authentic Handel, although the 1650s. The fugue is a fine example of Handel’s which spans almost two octaves. composer’s own hand, but the Handel scholar sources are not autograph. The other six, all flexible approach to fugal writing. Terence Best believes from stylistic evidence particularly fine pieces, are taken from Walsh’s The opera Il Pastor Fido dates originally from that Handel was responsible for about Sixty Overtures. Handel shows endless The overture to Samson is one of Handel’s 1712, and was expanded and revised in 1734. twenty in total.1 Best draws his convincing resource in these works; although almost all finest, although the transcription published The 1712 version begins with an overture in conclusions largely from the manner in which are French overtures, the variety is remarkable. by Walsh and played here is rather literal. The D minor, of which an incomplete keyboard the orchestral textures have been adapted transcriber has made no attempt to render transcription in Handel’s hand has come down and recomposed to produce idiomatic Handel’s Occasional Oratorio was hastily idiomatically the repeated notes of the string to us.2 For the 1734 revival Handel substituted keyboard writing. John Walsh published many assembled, using much borrowed material, texture, and other textural aspects are also the present F major overture which is an entirely in 1746; it was a piece of patriotic propaganda rather unsatisfactory. Here (and elsewhere) I different piece (using some borrowed material). It was included in Walsh’s Sixty Overtures, and 1 See George Frideric Handel: Twenty Overtures in in support of the Hanoverian monarchy, a have taken the liberty of adapting and filling authentic keyboard arrangements, edited by Terence response to the Jacobite rising led by Prince out the textures to some extent. The opening is a characteristic French overture, beginning Best in three volumes (Novello, 1985). Best’s preface Charles Edward Stuart. The oratorio itself is andante is in triple time and in two repeated is highly informative, providing much information about not highly regarded, but it contains much fine sections; a short adagio cadenza leads into 2 It has been recorded by the present author on the 1765 the source materials and discussing the methods of music, not least its stirring overture in the a particularly energetic fugue (partly based Thomas Parker enharmonic organ at St Cecilia’s Hall on transcription. Twelve Organs of Edinburgh, Priory PRCD 700AB. Notes on the music The overtures to Handel’s operas and oratorios more, some rather clumsily or over-literally trumpet key of D major. The customary two on Telemann and Muffat). Handel concludes enjoyed a wide currency both during and transcribed by unknown hands. His various sections of the French overture are followed by with an elegant minuet in ABA form, its beyond his own day, often independently publications include Handel’s Sixty Overtures a lyrical adagio in B minor and a rousing march germ borrowed from Reinhard Keiser but, in of the works to which they belonged. from all his Operas and Oratorios Set for the Unusually, the overture to Athalia (1733) is the words of Winton Dean, ‘improved and Documentary evidence attests to this, as Harpsicord or Organ (c.1755), and Handel’s not in the French style, but is cast in the developed … beyond measure’. do the sets of orchestral parts published Overtures from all his Operas and Oratorios three-movement (fast–slow–fast) Italian plan: 6 (and subsequently reprinted) by John Walsh Set for the Harpsicord or Organ (1760). The a spirited allegro in 8 time, a linking grave The overture to Saul is expansive: four separate between the 1720s and 1750s. The overtures overtures continued to be played as solo which requires embellishment, and a further movements, appropriately setting the mood of were also transcribed for solo keyboard keyboard pieces throughout the nineteenth allegro in duple time. Some of this musical splendid celebration and pageantry with which performance and evidently much played in that century, often from reprints of Walsh’s editions material was also used as the basis for the trio Act I of the oratorio commences. The opening form; we cannot doubt that Handel approved and latterly in inflated, if undeniably effective, sonata in G, Op. 5 no. 4, and in the overture allegro in C major, the key in which the oratorio of this, because he himself made keyboard late Victorian arrangements by organists such to Parnasso in Festa (a work which borrows is largely based, exploits the interplay of various arrangements of a number of them. Handel’s as W.T. Best and others; indeed, the practice extensively from Athalia). instrumental groupings, which can be reflected friend, the formidable Mrs Delany, whose continued well into the twentieth century. The on the keyboard only to some extent. The copious correspondence is a source of so music is so strong and of such integrity that it Radamisto begins with a strong, arresting gentle larghetto in A minor leads into a further much valuable first-hand information, refers to survives transcription well. musical gesture, and makes much use of C major allegro which features the organ as a Handel playing excerpts of oratorios and other tirades, those characteristic upbeat flourishes solo instrument. Once again, Handel concludes works on the harpsichord. Of the eight transcriptions included here, which had been a feature of the French with a minuet in which his extraordinary Radamisto and Teseo are believed by Terence overture since its invention by Lully in the melodic gift is apparent in the soaring violin line Five transcriptions of overtures survive in the Best to be authentic Handel, although the 1650s. The fugue is a fine example of Handel’s which spans almost two octaves. composer’s own hand, but the Handel scholar sources are not autograph. The other six, all flexible approach to fugal writing. Terence Best believes from stylistic evidence particularly fine pieces, are taken from Walsh’s The opera Il Pastor Fido dates originally from that Handel was responsible for about Sixty Overtures. Handel shows endless The overture to Samson is one of Handel’s 1712, and was expanded and revised in 1734. twenty in total.1 Best draws his convincing resource in these works; although almost all finest, although the transcription published The 1712 version begins with an overture in conclusions largely from the manner in which are French overtures, the variety is remarkable. by Walsh and played here is rather literal. The D minor, of which an incomplete keyboard the orchestral textures have been adapted transcriber has made no attempt to render transcription in Handel’s hand has come down and recomposed to produce idiomatic Handel’s Occasional Oratorio was hastily idiomatically the repeated notes of the string to us.2 For the 1734 revival Handel substituted keyboard writing. John Walsh published many assembled, using much borrowed material, texture, and other textural aspects are also the present F major overture which is an entirely in 1746; it was a piece of patriotic propaganda rather unsatisfactory. Here (and elsewhere) I different piece (using some borrowed material). It was included in Walsh’s Sixty Overtures, and 1 See George Frideric Handel: Twenty Overtures in in support of the Hanoverian monarchy, a have taken the liberty of adapting and filling authentic keyboard arrangements, edited by Terence response to the Jacobite rising led by Prince out the textures to some extent. The opening is a characteristic French overture, beginning Best in three volumes (Novello, 1985). Best’s preface Charles Edward Stuart. The oratorio itself is andante is in triple time and in two repeated is highly informative, providing much information about not highly regarded, but it contains much fine sections; a short adagio cadenza leads into 2 It has been recorded by the present author on the 1765 the source materials and discussing the methods of music, not least its stirring overture in the a particularly energetic fugue (partly based Thomas Parker enharmonic organ at St Cecilia’s Hall on transcription. Twelve Organs of Edinburgh, Priory PRCD 700AB. Biography in majestic, dotted style; the vigorous fugue The Suite in A (HWV 454) is cast in the John Kitchen is a Senior which follows is worked out with comparative standard four movements of allemande, Lecturer in Music and thoroughness. Handel often concludes his courante, sarabande and gigue. It probably University Organist in the overtures with a dance in lighter mood, and does dates from the early 1700s, and reflects the University of Edinburgh. so here; an elegant bourrée follows the fugue. young Handel’s knowledge of the seventeenth- He also directs the Edinburgh century German keyboard masters whose University Singers, is Director The opera Teseo dates from 1713; its overture music he had no doubt studied with his of Music at Old Saint Paul’s is again French, but here a return to the slow teacher Zachow in Halle: Froberger, Buxtehude, Episcopal Church, and dotted style (marked lentement) leads directly Pachelbel, Kuhnau and others. This is true also Edinburgh City Organist with duties at the into an allegro where trio sections for two of the Suite in G (HWV 450), which contains Usher Hall. He gives many solo recitals both oboes and bassoon alternate with the full an opening preludio and a closing menuet in the UK and further afield, and is much in string texture. Rinaldo was first given in 1711 in addition to the standard four dances. The demand as a continuo player, accompanist, and proved an operatic triumph; it was several sarabandes in both suites bear a distinct family lecturer, writer and reviewer. times revised and revived. The keyboard resemblance, and show that Handel’s melodic version of its overture published by Walsh gift was already well developed. John has recorded extensively both for was an arrangement by the virtuoso London Delphian Records and for a number of other harpsichordist and Handel’s contemporary, © 2009 John Kitchen labels. A recent Delphian release (DCD34062, William Babell. As is typical of Babell’s style, 3 discs) offers the complete organ music of it contains copious added embellishment, William Russell (1777–1813) played on the almost- especially in the luxuriant adagio which connects contemporary 1829 Bishop organ in St James’s, the two sections of the French overture with the Bermondsey in London. This recording was part final giga. of a major project funded by a grant from the Arts and Humanities Research Council, and has It is difficult to establish a chronology for received much critical acclaim. The recording Handel’s harpsichord suites. Although the of a disc surveying nine historic keyboard celebrated Eight Great Suites were published instruments from the recently bequeathed in 1720 by Handel himself, and Walsh published Rodger Mirrey Collection at St Cecilia’s Hall is further suites in 1733, many movements in progress. apparently date from much earlier, probably from the composer’s youth or early maturity.3

3 For detailed information on the background to the suites and questions of chronology, see the preface to Peter Williams’s edition (Wiener Urtext, 1991), which was prepared in collaboration with Terence Best. Biography in majestic, dotted style; the vigorous fugue The Suite in A (HWV 454) is cast in the John Kitchen is a Senior which follows is worked out with comparative standard four movements of allemande, Lecturer in Music and thoroughness. Handel often concludes his courante, sarabande and gigue. It probably University Organist in the overtures with a dance in lighter mood, and does dates from the early 1700s, and reflects the University of Edinburgh. so here; an elegant bourrée follows the fugue. young Handel’s knowledge of the seventeenth- He also directs the Edinburgh century German keyboard masters whose University Singers, is Director The opera Teseo dates from 1713; its overture music he had no doubt studied with his of Music at Old Saint Paul’s is again French, but here a return to the slow teacher Zachow in Halle: Froberger, Buxtehude, Episcopal Church, and dotted style (marked lentement) leads directly Pachelbel, Kuhnau and others. This is true also Edinburgh City Organist with duties at the into an allegro where trio sections for two of the Suite in G (HWV 450), which contains Usher Hall. He gives many solo recitals both oboes and bassoon alternate with the full an opening preludio and a closing menuet in the UK and further afield, and is much in string texture. Rinaldo was first given in 1711 in addition to the standard four dances. The demand as a continuo player, accompanist, and proved an operatic triumph; it was several sarabandes in both suites bear a distinct family lecturer, writer and reviewer. times revised and revived. The keyboard resemblance, and show that Handel’s melodic version of its overture published by Walsh gift was already well developed. John has recorded extensively both for was an arrangement by the virtuoso London Delphian Records and for a number of other harpsichordist and Handel’s contemporary, © 2009 John Kitchen labels. A recent Delphian release (DCD34062, William Babell. As is typical of Babell’s style, 3 discs) offers the complete organ music of it contains copious added embellishment, William Russell (1777–1813) played on the almost- especially in the luxuriant adagio which connects contemporary 1829 Bishop organ in St James’s, the two sections of the French overture with the Bermondsey in London. This recording was part final giga. of a major project funded by a grant from the Arts and Humanities Research Council, and has It is difficult to establish a chronology for received much critical acclaim. The recording Handel’s harpsichord suites. Although the of a disc surveying nine historic keyboard celebrated Eight Great Suites were published instruments from the recently bequeathed in 1720 by Handel himself, and Walsh published Rodger Mirrey Collection at St Cecilia’s Hall is further suites in 1733, many movements in progress. apparently date from much earlier, probably from the composer’s youth or early maturity.3

3 For detailed information on the background to the suites and questions of chronology, see the preface to Peter Williams’s edition (Wiener Urtext, 1991), which was prepared in collaboration with Terence Best. Notes on the instruments Single-manual harpsichord, Thomas Barton, London, 1709 Double-manual harpsichord, Jacob Kirckman, London, 1755 This is the only surviving harpsichord by and so it is instructive to hear the rather The prolific Jacob Kirckman was born in the panels. Apart from its importance as a musical Thomas Barton, and one of very few extant different, ‘earlier’ sound of the Barton. It has Alsace near Strasbourg and emigrated to instrument, it is a superlative example of English early eighteenth-century English harpsichords; two sets of 8’ strings, and its modest size England in the early 1730s. He became a furniture design and execution. It has the usual it forms part of the Rodger Mirrey Collection and unpretentious appearance do not prepare naturalised British citizen in 1755, the year in English disposition with two sets of 8’ and one which was generously donated to the the listener for the extraordinarily rich and which this harpsichord was built. It was part of set of 4’ strings. There is an extra set of jacks University of Edinburgh in 2005. Our view of characterful sound which emerges. It seemed Raymond Russell’s original collection, and is placed so as to pluck the strings very close English harpsichords is largely coloured by appropriate to use it for the two Handel suites, reputed to have been his favourite harpsichord. to the nut, giving a bright nasal sound, and instruments dating from after about 1730, with which it is more or less contemporary. In contrast to many rather plain English sometimes rather inappropriately called the ‘lute’ instruments, it is extremely richly decorated, stop. On this recording the Kirckman harpsichord with lavish marquetry work and figured walnut is used for all the overtures. Notes on the instruments Single-manual harpsichord, Thomas Barton, London, 1709 Double-manual harpsichord, Jacob Kirckman, London, 1755 This is the only surviving harpsichord by and so it is instructive to hear the rather The prolific Jacob Kirckman was born in the panels. Apart from its importance as a musical Thomas Barton, and one of very few extant different, ‘earlier’ sound of the Barton. It has Alsace near Strasbourg and emigrated to instrument, it is a superlative example of English early eighteenth-century English harpsichords; two sets of 8’ strings, and its modest size England in the early 1730s. He became a furniture design and execution. It has the usual it forms part of the Rodger Mirrey Collection and unpretentious appearance do not prepare naturalised British citizen in 1755, the year in English disposition with two sets of 8’ and one which was generously donated to the the listener for the extraordinarily rich and which this harpsichord was built. It was part of set of 4’ strings. There is an extra set of jacks University of Edinburgh in 2005. Our view of characterful sound which emerges. It seemed Raymond Russell’s original collection, and is placed so as to pluck the strings very close English harpsichords is largely coloured by appropriate to use it for the two Handel suites, reputed to have been his favourite harpsichord. to the nut, giving a bright nasal sound, and instruments dating from after about 1730, with which it is more or less contemporary. In contrast to many rather plain English sometimes rather inappropriately called the ‘lute’ instruments, it is extremely richly decorated, stop. On this recording the Kirckman harpsichord with lavish marquetry work and figured walnut is used for all the overtures. Early keyboard music on Delphian

François Couperin: La Paix du Parnasse William Russell (1777–1813): Complete Organ Voluntaries Lucy Carolan and John Kitchen harpsichords The Organ of St James’s Church, Bermondsey (DCD34012) (DCD34062, 3CDs) Though much of Couperin’s harpsichord music was written for a solo The two books of voluntaries William Russell published before his untimely instrument, he composed a small number of pieces for two harpsichords, death open a window on an important and neglected period in English somewhat in the manner of a trio sonata. Lucy Carolan and John Kitchen music. Sitting on the cusp of the Romantic period, they bring together the pair their considerable talents on two of the world’s most exquisite influences of Handel, Haydn and of Russell’s friend and contemporaries original French instruments, the 1769 Pascal Taskin and the 1764/83 including Samuel Wesley and John Stanley in a fascinating stylistic mix.

Goermans/Taskin double-manual instruments in the Russell Collection of For this premiere recording of the complete voluntaries, John Kitchen has Early Keyboards. This unique and unforgettable recital is a must-have for faithfully observed Russell’s original performing instructions on a restored 1829 enthusiasts and serious Baroque connoisseurs alike. organ whose period qualities bring the music vividly and compellingly to life.

‘Prepare to be knocked out by this collection’ ‘immaculately presented and superbly played’ – Classic FM Magazine – The Herald, September 2003 ‘a delight in every way’ – Choir & Organ, April 2009

Instruments from the Russell Collection Vol II Within a Mile of Edinburgh John Kitchen early keyboard instruments John Kitchen, Malcolm Green (DCD34039) (DCD34005)

Rediscovering Georgian Edinburgh’s musical past: a musical snapshot Edinburgh University’s Russell Collection is one of the world’s finest collections of an Enlightenment-era phenomenon with great social repercussions. of early keyboard instruments. The second volume in John Kitchen’s ongoing This recording features John Kitchen performing fortepiano repertoire by project to bring its musical exhibits to life matches music by Handel, Purcell, composers working in Scotland during the Georgian period, when these the Scottish composer Robert Bremner and others including Mozart’s son works were published for performance on the popular square pianos sold Franz Xaver with a gloriously vigorous menagerie of spinets, virginals, chamber in Edinburgh’s wealthy New Town. Paired with the elegant variations are the organs, clavichord and harpsichords. songs that inspired them, collected by Burns, Thomson and Johnson and

published in The Scots Musical Museum of 1787, and sung here by young ‘a supreme achievement … Every one a gem, as are Kitchen’s stylishly bright baritone Malcolm Green. The popularity of Scots song in the latter half of the performances’ eighteenth century also carried political significance in a nation recently torn – The Scotsman, March 2006 by the strife of the Jacobite Rebellion. ‘A generous, attractive programme’ – International Record Review, June 2003 Early keyboard music on Delphian

Instruments from the Russell Collection Vol II Within a Mile of Edinburgh John Kitchen early keyboard instruments John Kitchen, Malcolm Green (DCD34039) (DCD34005)