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Home , Athalia (Handel), Deborah (Handel), Israel in Egypt, Jephtha (Handel), Joshua (Handel), Saul (Handel)

CORO CORO HANDEL: Coronation Anthems Winner of the Gramophone Award for cor16066 Best Baroque Vocal Album 2009

“Overall, this disc ranks as ’s most exciting achievement in its impressive Handel discography.” HANDEL gramophone

HANDEL: Choruses cor16076 STEFFANI: Stabat Mater The Sixteen adds to its stunning Handel collection with a new recording of Dixit Dominus set alongside a little-known treasure – ’s Stabat Mater.

THE HANDEL COLLECTION cor16080 Eight of The Sixteen’s celebrated Handel recordings in one stylish boxed set.

The Sixteen To find out more about CORO and to buy CDs visit

www.thesixteen.com cor16180 He is quite simply the master of chorus and on this compilation there is much rejoicing. Right from the outset, a chorus of Philistines revel in Awake the trumpet’s lofty sound to celebrate Dagon’s festival in ; the triumph in their victory over with great pageantry in How excellent Thy name from and we can all feel the exuberance of I will sing unto the Lord from in Egypt. There are, of course, two Handel where the choruses dominate – and – and we have given you a taster of pure majesty in the Amen chorus from Messiah as well as the Photograph: Marco Borggreve Marco Photograph: dramatic ferocity of He smote all the first-born of Egypt from Israel in Egypt. Handel is all about drama; even though he forsook opera for , his innate sense of the theatrical did not leave him. Just listen to the poignancy of the opening of Act 2 from Acis and Galatea where the chorus pronounce the gloomy prospect of the lovers and the impending appearance of the monster Polyphemus; and the torment which the Israelites create in O God, behold our sore distress when commands them to “invoke the holy name of Israel’s God”– it’s surely one of his greatest fugal choruses.

We have also included the longest chorus Handel ever wrote; in fact, in many ways, it is more of an extended verse anthem than a chorus. It is the closing sequence from his first doubt whether there is any composer who could match Handel’s genius for writing version of – The Lord our enemy has slain – only a great composer with immense choruses. The day he decided to forego opera and turn to a new art form, the oratorio, skill and artistry like Handel can make well over 50 repetitions of the words “for ever” in is a day all chamber choirs and large choruses should be thankful for. We are lucky each part sound exhilarating and thrilling. I if, in his operas, we get a chorus at the end of each act, but in his oratorios, both sacred and secular, we have a plethora to delight in. He has been the inspiration for the likes of Haydn, Stainer and Elgar to compose great choruses for our phenomenal choral tradition. Of course, it is the Hallelujah chorus that has become a beacon of rejoicing from choirs the size of The Sixteen to thousands crammed into the Royal Albert Hall.

2 3 1 Awake the trumpet’s lofty sound! (Chorus of Philistines) 1.59 bp Ye house of Gilead, with one voice (Chorus of Israelites) 3.44 (from Samson, HWV 57, Act One, Scene 1) (from Jephtha, Act Three, Scene 2) 2 Your voices tune 2.59 bq Hallelujah! 3.53 (from Alexander’s Feast, HWV 75, Part 2 – Additional Chorus) (from Messiah, Part 2) 3 Welcome, welcome, mighty King! (Chorus of Israelites) 1.37 br The Lord our enemy has slain 10.57 (from Saul, HWV 53, Act One, Scene 3) (from Esther, Act Three, Scene 2) 4 Wretched lovers! 4.11 Soli: (alto – Priest of the Israelites) (from Acis and Galatea, HWV 49, Act Two) Lynda Russell (soprano – Esther) Mark Padmore (tenor – Mordecai) 5 Ye sons of Israel mourn II 2.10 Robert Evans ( 1), Simon Birchall (bass 2) (from Esther, HWV 50a, Act One, Scene 3) bs I will sing unto the Lord 2.42 6 Worthy is the Lamb 3.34 (from Israel in Egypt, Part 2) (from Messiah, HWV 56, Part 3) bt Then round about the starry throne(Chorus of Israelites) 2.07 7 He gave them hailstones for rain 2.13 (from Samson, Act One, Scene 3) (from Israel in Egypt, HWV 54, Part 1) bu The many rend the skies with loud applause (I) 4.02 8 With thunder arm’d, great God, arise (Chorus of Israelites) 3.00 (from Alexander’s Feast, Part 1) (from Samson, Act Three, Scene 1) cl Gird on thy sword, thou man of might (Chorus of Israelites) 5.21 9 O God, behold our sore distress (Chorus of Israelites) 4.19 (from Saul, Act Three, Scene 5: Elegy on the death of Saul and Jonathan) (from Jephtha, HWV 70, Act One, Scene 4) cm And the glory of the Lord shall be revealed 3.06 bl He smote all the first-born of Egypt 2.19 (from Messiah, Part 1) (from Israel in Egypt, Part 1) cn Let the bright Seraphim in burning row (Chorus of Israelites) 3.09 bm How excellent Thy name(Chorus of Israelites) 2.48 (from Samson, Act Three, Scene 3) (from Saul, Act One, Scene 1: co An Epinicion or Song of Triumph, for the victory over Goliath and the Philistines) He is my God 0.58 (from Israel in Egypt, Part 2) bn And He shall purify 2.33 cp (from Messiah, Part 1) Amen 3.41 (from Messiah, Part 3) bo Hear, Jacob’s God, Jehova, hear! (Chorus of Israelites) 3.20 (from Samson, Act Two, Scene 4) Total Running Time: 80.48 4 5 eorge Frideric Handel moved to dramatic oratorios. “Esther, , financial returns and hybrid nature, Handel studied and adapted to suit his own London at a time when British , Judas Maccabeus (which was hesitated at first to test it on the public. In style. The first version ofEsther , originally exceptionalism and the righteous composed in honour of the Duke of 1732 Bernard Gates, music director of the written in 1718, possibly for James Brydges, forceG of the nation’s Protestant faith were Cumberland’s victory over the Jacobites Chapel Royal, staged a revised and expanded the future Duke of Chandos, closes with fast gaining strength. The rise of both trends at Culloden [in 1745]) , , version of the composer’s first English The Lord our enemy has slain, a magnificent emerged from the insecurity of the United Jephtha, and self-evidently, Israel in Egypt,” oratorio, Esther, for a private audience. Its early example of Handel’s mastery of the Kingdom of Great Britain, established in observes Colley, “all have as their theme success encouraged Handel to present the English choral tradition and harbinger of 1707 by two acts of parliament, and genuine the deliverance of Israel from danger by piece six times in concert a few months later choruses to come in Saul, Israel in Egypt fears that the Catholic heir to the deposed leaders inspired by God.” Yet it was so as part of his season at the King’s Theatre and Samson. The piece, which celebrates the king James II would return to claim the often the chorus as crowd and collective in the Haymarket. The appeal of both death of the tyrannical Haman, interweaves throne. The myth-makers worked hard commentator that reinforced messages versions owed much to the chorus, which a recurring chorus with duets for the priest to equate Britain with Israel, the second of Britain’s superior strength and moral serves almost as an independent character and trumpet, Esther and Mordechai and promised land favoured by God, staunch purpose, expressed in great songs of while providing moral reflection on the two basses, brought together to form a in her defiance of the papist threat. It triumph, praise and mourning. Those persecution of Persia’s Jews and the valiant single dramatic scene. was Handel’s fortune to recognise British messages were conveyed in memorable Esther’s part in averting their massacre. The process of assimilating and owning political symbolism and place it centre stage fashion by Handel’s music and, unlike his Esther was followed in 1733 by Deborah existing musical styles was fundamental to in so many of his oratorios. As the historian Italian operas, in the mother tongue of his and Athalia, the latter first performed at Handel’s development as a composer. Like Linda Colley observes in her ground- adopted homeland. the Sheldonian Theatre in Oxford to an so many talented young musicians before breaking book Britons, the Saxon composer Handel invented the English oratorio. The uncomfortably packed house of almost him, he made an extensive tour of Italy in “flattered his new surroundings, and new genre began as a pragmatic response 4,000 “ladies and gentlemen of the 1709 and mastered the country’s principal especially his patrons at court, by inserting to changing popular tastes, signalled in 1728 highest rank”. Those early oratorios set musical genres during his stay. Handel into his music regular comparisons by the financial failure of Handel’s Royal the foundations for a remarkable series of probably met the Elector of Hanover’s between events in British history and the Academy of Music, his formerly profitable mature works, beginning in 1738 with the brother during a visit to Venice and, in endeavours of the prophets and heroes of venture to stage seasons of Italian opera compelling dramas of Saul and Israel in June 1710, was appointed Kapellmeister the Old Testament”. in London. It was also informed by the Egypt. The latter’s monumental set-piece to the electoral court in Hanover. His new Ancient Israel’s leaders and generals served immediate accessibility and corresponding choruses owe a significant debt to the job offered generous periods of travel leave, as proxies for prominent members of the box-office success of John Gay’sThe Beggar’s sonorous sacred anthems of which Handel readily accepted. He travelled Hanoverian establishment in Handel’s Opera. Handel, uncertain about oratorio’s and other Chapel Royal composers, which to England in autumn 1710 and soon scored

6 7 a hit with , tickling the London compositions for his extraordinarily rich Il trionfo del Tempo, and the pastiche welcome, mighty King!, complete with public’s recently acquired fascination for all- patron’s estate at Cannons Park, Edgware. Jupiter in Argos given in Italian. tinkling carillon, stokes Saul’s murderous sung opera in Italian with an outstanding jealousy of the young shepherd , Acis and Galatea, Handel’s first substantial With typical fluency and ease, Handel new contribution to the repertory. seen by the Israelites as their saviour in dramatic work in English, was probably combined elements from genres as diverse combat against the giant Goliath and his Duty obliged Handel to return to Hanover, first staged or semi-staged at Cannons as Italian , the cantatas and Latin Philistine compatriots. In addition to the a setback after the experience of life in around April 1718. Based on Ovid’s tale of psalm settings of his apprentice years in drama of often raw human emotions, Saul the vibrant British capital. Elector Georg two lovers tormented by the savage cyclops Italy, the Anglican verse anthem, German projects political propaganda in favour of Ludwig, the future George I, granted the Polyphemus, Acis and Galatea began oratorio and the French cantata to forge the legitimacy of replacing one king with composer a second leave of absence towards life as a pastoral masque. Handel later English oratorios of striking variety and another, just as William of Orange had the end of 1712. He could visit England on adapted the work for the London stage invention. As the Handel scholar Winton replaced James II in the so-called Glorious condition that, as his first biographer put it, as a ‘serenata’ in English and Italian, first Dean memorably put it, these concert Revolution of 1788. he “engaged to return within a reasonable presented to popular acclaim during his works were conceived not for the stage but time”. Handel, no doubt encouraged by 1731-32 season, and created an all-English for the “theatre of the imagination”. Thanks to notes scribbled in manuscript version for performance alongside his new royal and aristocratic patrons, decided , librettist of Saul, Messiah scores or reports by early critics, we Song for St Cecilia’s Day in 1739. to remain in London and was dismissed and perhaps Israel in Egypt among other know the names of many of the soloists – from his Hanover job in June 1713. While By the close of the 1730s, it was clear that works, recalled visiting Handel while he some Italian stars, most dependable Handel and his former employer were in the vogue for Italian opera had passed. was draftingSaul . His account offers a British singers – who took part in the first fact reconciled before the latter ascended London’s middle-class audiences wanted a vivid portrait of the composer’s creative performances of Handel’s oratorios. Much the British throne, legend has it that the more dramatic, less stylised form of musical originality: “Mr Handel’s head is more full less was known about chorus members and new monarch was only moved to forgive entertainment. Handel was ready to please of maggots than ever: I found yesterday in their backgrounds until the publication of the composer by the music he wrote for a the market, although it took him a decade his room a very queer Instrument which pioneering research by Donald Burrows royal water party in 1714. Handel’s famous to turn completely from opera to oratorio. he calls Carillon … & says some call it a into the composer’s collaboration with the , however, was more likely His Lenten season in 1739 marked a shift Tubalcain, I suppose because it is both in English Chapel Royal. Despite an official written to accompany the king’s stately away from opera in Italian to oratorio in the make & tone like a set of Hammers ban on the Chapel’s boys appearing in barge journey from Whitehall to Chelsea English, although its modest success at the striking upon Anvils. ‘Tis play’d upon theatrical productions, many of its adult and back in July 1717. Soon after his Thames time would hardly have appeared decisive. with Keys like a Harpsichord, & with this Gentlemen and some of its child choristers outing, he began work for James Brydges It comprised the first runs of Saul and Israel Cyclopean Instrument he designs to make joined Handel’s chorus line. “There was,” and produced a series of choral and other in Egypt, revivals of Alexander’s Feast and poor Saul stark mad.” The chorusWelcome, Burrows observes, “probably never any

8 9 question of Handel employing the complete choristers. Chapel Royal choristers took Harry Christophers stands among today’s great Chapel Royal choir for his chorus; rather, part in subsequent performances of the champions of choral music. In partnership with The the Chapel provided one of the main work to raise funds for London’s Foundling Sixteen, the ensemble he founded over 40 years ago, he sources for competent professional singers Hospital. Messiah was followed in short has set benchmark standards for the performance of in London.” The Chapel Royal choristers order by Samson. Both works make high everything from late medieval polyphony to important would have been proficient sight-readers demands on their choristers, posing new works by contemporary composers. His international and, as London residents, readily available technical challenges and requiring close influence is supported by more than 150 recordings to attend Handel’s rehearsals; other chorus attention to words and their meaning. and has been enhanced by his work as Artistic Director members were drawn from the choirs of Borggreve Marco Photograph: Jephtha, Handel’s final oratorio, first of Boston’s and as guest Oxford and Windsor and singers on the performed during the 1752 season, probes conductor worldwide. books of Handel’s opera company. “What human emotions more deeply than any does seem certain, however,” concludes The Sixteen’s soundworld, rich in tonal variety and of its predecessors to reveal the complex Burrows, “is that the Chapel Royal singers, expressive nuance, reflects Christophers’ determination to relationship between mankind, the natural men and boys, were a significant resource create a vibrant choral instrument from the blend of adult word and their divine creator. O God, behold when Handel needed a substantial chorus.” professional singers. Under his leadership The Sixteen has our sore distress gives voice to the hopes and established its annual Choral Pilgrimage to cathedrals, churches and other UK venues, This album’s anthology of choruses fears of the Israelites. Their leader, Jephtha, created the Sacred Music series for BBC television, and developed an acclaimed period- suggests that Handel took full advantage has vowed to Jehovah that he will sacrifice instrument orchestra. Highlights of their recent work include an Artist Residency at of the Chapel Royal resource, especially the first living thing he sees on his return Wigmore Hall, a large-scale tour of Monteverdi’s Vespers of 1610, and the world premiere for performances of his oratorios of the from fighting his people’s enemies. The of James MacMillan’s Stabat mater; their future projects, meanwhile, comprise a new series 1740s and 1750s. Messiah, drafted between chorus expresses a nation’s heartfelt plea devoted to Purcell and an ongoing survey of Handel’s dramatic oratorios. 22 August and 12 September 1741, was for good fortune in battle; however, it also written at the invitation of the Lord admits the possibility of tragedy to come. Harry has served as Artistic Director of the Handel and Haydn Society since 2008. He was Lieutenant of Dublin and first performed Jephtha’s subsequent joy in victory turns also appointed as Principal Guest Conductor of the City of Granada Orchestra in 2008 at Dublin’s Great Music Hall in Fishamble to despair when, greeted by his daughter and has worked as guest conductor with, among others, the London Symphony Orchestra, Street on 13 April 1742. Handel received and only child, he fulfils his vow to an the BBC Philharmonic, the San Francisco Symphony Orchestra and the Deutsches special permission to engage the choirs of apparently compassionless God. Kammerphilharmonie. Christophers’ extensive commitment to opera has embraced St Patrick’s and Christ Church Cathedrals, productions for and Lisbon Opera and work with the Granada, a combined force of 16 men and 16 boy © Andrew Stewart, 2020 Buxton and Grange festivals.

10 11 He recently collaborated with BBC Radio 3 presenter Sara Mohr-Pietsch to produce a book published by Faber & Faber entitled A New Heaven: Choral Conversations in celebration of the group’s 40th anniversary. He was appointed a CBE in the Queen’s 2012 Birthday Honours for his services to music. He is an Honorary Fellow of Magdalen College, Oxford, as well as the Royal Welsh College of Music and Drama, and has Honorary Doctorates in Music from the Universities of Leicester, Northumbria, Canterbury Christ Church and Kent. Photograph: Benjamin Ealovega Photograph: Whether performing a simple medieval hymn or expressing the complex musical and emotional language of a contemporary choral composition, The Sixteen does so with qualities common to all great ensembles. Tonal warmth, rhythmic precision and immaculate intonation are clearly essential to the mix. But it is the courage and intensity with which The Sixteen makes music that speak above all to so many people. The Sixteen gave its first concert in 1979 under the direction of Founder and Conductor Harry Christophers CBE. Their pioneering work since has made a profound impact on the performance of choral music and attracted a large new audience, not least as ‘The Voices of Classic FM’ and through BBC television’s Sacred Music series. The voices and period-instrument players of The Sixteen are at home in over five centuries of music, a breadth reflected in their annualChoral Pilgrimage to Britain’s great cathedrals and sacred spaces, regular appearances at the world’s leading concert halls, and award- winning recordings for The Sixteen’s CORO and other labels. Recent highlights include the world premiere of James MacMillan’s Symphony No. 5, Le grand Inconnu, commissioned for The Sixteen by the Genesis Foundation, an ambitious ongoing series of Handel oratorios, and a debut tour of China. 12 13 Tracks are taken from the following CORO recordings by The Sixteen: For full details and digital booklets visit: www.thesixteenshop.com

COR16008 Handel: Samson COR16103 Handel: Saul Recorded: St Jude’s on the Hill, Hampstead Garden Suburb, London Recorded: St Augustine’s Church, Kilburn, London November 1996 January 2012 Tracks 1 8 bo bt cn Tracks 3 bm cl

COR16011 Handel: Israel in Egypt COR16121 Handel: Jephtha Recorded: St Jude’s on the Hill, Hampstead Garden Suburb, London Recorded: St Augustine’s Church, Kilburn, London March 1993 January 2014 Tracks 7 bl bs co Tracks 9 bp

COR16019 Handel: Esther COR16169 Handel: Acis and Galatea Recorded: St Judes on the Hill, Hampstead Garden Suburb, London Recorded: St Augustine’s Church, Kilburn, London May 1995 June 2018 Tracks 5 br Track 4

COR16028 Handel: Alexander’s Feast Compilation by: The Sixteen Productions Recorded: All Hallows Church, Gospel Oak, London Mastering Engineer: Tom Lewington (Floating Earth) 1990 Cover image: William Hogarth: ‘The March of the Guards to Finchley’, 1750 © The Foundling Museum www.foundlingmuseum.org.uk Tracks 2 bu Design: Andrew Giles: [email protected]

2020 The Sixteen Productions Ltd. COR16062 Handel: Messiah © 2020 The Sixteen Productions Ltd. Recorded: St Paul’s Church, Deptford, London For further informationMade in Great Britain about recordings on CORO or live performances and tours by November 2007 The Sixteen, call: +44 (0) 20 7936 3420 or email: [email protected] Tracks 6 bn bq cm cp www.thesixteen.com CORO c o r 1 6 1 8 0 (1685-1759) Choruses

The Sixteen | harry christophers

1 Awake the trumpet’s lofty sound! (Samson) 1.59 bp Ye house of Gilead, with one voice (Jephtha) 3.44 2 Your voices tune (Alexander’s Feast) 2.59 bq Hallelujah! (Messiah) 3.53 3 Welcome, welcome, mighty King! (Saul) 1.37 br The Lord our enemy has slain (Esther) 10.57 4 Wretched lovers! (Acis and Galatea) 4.11 bs I will sing unto the Lord (Israel in Egypt) 2.42 5 Ye sons of Israel mourn, II (Esther) 2.10 bt Then round about the starry throne (Samson) 2.07 6 Worthy is the Lamb (Messiah) 3.34 bu The many rend the skies, I (Alexander’s Feast) 4.02 7 He gave them hailstones (Israel in Egypt) 2.13 cl Gird on thy sword, thou man of might (Saul) 5.21 8 With thunder arm’d, great God, arise (Samson) 3.00 cm And the glory of the Lord (Messiah) 3.06 9 O God, behold our sore distress (Jephtha) 4.19 cn Let the bright Seraphim (Samson) 3.09 bl He smote all the first-born Israel( in Egypt) 2.19 co He is my God (Israel in Egypt) 0.58 bm How excellent Thy name (Saul) 2.48 cp Amen (Messiah) 3.41 bn And He shall purify (Messiah) 2.33 Total running time 80.48 bo Hear, Jacob’s God, Jehova, hear! (Samson) 3.20

the voi ces of © The Sixteen Productions 2020 Made in EU The Sixteen Productions 2020 Booklet enclosed N