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HANDEL EDITION Liner Notes & Sung Texts

HANDEL EDITION Liner Notes & Sung Texts

HANDEL EDITION Liner notes & sung texts (p. 40 – p. 97)

LINER NOTES

CD1 WATER and in the fashionable country dance – and added splendid A king does not amuse himself alone highlights to the whole with horns (“French horns”, a novelty in On the evening of July 17, 1717, King George I of England) and . Not only King George was enthusiastic boarded the royal barge at Whitehall in the company of a select about it. Striking proof of the popularity of the is group of ladies and was rowed up the Thames as far as Chelsea, the fact that pieces from it very soon found their way to the where Lady Catherine Jones was expecting him for supper. The concert platforms and into 's theatres; some were even river teemed with boats and barges, as the Daily Courant under laid with texts, two were used in Polly, the sequel to the announced two days later, for everybody who was anybody in legendary 'Beggar’s by and John Christopher London wanted to accompany the king on this pleasure trip. A Pepusch and one was included in The English Dancing Master by special attraction was provided by a barge of the City Company, , a famous; often republished collection of popular on which some fifty performed music composed dances. The “Minuet for the French ” and the '' especially for the occasion; the king liked it so much that he had Minuet” enjoyed particular popularity. They were also the first it repeated twice. pieces from the “Water The most informative account of the event is the detailed Music” that appeared in print (in the anthology The report the Prussian ambassador Friedrich Bonet sent to his king, Ladies Banquet of 1720), followed in 1725 by the in Friedrich Wilhelm I, the son-in-law of the Hanoverian Elector the French style. In 1733 Handel's publisher who had ascended the throne of England as King George I in published The Celebrated Water Musick, a version for seven 1714. In going on to remark that the crown prince and his wife orchestral parts which reduced the work to eleven movements; did not participate in the celebrations, Bonet was certainly he published the rest ten years later (at the time Handel's aware of the political significance of what he said. Not only did had its London premiere) as Handel's Celebrated Water the new (Protestant) king have to grapple with the adherents of Musick Compleat, but only as an arrangement for harpsichord James Stuart, the (Catholic) to the throne who had (or as we would say today, a “ score”). It was not until plotted a rebellion in 1715, but he had also had to look on as his 1788 that Samuel Arnold published a complete orchestral own son's house turned into a meeting place of the edition. parliamentary opposition. Georg of , now inevitably Conscientious editors have had to face the fact that called "George", did not particularly like England, and the Handel's autograph has not survived, that various manuscript English did not like him either, so that William Makepeace versions exist and that there are divergences between the Thackeray was probably right when he later wrote that, given various printed sources. Three different suites can be extracted the choice, the king would have liked to leave England to, its from the surviving scores: one in F major (with horns), one in D own devices as far as possible and live elsewhere as much as major (with horns and trumpets) and a "more tender" one in G possible; his heart remained in Hanover. However, in view of major (with transverse and recorders) that might well political developments, he renounced his annual holiday at have served as "Tafelmusik" (banqueting music) at Lady home in the summer of 1717 and used the time, to make Catherine's supper, Friedrich Bonet, who is known for his himself more likeable to his new subjects. On July 15, before precise reporting, states that the music lasted an hour in all, shutting down for the summer, Parliament approved an which might indicate that all three suites, in whichever order, amnesty for most of the imprisoned Jacobite insurgents not yet sounded on the Thames. , who is much executed, while the summer was brightened up by a series of chided by his modern colleagues but was in fact in infinitely festivities; among them, splendid receptions at Hampton Court commendable editor who realized the first monumental Palace. The cruise on the Thames was accordingly anything but complete Handel edition practically singlehanded, essentially a private amusement. Bonet's report also reveals that the king decided to adopt the sequence of movements given by Samuel was not thinking of paying for the events from his private purse. Arnold, in which the Suites II and III are arranged as a single He began by trying to engage Heidegger; who had made a good suite. A sensational find in the archive of the Royal Society of deal of money with his masques on a subscription basis, to Musicians in London seems to indicate that both views are organize the event on the Thames. However, the Swiss right. A complete manuscript score discovered there in 2004 is impresario would have nothing to do with the idea, so it fell to the earliest of all the sources so far known. It offers a possible George's Master of Horse and close friend Baron Kielmansegge alternative, to the usual - and musically just as meaningful- to organize the event, in which the musicians alone cost him division into three suites. But whether it truly represents the 150 pounds. It was Kielmansegge who had arranged for the "original form" of 1717 will probably have to remain an open young Handel, then enjoying success in , to become question - at least until the event of Handel’s autograph Kapellmeister in "Hanover (where he did not spend much time, appearing in some or other archive... having already extended his feelers in the direction of England), © Babette Hesse and who now gave Handel the commission which resulted in Translation: J & M Berridge one of the most irrepressible classics of light music. For the Water Music is indeed light music of the very finest kind. All it has to do with water is the fact that it was first performed on the Thames. In a sparklingly elegant mixture of styles, Handel combined the best from France and Italy, spiced with English local colour - as in the hornpipe musically ennobled by Purcell

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CD2 Telemann and become cathedral organist in his home MUSIC FOR THE ROYAL FIREWORKS town. of Music of the Royal Fireworks we also owe to a By 1705, Handel was in writing with some royal feast. In 1748, the Austrian war of succession was ended varied success. Inexperience led him to visit Italy where he met by the Peace of Aachen. The English King ordered a large the Scarlatti’s in Florence and the Prince of Hanover in , fireworks display for the peace celebrations in Green Park. Back who at the time was looking for a new Kapellmeister. But then, this meant, that for this show a unique, huge "machine" opportunities were to lead the composer to England where the was to be built out of wood, with a triumphal arch, with doric success of his opera “” established his name overnight. columns and everything else that goes with it. At the climax of Handel soon became into the service of the Hanoverian the festivities, a mechanical rocket would shoot burning wheels monarch in London and began to write not only operas for the and other fireworks into the sky. Naturally, bombastic music London stage, but also occasional pieces for the Royal family was needed to accompany this spectacle. "Military music" was including his and the famous Water Music and what the king wished to have. Handel reluctantly fulfilled this Fireworks Music. But London was also fired by rivalries in the wish and arranged the score for 9 trumpets, 9 horns, 24 , musical world and Handel’s operas were soon to be marked by 12 ; and three kettle drums; in a note he demanded a the contests of rival prima donnas. Restrictions on strengthening of the oboes and bassoons by the strings. What it performances of stage works led Handel to inaugurate a new finally sounded like is not reported. But we do know that "the style of unstaged , music theatre in his , the most illumination was poor and that the firing took so long that famous of which include “”, “Judas Maccabeus” and hardly anyone had the patience to remain until the end." These “Messiah” and it was during a performance of the later work in annoyances belong to the remote past. What remains is the 1759 that Handel was taken ill and died short after. He was magnificent, indestructible "Music of the Royal Fireworks" buried, as he himself wished, in where his © Ingeborg Allihn memorial stands to this day. Translation: Danny Antonelli The earlier of the two sets of Concerti Grossi by Handel bears the opus number 3 but it is uncertain when they were actually composed although it is known they were first The fact that Handel's charming in B flat HWV339 has published in London in 1734. It has been suggested that they been preserved for posterity is thanks to two copies made by date from Handel’s period at the Court of Hanover but there is someone other than Handel himself. One of them was made by no certainty in this; what is certain is that the six short pieces the composer , who came to the Hamburg are based on borrowings and influences from Italian, French opera house on Gänsemarkt just at the time when the twenty- and German sources and that much of the material to be found one-year-old Handel, who had earned his spurs in that city as a in these charming works is made up of a series of short, often composer of operas, was about to leave for Italy. This fact and extremely short, movements, often with an accent on the the clear quotations from the instrumental introduction to an as a solo instrument. from Handel’s very first opera in the first movement © Dr. David Doughty are strong evidence for the Sinfonia to be attributed to his years in Hamburg. Thanks to his friend and rival , CD4-6 Handel made the acquaintance of the "English Resident" CONCERTI GROSSI OP.6 (ambassador) in Hamburg, whose son he taught. This gave the We tend to associate German music chiefly with two young man from a feel for the wider world and he towering figures: and George Frideric discovered England as a possible option in his future career. Handel. Yet even though they were exact contemporaries, they Some charming ideas from Handel's younger years can be found had little in . It would be difficult to think of in his later works; indeed, recycling and adaptation of existing providing a more striking contrast than Bach, the austere, material became characteristic of his compositional oeuvre and devout Protestant, and Handel, a lusty man fond of wine and it was by no means just his own work that he re-used. In his good cheer and with an explosive temperament. Whereas 1747 Sinfonia in B flat HWV347 for example, there are elements Bach's works blossomed in the provincial atmosphere of a life borrowed from and Georg Muffat. It is spent mainly in , Handel was a cosmopolitan figure, the not known at which occasion this work was performed. What wealthy owner of a big art collection, a man who made and lost we do know is that Handel used sections of it for the fortunes in his musical enterprises. Most important, Handel introductory movement of his and for one of won everlasting fame during his own lifetime, his operas and the organ with which he often used to expand his oratorios reaching a wide audience inside and outside England. oratorio performances, where he played the solo organ himself Having moved to England in 1712, he remained there for the to an adoring audience. By that time, Handel had already been rest of his life. As a composer and impresario he was a public a naturalized British citizen for 20 years, having made himself figure and an object of gossip in London, that bustling immortal at the latest when he composed Messiah. Indeed, one metropolis, where he not only met with adulation and acclaim, grateful Englishman, Jonathan Tyers, even had a memorial but also encountered scorn and intrigues. erected to Handel, in London's Vauxhall Pleasure Gardens in It was in London that Handel, born in the same year as Bach 1738! (1685), wrote the bulk of his instrumental music, taking © Babette Hesse advantage of its vast popularity to use a great deal of the Translation: J & M Berridge material more than once. Numerous movements of his concerti grossi made their way into his stage works in the form of CD3 instrumental interludes. Like his coeval, Johann Sebastian Bach, CONCERTI GROSSI OP.3 he focussed on the two principal genres of , the Poised between three cultures, Handel excelled at the styles of and the suite. In his concerti grossi Op.6, which Handel Italian Opera, German absolute music and English style of composed in 1739 and published the following year under the Oratorio, creating something of a new national style in his title "Grands concertos", he achieved a synthesis of the two adopted city of London. He was born however in 1685 in the forms. Handel gave due emphasis to the alternation of tutti and Eastern German city of Halle, son of a local surgeon who had solo passages that is characteristic of the concerto. The tutti plans that his son should join the legal profession, but by 1702 it statements are entrusted to the string , the solo was clear that things would work out somewhat differently and episodes to a small group comprising two solo and a the young Handel had fallen under the influence of the . In sum, the movements also represent a succession of baroque dances (e.g. gavotte, gigue and minuet) and hence a

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suite, which may open with an overture. Handel employed this "New Concerto"-and the Concerto in F major HWV333 is likely basic scheme for his most famous concerti grossi, the Water to have followed closely upon it, on March 23, J748, during the Music and the Music for the Royal Fireworks. premiere of , the overture to which happens to Both Bach and Handel displayed an absolute mastery of the be an arrangement of the opening movement of the HWV332 formal resources of baroque music without adhering closely to concerto. historical models. Even so their instrumental compositions are "Concerti a due cori", the established designation for these worlds apart. Especially the concerti grossi Op.6, make it dear three works, did not originate with Handel and is in fact that Handel was less concerned with elaborate polyphonic misleading, insofar as all three compositions are better textures than with memorable tunes and opulent sonorities. regarded as being trichoral -one formed by the strings and Even his fugal movements are founded on concise, arresting the other two by the wind instruments. Its seven-movement themes. In marked contrast to Bach, the spiritual dimension in structure distinguishes the B flat major concerto from the pair Handel's instrumental music is occasionally de-emphasized in of F major concertos, which have six movements a piece; its favour of a sumptuous, brilliant fabric of sound. So the different final movement is moreover headed “Minuet”, making it the character traits of the two great baroque composers may well only one of the three with a movement named as a dance. The be said to find expression in their music. degree to which Handel incorporated other compositions here © Christiane Krautscheid also differs greatly: whereas the technique is not used at Translation: Bernd Zölner all in the Judas Maccabaeus concerto (except for echoes of the aria “io seguo sol Fiero” from the opera in the final CD7 movement), the title probably selected by Handel himself for CONCERTI A DUE CORI the B flat major concerto is explicit -"Concerto made from The occasions for which intended his Choruses" -and refers to borrowings from choral movements impressive concertos for two wind sections, strings and basso from the Messiah ("And the glory of the Lord" in the Allegro continuo HWV332-334 remained an open question for a long non troppo), ("See from his post Euphrates flies", in time. By virtue of the fairly large forces called for in each of the, the Allegro) and ("Lucky omens", in movements 5 and wind -two oboes, a- and, in the ease of the 6). The Largo and the Minuet use from the operas HWV334 concerto, also two horns-they were assumed to have and Lotario, the overture alone appearing to have no forebears. originated in the same way as the Music for the Royal Fireworks Finally, the Concerto in F major HWV333 had four of its and the Water Music -for performance as popular open-air movements based upon the various versions of the oratorio entertainment, notably at pleasure gardens, like Ranelagh or ; the third movement, A giusto, on the other hand, Vauxhall Gardens. While usage of this kind cannot be quite is an arrangement of the chorus "Lift up your hand" from the excluded, the discovery of a hitherto unknown copy of the score Messiah, while the last movement, A tempo Ordinario, is based of the F major concerto HVW334 and of related sources has on the chorus "God found them guilty" from the Occasional shown that at least this group of concertos was not written Oratorio. Handel never fails to impress in the skill with which he specifically for occasions of this nature. adapted vocal pieces to the rich palette of colours available to a The three works are to be regarded far more in the context of large instrumental ensemble, creating by this means Handel's work in the field of the oratorio, which had been the sophisticated orchestral works that are among the best in his main focus of his work increasingly since the 1730s, when he instrumental oeuvre. had finally given up trying to win back London audiences for his © Joachim Steinheuer Italian operas. Since Handel's oratorios largely did without the Translation: J & M Berridge virtuosic skills of famous operatic prima donnas and castrati, and called for English singers considerably less versed in vocal CD8-12 acrobatics, the composer sought to make good this ORGAN CONCERTOS disadvantage in competing for the favour of a sensation-crazed George Frideric Handel received his first musical training from audience by inserting instrumental concertos between the acts- the highly-regarded composer and organist, Friedrich Wilhelm a practice which he is known to have taken up at the latest for Zachow, in his home town of Halle. Following the wishes of his the performances of the oratorios and in Egypt dead father, he enrolled at the university there in 1702 after during , 1739. To the traditional list of works which completing his studies at the grammar school, although he left functioned thus as intermezzos, including at least ten of the after only a few weeks in favour of accepting the post of twelve Grand Concertos Op.6 and the majority of the Organ organist at the Reformierte Schloss- und Domkirche (reformed Concertos of Op.4 and Op.7 –in which Handel put his own castle and cathedral church). When his probationary year came famed improvising abilities on display- must now be added the to an end, he moved to Hamburg where he played first the three concertos HWV332-334. and later the harpsichord in the orchestra of the Goose In the rediscovered manuscripts mentioned above, the Market opera house. It was here that his first opera “Almira, Concerto in F major HVW334 is entitled "Concerto / in the Queen of Castile” (HWV1, 1704) became a huge success Oratorio of / Judas Maccabaeus", and may thus be identified as whereas his second was not very well received. Handel then the work mentioned in the London General Advertiser of April I, decided to study the art of opera in its country of origin and in 1747 in a notice referring to the premiere of Judas Maccabaeus the spring of 1706 he travelled to Italy, visited the most (HWV63): "At the Theatre Royal ... this Day ... will be perform'd important musical cities and mastered the Italian style of opera. a New Oratorio, call'd JUDAS MACCABAEUS. With a New Following subsequent employment as Kapellmeister CONCERTO...". It is probable that the concerto was performed, (director of music) in Hanover (1710-1712), he settled in in the version recorded here, between the second and third London where he was hugely successful with operas in the acts; the later arrangement of the piece as an organ concerto Italian style – until the English audience increasingly began to may well have been used similarly. The extensive borrowing lose interest in this spectacular genre during the early 1730s. from his own compositions that Handel makes in all three This intensified the rivalry amongst London’s music promoters concertos -often from works written only shortly before seems who, searching for audience favour, were investing ever- to justify the assumption that the other two concertos 'were increasing amounts of money in famous singers and taking very written at roughly the same time as the concerto HWV334. The high financial risks. When the “Opera of Nobility” competing Concerto in B flat major HWV332 probably formed part of the with Handel engaged the world-famous , , for first performance of the oratorio Joshua on March 9, 1748-here, the 1734/35 season, many a contemporary observer was too, mention is made of a already forecasting the decline of Handel’s musical enterprises. In response to this he engaged two extremely distinguished

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artists - the French dancer, Marie Sallé, and the English , increasingly extensive “ad libitum” passages, periodically - for the performances of his operas and also his expanded to the length of a movement, the content of which oratories. In the intervals between the oratories he offered the Handel improvised afresh on every performance. These were audience an additional musical attraction: Handel, who was transposed for the present recordings in line with the considered in England as the greatest organist of his time, suggestions of Ton Koopman, the publisher of the Breitkopf played music in the style of the very popular Italian concerto edition used. and performed the solo part on the organ. These works were Organ Concerto No.7 (in B flat major HWV306) was the first organ concertos in musical history and sent the composed in February 1740 and was played for the first time on audience into raptures. 27 February during the first performance of the “L’Allegro, London music publisher, John Walsh Jr., brought out three il Penseroso ed il Moderato” (HWV55). For this concerto Handel collections of Handel’s organ concertos in 1738, 1740 and 1761 demanded a bigger organ than in earlier works: an instrument of which, however, only 14 are authentic. Samuel Arnold, the with two keyboards and pedal which he makes full use of in the publisher of the first complete edition of all Handel’s works, first movement. The fourth movement is kept ”ad libitum” in presented two further organ concertos in 1797. Today the Handel’s original and for the present recording Ton Koopman’s acknowledged total of Handel’s organ concertos includes these suggestion for its realisation is played in imitation of the fourth 16 works. movement of the Oboe HWV365. Organ Concerto No.1 (in HWV289) was first played In February 1743 Handel also composed Concerto No.8 (in on 19 February 1736 during the first performance of the ode A major HWV307), which was first played on 18 February with “Alexander’s Feast or The Power of Musick”. Handel had the first performance of the oratorio “Samson” (HWV57). For already presented Concertos No.2 (in B flat major HWV290) and the fugal section of the first movement Handel used material No.3 (in G minor HWV291) a year earlier on 5 March 1735 from an unpublished suite by Gottlieb Muffat; the third during a performance of the oratorio ”Esther” (HWV50b, 1732). movement is “ad libitum” and was realised as a small Handel used not only new musical material but also some movement in F sharp minor. In the concluding fourth material from his own earlier compositions in these organ movement Handel reworked material from an overture that he concertos along with some material borrowed from other had written for “Samson” but in the end had not used. composers which he reworked. As a result, parts of Concerto The remaining organ concertos from the third collection, No.2 originate from his “Silente venti” (HWV242, 1724) Concertos Nos. 9-12, originate from later periods. Concerto and the in B flat major (HWV388, 1717-1718). In No.9 (in B flat major HWV308) was composed in January 1751 Concerto No.3 he used material from his Trio Sonata in G minor and was actually Handel’s last orchestral music as he went blind (HWV390, 1717-1722) and his Sonata in G minor a short time later. It was played for the first time in March as (HWV360, 1725-1726) and also from a sonata by Georg Muffat intermission music at a revival of ”Alexander’s Feast” and is also dated 1682. periodically referred to as the ” Concerto” because Reworking of musical material from his own works or those the opening bars resemble the motif of the chorus by the same of others is also found in other compositions by Handel. The name from Handel’s ”Messiah” (HWV56 1742). The second equivalent method, derived from classical rhetoric, is known as movement is kept “ad libitum”. According to the suggestion ”borrowing” and at that time was considered an expression of made in the Breitkopf edition, material from the fourth great creative musical ability. In this case it was not so much movement of Handel’s Suite No.7 (HWV432) was recorded for what was taken over that was significant but rather how artfully this movement. For Concerto No.9 Handel used, as he also did this material was reworked. However, this method of in the oratorio ”” (HWV70), material from a more recent composition had already been rejected by many a musical work by the Bohemian composer, Franz Johann Habermann composer during Handel’s lifetime and had been replaced in the (1706-83), who as a result of this was also nicknamed the Enlightenment by the aesthetics still valid today that give ”Bohemian Handel”. preference to original thought. According to contemporary reports, Handel repeatedly In March 1735 Handel also presented Organ Concertos brought his organ concertos to performance over many years; No.4 (in F major HWV292) and No.5 (in F major HWV293). however, nothing is known about performances of Organ Concerto No.4 was played at a revival of the oratorio “” Concerto No.10 (in D minor HWV309). The individual (HWV52) that had been composed in 1733 as a replacement for movements by Handel, who used not only material from earlier its final movement. In this concerto Handel used material from works but also from the ”musique de table” of his old friend choruses that he had devised for his opera “” (HWV34, Georg Philipp Telemann, were probably assembled for the 1735), although he did not write the organ solo out in full but collection by Smith Jr. Following the first movement an eight merely annotated it in places with the recital comment ”ad beat adagio, an annotated improvisation by Ton Koopman, libitum”. He improvised the related music ad lib. The solo part forms a transition to the third movement in the recording. of Concerto No.5 consists essentially of Recorder Sonata in F In January 1750 Handel finished the work on Organ major (HWV369, 1725-1726) which Handel supplemented with Concerto No.11 (in G minor HWV310) and presented it on 16 orchestral ritornellos and the of the organ solo. March with the oratorio “” (HWV68). Although he The first collection of Handel’s organ concertos (Op.4) wrote his last will and testament barely three weeks later, which appeared in 1738 concluded with Concerto No.6 (in B flat witnesses reported on his exceptionally agreeable disposition major HWV294), which, like Concerto No.1, was first played during the performance of this work for which he reworked with “Alexander’s Feast”. Handel had originally composed the material from the Recorder Sonata in G minor (HWV360) as he work as a harp concerto for Walter Powell Jr. who was a famous had already done in Concerto No.3. The version published by harpist at that time and only transferred the solo part to the Walsh also contained music by Handel that the composer had organ when the collection was being printed. not, however, incorporated himself. The final movement is an Concertos Nos. 7-12 from the period 1740-51 appeared in early version of Organ Concerto No.3. The “ad libitum” the third collection in 1761. As Handel had already died, movements between the first and third movements as well as printing of this collection was looked after by John Christopher between this and the fifth movement are played according to Smith Jr. He had been one of Handel’s pupils and had served his the Breitkopf edition. tutor who in his later years went blind, as assistant conductor at The third collection of Handel’s Organ Concertos, Op.7 performances of the oratorios and concertos. Concertos Nos. 7- concludes with Concerto No.12 (in B flat major HWV311) 12 stand out from the earlier concertos due to their obviously composed in 1749. In this concerto Handel referred back to broader scope, greater demands on playing technique and a material from his Sinfonia HWV347 (approx. 1747) and once larger arrangement of movements. They also contain again in the first movement to music by Telemann. The initial

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version of the Air for Keyboard Instruments (in B flat major 1996). Handel’s organ concertos were recorded for these CDs HWV 469) from the year 1738/39 was recorded for the “ad according to the edition by Ton Koopman published by libitum” movement. “Breitkopf & Härtel”. Organ Concertos No.13 (in F major HWV295) and No.14 (in © Mathieu Kuttler A major HWV296a) had appeared in 1740 as part of the second collection published by Walsh. He had advertised a total of six CD13 organ concertos to the audience. Handel, however, who at this OBOE CONCERTOS · SUITE IN G MINOR · OVERTURE TO OTHO time was plagued by serious health and business worries, was George Frideric Handel was born in Halle, the son of a well- only able to deliver two concertos. These are known today as established barber surgeon by his second wife. After concertos Nos. 13 and 14. The remaining four concertos from matriculation in 1702 at Halle University and a brief period as the second collection do not count as Handel’s authentic organ organist at the Calvinist Church in the city, he moved to concertos since the publisher, Walsh, had them arranged by Hamburg in order to further a career in music, on which he was third parties from Handel’s concertante orchestral work that now decided. Employment at the opera, at first as a violinist appeared in 1739 as ”Concerti Grossi” (Op.6). and then as and composer was followed, in 1706, Concerto No.13 is one of Handel’s best-loved organ by travel to Italy, the source of the form his music had taken. concertos to date. It was completed on 2 April 1739 and Here, in Florence, Venice and he made a name for presented two days later during the premiere of the oratorio himself, writing music in a number of genres, church music, “” (HWV54). The first and last movements contain opera, Italian oratorio, and instrumental works, while, material from the Trio Sonata HWV401 (1739), whilst in the in a keyboard contest with his contemporary Domenico second movement Handel makes the organ imitate the of Scarlatti, he was declared the better organist, with Scarlatti the very birds to which the concerto owes its nickname “The allowed to be a better harpsichordist. Cuckoo and ”. At the suggestion of Ton A meeting in Venice with members of the court of the Koopman, Handel’s for Keyboard Instruments in A minor Elector of Hanover led to Handel's appointment in 1710 as (HWV609, 1711-1718) is played in the “ad libitum” (third Kapellmeister to the Elector, while contact with the English movement). ambassador was presumably instrumental in an immediate Only a few weeks prior to the first performance of Concerto invitation to London for the newly established Italian opera. His No.13, Handel had presented Organ Concerto No.14 for the first return to Hanover the following year, after a short stay in time during a performance of ”Alexander’s Feast” for the Düsseldorf at the court of the Elector Palatine, lasted for some benefit of families of deceased musicians. This concerto exhibits fifteen months, before a definitive return to London, where he borrowings from a sonata for keyboard instruments by Johann now settled, occupied very largely with the Italian opera. It was Kuhnau and also from the overture to “” (HWV5, 1707), when the commercial success of the opera began to decline, the first opera that Handel performed during his stay in Italy. A particularly with the establishment of two rival houses, that short Air (in A major) is played between the first two Handel turned his attention to a new form, English oratorio. movements for the “ad libitum” that is possible according to the This had an obvious appeal to a Protestant audience, avoiding, edition used. as it did, the problems of performance in a foreign language and There is only sparse information available regarding the the incongruities of plot that had become an inevitable history of Concertos No.15 (in D minor HWV304) and No.16 (in concomitant of Italian . His last opera, , was F major HWV305). They appeared singly not within the staged in London in 1741 and his last English oratorio, The collections referred to by Walsh and were published for the first Triumph of Time and Truth, an adaptation of a work he had time by Samuel Arnold in 1797. No.15 probably originates from written in Rome fifty years before, was given at 1746. Handel again reworked musical material from Telemann’s in 1757 and 1758. Handel died in 1759, but his musical influence “Musique de Table” in the key movements whilst an “Adagio” continued to dominate popular taste, doing much to eclipse the and an extended ad lib fugue are played between them. The work of native composers. publisher’s suggestion recorded refers to “A dead March” from As a practical , Handel borrowed extensively from Handel’s oratorio “Samson” and Fugue HWV606 (in G major his own earlier compositions and, as need arose, from the work 1711-1718). of others, following the standard practice of the time. His three Organ Concerto No.16 was composed in 1747 or 1748. For Oboe Concerti have been variously designated. The third of the this Handel drew widely from his “Concerto a due cori” (in F series, the Concerto in G minor was first published, it seems, in major HWV334) which is clearly echoed in the demanding horn Leipzig in 1863, when it was attributed to Handel and described passages. The finale of Organ Concerto No.16 is based on the as a work of 1703, although no other source is now known. In march in F from the oratorio “Judas Maccabeus” (HWV63, four movements, the concerto opens with a slow movement of 1746). characteristically dotted rhythm, a touch of that French style that the aging Corelli, working with Handel in Rome, had The HWV605-610 claimed to be beyond his comprehension. The second Fugues HWV606 and HWV609 inserted in Organ Concertos movement Allegro is followed by a Sarabande and a final dance No.13 and No.15 appeared in 1735 in the collection “Six Fugues movement thematically derived from the first movement. or Voluntarys for the Organ or Harpsichord” (HWV605-610). Concerto No. 2 in B flat major was published with the first They had been composed between 1711 and 1718 although it is in London in 1740 by Walsh in the fourth volume of his Select likely that Handel’s publisher, Walsh, was only encouraged to . Whatever the original date of composition, the publish an edition of these smaller works due to the success of concerto certainly borrows extensively from to two of the organ concertos. By recording them as an accompaniment the , written in 1717 and 1718 for James to the organ concertos, the present listener gains an insight into Brydges, created Duke of Chandos in the following year. The the diversity of George Frideric Handel’s organ music at the material from O come let us sing unto the Lord and I will time of his first organ concertos. magnify thee, O God is transposed and re-arranged to make Further information about the instrumental music of George what is, to all intents and purposes, a sonata da chiesa, Frideric Handel and its place in his work as a whole may be following the established form of such church concertos with an found in numerous publications. The excellent all-round article emphatic opening slow movement, a second fugal Allegro, a about Handel in German found in the music encyclopaedia ”Die third slower movement leading directly to a final Allegro in Musik in Geschichte und Gegenwart” (MGG2) is highly triple time. It has been suggested that the concerto was recommended as is the extremely informative book in English arranged by Handel for the Dutch oboist Jean Christian Kytch, by Alfred Mann ”Handel: The orchestral music” (Schirmer Books who was employed by the Duke of Chandos in 1719 and 1720. It

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was the sight of Kytch's children begging, after the death of The small provincial city of Halle, however, was soon their father that in 1738 inspired the establishment of the Fund proving to be too constrictive an environment for the young for the Support of Decayed Musicians and their Families, a Georg Friedrich and the influence of Telemann and the opera charity to which Handel contributed generously. set his sights on a move to the north German metropolis of Concerto No. 1 in B flat major is similar in form to the third Hamburg with its public opera house on the Gaensemarkt and is generally thought to belong to the earlier period of controlled by the now little known , himself an Handel's life, written either in Hamburg or in Italy. It opens with opera composer in his own right. Just how Handel decided to go an Adagio, leading to an Allegro, followed by a Siciliana and a to Hamburg is unknown but he had arrived in the city by the final short Vivace, in the rhythm of a minuet, suggesting summer of 1703 where he gained a post as violinist in the opera immediate kinship with the Concerto in G minor. house orchestra.; there was even talk of a move to nearby The Air and Rondo are arranged for oboe by the English Luebeck to take up the position of successor to Buxtehude as oboist Evelyn Rothwell, and orchestrated by Anthony Camden. church organist at the Marienkirche. In Hamburg Handel was to The Air uses the descending figure, common, in one meet with the music loving Englishman John Wyche who was to form or another, in Handel's instrumental music. It is followed offer him an introduction to a more international scene and by a lively Rondo, in which the principal theme frames perhaps give him his first ideas of a move to the England where contrasting episodes. he would find later fame. The Suite in G minor, attributed to Handel, has no certain By 1705, Handel was writing his own operas in Hamburg source in its present form, derived, as it is, from an anonymous with some varied success and had even managed to fight a duel manuscript in the library of the Fürstenberg family and here with his erstwhile colleague and competitor, the English adapted by Anthony Camden. A solemn and very Handelian composer John Matheson. The same year saw the first , framing the traditional livelier dance section, performances of two of his own operas at the Gaensemarkt leads to a Gavotte and a pair of Bourrees played in alternation. Theatre - "Almira" and "Nero". Inexperience led him to visit A slow Sarabande offers the chance of a fine solo oboe aria and Italy, firstly to Florence at the invitation of Count Ferdinand de this is followed by a contrasting Rigaudon. The Passacaille Medici before moving on to Rome. He met the Scarlatti’s in follows the traditional Baroque dance-variation form and the Florence and the Prince of Hanover in Venice, who at the time Suite ends with a rapid Passepied. was looking for a new Kapellmeister. Handel’s journeys in Italy The opera Ottone, Re di Gennalzia (Otho, King of Germany) took him backwards and forwards between Florence, Rome, was first staged at the King's Theatre, Haymarket, London, in and Venice and new works of the period included "Il 1723 and underwent various revisions and changes during the Trionfo del Tempo e Disinganno", some church settings and his next ten years. There is some doubt as to the original form of first Italian opera "Rodrigo" (premiered in Florence in October the overture to the opera and it seems that the present three- 1707). movement work, with its opening French overture, fugal Allegro By 1710, Handel had decided to leave Italy and to return to with the interplay of two oboes and final Gavotte may have had his native Germany but nor before the successful premiere of an earlier, independent existence. The Gavotte in particular his opera "" in the carnival season of that year. The enjoyed considerable contemporary popularity, described by Dr opera had been seen by diplomats from Hanover and from Burney as 'the delight of all who could play, or hear it played, on England and the now feted composer was to be invited by both every kind of instrument, from the organ to the salt-box'. countries to join their respective Courts. Before accepting their © Teresa Pieschacóm Raphael invitations however, Handel moved to the Tyrolean capital of Innsbruck for a short stay - he was on his way again by March CD14-18 1710. Handel was soon in Hanover where he was offered a salary of 1500 Crowns but he was wary of settling anywhere Born on February 23rd 1685 in the Eastern German city of Halle that might have stopped him travelling freely and thus at the in , Georg Friedrich Handel was the son of a local age of only twenty five, he left the city for the Rhineland and surgeon. Father Georg had lost his first wife in 1682 and was Dusseldorf. already sixty when he remarried the daughter of a local pastor. Ever to be on the move, Handel was attracted by the Their first child was to die at birth and Georg Friedrich was the offers from England and by the end of 1710 he found himself in oldest surviving child of three - he was to have two younger London where the success of his opera "Rinaldo" premiered on sisters (Dorothea Sophia and Johanna Christiana). Father had February 24th 1711, and revived the following year, established plans that his son should join the respectable legal profession his name in the English capital overnight. but his son's organ playing was noticed at the Ducal Court and In 1712, Handel returned to Hanover for a brief stay but Handel's fate was sealed. Handel subsequently, on his return to soon came into the service of the Hanoverian monarch in Halle, took up lessons with , organist London and began to write not only operas for the London at the city's Liebfrauenkirche. stage, but also occasional pieces for the Royal family including Handel's father died in 1697 and responsibility for his his anthems and the famous Water Music and Fireworks Music. future now was left in the hands of his mother. The composer In 1714, Queen Anne was to die and she was succeeded by the soon found his way to where he received the patronage Hanoverian monarch King George the First. But London was also of the court and took up tuition in the organ, harpsichord and fired by rivalries in the musical world and Handel's operas were violin as well as composition lessons. By 1702, it was clear that soon to be marked by the contests of rival prima donnas. things would work out somewhat differently and the young Restrictions on performances of stage works began in June 1717 Handel had already enrolled in the local Halle University where and there was to be no further opera season there until 1720. it seems he was set for a career in the Law. By now he had This led Handel to inaugurate a new style of un-staged music fallen under the influence of the composer Telemann and theatre in his Oratorios, the first of which would be "Esther" would become probationary cathedral organist in his home written sometime in 1718. By 1719, Handel was involved with town when the previous incumbent, Johann Christoph Leporin, the newly formed which was to was sacked. The cathedral also had its own oboe consort and it appoint him as master of its orchestra - a paid commission. By may be at this time that Handel was to compose the six oboe 1720, after various visits to Germany he was back in London, trio that are generally considered to be Handel's bringing with him one of the most famous singers of the time - earliest compositions - there is however some doubt as to the - and ready to embark on a new opera season. authenticity of these pieces although it is clear that at this time, The next few years saw a return to the successful list of the oboe was Handel's favourite instrument. operas composed and presented by Handel, notably "" (1724), "" (1724), and "" (1725). By

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1729, Handel's successes allowed him to negotiate a new sonatas date from the period of 1700 to 1720 but were not contract to provide operas at the Kings theatre for five years. published in a definitive edition until 1732 when John Walsh This prompted him to travel again to Germany and Italy for the again took over the editing. Walsh then produced a second set purpose of engaging new stars for his opera seasons - amongst of seven trio sonatas in 1739 numbering these as Opus Five - the new operas to be premiered would be "" (1732) although five of these are pastiches from orchestral works from and "" (1733). At the same time, Handel was composing 1717-1735. Many of these sonatas come under the term oratorios such as "" (1733) and "Athalia" (1733). "dubious" and their original autographs have been lost, dating A new opera season began in 1734 with performances at too is almost impossible in many cases - one sonata almost Covent Garden which were to include "" (1735) - also certainly comes from Handel's fourteenth year (Op.2 No.2). occasioning a royal bounty for the operas of £1000 - and which Despite these confusions, there is little in the historical facts to would conclude with the premiere of one of the most successful deter the listener today from still enjoying these thoroughly of Handel's works, "Alcina" (1735). It was a period where enjoyable outpourings of the earlier years of the "English" Handel was to become the most significant of all English maestro who was almost single-handedly to create the glories composers - a journey from Germany through Italy that had of the Hanoverian Baroque. finally put Georgian and Hanoverian London firmly on the map © Dr. David Doughty as the great capital of opera and oratorio. Handel's future in London was now assured but by March CD19 1736 he was reported to be suffering from a very bad attack of RECORDER SONATAS rheumatism affecting his right hand, truly a manifestation of a Georg Friedrich Händel had already travelled widely when in paralysis which took him to Aix les Bains in search of a cure. 1710 he first arrived in London, where he was to live a few Despite this, his works continued apace and 1739 saw the years later. The German composer, born in Halle, worked in completion of his Op.5 trio sonatas as well as a series of Italy from 1706 to 1709 and composed several works there; concertos, to continue in 1740. By 1742, perhaps his best including Sonata HWV358 [tracks 28–30]. He mastered the known work "Messiah" was ready for performance but again in Italian style and competed with famous composers such as 1743, he was reported to be dangerously ill. In 1745, the Corelli and . In 1710 he was country was in political disarray climaxing the following year in appointed Kapellmeister to Georg, Elector of Hanover, who saw the defeat of the rebels at the Battle of Culloden – to be less of his subject than he wished to. The composer was commemorated in his new oratorio "Judas Maccabeus". celebrating his triumphs in London, where the opera Rinaldo led Handel's final years were marked by illness but nevertheless a to a sensational breakthrough for him in 1711. He returned to continuing of composition of some of his finest oratorios, works Hanover in early summer of that year, but was back in London which show a depth of feeling such as "Jephtha" and towards the end of 1712. He had promised to return to "Theodora". In August 1752, Handel suffered a seizure which Germany within a ‘reasonable’ time, which he didn’t. Instead, left him blind and although he was to live for another seven Georg ascended the English throne. years, his health was now seriously compromised and he was to In the previous period, England had been ruled by the last die at his London home on 14th April 1759. Stuart, Queen Anne, who by the Act of Clearly, Handel's position in musical history as we see it Settlement of 1701 was to be succeeded by a Protestant today, rests mainly on his contributions to the fields of opera monarch. Her closest Protestant kin in 1701 was Sophia, and oratorio, although this was not always so. It was only in the of Hanover, daughter of the ‘Winter Queen’ Elizabeth final decades of the twentieth century that many of his operas of Bohemia and thus a grand-daughter of James I. The Electress and oratorios saw stage revivals often perhaps to the detriment Sophia predeceasing Queen Anne, who died on August 1st of his orchestral and instrumental works. The present collection 1714, her son Georg ascended the throne as George I. In due groups his chamber works or sonatas together to show that course, Georg Friedrich Handel also became George Frideric other "non-vocal" side of the composer in works that despite Handel. their brevity show a very fresh side to the composer not always The young composer’s operas were soon very successful in so apparent in the longer works. London. The London opera houses were important meeting The works on these discs are all sonatas of one kind or places for the leading members of the bourgeoisie. another, ranging from the simple sonatas for a wind or string Instrumental works including concertos and sonatas were instrument to the more complex trio sonatas. The term performed between the acts. Musicians of the opera "sonata" had been used in the sixteenth century for virtually also played in concert halls or in taverns like The Crown and any sort of chamber work bur came into its own in the Baroque Anchor in the Strand. The German traveller Johann Armand Von period and is based on the sonata principle of exposition, Uffenbach has left us a vivid account of musical events in development and recapitulation in musical form. These works London. He describes attending a concert in 1709, at which he were often composed for a solo instrument (usually a violin or heard a recorder player perform: ‘There was one man in woodwind instrument) with continuo (harpsichord, clavichord particular, playing on the recorder ... a most delightful concert. etc.). [He] is a Frenchman, called Paisible, who is unequalled.’ The opus numbers of Handel's chamber works are confusing The instrumentalists will have tried to convey some of the and do not necessarily refer to composition dates rather than drama of the opera to the public. The kind of drama the English dates of publication of Handel's sonatas. Thus the Opus One public enjoyed may be deduced from the irritation of the Italian group consists of a series of works published in England in the librettist , whose it was to adapt Italian opera 1730s under the imprint of the publisher Thomas Walsh, all of libretti to the Londoners’ taste. He was often forced to remove which were written at an earlier date. Some of these were all the – some two thirds of the text! The popularity written for specific instruments such as the treble recorder or of the Italian singers including Nicolini, Cuzzoni and Bordoni the oboe, but usually the choice of solo instrument was left sometimes angered English musicians to such an extent that open. These are simple and short works with an accent on one of them sighed after a concert: ‘A name that flows with an and typical ornamentation of the Baroque style. ini , an ani, or a gobioni, can hardly ever fail of making a The Opus Two collection was published a year later by fortune.’ Witvogel in Amsterdam and contains trio sonatas for recorder Handel’s opera tunes were popularized by adaptations for and violin in the French and Italian styles current at the time - the solo recorder, printed by Walsh & Hare. Thus the opera these are works in free style consisting of maybe four or even lover in an age before CD or mp3 could enjoy the music again by five movements and which range from the simplicity of playing the at home. In an advertisement for Walsh & like adagios to complex three part faster movements. Six of the Hare in The Daily Post of November 26th 1728, we find:

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‘Ptolomy for a Flute ... Where this is sold, may be had, a Sonata HWV358 from G major to F major for reasons explained compleat Sett of all Mr. Handel’s Opera’s curiously transposed below. for a single Flute.’ Transcriptions like these can be seen as Nowadays the keyboard instrument in the accompanying forerunners of opera transcriptions and paraphrases such as is usually joined by a low stringed instrument those made for piano or , for example, during the ( or violoncello). We have decided against this for a Romantic period. variety of reasons. A number of sonatas in the autograph are These adaptations indicate the unparalleled popularity of emphatically headed ‘Flauto e Cembalo’ (HWV360, 362 and the recorder, which had risen to new heights by the end of the 369); HWV365 has no title page. Walsh’s first edition instructs 17th century. Thanks to the presence of instrument makers us: ‘Thorough Bass for the Harpsichord or who produced the new three joint recorders developed in [=violoncello]’. The composition of the Sonatas HWV360, 362, France, the interested private citizen in London could make 365 and 369 is also connected with Handel’s work as a music excellent music. Instruments by woodwind makers such as teacher to two of George II’s daughters, the princesses Anne Peter Bressan (Pierre Jaillard Bressan) and the Stanesby family and Caroline. Some exercises for composing fugues and the were eagerly sought after. Amateurs learned to play from realization of a basso continuo are written on the same type of instruction booklets with colourful titles like The Genteel paper. The continuo is also extensively written out by the Companion (‘being exact Directions for the Recorder’) and The standards of the day. Keyboard accompanists had only a bass Compleat Flute-Master. line, to be played with the left hand. They filled in the harmony It should therefore come as no surprise that Handel also with the right hand, little numerals and other signs above or composed original sonatas for the recorder. They were all below the staves indicating which chords to play (‘figured written for the common flute , that is, the () recorder with bass’). Composers usually wrote down only the most necessary lowest note f 1. Even the name common flute or simply flute signs. Handel’s sonatas are an exception to this rule, which is a shows how popular the instrument was at the beginning of the good reason for assuming that Handel used them as exercises. 18th century. When a transverse flute was designated, it was The virtuosity of the bass in fast movements seems to called a German flute . It wasn’t until later that the transverse match Handel’s qualities as a keyboard player. Therefore adding instrument took over both the name flute and its popularity a bowed instrument could easily act as a restraint. from the recorder. Performing the Unwritten: Ornamentation and Basso Performance Practice Continuo Copies of recorders from Handel’s time have been used on this We use several approaches to ornamentation on this recording. recording. The interesting thing about these instruments is that Aside from small fixed ornaments such as trills, mordents and they are not pitched at a1 = about 415 Hz, as is usual nowadays tierces coulées we have taken our inspiration from the vocal for early music, but a little lower, namely at about a1 = 406 Hz. nature of the slow movements. It is important to use graces This was approximately opera pitch at the Haymarket Theatre that enhance the affect and foreground the notes. There were when Handel arrived in England, which we can deduct from a various approaches to ornamentation in Handel’s day. The letter written by the French oboist Louis Rousselet in 1712 to music critic Charles Burney gave the following opinion on the woodwind maker Jean-Jacques Rippert. Rousselet : ‘He acquired great celebrity by wire-drawing the wanted to order two bassoons for friends working in London at favourite songs of the opera Rinaldo , and others of the same the Queen’s Theatre in the Haymarket. According to him it was period, into showy and brilliant lessons, which by mere rapidity ‘necessary that the bassoons and the oboes be the same pitch of fingers in playing single sounds, without the assistance of we play here, almost ¼ tone higher than the pitch of the Opéra taste, expression, harmony or modulation, enabled the in Paris.’ We know precisely what Paris opera pitch was: a performer to astonish ignorance, and acquire the reputation of whole tone lower than our modern a1 =440 Hz. a great player at a small expense.... Mr. ... at once The lower the pitch of a recorder, the nobler the sound. gratifies idleness and vanity.’ already knew that at the beginning of the Vocalists chose their graces according to their personal seventeenth century, when he remarked in his Syntagma taste and vocal capacity. Feelings ran high regarding the musicum of 1619 that wind instruments in England and the Low strongly diverging manner in which Handel’s divas sang. Burney Countries were pitched as much as a minor third lower than in described that of the Italian : ‘In a Germany, adding that ‘recorders and other instruments ... cantabile air, though the notes she added were few, she never sound much more beautiful in this lower tuning than at the lost a favourable opportunity of enriching the cantilena with all usual one; they sound almost like different instruments, as they the refinements and embellishments of the time.’ In Johann are not so shrill.’ Many original instruments were built with a Joachim Quantz’s opinion of her colleague Faustina Bordoni: purer tuning than is now customary. Present-day equal ‘Her execution was articulate and brilliant. She had a fluent temperament levels out unequal distances between notes and tongue for pronouncing words rapidly and distinctly and a is therefore unnecessarily lacking in contrast, in music with few flexible throat for divisions, with so beautiful and quick a shake, modulations. Pure tuning remained particularly popular in that she could put it in motion at short notice, just when she England, where mean-tone organs were still in use throughout would. The passages might be smooth, or by leaps, or consist of the 19th century. iterations of the same tone, their execution was equally easy to Although the is the instrument for which her.... She sung adagios with great passion and expression, but Handel wrote his sonatas, it is historically not incorrect to use not equally well, if such deep sorrow were to be impressed on other types of recorders as well, which we have done on this the hearer, as might require dragging, sliding, or notes of recording. There are, for instance, two versions of Sonata syncopation and tempo rubato .’ So there was certainly more HWV367: the original for recorder (HWV367a) in D minor and a than one way of ornamenting. later one for flauto traverso (HWV367b), in . A so-called The continuo style on this recording is, like Handel’s music voice flute has been used for this sonata, a tenor recorder with itself, a mixture of Italian and German style. The style of d1 as its lowest note, like the traverso. This instrument makes it realization of the right hand in the Alla Siciliana from HWV369 possible to play sonatas for flauto traverso in the original key. [track 26] is based on that of some slow movements from Some beautiful English voice flutes by Bressan, among others, sonatas with harpsichord by Bach. Burney writes that have survived until the present day. Italian are so noisy that you can only hear the There is no transposed version of Sonata HWV369 for sound of the wood. That is the temperament sought after in the flauto traverso, but of course the piece can be played a minor first allegro in Sonata HWV362 [track 21]. An example of style third lower on the voice flute. We have transposed the early luthé accompaniment (arpeggiated style), as given by

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Monsieur de Saint Lambert around 1700, can be heard in the camera. Unusually, the composition opens with a dance realization of the second larghetto in Sonata HWV365 [track 3]. movement, a graceful courante found as the third part of the overture in the opera . In the second movement, a About the Sonatas stately adagio, Handel requires dynamic contrasts (forte and The six sonatas Handel definitely composed for the recorder piano ). This is a typically dramatic, slow movement, demanding were all written around 1724–1726. The contrasts between a so-called stentato : ‘... but that you take pains in singing and them regarding form and atmosphere are remarkable. In playing, and force the voice in some part of a song, or some Handel’s day, sonatas were composed according to particular sound, to express some extraordinary emotion, standardized formal principles. They normally had either three whether joy, , or passion, so as to seem actually moved in movements (fast– slow–fast) or four (slow–fast–slow–fast). Two the performance’ (Grassineau). The composition ends like many of the recorder sonatas (HWV365 and 367a) ostentatiously Italian sonatas: with a lively gigue. disregard this format. Even where Handel seems to conform to Sonata in A minor (HWV362). The bass line in the opening the conventions, his intentions as to affect and relative tempo movement is based on a rhythmic pattern identical to that in are open to more than one interpretation. This is greatly at the arias ‘Pur ritorno a rimiravi’ from the opera Agrippina and variance with the sonatas of his compatriots Georg Philipp ‘Se non giunge quel momento’ from the Filli adorata e Telemann and Johann Sebastian Bach, for instance. cara . Note the points at which the accompaniment is Handel’s sonatas must first be mastered, as it were, which suspended to allow for a by the recorder. The second can be in part accounted for by the simple observation that the movement, with its short motifs by the recorder and virtuoso repertoire is full of the dramatic gestures inextricably bound up continuo, seems to embody a character from an opera, with his music for opera. In addition, his tempo indications are stamping with rage. The almost naïve adagio in the key often ambiguous. The fourth movement of Sonata HWV360, of F major is like the calm after a storm. The final movement based on an instrumental ‘aria’ from Muffat’s Armonico tribute sounds like a gigue squeezed into four-four time. (1682), provides a good example. Handel used it many times: in Sonata in D (HWV369). Handel arranged this sonata as an a cantata, operas, a and two organ concertos organ concerto (Op.4, No.5) in 1735. The grave (originally called employing indications varying from Presto to Allegro to Gavotte . larghetto by the composer) begins quietly and soulfully, in the Sonata in C (HWV365). The form, five movements, is low register of the recorder. Handel’s weapon here is the striking. The lyrical first movement is a larghetto, an indication combination of simplicity and sonority. The second movement not yet general at the time but nevertheless often to be found is brisk and the Siciliana in D minor is a tranquil pastoral dance in Handel. in 12/8. The eleven measures make this a miniature. The sonata ‘LARGETTO, signifies a movement something slow, yet a little ends with an airy gigue. quicker than largo ’, according to A musical Dictionary (London, Sonata in F (HWV358). This sonata, composed in Italy 1740) by James Grassineau. ‘Ombra mai fù’ from and around 1707, gives no indication of which instrument Handel ‘Comfort ye’ from Messiah are well-known examples of meant it for. The perpetuum mobile of the first movement larghettos from Handel’s vocal works. The first allegro [track 2], seems an indication for the violin, as does the key of G major. which is also the second part of the overture of the opera Stylistically this movement reminds one of Scipione , is strongly contrapuntal. The long notes for the (the fourth movement of his Violin Sonata in , Op.5, recorder over a spirited bass are distinctive. In the third No.3, for example). But if Handel meant his sonata to be for movement, in A minor, Handel is at his most tender. At first the violin, the high register is odd. The instrument’s lowest octave is bass appears to be an ostinato , but it gradually goes its own not used at all. Was it perhaps composed for the recorder? In way. Handel borrowed this movement from his Oboe Sonata in that case, on the basis of the key, one might think of a slightly F major (HWV363a). The two final movements are graceful smaller brother to the French alto recorder, an instrument with dances: a gavotte and a passepied (Grassineau: ‘PASSEPIED, an lowest note g1 known as a flauto italiano (mentioned in the air in all respects very like a minuet, except that ‘tis more brisk 1677 Compendio musicale by Bartolomeo Bismantova). To and lively’). facilitate performance on an F-instrument, we have transposed Sonata HWV367a. The suite-like succession of seven the sonata from G major to F major. The most noteworthy movements makes this sonata one of the most capricious works passage can be found in the penultimate measure of the final in Handel’s chamber music. The opening movement is movement, a gigue. Handel wrote four inordinately high notes characterized by long, melancholy lines, emphasized by the use here, almost unplayable on either a violin or a recorder and of a voice flute. One can imagine this largo as an opera aria. The presumably to be taken as a joke. vivace is a hornpipe, a typically British dance associated with life There is a short Adagio between the two fast movements at sea. The best-known examples in Handel’s oeuvre are the which is like an instrumental ; the solo instrument two hornpipes from his Water Music (HWV348–350). makes dramatic leaps over a simple harmonic accompaniment. Syncopation lends the hornpipe its characteristic rhythm. A comparable style can be found in the adagio from Handel’s Handel, a born composer of opera, wrote ‘furioso’ over the Sonata in (HWV378) for flute. In order to emphasize third movement. We have tried here to follow the promptings the unaffected nature of this sonata, I play it on one of the of Grassineau, who writes: ‘FURIA ... signifies with fury or smallest members of the recorder family, the sopranino, violence ; but not so much in respect to the loudness of the sounding an octave higher than the alto recorder. sound, as the quickness of the time and movement.’ The fourth © movement contains a breath-taking accumulation of intervals, (Translation: Julia Muller) five thirds in a row, causing a feeling of weightlessness. It is as though a theatre curtain were slowly rising. The alla breve is strictly contrapuntal. The sonata ends with a sweet andante and a minuet full of contrary rhythms. Sonata in G minor (HWV360). After the stately larghetto the listener would expect an easy-flowing Italianate movement but Handel surprises us with a recalcitrant andante in three- quarters time. The following adagio consists of a framework which, according to Italian conventions, invites the player to add ornaments. Sonata in B-flat (HWV377). This sonata was conceived in three movements and may therefore be labelled a sonata da

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CD20-23 the Eight Great Suites , only the fourth contains all of these SUITES DE PIECES POUR LE CLAVECIN dance movements which are associated with the classical Sometime in 1719, while on an extended European tour, Handel harpsichord suite. Three of the Suites (HWV427, 431, 432) must have heard about plans for a pirated edition of his exclude the customary allemande-courante pair, and only two harpsichord music. Deciding that attack was the best form of contain sarabandes. On the other hand, they do rather defence, he immediately began preparing his own print of these remarkably include sets of variations (HWV428/5 and 430/3) pieces, which appeared – probably well before the pirated and even an unusual Passacaille in common time (HWV432/6). version – on 14 November 1720. Handel’s preface contains a So too, in spite of their French title, the Suites de Pieces pour le few crisp sentences that refer to the circumstances surrounding Clavecin do not contain any examples of the popular French the publication of the volume: dance forms of menuet, bourrée, rigaudon or gavotte. Nor are I have been obliged to publish some of the following lessons Handel’s courantes notated in the usual French 3/2 time, but because surrepticious and incorrect copies of them had got more closely resemble the running style of a 3/4 Italian abroad. I have added several new ones to make the Work more corrente. The Italian influence is easily felt elsewhere as well: useful which if it meets with a favourable reception: I will Still the second Suite (HWV427) much resembles an Italian sonata proceed to publish more reckoning it my duty with my Small da chiesa (it is therefore not surprising that an earlier version of talent to Serve a Nation from which I have receiv’d so this Suite was entitled Sonata ). A free prelude in arpeggio-style a Protection.’ (HWV426/1) finds itself rubbing shoulders with a French Indeed, Handel’s own edition clearly differentiates itself from overture (HWV432/1), a whirlwind of a and fugue those ‘Surrepticious and incorrect copies’ on which Walsh’s (HWV428/1–2) and arias of enchanting beauty (HWV427/1 and publication was based (why Walsh didn’t simply work together 428/6), which reveal Handel to have been an opera composer with Handel is hard to fathom: the men knew each other, Walsh of genius, even when seated at the harpsichord. had already published various editions of Rinaldo , and their The Suite (HWV430) ends with the best known of working relationship would survive the episode of the pirated Handel’s harpsichord pieces, an Air with variations which, under edition unscathed). Many of the original movements were re- the name The Harmonious Blacksmith , has become greatly worked by the composer; a few of them were exchanged or beloved and been arranged for everything from recorder removed entirely and replaced by newly composed pieces. to mechanical glockenspiel. These variations probably Some rather old-fashioned, arpeggiated preludes were replaced owe their name to a blacksmith turned music-dealer in Bath, by new ones, and five of his eleven fugues around 1716–17 now who, in the early 19th century, was wont to whistle the tune. found their way into the suites. Handel seems to have taken his More spectacular is the legend that Handel first heard the tune revision work seriously: numerous corrections, even those while sheltering inside a smithy during a sudden thunderstorm: made on the plates themselves, can be traced back to the in spite of it being patently untrue, the name of Harmonious composer himself. Blacksmith clings to this jolly piece even today. We cannot know whence this sudden zeal concerning the publication of his harpsichord suites arose. Publishing music Second Volume (1733) [CD22-23] was a costly affair; it certainly wasn’t possible to earn a fortune After his time at , Handel seems to have done little with the publication of a book of keyboard music, nor could the teaching: there is evidence for very few harpsichord students profits from his Suites de Pieces pour le Clavecin cover the after 1720, with the exception of the daughters of George II. salaries of Handel’s private secretary, his footman or his cook. This could explain the limited amount of new harpsichord Perhaps his sense of honour alone, his concern for his repertoire that is dated after the publication of the first volume. reputation, is the more convincing explanation for the careful In any case, the promise made in the first volume, ‘I will still re-working of a collection of pieces, some of which were more proceed to publish more’ remained unfulfilled, so that when the products of youthful enthusiasm than mature artistry, into John Walsh brought out a pirated second volume in 1727, he publishable Suites? had no choice but to re-use old material. This edition, therefore, is by no means the promised continuation. In 1733, Walsh First Volume (1720) [CD20-21] revised and reissued this unauthorised second volume; it is this Sketches and original versions of the pieces which make up the final version that I have recorded here. It contains almost all of first volume of the Suites de Pieces pour le Clavecin (known those pieces which had been published in Walsh’s first pirated collectively as the Eight Great Suites ) can be dated to Handel’s edition, but which had been suppressed by Handel himself in Hamburg period (1703–06). Indeed, some date to even earlier, the authorised version of 1720. Many of these pieces are to his time in his home-town of Halle. It is probable that Handel datable to before 1706; their style imitates that of the supported himself during the Hamburg period by giving composers Handel knew in his youth, and they lack the harpsichord lessons, and that he needed to supply his pupils command and stylistic independence of the composer’s with appropriate study material. suspects maturity. that the sudden re-awakening of Handel’s interest in the The 1733 volume is full of printing errors. Although Handel harpsichord around 1717 also reflects a probable increase in may have been involved in this edition just far enough to re- teaching activity, for Handel, then in service to the Earl of order the pieces, it is probable that he let the whole affair pass Carnarvon, would have been obliged to teach harpsichord as by in silence. He could not have been involved in the proof- well as compose music for his students. By the time of the reading, for he would never have allowed such a faulty edition publication of the Eight Great Suites , in November, 1720, come to press. Perhaps the by now established composer Handel had all but given up composing for the instrument. In simply had better things to do than rework long-forgotten spite of this, the edition was a great success: in the 18th century pieces composed in his youth? In spite of all this, one ought not alone there were more than 15 further editions published on to speak too disdainfully of the second volume. It contains the continent and numerous manuscript copies went into much wonderful music, like the Suite in D minor (HWV436), circulation. which dates from the , and the famous Aria con Variazioni The 1720 Suites form a microcosm of the musical influences in B flat major (HWV434/3), to which would which Handel had undergone in his 35 years. They are based on later turn in choosing the theme for his Variationen und Fuge the dances of the French suite: allemande, courante, über ein Thema von Händel . And the surely extraordinary sarabande, and gigue. In his youth Handel had encountered virtuosity of the Jigg from the Suite in G minor (HWV439/3) or them in their German forms, in the works of masters like the Chacone in G major (HWV435) demonstrates how the Pachelbel, Reincken, and Krieger (whom he highly respected) young Handel’s playing whipped his audience into a state of and of course his first and only music master, Zachow. But, of breathless excitement.

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One work from this collection, however, the second deep’, the fugues as ‘less well wrought’ and the entire oeuvre Chacone in G major (HWV422) with its 62 Variations, is so as ‘unabashedly secular’ in comparison to the canonised monotonously simple that I felt not even the desire for colleague from Leipzig. Even those who mean well by Handel, completeness could justify my including it here. Since the and who judge him more generously, will propose that one or second volume is itself an arbitrary collection, it seemed another of the Suites is not actually worse than those of his legitimate to replace such an obvious sin of Handel’s youth with contemporary. But while such an attitude seeks to ennoble a work whose about 270 bars contain at least as many G major Handel by the comparison, it retains an unpleasant aftertaste of chords as the endless Variations of the crudely composed astonished condescension: such a ‘compliment’ is pregnant Chacone: the piece in question, Vo’ Far Guerra , is a with unspoken censure. transcription of a battle aria from Handel’s opera Rinaldo , published in William Babell’s Suits of the Most Celebrated The performances on this recording Lessons . Charles Burney had few good words to say about In addition to the many sources on which the Hallesche Händel Babell, and found his arrangements lacking in‚ taste, expression, Ausgabe is based, I consulted a manuscript copy dating to 1736 harmony or modulation’ yet Graham Pont has convincingly from the hand of the composer Gottlieb Muffat (1690–1770). argued that this particular harpsichord transcription might be, Muffat’s manuscript is, to a certain extent, an interpretation of for the most part, a notation of a harpsichord solo improvised the Eight Great Suites . Not only does he add numerous by Handel himself during an opera performance. Even if the ornaments and trills (I have been inspired by his version, for third edition of the score of Rinaldo published by Walsh in June, example, in the Prelude of the third Suite HWV428), he 1711 already contained a harpsichord part marked ‘Harpsicord sometimes even specifies the articulation of the left hand. Peice Perform’d by Mr Hendel’, it seems unlikely that Handel Putting these indications into practice often leads to highly would have written out, in all its finesse, his improvisation in cantabile interpretations, which still allow the polyphonic voices order to transmit it to Walsh. It is, however, probable that to be clearly heard. The art of Baroque ornamentation places Babell’s transcription of Vo’ Far Guerra bears witness to his the recording artist in an unresolvable dilemma: the teacher’s famed art of improvisation, making the piece highly spontaneous addition of ornaments stands in stark opposition relevant to the performance practice of Handel’s harpsichord to the idea of a CD as an attempt to preserve the musical music in general. moment. Still, I have chosen to present as richly ornamented a version as possible, and even, in some places, to add octaves Handel as Performer and fill out with Baroque generosity – all in the hope The extent of Handel’s fame among his contemporaries as a of preserving something of an improvisatory feeling in the keyboard virtuoso stands in stark contrast to the amount of performances. (original) keyboard works he has left us. There are many contemporary witnesses to Handel’s impressive talent as a The instruments on this recording virtuoso and improviser. The composer declared, This recording uses two different instruments: one Franco- after hearing a performance by Handel, that he ‘never before Flemish (after Ioaness Ruckers, grand ravalement), for the Eight heard such extempore, or such premeditated playing, on that or Great Suites of 1720, and the other German (after Michael any other instrument.’ Indeed, Handel’s playing was so Mietke), for the 1733 second volume. This latter instrument impressive that during his stay in Italy the audience suspected shows marked similarities to the work of harpsichord makers the Lutheran composer to be in league with Satan! Even his like Johann Heinrich Harras and Christian Zell of Hamburg, both famous colleague Domenico Scarlatti shared in this representatives of a tradition that Handel would have known superstitious awe. According to Handel’s first biographer, John well. In 1717, when a large portion of the first volume was Mainwaring, when Scarlatti heard Handel perform at a masked composed, Handel probably had access to a two-manual ball, he cried out in astonishment that it could only be the Ruckers harpsichord while working at Cannons for the Duke of ‘famous Saxon’ or the Devil himself. Mainwaring, in his Chandos. He may even have owned a similar instrument biography which was published in 1760, gives us yet another himself; at that time the Ruckers was considered the Rolls- description of Handel at the harpsichord: ‘Handel had an Royce of . Beyond this, one must assume that the uncommon brilliancy and command of finger, but what cosmopolitan Handel categorised harpsichords not so much by distinguished him from all other players who possessed these their place of origin as by their intrinsic quality, and that he sat same qualities was that amazing fullness, force and energy himself down at the best instruments he could get his hands on. which he joined with them. And this observation may be As he is said to have ‘performed wonders’ on the spinet which applied with as much justness to his compositions, as to his belonged to Mary Granville, Handel apparently had no playing.’ After all of these testimonies to raw power mixed with inhibitions about playing so humble an instrument. unbridled energy, it is comforting to hear Charles Burney praise At least as important as the choice of harpsichord is that of Handel’s sensitive touch as ‘so much cherished that his fingers the temperament. For the second volume I have chosen one of seemed to grow to the keys’. One can well imagine how this the many beautifully tempered tunings by Johann Georg latter style would have sounded in the melancholy allemandes, Neidhardt. For the Eight Great Suites I decided to be a bit more while an example of Handel’s fiery temperament boiling over daring. The tonalities united in this volume are so remote one can be found in the fugue of the Suite (HWV433/2) from the other that no single historical temperament could where the bass takes the theme in full chords, breaking through result in optimal performances for all of the suites; the the polyphonic structure like rolling thunder, with an explosive intonational strife between F sharp minor and F minor is nigh- energy that nearly tears the listener from his seat. Handel could impossible to reconcile. An interesting tip about Handel’s own do it all, and it was probably his mastery of strong contrasts that tuning habits can be found in a treatise by an 18th-century gave his improvisations their ‘devilish’ charm. organist of the Domkerk in Utrecht, in the Netherlands. Johann Albrecht Fischer, in his 1738 Kort en grondig onderwijs van de Improper Comparisons Transpositie , declares that he saw and heard both Handel’s own The attentive reader may have noticed that a certain instrument and the instrument used in the opera house, and composer’s name, containing four letters, has not appeared in that they both were tuned in equal temperament. And so I this text: Handel’s illustrious colleague from Leipzig, the chose an equal temperament here, though not one that is , who has taken his place among the great names lifelessly equal: it is tuned by ear and not with a machine, just as in the . In modern discussions of Handel’s it would have been in the 18th century. It is at any rate beyond harpsichord works, Bach always appears, and seldom to doubt that this temperament was known and used in Handel’s Handel’s advantage: the allemandes are condemned as ‘less day (and even before), and I therefore find its use just as

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historically legitimate and more musically satisfying as the (to still in operation, but if so he seems to have taken little or no name but one widely used example) supposedly more authentic interest in its production since the many errors, omissions and organ tuning Werckmeister III. misprints that disfigured the Roger edition remained © Michael Borgstede uncorrected. The second volume ended with a Prelude and Chaconne with sixty-two variations HWV442 (included in this CD24-27 selection) with the Prelude dating from c1703 and the Chaconne HARPSICHORD MUSIC c1705. In 1735 Walsh issued a third volume comprising six Handel was, like his exact contemporaries Domenico Scarlatti fugues (HWW605-10) also included here, which had been and Johann Sebastian Bach, a formidable keyboard performer, composed for possible inclusion in the Eight Great Suites but displaying what his first biographer described had been found surplus to requirements. The first and fifth of as ”an uncommon brilliancy and command of finger”. When these were to provide subjects for choruses in Israel in Egyp t Scarlatti encountered a masked player giving a virtuoso and Handel, according to his usual practice, was to recycle many performance at a Venetian masquerade, he speculated that it themes from his harpsichord works in later operas and could only be either the “caro Sassone” (“the dear Saxon” – oratorios. Handel’s Italian nickname ) or the devil – fortunately it was the Apart from the Prelude/Chaconne and Six Fugues , this former; and when on a later occasion in Rome, the two selection comprises works which were not published in musicians were matched against each other in a keyboard Handel’s lifetime (with HWV468 476-7 492 560 and 570 only competition it was Handel who was judged victorious at the achieving first publication in the 20 th century). Many survive organ (with an honorable draw being declared for the only in contemporary manuscript copies, with either an harpsichord) To Sophia, Dowager Electress of Hanover (and attribution to Handel or the context in which they appear mother of George I), Handel “surpassed everyone one has ever putting their provenance beyond reasonable doubt: questions heard at the harpsichord”. But such proficiency had not been remain however over the authenticity of a few e.g. HWV458, easily achieved: his elderly father, disapproving of the interest 459, 584, 611. Handel was active in the production of the young son of his second marriage took in music, would not harpsichord works in two periods of his life – before 1706 and allow any instrument in the house or permit young Georg to between 1710 and 1720 (but mainly before 1717), after which visit establishments where harpsichords were kept, since he more or less ceased writing for the instrument: of the few “nothing but the cutting off his fingers could prevent him pieces composed after 1720, HWV447, 452 492, 468 and 489 playing”. So the enterprising boy arranged for a clavichord to be are included here. The absence of autographs prior to 1712 “privately conveyed” into upper part of the house on which he makes it extremely difficult to date the earlier works with any practiced when the family was asleep. This story, although precision. Handel’s reference to HWV481, 496, 574 and 577 as suspect on many levels, was probably based on Handel’s works of his “early youth” makes it probable that these were fanciful reminiscence of the obstacles he encountered in his written in Halle and HWV433 and 450 are also considered on youth and certainly accords with his view that to become a stylistic grounds to be juvenile productions. Certain stylistic good player a beginner must start on the clavichord. It was his features point to an earlier date: the close relationship between keyboard abilities that propelled him into a life in music rather an A llemande and Courant e e.g. in HWV449 and 450 and the than the law as his father intended: on a visit to the ducal court use of a distinctive cadence which appears frequently in Almira at Weissenfels he was overheard playing the chapel organ by (HWV1) of 1704 but not in later works, from which it has been Duke Johann Adolf who persuaded Georg Händel senior that his plausibly inferred that works which display this feature were son’s talent should be fostered, paving the way for Handel to contemporaneous with the opera and therefore written in begin formal study of keyboard and composition with the Halle Hamburg. Technical considerations of handwriting, the ruling of master Friedrich Wilhelm Zachow. staves and the provenance of manuscript paper also permit Unlike Bach and Scarlatti, Handel did not create an informed speculation on dating – for example , HWV477 written extensive body of original work specifically for harpsichord on Italian paper and called Allemanda is one of the very few (although there were many arrangements of excerpts from his works which can be attributed to Handel’s sojourn in Italian operas, oratorios and orchestral works) and he took no great between 1706 and 1710. care that what he did produce was systematically published. It thought that Handel wrote many of his harpsichord Had it not been for the appearance, around 1719-20, of a pirate works for instructional purposes (they are often referred to in edition of various harpsichord pieces derived from manuscript contemporary sources as “Lessons”) and so it is no coincidence copies (for which there was a flourishing production industry) that most date from the periods when he is known to have he might never have been galvanized into taking action in this been active as a teacher: his time in Hamburg (1703-6) and the direction. The offending volume although issued under the first years in London, particularly during his residency as house Amsterdam imprint of Jeanne Roger was almost certainly the composer for James Brydges Earl of Carnarvon, later duke of work of the London publisher John Walsh. Handel successfully Chandos, at Cannons in Middlesex. He may also have taught applied for a Royal Privilege granting him sole right to publish Elizabeth Legh of Adlington Hall, whose his own works (valid for 14 years) and then created eight suites comprehensive personal anthology of his works is dated 1717 from a selection of the pieces which had appeared in the Roger thus providing a reliable terminus ante quem for the origination edition, with revisions and additional new movements, of its contents. However although Handel became music tutor including five fugues. The “Eight Great Suites” as they became to the children of the Prince of Wales (later George II) in the known, were published by John Cluer in 1720 and are early 1720s, he does not seem to have composed any significant considered the pinnacle of his keyboard oeuvre. As well as new harpsichord works as teaching aids for them, apart from referring in the preface to the existence of certain the two charming suites (HWV447, 452) written for Princess “Surreptitious and Incorrect Copies” as the raison d’être for this Louisa in 1739. He once remarked that after leaving Hamburg authoritative edition, he indicated that were it to meet with “nothing on earth would induce me to teach music”, making an approval, he would produce another volume. However despite exception however for Louisa’s sister, Ann “the flower of its success and Handel’s general popularity, this was not princesses” who seems to have been a genuinely accomplished forthcoming for some time. Thirteen years passed before the musician. Perhaps had he been more temperamentally suited to appearance of another volume of suites in 1733 (also produced pedagogy there would have been more harpsichord pieces for by Walsh) which comprised those works from the Roger edition us to enjoy. which had not been “re-issued” in the 1720 volume, and dating © Lorregian mostly from before 1706. This was presumably issued with Handel’s knowledge and approval, since the Royal Privilege was

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CD28 Flute 8’ of the Great and in the second part on the Oboe of the ROMANTIC ORGAN TRANSCRIPTIONS Swell. The art of transcription has been a part of the history of keyboard instruments since Renaissance times, when sacred Saul (1738) – (Act 1) and secular vocal compositions, and particularly , Divided into four movements and full of dramatic effects, the were published for the first time. Gabrieli and then Frescobaldi overture anticipates the triumphant song of the after allowed for the possibility of transcription when notating their the victory over the Philistines. The third movement was music ‘per strumenti da tasto’, the so-called ‘madrigali originally written as a concertante for solo organ. passaggiati’. Further innovation in the form can heard in the work of Johann Walther and J.S. Bach, who left various Saul – Symphony (Act 2) transcriptions of Italian composers in particular. The first section of this French overture is replete with dotted The 19th century, however, is the of rhythms reminiscent of a stately royal procession. The second is transcription, thanks principally to the industry and indeed a vibrant Allegro, in the original version of which the organ genius of and W.T. Best in adapting a huge range of duets with the orchestra. music for the piano and organ respectively, satisfying as they did the appetite of the bourgeoisie across for domestic Messiah (1741) – I know that my Redeemer liveth music-making and at the same time ‘canonic’ great works In this abridged transcription of the opening Aria from Part 3, composed originally for the opera house or the concert hall. the soprano soloist is represented by the Harmonic Trumpet Technological advances in that period permitted even the (Swell). organ to undergo improvements, to expand in size and improve mechanically; even the 18th-century symphony orchestra got Messiah – Hallelujah larger with the addition of new instruments which reinforced As Handel’s most famous work, this has received countless the brass and string sections, directly influencing organ transcriptions, of which a few are dedicated to the organ. techniques. Dubois made his specifically for the 19th-century symphonic The organ builders Aristide Cavaillé-Coll and ‘Father’ Henry organ, and in particular for Cavaillé-Coll’s ‘concert’ instruments, Willis led a transformation in organ manufacture which allowed and its sober complexity exploits the chorus’s colourful the organ to become a ‘concert’ instrument: larger swell boxes potential to the full. Dubois cut two bars prior to the closing together with the new combinations (the ‘Appels’ and the cadence as its repetition, in the absence of text, would have ‘Pistons’) helped the organ to compete with the orchestra. It been monotonous on the organ. became easier to handle and vary timbres and stop combinations, and consequently to undertake ever more Prelude and Fugue in F minor (1720) adventurous repertoire. In England above all, thanks to the This transcription is faithful to the original context of the Eighth huge instruments built for various public temples of culture Suite from the Pièces de Clavecin of 1720. The severe Prelude such as the Royal Albert Hall in London, Birmingham Town Hall (Adagio) is characterised by dotted rhythms like the French and St George’s Hall in Liverpool, the organ gained its status as overture in Saul . The Fugue (Allegro) is constructed on a simple ‘king of instruments’. ascending diatonic subject that contrasts with the Prelude’s It is this context; therefore, that Handel’s music naturally arpeggio design. thrived. W.T. Best was one of the leading English organ virtuosos of the Priest (1727) the time. As organist at St George’s Hall in Liverpool he gave The opening section of this, the first and most popular of the about 100 recitals a year for 40 years, playing ‘everything that is four anthems Handel wrote for the of George II, is worth playing that was written for the organ’, including his own one of the most refined and inspired of all Handel’s sacred transcriptions of famous and popular symphonic works. His works. On the organ, ‘God Save the King’ becomes a glorious masterpieces of transcription are represented by two great triumphal march with an overwhelming rhythm culminating in a collections: the Arrangements from the Scores of the Great huge and solemn tutti. Masters, for Organ , published by Novello and Handel’s Choruses, selected and arranged for the Organ , edited by R. Paraphrase on ‘See the conqu’ring hero comes’ and Marche Cooks (from which the present recording is taken). religieuse on ‘Lift up your heads’ Besides these, and of equal importance, are those of Guilmant, as an admirer of Baroque music and no mean George C. Martin, organist at St Paul’s Cathedral; of F.C. Woods; contrapuntalist himself, was inspired by Handel to create these Théodore Dubois, teacher, composer and organist at the written ‘improvisations’ on two well-known melodies as famous Madeleine in Paris; and Alexandre Guilmant, another teacher, today as they were then, being often sung during Christmas composer, organist of Saint-Trinité in Paris and noted concert liturgical celebrations. performer. © Massimo Gabba Translation: John Leslie Amos (1746) – Overture Best’s transcription of the overture’s first three movements allows the use initially of the antiphonal and then the concert form using the typical Tuba 8’ register, thus enhancing the original effects obtained with the aid of the brass in the original orchestration.

Suite No.1 in B flat HWV434 (1733) In his transcription of the suite’s first three movements, Best uses the organ like an orchestra, with continuous variations and contrasts of sonority. He omitted the final minuet, perhaps to create a grand ‘concert’ ending.

Serse (1737–8) – Largo ‘’ This transcription is traditionally used as a wedding . On this recording, the solo voice is played on the beautiful double

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CD29 and into the chamber music repertory. After all, these pieces NINE GERMAN ARIAS are among the finest lyrical inspirations of a composer admired The art of subtle shading chiefly for his dramatic and epic qualities. The present recording One of the great singers of this country, the soprano Arleen is based on the new Halle Handel Edition (where Roth's version Auger, died in Amsterdam on 10 June 1993 at the age of 53. of the arias was subjected to corrections). These arias, which Although world-famous, she was not a prima donna and not Handel presumably composed as the fancy took him rather than even a star because she was just too modest, too earnest in her in the generally accepted order, are settings of verses which, in musical endeavours and too independent in her artistic an early Enlightenment spirit, praise the divinely ordered decisions. She strictly refused to take part in the chase for a universe and its Creator, extolling the beauties of the earth and niche in the pantheon of the music industry. Her appearance at of human life in a vivid and graphic idiom. The perfect harmony the Royal Wedding of Prince Andrew and Miss Sarah Ferguson between Creator and Man, the "serene calmness”, the in 1986 was one of those rare occasions when she allowed rapturous enjoyment of nature, and the "earthly rejoicing in herself to he exposed to the full glare of publicity. God" are depicted in a musical language that is both naïve and Born in Los Angeles in 1939, studied violin, sophisticated. voice and piano in Long Beach. She went on to win several vocal Brockes' verses, which were also set by other composers of competitions, subsequently appearing in concerts with the Los his day, prompted Handel to produce small masterpieces by Angeles Philharmonic Orchestra. Having been offered a combining declamatory cogency with imagery and melodic scholarship, she left the United States to take up residence in beauty without avoiding graceful ornamental features, which and ultimately made Europe her artistic home. provide the basis for the singers' own embroidery. Some Following her brilliant debut at the Vienna State Opera as the melodic phrases were borrowed from operas composed by Queen of the Night in 1967, she was given a long term contract. Handel at the time. Handel assigned the vocal part to a soprano She made her bow at the Festival in 1969, at Milan's La while the instrumental part may be taken by a violin or, in some Scala in 1975 and at the New York in 1978. cases, by a flute or oboe, as practised on this recording. The An operatic career seemed to lie ahead, but she chose a "Nine German Arias" owe part of their irresistible charm to their different path. Regarding a career as nothing but the concertante dialogue style. Handel's extended melodies, which architecture of a person's ambitions, she admitted: Sometimes are perfectly suited to the singer's breathing requirements, the architecture does not fit those ambitions. It has always been unfold gracefully, and often with imaginative touches of colour, my desire to enjoy music and to sing for as long as possible. She while maintaining a vigorous onward flow. Except for one item, left the Vienna State Opera in 1974, her strength sapped by all arias are of the type. The middle sections, which for intrigues and rivalries, envy and selfishness. However, she did the most part draw on motivic material of the main section, are not turn her back on opera altogether. As an expert performer crafted with fastidious care, providing both contrast and of the coloratura roles in Mozart's early operas and as a enrichment. As a result, the beauty of the melodic shapes specialist in baroque opera, she as a frequent guest in the appears yet further enhanced in the da capo section. The eighth recording studio and on the stage. But even so the main aria ("In den angenehmen Büschen") is of the "through- emphasis of her activities shilled to the concert platform. From composed" type, the F major "middle section" leading back to Vienna to Atlanta, from Paris to New York, she appeared with the D minor of the opening. The "Nine German Arias", Handel's the most distinguished conductors: Claudio Abbado, Rafael last vocal composition in German language, date from a period Kubelik, Bernard Haitink, Klaus Tennstedt, Seiji Ozawa, Nikolaus of intensive preoccupation with Italian opera. Harnoncourt, and Helmuth Rilling. Most important, she The following lines from Vol.7 of the Irdisches Vergnügen in discovered her affinity for the lied. Ever since the Viennese Gott will illustrate the way in which Brockes responded to accompanist Erik Werba invited her in 1970 to perform Hugo Handel's settings and Handel himself: Wolf's ltalienisches Liederbuch during a series of song recitals he The balmy serenity of the air, the evening, suffused as it was was organizing in the composer's summer house, she began to with light and shadow in all their finery, together with my develop into a highly accomplished lieder singer. Her mastery of children's urging, prompted me to relent and grant their tonal shading was second to none. She was able to change her request for a cruise on the calm waters. We entered the boat voice, chameleon-like, from one moment to another, endowing together and set sail in fair weather. The mood of tranquillity it with a mellifluous quality or with a black hued, earthy tone as was so son, so pleasant and sweet that it gently established the situation required. itself in our minds. With her recordings, Arleen Auger reached a And when my son began to play the flute I was unable to refrain audience. Her discography encompasses more than 200 from singing the text of that well known aria Süsse Stille (Sweet releases. The arias featured on this CD were produced in Leipzig Quietness), etc. in 1980. My little Marie and, besides all the others, even my little Miecke © Christian Carlstedt joined in, singing different parts, the bright sound echoing across the waters. Nine German Arias And he went on: Handel selected the verses for his "Nine German Arias" from a Meanwhile, with their clear voices, two of our children, to the famous collection of poems, Irdisches Vergnügen in Gott, by the gentle strains of a clavier and accompanied by a flute, intoned a Hamburg Senator and poet, Barthold Heinrich Brockes (1680- fine duct, presenting a delightful concert made up of pieces by 1747), and set them to music between 1724 and 1727. He used the the second (revised) edition of the collection, published in 1724. great Handel. In the second volume of the 1727 edition, Brockes himself Under the impact of Handel's music, Brockes went on to discuss assembled the poems set by Handel into "Spring Cantatas", the ultimate purpose of human life and arrived at the following adding recitatives for this purpose. But apparently, Handel conclusion: evinced no interest in the later version. The only true life is one in which we extol the beauties of the Even though the "Nine German Arias" were well known in world that God has adorned. What He wishes to show with His Hamburg and performed there, no copy of the music has love. We can only absorb with our minds. If it pleases us, He will survived nor was the work printed at the time. Friedrich be pleased. Chrysander's Handel Edition does not include the arias. Edited © Walther Siegmund-Schultze by Herman Roth, they were first published in 1921 as part of the Translation: Bernd Zölner Musikalische Stundenbücher series by the Drei-Masken-Verlag. Before long, they made their way into domestic music-making

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CD30-34 ensemble consisting of harpsichord and cello, or in some CANTATAS FOR SOPRANO SOLO cantatas just by the harpsichord alone, like Allor ch’io dissi Introduction addio , where the accompanying bass contains the clear Handel’s cantatas represent an important musical repertoire attributes of harpsichord-writing, with broken chords and that until recently has been little known. Consisting of about a arpeggiato style. I decided to preserve the chamber-music hundred separate works, most were written over a period of a character for the instrumental cantatas too, trying to respect, few years for private performance in Italy. They range from when possible, the original instrumental set-up of the first musical miniatures containing only two arias connected by performances. recitative and accompanied by continuo (a bass line typically The cantata Delirio amoroso presents few difficulties of realized by cello and harpsichord) to larger works with named scoring. The editions available are the old HG (German Handel characters, a dramatic story, and rich instrumental forces. Society) edited by Friedrich W. Chrysander and the relatively Telling more often than not about the pangs of love, these are new HHA (Halle Handel Edition) edited by Hans Joachim Marx. I intimate works, with texts frequently written by (and preferred to use Chrysander’s edition as a base, making a few sometimes about) members of the privileged audience for changes by comparing it with the available manuscripts. A which they were composed. A number of Handel’s cantatas critical edition is by definition not an oracle or a sacred book; have texts by one of his important Italian patrons, Cardinal editors can make errors and in the process of ‘translation’ from Benedetto Pamphilj. the manuscript to the printed music they must make difficult The project of Marco Vitale and to record choices and sometimes an inevitable degree of personal all of Handel’s cantatas is thrilling. The continuo cantatas have interpretation. At the same time, musicians should approach never been recorded in full and many have never been such ‘critical editions’ with their own open and critical mind-set. recorded at all. Thus, this project will bring to life largely Although Chrysander’s editions were made more than a unknown music by one of the world’s greatest composers. century ago, I think that his edition of the cantatas, although Further, performance of all the continuo cantatas will place the not complete, is far more accurate than that of the HHA, chiefly larger, instrumental cantatas in the perspective of their musical because Chrysander left unmodified the nomenclature of context. Handel’s instruments and stayed closer to the indications of the Vitale’s experience and musicianship are well-matched to manuscripts than HHA. HHA’s policy of modernizing the score this ambitious project, as can be heard in his recent recording and symbols has led to misunderstanding, in (for example) the for Brilliant Classics of Handel’s , from the same aria ‘Per te lasciai la luce’ ( Delirio amoroso ). Marx’s edition period as the cantatas. In particular, his decision to use low disposes it for ‘Soprano, violoncello, contrabasso e cembalo’. Roman pitch and transposing winds gives the music a warm, This is incorrect, for two reasons: first because the sources used confidential quality – so appropriate to the intimate settings in by HHA never refer to a (we even find ‘Aria senza which the works were written – without sacrificing its brilliance violini, violoncello, cembalo’ in one source!), and secondly (as one can hear in the performance of Delirio amoroso on this because it is very strange to hear a soprano in duet with a solo CD). cello, accompanied by a double bass together with a © Ellen T. Harris, Professor of Music, Massachusetts Institute of harpsichord. Technology Considerations of pitch are crucial to these new recordings Author of Handel as : Voice and Desire in the Chamber of Handel’s Roman music. Relatively recent research has Cantatas determined that early 18th-century Roman pitch was around A=386 Hz (with Venetian pitch in about A=430 Hz). It should be Context and concerns remembered, however, that until the beginning of the 20th From the early 17th century to the late 18th the cantata was century there was no equipment’s or scale to measure the the principal form of Italian vocal chamber music. During this Hertz value of a sound, and it is known that there were small period it grew from a comparatively short piece, accompanied fluctuations of the pitch even in the same place at different only by continuo, to an extended, orchestrally accompanied times of the year. That’s why it is more appropriate to define complex of movements reflecting contemporary operatic music. diverse ‘pitch-regions’ with differences of about half tones (for The cantatas were composed and performed for the private continental Europe), and use the nomenclature of A+0, A+1, A- enjoyment of aristocratic patrons. The texts were often based 1, A-2 etc. For this recording I decided to set the low pitch of A- on with reference to love. 2 in A=392 Hz and A+0 in A=440 Hz; although this is a bit higher Contrasto Armonico’s project is to record the complete than the measured pitch of A=386 Hz we have chosen A=392 for cantatas composed by Handel. Our plan is to group them by city practical reasons, staying anyway in the ‘pitch-region’ of A-2. of composition/performance, to record them in a pitch as close Wind instruments in Rome were banned from the church in as possible to the original one and, if present, taking into the early 18th century. For this reason there were no oboe account the oboe transposition, which was a common practice players (and makers) in Rome, and patrons were engaging in 18th-century Roman music, as the wind players were coming great oboists from Venice, who played at a pitch of about a from Venice, having a performing pitch of about a whole tone whole tone higher than in Rome. Therefore composers active in higher. About one third of the cantatas are with instrumental Rome, when writing music for oboe, had to keep this in mind. In accompaniment, and the other two thirds are accompanied Handel’s Roman music sometimes the oboe is apparently forced only by basso continuo, commonly harpsichord and cello. The to play in such odd and uncomfortable keys as F sharp minor. interest in these compositions has grown during recent years Taking the original Roman set-up in mind, however, with the but they have never been recorded in the low Roman pitch with strings in the low Roman pitch (A-2) and the oboe in the Corista winds transposition, and indeed many of them (such as Ditemi , Veneto (A+0) we find that the oboe plays in a more natural E o piante ) have remained unrecorded until now. minor while the strings are in F sharp minor. The long sustained This first release presents four cantatas composed in Rome, F sharp for the oboe in the introduzione to Delirio amoroso is presumably in the years 1707–8. The large-scale cantata Delirio not a particularly powerful note on the Baroque oboe, and amoroso was composed under the patronage of Cardinal without flexibility for the intonation. But at the Corista Veneto Benedetto Pamphilj, who is also the author of the text. The pitch, we find that Handel intended the oboist to play an E , other three continuo cantatas appear in account books of which is a more powerful, open and flexible note for the Marquis Francesco Maria Ruspoli, the main patron of Handel instrument. during his years in Rome. The performance of this repertoire in a single pitch Because of the intimate and private character of the pieces, (commonly A-1, so 415 Hz) without taking into account the I think the continuo cantatas were performed by a small historical/geographical pitch and oboe transposition may be

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considered both a serious fault and a missed opportunity, not to in London, between 1711 and 1723. All of the cantatas are thus say a modern compromise. I believe that the pitch of the music related to the period of his life when he was most engaged with is a significant influence on its character, but in any case we, as private patronage. After turning definitively to opera with the music has, have the responsibility to be transparent and to opening of the Royal Academy of Music in 1720 and moving inform our public about the choices and the compromises we into his own house in London in 1723, Handel left the cantata make. It is interesting to see how good modern symphony- behind. The cantatas on this CD were probably written in Rome, orchestra musicians react when the chosen pitch is (for the centre of Handel’s activity in 1707 and 1708, for either the example) A=440 Hz rather than A=442 Hz. Both strings and wind Cardinal Pamphilj or the Marchese (later Prince) Ruspoli. players would say that A=440 Hz is really low! Many of them The cantatas known to be associated with the patronage of rightly think that the small difference of two Hz greatly alters Pamphilj all have texts written by the Cardinal. In one of these the performance. Yet this is still a topic unaddressed by many texts, he specifically names Handel, saying that the composer’s ‘historically informed’ performers, musicologists and critics. skill has awakened his muse from retirement in a way that is There is still propounded the common fallacy that A=415 Hz is also suggestive of the reawakening of desire, and it may be that the only ‘Baroque’ pitch. A=415 Hz was one among many other the Cardinal was homoerotically attracted to the younger chosen pitches in the 17th and 18th century. To apply it to all Handel. In Tra le fiamme , included on this CD, Pamphilj has a music composed in the 17th and 18th centuries is like applying different message. Using both the image of moths attracted to a equal temperament across the board without caring or knowing flame and the story of , who fashioned wings from wax about other tuning systems such as Meantone or Werckmeister and feathers for himself and his son Icarus, he presents a – which have long been embraced by historically informed warning (the actual title of the cantata is Il consiglio , or ‘The musicians. advice’): although the phoenix can rise from the flames, the The lowering of the pitch and the use of oboe transposition moths will be killed, and although the older Daedalus can has opened a new way to perform Handel’s music. Everything moderate his ambition/desire, Icarus flies too near the sun, from the singer’s breathing to the richer sound and resonance melting the wax and plunging him to his death. This, of course, of the strings is affected: and the winds can play the notes that could be a general warning to any auditor, but one possibility is the composer had in mind, using natural fingerings which that Pamphilj was directing his message specifically to Handel. influence all the dynamics and the ornamentation. The fruit of The image of the phoenix makes Pamphilj’s voice clear, as his this work contains new elements and innovations which brings pastoral Arcadian name was Fenicio (phoenix) Larisseo, and forward the process of understanding and discovery of the perhaps he can be seen as well in the paternal figure of Handel ‘Roman sound’. Daedalus (Pamphilj was 54; Handel, 22). That the advice may © Marco Vitale have been directed to Handel can be suspected, not just because the cardinal handed the text to Handel to set, but also Italian Cantatas because rumours were circulating about a relationship between The late Italian Baroque cantata, whether in its diminutive form the composer and the singer Vittoria Tarquini, the mistress of for one voice with continuo accompaniment (cello and Prince Ferdinand de’ Medici of Florence. The way William Coxe harpsichord, or perhaps only one of these instruments) or a describes this in his Anecdotes of George Handel multi-voiced dramatic composition with increased instrumental (1799) makes it sound as if Handel adhered to Pamphilj’s accompaniment, is an intimate work meant to be heard in a advice. He writes that Handel’s ‘youth and comeliness, joined to chamber setting by a private audience. Many can be associated his musical fame, had made an impression on [Vittoria’s] heart; with meetings of the Arcadian Academy, established in Rome in but Handel was too prudent to encourage an attachment, which the late 17th century with the purpose of recreating the might have occasioned the ruin of both.’ ‘Golden Age’ of Italian literary pre-eminence. Acting out the Tra le fiamme , whatever its personal meaning, is an image of living in Arcadia, members of the Academy adopted extraordinary musical work. It is distinguished by the inclusion pastoral names and wrote to be set to music. Cantatas of a virtuoso solo part for the da gamba, in addition to two written to be performed in the palaces of individual patrons for recorders, oboe and strings. Although Handel rarely indicated in their weekly gatherings, called conversazione , reflected a similar his scores which instruments should play the bass line, in this practice. Most of Handel’s cantatas originate in this cantata he calls specifically for a ‘ grosso’. The question environment of aristocratic assemblies for the princes of church then becomes whether Handel wanted this instrument to play and state and their guests. Prince Anton Ulrich of Meiningen the bass line at the written pitch or to double it an octave lower describes one of these gatherings in his journal: ‘On 1 May (as would be the case with a 16-foot instrument, such as a [1707] we went to [the palazzo of] Marchese Ruspoli … where double bass). Although Tra le fiamme is often heard with double we heard beautiful music composed by the German Handel bass, the omission of any 16-foot instrument in this recording from Halle sung by a cantatrice [Margarita Durastante] and [the beautifully magnifies and clarifies the sound of the solo gamba. castrato] Checchino …; in attendance were Cardinal Ottoboni In the opening aria, ‘Tra le fiamme’, the gamba and voice and Cardinal de la Trémoille with other princesses and ladies interact, and mirror one another, surely illustrating the and many gentlemen.’ 1 singer’s heart playing like the moths among the flames. In the The Arcadian pastoral ambience pervaded the cantatas, second aria, ‘Pien di nuovo e bel diletto’, the gamba generally whose texts deal mostly with the subjects of love and longing. takes a more sustaining role, seeming to depict the of the The authors are today mostly unknown, but frequently they more cautious Daedalus (who, like the phoenix, survives), while were themselves part of the aristocratic gathering, and their the plunging line in the violins illustrates the consequence of poetry, describing cross-currents of desire, both homoerotic Icarus’s bravado. In the third aria, ‘Voli per l’aria’, whose text and heterosexual, often referred directly to the author himself, advises that man should restrict flying to his thoughts, the the composer, the host or a member of the audience behind a gamba and voice join together in flights of fancy. Unusually, the pastoral façade. A few cantata collections from the period cantata then returns to the opening aria, reiterating the illustrate this practice with small engravings for each work, dilemma of the singer’s heart that flies among the flames. showing Arcadian shepherds not in some idyllic landscape but in The account books of Pamphilj include a payment on 6 July a clearly delineated Rome. It is these ‘urban shepherds’ for 1707 for copying a large cantata, probably Tra le fiamme . whom and about whom the cantatas were written. Un’alma innamorata was written around the same time for Handel’s cantata texts are only beginning to be viewed in Ruspoli (the bill for its copying is dated 30 June 1707) for this light (as opposed to being considered an undifferentiated performance at his country estate in Vignanello not far from mass of pastoral poetry). Most were composed in Italy in 1707 Rome. Ursula Kirkendale proposes that it too relates to the and 1708, but a few were composed during his first dozen years rumoured relationship between Handel and the singer Vittoria.

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Her research has revealed that a ‘Vittoria’, whom she associates In the opening recitative, the singer describes how the ‘soft with the singer, was among the guests at Vignanello for a time and delightful breezes’ (‘Aure soavi e liete’) bring relief from the during this period. She suggests that the text may have been summer heat, but that there is no relief for his heart. The first written by Abbé Francesco Mazziotti, tutor of Ruspoli’s eldest aria tells how Clori’s dear eyes (‘care luci’) bring the dawn when son, as a ‘prank’ on Ruspoli’s part ‘to see how the “Sassone” they appear to him. Handel sets the opening words, ‘Care luci’, would react’. If Vittoria Tarquini was indeed present, the with a beautifully arched melody that seems to embody possibility exists that she, rather than Ruspoli’s regular . Handel found this musical phrase useful in his cantatrice, Margarita Durastante, was asked to sing the cantata. opera Rodrigo when the queen offers to give up her son to save Was the voice in the cantata meant to be Vittoria’s or Handel’s? her husband and bring peace, ‘Egli è tua’ (‘He is yours’). As with The poet allows for either possibility by referring only to ‘the the dotted figure in O lucenti, o sereni occhi , it too found its heart’ or ‘the soul’ and therefore avoiding a sexual culmination in Messiah , in the very opening words: ‘Comfort ye identification of the singing voice or the beloved. The singer my people’. states that a heart wounded by love becomes angry if it stays The bill for copying Del bell’idolo mio only appears in the faithful and claims to be happy because ‘I love more than one Ruspoli account books on 31 August 1709. However, there is no heart’ and ‘spurn the harsh laws and rigours of love’. evidence that Handel was still in Rome at this time, and some Handel’s setting, with only violin and continuo aspects of his manuscript connect the cantata with others accompaniment, sustains its intimacy across the three written in spring 1707. It is amazing that this cantata that tells recitative-aria pairs. The first aria, ‘Quel povero core’, is a of an Orphic quest to the Underworld to rescue the beloved beautiful lament. Its long lines with repeatedly deflected Nice is not better known. It is full of exquisite music. cadences speak poignantly to the longing of the poor heart. The The cantata opens with the lover’s decision to face death second aria, ‘Io godo, rido e spero’, dances and spins with the and seek his beloved in the Underworld. The first aria, singer who ‘laughs and hopes’. ‘Ben impari’, the jaunty final aria ‘Formidabil gondoliero’, then depicts his bravado as he sallies with its syncopated rhythms and lack of any instrumental forth, calling on in a vocal gesture that depicts his ritornellos, depicts the independence of the singer from Cupid resolve with a long-sustained note and his pride in a final (and probably from any outside influence). aristocratic flourish. When he demands the ferryman’s Handel’s manuscript of O lucenti, o sereni occhi does not presence, his impatience is clear in the rhythmic iteration of the survive, nor is the cantata mentioned in the Ruspoli documents. phrase. The second aria is a lament, ‘Piangerò’, here expressing However, the manuscripts copied for Ruspoli are largely the fear that he will not succeed. Its fragmentation and preserved in the collection of Fortunato Santini (now housed at plangent chromaticism movingly express his despair. In the final the Episcopal Seminary, Münster), and the survival of a copy of aria, ‘Su rendetemi colei’, having spent both his arrogance and O lucenti, o sereni occhi within that collection suggests that it his despair, he is reduced to a simple plea that escapes from his originated under Ruspoli’s patronage. As in Un’ alma lips as a long sigh: ‘Give her back to me, console an unhappy innamorata , the text veils any reference to the sex of the singer soul’. or the beloved, using the eyes as a referent for the person and The last lines of this final aria refer to the lover rising like a allowing for either a same-sex or heterosexual reading (or phoenix (‘fenice’) from the flames of the . Given that the both). As Handel reused aspects of the first aria in his opera phoenix was Pamphilj’s Arcadian name, is this reference a Rodrigo , which premiered in Florence in November of 1707, the ‘signature’, indicating the cardinal’s authorship? Or is it an cantata can safely be dated to spring or summer 1707. allusion to Pamphilj? We will probably never know. But whether The first aria, ‘Per voi languisco e moro’, tells how beautiful or not we can identify, or in all cases should even try to identify, eyes cause the singer to languish and die. Handel depicts the members of Handel’s aristocratic audience in his cantatas, the pain with a stabbing dotted-rhythm accompaniment. This music maintains its deep emotional content, resonating with rhythmic motif is one that Handel would later use to powerful our as much as it must have resonated with the effect in Messiah , where he sets Christ’s Passion at the original listeners. beginning of Part II in a succession of movements with sharp, © Ellen T. Harris dotted rhythms. The second aria, ‘In voi, pupille ardenti’, tells Ellen T. Harris is Professor of Music at Massachusetts Institute of how the blazing eyes cause the singer both pleasure and pain. Technology and author of Handel Handel has the wonderful idea of setting the word ‘pleasure’ as Orpheus: Voice and Desire in the Chamber Cantatas (Harvard (‘piacer’) with dissonance, as if to depict the spark of delight, University Press, 2002) first with a descending diminished fifth and finally with a rising major seventh. In contrast, he paints the pain (‘pena’) as The violone in Handel extended, setting the word with lengthy melisma’s, sustained The cantatas on this second volume were composed in Rome, notes, and augmented intervals. Handel’s use of silence in this so I have chosen to perform them at the Roman pitch of A-2 cantata is also sophisticated. Listen in the opening recitative to (392 Hz) – a whole tone lower than modern piano pitch (see the the way he breaks the word ‘tre-mo-li’ after each syllable to booklet notes of Contrasto Armonico’s releases on Brilliant depict quivering, and in the second aria, how he breaks through Classics of La Resurrezione (93805) and Complete Cantatas Vol. the musical fabric with silence following the phrase telling of 1 (93999) . the singer’s heart being bound in chains (‘stringe in catena’), Tra le fiamme is recorded with a violone in G, an making it seem that all the musicians have been rendered instrument tuned G’–C–F–A–d–g which plays at the cello’s incapable of continuing. written pitch. Handel clearly asks for a violone (literally ‘violono A copying bill for Aure soavi e liete appears in the Ruspoli grosso’) in his autograph. Exactly in the place where the solo of account books on 16 May 1707. The text blends lovely nature the viola da gamba begins (and the string/recorders ensemble images with the longing the singer has for his beloved Clori. stops), the composer writes ‘violono grosso’ . Friedrich Unusually, neither aria in this cantata is a standard da capo , the Chrysander rightly transliterates the name of this instrument in staple of cantata and opera arias where the first section returns his edition but unfortunately the HHA (Handel Halle Edition) after a somewhat contrasting middle section; nor are there any translated it into a double bass. instrumental ritornellos. The first aria is through-composed If we ignore for a moment all we know about musicology without sectional repetitions. The second begins as if it will be a and organology (the science of musical instruments and their small binary dance movement, but the aria continues with a classification) the first idea that comes out, after seeing harmonically contrasting section leading to a repetition of the ‘violone’ written in the score, is that Handel wanted to binary dance, creating an unusual form that seems more like an accompany the viola da gamba with an instrument from the atypical minuet and trio than a da capo . same family (). We can find many examples where Handel

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combined instruments from the same family or with compatible Die Musikforschung 62 (2009): 2–13. sonority: a pair of oboes in trio with a bassoon, a transverse flute accompanied by and viola da gamba (‘Così la Aminta e Fillide HWV83 tortorella’, in La Resurrezione ), two recorders with a gamba, a The dramatic cantata Arresta il passo , also known as ‘Aminta e gamba consort, trumpets with , and many others. Fillide’, is probably one of the earliest works 1 Handel composed With the specialized eye of the musicologist and the in Rome for his patron Marquis Francesco Maria Ruspoli. organologist the problem, however, becomes more complex. Written for two soprano soloists, it presents the story of a Italian and German sources and treatises from the 17th and shepherd who eventually wins the love of a reluctant . 18th century cite many different tunings for the violone. Half Various versions of the cantata have survived. Handel’s the sources (both Italians and Germans) even describe the original setting does not include the two arias ‘Chi ben ama non ‘violone grosso’ as a 16’ instrument, with a tuning similar to paventa’ and ‘Non si può dar’ or the recitatives following each that of the double bass. But the other half differ radically. They of these arias. Instead, the cantata moved directly from the describe the instrument as a large viol, often with five strings recitative ‘ bella di Aminta’ to the final duo ‘Per abbatter il tuned G’–C–F–A–d–g. This instrument plays at the 8’ (the cello’s rigor’, and it is this form of the work that has survived in written pitch) with the possibility of playing down to a fourth autograph (used by Friedrich Chrysander for his edition in lower than the cello. 1888). This version was probably performed in Rome in 1707, or Handel’s music composed in Italy offers more help. In La as early as the end of 1706, as Ursula Kirkendale suggests (see Resurrezione (Rome, 1708) we find ‘violoni senza cembalo’ in note 1). Maddalena’s aria ‘Ferma l’ali’. Four arias later, in the same At some later point the two arias, which have survived in a oratorio, we find ‘violoncelli senza cembalo e contrabassi’ separate manuscript (also autograph, published by Chrysander (Cleofe’s aria ‘Naufragando va per l’onde’). Any confusion over in an appendix), were added. This may have occurred for a the historical nomenclature of violone and ‘contrabasso’ in this performance in 1708 at the Arcadian Academy, as is suggested music is thus resolved: for Handel they are clearly two different in the Ruspoli account books by a reference to the aria ‘Fiamma instruments, because he gives them different names! bella’ (‘2 violini che sonarono nella Cantata Fiamma bella di All the music where the violone is involved has similar Monsù Hendel’ – 19 September 1708). This longer version has instrumentation: Tra le fiamme (Rome, 1707) has recorders, survived in a period copy which was made by Handel’s principal violins, gamba, continuo and violone (to accompany the solo Roman copyist Antonio Giuseppe Angelini and is now held in gamba), ‘Ferma l’ali’ ( La Resurrezione , Rome 1708) has the Santini Collection in Münster. Angelini indicated the exact recorders, muted violins, gamba and violone senza cembalo; place where the two extra arias should be inserted, following ‘Fra l’ombre e gl’orrori’ ( Aci, e , Naples 1708) the recitative ‘Gloria bella di Aminta’. has recorder, violins, viola and violone senza cembalo . There is Chrysander printed the two additional arias as a stand- also a common element to these pieces: the idea of flying. Tra alone fragment, in which the extra aria ‘Non si può dar’ le fiamme concerns Icarus, who flew too close to the sun; in appears, as in the autograph, in G major. In the Münster score ‘Ferma l’ali’ Maddalena asks ungrateful sleep to stop its wings; the aria ‘Non si può dar’ is transposed into B flat major, and the ‘Fra l’ombre e gl’orrori’ describes a confused butterfly who is last three measures of the previous recitative, originally wandering in shades and darkness. And in all these pieces, cadencing in B minor, is adjusted by Handel to cadence in G when the violone is active, there is no harpsichord. minor. Handel writes in a quite distinct style when composing for a The HHA edition (Bärenreiter) and all the commercial violone. In Tra le fiamme the violone plays in parallel thirds with recordings available are based on the Münster copy. In my the viola da gamba, and in the middle of the first aria the opinion, however, this later version is problematic. The cantata violone plays in its highest register while the gamba plays an in its original form requires three violins and continuo. The two octave lower: Handel often uses such crossing of voices, and to extra arias demand more instruments: a viola (not present in memorable effect. With a 16’ double bass we would lose such the original version) and at least two more violins (given that in colour and ingenuity. This instrument was used only in large the aria ‘Chi ben ama’ both first and second violins have a divisi ensembles, as a ‘ripieno’ instrument, doubling the bass line and part). The transition from the D minor cadence at the end of the often not playing (leaving the cello and the harpsichord alone) recitative ‘Gloria bella di Aminta’ to ‘Chi ben ama non paventa’ while the singer was performing. In such pieces the violone has in is less than perfect (the D minor cadence originally a largely functional role in support of other solo voices. The led to the duet in B flat major, which feels more natural). double bass gained a ‘solo’ identity only in the second half of Furthermore, the transposition of ‘Non si può dar’ to B flat the 18th century, thanks to composers such as Carl Ditters von major places two consecutive movements in the same key (with Dittersdorf, Domenico Dragonetti and . the final duet), which is unusual in Handel’s practice. And from In combining the historical sources, an analysis of Handel’s a poetic point of view, after the recitative for both voices ‘Ed io music and a modicum of common sense, I have come to the fedele amante / Ed io sempre costante’ (And I am your faithful firm conclusion that the instrument Handel had in mind was not lover! / And I am ever true!), we would expect to hear the final a 16’ double bass but a large viola da gamba playing at the duet as the story has come to an end. cello’s written pitch: a lightweight bass with a large body but a We see here, as is also the case with the operas, that delicate sound. Handel’s second version is not as strong as his original Why then do many ‘historically informed’ performers end conception. Therefore I have chosen to perform and record up playing the ‘violone pieces’ with a standard 16’ double bass Arresta il passo in the original version (as is standard practice instead of a proper violone in recordings and performances? with the operas). This is probably one of the potential consequences of the I wish to express my heartfelt gratitude to Ellen T. Harris dogmatic approach that some musicians give to critical editions. (Professor of Music, Massachusetts Institute of Technology and With such an approach a simple mistake, omission or not author of Handel as Orpheus: Voice and Desire in the Chamber documented modernization of the editor can be fatal to the Cantatas ) for her invaluable support and her useful advice music: without criticism the errors multiply and become, over a throughout the research and preparation of this cantata for decade, an established performance tradition. The only way to performance. prevent this scenario is not to let historically informed © Marco Vitale performance become a fashion and a consolidated tradition. 1 Ursula Kirkendale suggests that Arresta il passo was the first (c) Marco Vitale work Handel wrote in Rome, associating it with a bill in the 1 Rashid-S. Pegah, ‘ ‘anno 1707’: Neue Forschungsergebnisse zur Ruspoli documents submitted on 29 December 1706 for an Tätigkeit von G.F. Händel in Rom und Florenz,’ untitled new cantata for singers and concertino violinists.

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claimed her heart. Tirsis decries the infidelity of women and Clori, mia bella Clori HWV92 · Sans y penser HWV155 · Clori, wishes that he could be a flower on Silvie’s breast (‘Petite fleur vezzosa Clori HWV95 · Pensieri notturni di Filli HWV134 · Lungi brunette’). Silvie declares that pleasures are fleeting and should n’andò Fileno HWV128 be taken where they can (‘Nos plaisirs seront’). However, in the As a young and aspiring composer, George Frideric Handel recitative that follows she falls into despair when she learns spent about four years in Italy, absorbing its performances, that Tirsis is leaving, having apparently decided that a brief fling compositions and musical culture. During this time he wrote is not what he wants. Tirsis ends the cantata with an air, in two operas, two oratorios and more than one hundred secular which he names drink a better companion than a faithless cantatas that tell of love and longing. The most clearly shepherdess (‘Non, non je ne puis plus souffrir’). documented parts of this Italian sojourn are two extended Handel’s setting of this cantata for voice and continuo periods that he spent in Rome in 1707 and 1708. Although his illustrates his extraordinary sensitivity to national styles. A true Roman patrons included the Cardinals Pamphilj, Ottoboni and French cantata, rather than simply a cantata in the Italian style Colonna, it is from the archives of the rising Marquis Francesco but with a French text, it captures the flow of the French Maria Ruspoli (named Prince of Cerveteri in 1709) that most of chanson and the heightened speech-song of French recitative, our information derives. Some years later, the status of Ruspoli both of which contrast considerably with rapid Italian as the most important Roman patron of music was made declamation. Handel particularly seems to enjoy painting the evident in a letter from 1717 to Sir John Percival in London from scene of Tirsis’s final air. It opens with a repeated section in George Berkeley, who, although no music lover, was common (4/4) time with the bass moving in time with the voice, nevertheless a reliable witness: ‘Cardinal Ottoboni has let off his suggesting that it will follow the AABB binary dance pattern that entertainments, and Prince Ruspoli is the man who now gives has already been heard in the first and third aria. However, musick every week to Strangers [that is, foreigners], where I am instead of following this opening with an equally simple sure to fall a Sleep as constantly as I go.’ All five of the cantatas conclusion to provide melodic and harmonic balance, Handel on this disc are associated with Rome, and all have at least a takes a more unexpected route. The second section begins with tentative association with Ruspoli. a bar of imitation between the bass and voice, followed by a Two of the cantatas date from 1707. The exact composition transitional bar of 2/4, before sliding neatly into triple time for date of Pensieri notturni di Filli (Nel dolce dell’oblio ), for the remainder of the air. Both the imitative lag between bass soprano, recorder and basso continuo, is not known, but the and voice and the interruption of triple time at the words ‘ma paper and layout of Handel’s score match other works from his bouteille’ (‘my bottle’) paint the picture of an already tipsy Tirsis first year in Rome. In the text the singer watches , whom celebrating his decision. he loves, dreaming of her own beloved. There is a chain of In contrast to both of the cantatas previously discussed, unreciprocated love: the narrator loves Phyllis, who loves Lungi n’andò Fileno for voice and continuo, written for Ruspoli another, who seems, alas, to love still another. The singer in 1708, is characterised by despair and dissonance. The first concludes that being deceived in a dream can have its delights, aria, ‘Si piangete, o mie pupille’, depicts endless weeping, using but when one awakens delight turns to sorrow. a Largo (very slow) tempo and a complex combination of triple As is typical, the cantata’s two arias use da capo form, in and duple time. Here the flowing tears offer no release; rather, which the first section (or A section) returns in an ornamented the rhythmic disjunctions create a sense of the suffering and version following a contrasting middle section (or B section). In sorrow discussed in the text, while the constantly shifting the first aria, Handel’s setting of the text ‘Giacché il sonno a lei harmonies suggest that the heartbroken lover has lost his dipinge la sembianze del suo bene’ (‘Since sleep presents to her bearings and has no secure resting place. The second aria, the image of her beloved’) floats dreamily in rolling triplet ‘Dunque se il tanto piangere’, expresses a wish for death to end motion. In the middle section, ‘nella quiete ne pur finge the cruel pain experienced by the singer. Its bass and melody d’abbracciar le sue catene’ (‘she does not have to imagine the unwind inexorably, as if this ultimate destination is inescapable, chains that hold her’), Handel uses dissonant and overlapping and the wide ascending leaps in the voice depict the ever- imitative phrases to depict the chains of love, but the floating present ache of longing for the absent loved one. Handel must dream returns, of course, to end the movement. In the second have prized the extreme pathos that he achieved in this aria, as aria, ‘Ha l’inganno il suo diletto’ (‘Being deceived has its he used it more than 40 years later as the basis for an aria in the delights’), the fast tempo, insistent repeated notes and oratorio , where Susanna, under threat of death as a oscillating melodic phrases seem to brush away the dreamy result of false accusations, sings that she is ready to die: ‘If mists. This leaves painful reality in the middle section, which guiltless blood be your intent, I here resign it all’. Handel paints by omitting the recorder and setting the vocal Clori, vezzosa Clori , another continuo cantata written for line in short, hesitant phrases full of striking dissonance, after Ruspoli in 1708, is as ‘charming’ (‘vezzosa’) as Clori herself is which the strands of deceit are once again vigorously brushed depicted to be. In the first aria, ‘Il bosco, il prato, il rio’, the away. distant lover declares that all of nature carries him back to Sans y penser is Handel’s only cantata in French. The Clori’s image. Handel depicts this at first by establishing a occasion of its composition in Rome is uncertain, but a bill for rhythmic interaction between the voice and bass, almost as if copying it appears in the Ruspoli account books in September one is a reflection of the other, with powerful chromaticism 1707, so it must have been written before then. Unlike the texts introduced on the repetition of this text to indicate the pain of of Handel’s Italian cantatas, which for the most part were newly separation. In the middle section of the aria, when the lover written for the composer to set, the words of this French almost feels as if Clori is standing in front of him, the voice and cantata appear to have been compiled from existing sources. bass are more rhythmically linked and the chromaticism briefly The text of the first and second arias can be found in earlier falls away, although reality reappears with the opening section’s printed collections of French songs, and that of the third aria return. In the final aria, ‘Non è possibile’, a simple but delightful appears in a later collection, but was probably known before minuet, the lover declares that it is impossible to forget Clori. Handel’s cantata was put together. The texts of the recitatives, Clori, mia bella Clori , an accompanied cantata for soprano, and perhaps the fourth and final aria as well, may have been violins and basso continuo, was also composed in Rome, newly written to create a connection between the borrowed probably for Ruspoli. A bill for copying a ‘Cantata à voce sola sections. con VV’ appears in the Ruspoli account books on 28 August One of Handel’s comic cantatas, Sans y penser depicts the 1708, which might refer to this work. In the anonymous text, ill-fated love of Silvie and Tirsis. The shepherdess Silvie covering four recitative-aria pairs, a lover at first bemoans his describes the situation: she has made Tirsis fall in love with her separation from Clori, then declares he will see her in all nature, without thinking about it (‘Sans y penser’), but he has also loses his fortitude and dissolves into tears, before ending the

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cantata in a burst of jealousy. The overlap in subject between resembles that of Un’alma inamorata HWV173: a reflective this cantata and ‘Clori, vezzosa Clori’ suggests the possibility opening, a nimble aria in a major key, and lastly an aria in a that both works refer to a specific couple known to the dance tempo. On account of these analogies with HWV173, contemporary Roman audience. If so, this couple’s identity has which includes a violin obbligato, it is probable that the version been lost in time. with the violin is the original, or at least the earlier version, and What is remarkable about Handel’s setting of Clori, mia that the version with the cello is a later transcription or an bella Clori is the variety of that he is able to adaptation by the composer himself. While the cello may better create out of just violins and bass. In the first aria, ‘Chiari lumi’, suit the languid mood of the first aria, it is also worth noting which describes the lover’s despondency, the moderate tempo, that the part is somewhat longer than was normal for a cello violins and intruding silences depict a world filled with obbligato in the early 18th century. For this reason, we opted to grief. By contrast, the second aria, ‘Ne’ gigli e nelle rose’, dances use a five-string cello for the present recording. It was very lightly using a circling triplet motion and just continuo common at the time, and it is likely that the obbligato was accompaniment, the violins holding back until the closing actually composed for this instrument. ritornello of the A section where they provide intensification. The cantata tells the tale in the first person of unrequited The third aria, ‘Mie pupille’, depicts the lover weeping; Handel love for a certain Lilla, for whom the young man wishes to die extends the word ‘lacrimar’ (‘to weep’) to illustrate the depth of despite the fact that he has been abandoned. It was probably the lover’s despair, while the violins join together to play in written during Handel’s brief stay in Naples, although he may thirds with the voice. In the final aria Handel creates a rich four- have taken the manuscript with him there. The Neapolitan part texture (violin I, violin II, voice and bass) that has been origin tallies with Baron Pisani’s acquisitive habits described reserved until this moment and is combined with a fast tempo earlier. Indeed, it is probable that he found and purchased both to evoke the passionate energy of the singer’s jealousy. manuscript versions of Mira Lilla gentile in Naples. With this In these five cantatas, the listener can enjoy the richness of recording we hope to bring attention to a cantata that should Handel’s compositional palette, which is particularly impressive certainly be added to Handel’s work catalogue. for a young composer just setting out on his career. From the The second pair of cantatas is the anonymous La caduta di depths of despair portrayed in Lungi n’andò Fileno to the wry Icaro , the manuscript of which is kept in the Biblioteca humour of Sans y penser , the charming simplicity of Clori, Corsiniana in Rome, and Tra le fiamme , also known as Il vezzosa Clori , the passionate outbursts of Clori, mia bella Clori , consiglio , HWV170, probably composed in Rome in 1707. Both and the startling shift from dream to reality in Nel dolce cantatas share the same by Cardinal Benedetto del’oblio , Handel’s music paints emotions so that we do not Pamphili, who drew a moral precept from the myth of Daedalus simply hear about them but feel them. It is a remarkable and Icarus: man is born to rise to heaven, but he cannot do so achievement. on his own, just as Icarus cannot reach the sun with the waxen © Ellen T. Harris wings his father had put together in order to flee from the Cretan labyrinth. The cantata thus decries the sin of pride denounced by , akin to the hubris of earlier pagan CD34 cultures, as personified by the boy Icarus, whose personal ITALIAN CANTATAS Tower of Babel cannot ensure his passage heavenwards On this recording are two different versions of two cantatas. because he relies on his own strength alone, without putting his The cantata Mira Lilla gentile exists in two versions, one where trust in divine grace. the soprano solo alternates with the violin, the other with the The structure of the two cantatas is naturally identical: cello; the manuscripts are held in the Pisani collection kept in three arias followed by three recitatives, with a repetition of the the library of the Conservatoire in Palermo. The first aria as a conclusion. The first aria in both versions has a attribution of this cantata ‘by Signor Federico Hendel’ to George ternary rhythm, while the second, which describes the flight of Frederic Handel may seem obvious enough, not least on Icarus, differs from one version to the other: that of the La account of the presence of various Handel cantatas in a caduta di Icaro is more of a virtuoso piece, whereas the second collection largely made up of pieces by composers of the aria in Tra le fiamme is lighter and in triplets. The third aria, Neapolitan school. The Pisani collection comprises the cantatas which contains the moral lesson to be learnt, is highly virtuosic Un’alma innamorata HWV173, Sarei troppo felice HWV157, in HWV170 and more melancholy and melodious in the Ninfe e pastori HWV139a, Se pari è la tua fe’ HWV158a and O anonymous cantata, where it is accompanied by a glorious Numi eterni (Lucrezia) HWV145. Palermo-born Baron Pietro violin solo. The fine Sinfonia that opens La caduta di Icaro does Pisani (1761–1837), who compiled the collection, was an not feature in Tra le fiamme . From an instrumental point of intellectual and philanthropist who, in his assiduous enthusiasm view, while La caduta di Icaro calls for a solo soprano, two for early 18th-century Neapolitan music, anticipated by many violins and basso continuo (with obbligato cello and archlute decades the modern renaissance in Baroque music. parts in the second aria and an obbligato violin part in the third When Pisani travelled to Naples he often purchased aria), Tra le fiamme requires the addition of two recorders in manuscripts, partly to provide his son, who enjoyed singing, the first and third arias, an oboe in the second aria, and the with scores to study. Following his son’s premature death, viola da gamba concertante. This latter part requires great Pisani, who had been appointed superintendent of the Real virtuoso skill, to the extent that it becomes the foremost soloist Conservatorio di Música, decided to donate his collection of of the whole cantata. cantatas and arias to the Conservatoire library. The collection Concerning the authorship of La caduta di Icaro and its remains there to this day, and our heartfelt thanks go to Dario relation to Tra le fiamme : it seems unlikely that Handel himself Lo , the present-day librarian of what is now Palermo’s wrote an alternative version of one of his own compositions, Conservatorio ‘V. Bellini’, whose learning, professional skill and not least because the style itself, despite certain similarities, discretion were of great help to MVSICA PERDVTA in the suggests an Italian composer. That said, however, it is also true identification and study of this music. that in the early years of the 18th century it was not easy to find The cantata itself is catalogued correctly, and given the a viola da gamba player in Italy who could have handled such a musical level of the piece it is curious that it should have been demanding part. So perhaps Handel decided to provide an neglected until now. Before MVSICA PERDVTA began to alternative version of the cantata based on instruments that perform it in 2008, the cantata had only received one modern were more readily available south of the Alps. The viola da performance, under in 1985 in a private mansion. gamba part in Tra le fiamme would thus have been shared Mira Lilla gentile has three pairs of recitative and aria. In between the cello, the archlute and the violin obbligato in La terms of structure and embellishments, the Palermo manuscript caduta di Icaro , with the recorder and oboe parts eliminated to

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achieve further simplification. However, it is more likely that La its turn provided a great deal of material for the Messiah (‘His caduta di Icaro is the work of an Italian composer, possibly yoke is easy’, No.18, and ‘He shall purify’, No.7). active in the same circles frequented by Handel, and at all Although both John Hawkins and John Mainwaring mention events familiar with HWV170. In the past the cantata was a collection of 12 duets written for Caroline von Ansbach, attributed to the Neapolitan composer Francesco Mancini Princess Elect of Hanover, it is now difficult to identify a (1672–1737), who is still the most convincing candidate for collection of this size hat was definitely compiled for the authorship. Here again, it is our hope that this recording may German court. If, on the other hand, we add two trios and agree spur the study of what is indeed a very fine composition. to include in the anthology a few compositions actually written © Renato Criscuolo in Italy, then the collection becomes more feasible. For Translation: Kate Singleton example, Va’, speme infida, pur (HWV199) and Amore gioie mi porge (HWV180) were certainly written in Italy. The former, for CD35 which the original signed manuscript is missing, was copied for ITALIAN DUETS inclusion in an anthology put together by the same Venetian During the different stages of his lifetime as a composer, copyist who worked for Handel on Agrippina, which dates it George Frideric Handel (1685–1759) wrote chamber duets with towards the end of 1709 in Venice. As for the latter, it has come considerable continuity, largely at the behest of the nobility and down to us in a manuscript that is unsigned, but bears clear court circles in Italy, Hannover and London. For the most part evidence of having been composed in Italy between 1709 and we know when and where these works were composed, either 1710. In both cases Handel uses material borrowed from his on account of signed and dated manuscripts, or thanks to an copy of Steffani’s collected duets, and both pieces ended up in analysis of the paper and ink used. The pieces recorded here the collection put together for the Princess Elect, along with represent the entire range of his output as a composer of duets. others composed ex novo for Hanover. An article by Konstanze Musketa (Handel-Jahrbuch 2008) and Caro autor di mia doglia (HWV183) is a case of false the ‘Duette und Terzette’ entry by Colin Timms in the recent attribution, which is a fairly common occurrence in chamber Handel-Lexikon Laaber (2011) provide the details for a more music of the period, especially when different composers made detailed musicological appraisal of these works. use of the same texts. Today we know that this version of the As a genre the chamber duet might appear to resemble the duet can be traced back to Reinhard Keiser, who published it in duo cantata. In conception and shape, however, these duets are his Divertimenti serenissimi (Hamburg 1713). Handel put the actually much closer to the than they are to the same words to music in a completely different way in the duet cantata. In this latter form, the increase in vocal content is often HWV182 for soprano and tenor. Although this piece dates from accompanied by the introduction of instruments and a greater the composer’s first stay in Italy, he returned to the same text degree of dramatization, with the second voice corresponding in the in London (HWV182b) in the duet for two to a second character that contributes to greater theatrical . It is thus interesting to compare this work composed impact. In the duet, on the other hand, the text expresses by Keiser, from whom Handel borrowed overtly on other individual feelings and the use of different voices, as in the occasions, with the duets composed by Handel himself. madrigal, represents a musical amplification whose essence is Ahi, nelle sorti umane (HWV179) bears a distinct date in lyrical rather than dialogical. The form does not comprise an Handel’s own hand. The duet was completed in London on 31 alternation of recitatives and arias, but rather a succession of August 1745, and would thus appear to be the composer’s last pieces that correspond to the different sections of the text: work in this genre. No, di voi non vuo’ fidarmi (HWV189) was usually a central slow movement preceded and followed by two also written in London, but somewhat earlier, as the more lively pieces. The two voices are generally handled in fairly composer’s handwritten note reveals: ‘a Londra, a’ 3 Luglio strict , with abundant imitation. Unlike the opera 1741’. Over a year later, in November 1742, the composer set or cantata arias, in the duets Handel tended to avoid the da the same text to music in an entirely different manner capo , and on the rare occasions he did use a refrain, he never (HWV190), in what was to become one of his best known duets. repeated precisely the earlier exposition. This work is related to many other compositions by Handel: at In itself the chamber duet was more than just a piece least four cantatas (HWV 102, 107, 118, 145) and the Brockes- written for the entertainment of a particular patron. It also Passion provided material for the composition of No, di voi non provided the composer with an opportunity for trying out vuò fidarmi , while the duet inspired parts of The Triumph of solutions in counterpoint, and for exercising his skill in adhering Time and Truth and, as every Handel lover immediately to a verbal text that could be divided into different sections and recognizes, two famous parts of Messiah : ‘For unto us a child is thus variously portrayed. In this sense the chamber duet played born’ (No.56) and ‘All we like sheep’ (No.23). a role similar to that of the madrigal that preceded it and from The duets continued to charm the world of music and the which it to some extent derived. spheres of European nobility even after Handel’s death, when, The supreme master of this genre at the end of the 1600s with the exception of the grand oratorios, the rest of his output was , and it is no coincidence that Handel had faded somewhat into the background. Collections of the duets a manuscript copy of Steffani’s famous duets with him at the continued to be copied, and in manuscript form became the beginning of his stay in Rome. The Italian composer’s work was property of aristocratic families and learned collectors such as a model for the young musician from Saxony, an inspiration that Father Giovanni Battista Martini, whence they found their way left tangible traces in those very duets. There is a distinct into the various libraries where they are now kept. Each duet in network of connections between Handel’s duets, his other this collection is preceded by a compatible instrumental piece, compositions and those of several of his contemporaries that which acts as a sort of prelude. Although these latter bears witness to consistent borrowing. The duets are a case in compositions were originally written for the keyboard, they point, revealing a criss-crossing of musical loans from one were also transcribed for various basso continuo instruments, composition to another. Apart from Steffani, Handel also which is how they are performed here. The practice of borrowed musical ideas from colleagues such as Giovanni Maria alternating instrumental and vocal pieces was typical of court Clari and , Dietrich Buxtehude and . and academy performance during the , and is well suited Quel fior che all’alba ride (HWV192) has come down to us to Handel’s duets. in the form of a manuscript dated ‘A Londra, a’ 1 di luglio 1741). © Angela Romagnoli Clearly it is closely related to the Cantata HWV 154 (London Translation: Kate Singleton 1738/1740) based on the same text. However, the Cantata seems to be almost a preparatory study for the duet, which in

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CD36 they must have charmed when new, like a whiff from distant THE ALCHYMIST AND E lemon groves in the London fog and rain. La terra è liberata (HWV122), also known as , is © Jed Wentz an early work of Handel’s, completed at the latest by 1710 when he was 25 years old. It was, however, not the young CD37-38 composer’s first attempt at setting the myth to music. Before ACI, GALATEA E POLIFEMO the trip to Italy which produced Apollo e Dafne , Handel had Aci, Galatea e Polifemo (HWV72) is the only serenata Handel already written a massive double opera on the theme of the composed in Italy, yet it is by no means isolated in his output. Il fatal attraction of the God of the Sun for a nymph-turned- , performed in London 13 March 1734 for the laurel-tree, known as Der beglückte (Happy Florindo ) wedding of Princess Anne with William of Orange, is classifiable and Die verwandelte (Daphne transformed ). Only as a serenata, and there are several other similar works, fragments of the music for this Hamburg operatic mega- including the secular oratorio Il trionfo del tempo e del production survive, denying us the possibility of comparing the disinganno (Rome, 1707) and of course the well-known English pre- and post-Italy settings of the myth, but it is clear that the (Cannons, 1718), a “masque” or “pastoral influence which the Southern musical taste had on such entertainment”. Serenatas were a frequent form of musical youthful talent was immense and irrevocable. Handel’s style entertainment in noble households in Italy and soon also in matured during his Italian sojourn, and the melodic glories of Germany and England; the performers were usually the Southern composers, as well as the superb quality of Italian accomplished vocal soloists, supported by an often substantial singers with whom he came into contact while there, brought orchestra. Performances took place at night and often to flower the rich and varied blooms of his own genius. outdoors, in private gardens, or in a theatre, but without stage The autograph score of La terra è liberata is complex, being action; the characters might wear costume and there might be an amalgamation of different types of paper (some associated lavish decorations such as painted backdrops. The poetic texts with the composer’s stay in Italy, others with Germany), and were often allegorical or mythological, and the most usual scored in various layouts. This makes dating the piece function of the genre was to congratulate a patron on a happy particularly difficult. However, Handel scholars suggest that the occasion. Handel’s Neapolitan Aci, Galatea e Polifemo, for three cantata was begun in Italy, and finished or revised in Hanover, soloists, is unusually dramatic for a serenata. The characters are for which city Handel departed in 1710 after his highly strongly delineated in both text and music; there are dialogues successful opera Agrippina closed in Venice. The rich use of (for example in the very first two lines), trialogues, monologues winds (solo bassoon and flauto traverso especially) in Apollo e and asides, just as in a dramatic libretto. The action is itself a Dafne lead some scholars to believe that it must have been compelling drama: there is a mounting tension between the written for Germany, where performers on the newly improved loving couple (Aci and Galatea) and the jealous monster French wind instruments had established themselves at an early (Polifemo), who finally kills Aci. A happy end is, however, date. Recent research, however, has shown that wind imposed artificially, when all three soloists unite to sing a final instruments were not as rare in Italy as was once believed, and chorus in praise of faithful love: the occasion for the that virtuosi were playing them there much earlier than had performance was a wedding. been previously thought. All in all, it seems safe to say that Handel’s music is as rich and vivid as that of his cantatas, Apollo e Daphne was a piece soaked through with the flavours early operas and chamber duets: it paints the emotions and the of the South, and carried by the composer up to Germany, on background with both the vocal and the chosen instrumental his way to the city which would become his home: London. forces. The extraordinary compass of Polifemo’s bass part is in Handel first arrived in London in the autumn of 1710. By itself an allegory of the mythical monster’s body, and Aci and February 1711 he had taken the city by storm with his newly- Galatea present themselves in their soprano arias as graceful, composed magical opera Rinaldo . But London had had passionate, young and genteel. Among the instruments, the intimations of the composer’s talents even before his arrival. oboe has many characterful solos, and the two trumpets add Indeed, recent scholarship has questioned the old story of physical force and an outdoors feeling – as was proper for a Handel’s truancy from his obligations to Hanover, rejecting the serenata. The melodic invention is remarkable; the most notion that the composer dallied in London against the wishes intriguing motifs are falling or downward pointing. Although the of the soon-to-be King George. Instead, the idea has arisen that composition was commissioned and written at short notice, Handel came to London as a propagandist for the Hannoverian Handel, fully familiar with the type of musical imagery expected succession, and may even have had political duties to attend to here, could muster his best musical ideas. The work holds its in secret, while carrying on a spectacularly successful musical own in comparison with the English Acis and Galatea, as it charm-offensive in favour of George and Germany. If this is the represents not only a drama, but also celebrates the beauty of case, then we could see the dance suite Music in the Alchymist Italian nature and culture. (HWV43) as advanced publicity, carefully planned to prepare © Reinhard Strohm Handel’s arrival. This suite, preceded by a grand and noble overture, is taken from the first opera Handel wrote on Italian During Handel’s travels in Italy in 1708, he spent some ten soil, Vincer se stesso è la maggior vittoria , now better known as weeks in Naples, from about the beginning of May to the Rodrigo , which had premiered in Florence in 1707. The London second week of July. He composed Aci, Galatea e Polifemo version of this material was used as incidental music to a during his stay in the city. He was 23 years old. On completing popular play by Ben Jonson called The Alchymist in a revival the work Handel notated on the last page of the autograph: during January of 1710, half a year before Handel’s arrival in Napoli lì 16 di Giugnio.1708. d’Alvito. Although there is no firm England. Whether this was indeed by design, or simply an evidence, it is likely that he composed the work for the wedding accidental felicity, it at any rate must have helped establish an festivities of the fifth Duke of Alvito, Saverio Gallo, and association between the London public, Handel and the theatre, Beatrice Tocco di Montemiletto, Princess of Acaja. The wedding which would maintain a tricky and fickle relationship for many was celebrated on 19 July 1708, one month after the years to come. completion of the work. John Mainwaring, Handel’s first Both of the pieces on this recording represent a youthful biographer, wrote that the work was composed “at the request and exuberant outpouring of genius. Conceived in theatrical of Donna Laura”. Recent studies suggest that the mysterious Catholic Italy, only to achieve their final form in the Protestant “Donna Laura” was most probably Donna Aurora Sanseverino, North, they seem to have lost none of their vigour and warmth Duchess of Laurenzano, and Beatrice Tocco’s aunt. in this transformation process; and today they charm us just as The opening duet “Sorge il di, spunta l’aurora” seems to be a confirmation that Aurora Sanseverino herself commissioned the

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work. Handel himself performed the work only once, in July holding his low E-flat as a sustained pedal, while the violone 1708. Aci, Galatea e Polifemo was performed again for the plays its line above Polifemo’s note. Handel did not specify any wedding of Pascale Gaetani d’Aragona, Aurora Sanseverino’s particular instrumentation for the arias “Benché tuoni e l’etra eldest son, with Maria Maddalena di Croy. The wedding took avvampi” (B-section), “Dell’aquila l’artigli” and “Impara, ingrata, place on 6 December 1711, and according to Luigi Michele impara”. I decided to accompany these arias with harpsichord Mutio’s Lettera diretta a Vienna d’ al Sig. solo: this choice is supported by the presence of Handel’s Stampiglia the performance took place on 9 December. Aurora typical virtuoso keyboard writing (broken chords, fast repeated Sanseverino’s letters about the preparations for the festivities notes and big ), which we often find in his harpsichord give information about the musical performance, and reveal the solo music. name of the author of the libretto: his name is Nicola Giuvo, Most probably Handel himself played these arias, in duet with private secretary and literature adviser to the Duchess Aurora the singers, delighting the fortunate audience with his Sanseverino. A third performance took place in Palazzo Reale in exceptional ability at the harpsichord. Naples on 26 July 1713, for the name day of the daughter of the © Marco Vitale fourth Austrian Viceroy of Naples, Graf Wirich Philipp Lorenz von Daun. The orchestration of the work is very varied, with a CD39-40 different affect for every aria, and the text is perfectly rendered. ALEXANDER’S FEAST · ODE FOR THE BIRTHDAY OF QUEEN It is a very demanding work for the singers and the orchestra. ANNE The range of Polifemo (Bass) is remarkable: a compass from D Alexander's Feast, or The Power of Music , a setting of a poem by to a’, with extraordinary leaps of two and a half octave. An John Dryden, was completed by George Frideric Handel (1685- outstanding singer must have been available in Naples and the 1759) on January 17, 1736, and produced at Covent Garden in young Handel took full advantage of his abilities. Some London on February 19. The London Daily Post reported: researchers have concluded that the role of Polifemo was Never was upon like Occasion so numerous and splendid an composed for Don Antonio , a bass singer who served in Audience at any Theatre in London, there being at least 1300 the Royal Chapel of Naples and the Hofkapelle in Vienna. Persons present; and it is judged that the receipt of the House The libretto is based on ’s (XIII, 738- could not amount to less than 450£. It met with general 897). The Sicilian legend tells of the love between Acis, son of Applause. Faunus and the nymph Symaethis (a river in ), and the sea The work became one of Handel's most admired. It was nymph Galatea, daughter of and . Their love was produced four more times that year; later Handel revived it destroyed by the Cyclops , an ugly giant with one whenever he needed a sure-fire attraction. Altogether it was eye in the middle of his forehead. Polyphemus, son of , performed eighteen times between 1737 and 1743, and eight the God of the sea, was also in love with Galatea, who remained times in the following decade. It was published in full in faithful to her beloved Acis. The Cyclops, in a jealous rage, Handel's lifetime; a notable distinction accorded to only one crushed the young shepherd Acis with a rock. The gods, feeling other of his choral works, Acis and Galatea. Testimony to its pity for Galatea’s torment, changed Acis’ blood into a limpid continued appeal is the fact that it was one Handel's four choral river that flows eternally, allowing Acis to find eternal peace in works that the Viennese Baron van Swieten commissioned Galatea’s arms. Mozart to re-orchestrate to fit Viennese tastes. (The present The two lovers are joined in an infinite and immortal embrace. performance follows Handel's original scoring.) Today the river Aci flows underground near Acireale (Sicily) and Handel's work followed in a long tradition of odes to the surfaces in the “Miuccio”, a spring called by locals “u sangu di patron saint of music, St. Cecilia. In 16th-century France, odes Jaci” (Acis’ blood). Nine towns and villages in that area bear the were written for performances on her birthday, November 22. name of Acis (Aci in Italian), including Acireale, Acicastello, Aci In 1683, London's Musical Society began a series of annual Catena and Aci Trezza. On the coast of Aci Trezza are three tall, celebrations of St. Cecilia's day; Purcell composed four odes for column-shaped islands. According to local legend, these great these occasions. Dryden's poem for Alexander's Feast was set to stones are the very same ones thrown at Ulysses by music by in 1697 and Thomas Clayton in 1711, Polyphemus in ’s . both for St. Cecilia's Day. The version Handel used in 1736 was Handel rarely prescribes the specific instrumentation of the slightly rearranged by his librettist Newburgh Hamilton. basso continuo, but when he does give indications, he is always Handel more than fulfilled the London public's expectations clear and precise. For Polifemo’s aria “Fra l’ombre e gli orrori” with a work of broadly varied emotions, exalted beauty, and Handel asks for a Violone Grosso. This term has often been grandeur. It was also his most splendid setting up to that time understood to mean the double bass. of an English text, and exhibited the profound choral writing This reading does not apply to Handel’s music composed in that was to be a distinctive aspect of his later English oratorios. Italy. In his early Italian music Handel clearly shows that he (Alexander's Feast is not to be confused with a much lesser knows the difference between Violoncello, Contrabasso and composition by Handel composed in 1739, called Ode to St. Violone Grosso, as he uses the three different names in his Cecilia's Day, also on a Dryden poem.) autographs, even within the same composition. Handel, born in Halle, Germany, and musically educated in For example, in the oratorio “La Resurrezione” (Rome, 1708), he Germany and Italy, had taken up permanent residence in writes Violoni senza Cembalo for the aria “Ferma l’ali, sui miei England in 1712. It was customary in England for the composer lumi”. Four arias later, in “Naufragando va per l’onde”, we find to organize his own company of singers and produce his own Violoncelli senza Cembalo e Contrabassi. Handel also asks for works. No shrinking violet in either temperament or physique, Violone Grosso in the opening aria of the cantata “Tra le Handel enjoyed this hectic life dependent on box-office, in fiamme” HWV170 (Rome, 1707). which a composer could hear the merry jingle of coins one year After comparing these compositions (written in 1707 and 1708) and go bankrupt the next. and carefully studying the original sources, I noticed that Handel Handel's greatest early successes in England had been with asks specifically for violone when he wants to obtain a operas on pseudo-classical themes and given in Italian. The particular colour. He combines this instrument with flutes, viola form had its severe limitations. The most important musical unit da gamba and muted violins to create an exceptional affect was the aria, usually in the da capo style (the opening repeated related to the text. at the close), thus enabling the prima-donna singer to add The instrument used for Polifemo’s aria is a 12’ violone tuned showy vocal embellishments. The ensemble and chorus played G’-C-F-A-d-g, which is not transposing at the lower octave, like a minor role. And while Handel's lovely melodies were much the double bass 16’. Playing the bass line at the written octave appreciated, the attention of the audience was on the makes Polifemo the lowest voice of the ensemble at times, spectacular stage effects and even more on the singers'

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virtuosity, many of them castrati with astounding if (judging of the crowd echoing in the vaulted hall. The chorus here is from contemporary descriptions) often mechanical technical divided into seven parts (two soprano, alto, two tenor, two powers. bass), with striking opposition of male and female voices, until By the 1730s, Handel, politically centrist, found himself all coalesce. The high notes of the following soprano aria, "With under attack from two sides. His Tory-minded antagonists were ravish'd ears," attain an ethereal quality, enhanced by the sponsoring a rival operatic theatre. And Whig journalists like subtle instrumentation of a tutti, strings and oboes, alternating Addison were criticising the low intellectual level and with four solo violins playing in unison. The secco tenor sensationalism of operas and the senselessness of performing in recitative then introduces the rollicking aria and chorus a foreign language. But even if Handel turned to writing works celebrating Bacchus, adorned with oboes, horns and bassoon. in English, the Puritans and Calvinists would still have been This ends what might be called the "first movement." unhappy, as they viewed any kind of theatre and music itself The touching mood now set by the secco tenor recitative, except hymns and liturgy - as suspicious and even morally "Sooth'd with the sound," is developed by the beautiful soprano . recitative, "He chose a mournful Muse," accompanied by violins Thus, opera in England was vanishing. A letter written in and . This leads to the great tragic aria, "He sung Darius, 1735 reports: "Handel, whose excellent compositions have great and good," in an instrumental frame of haunting rising often pleased our ears, and touched our Hearts, has this Winter and falling figures played by the violins in thirds, with the violas sometimes performed to an almost empty Pitt." later adding their voice. The soprano recitative over sustained In this context, the success of Alexander's Feast, in 1736, string chords continues the mood. This reaches a climax with was historic. Handel had written works to English texts, such as the splendid Larghetto, a contrapuntal chorus, "Behold Darius the Chandos Anthems (1717-20), the splendid Coronation great and good," in which the rising and falling figure of the Anthems for George II (1727) and various wedding, birthday and preceding aria reappears but set for a richer orchestral sound of funeral odes and anthems for the royal family, and he had made oboes added to strings. tentative moves in the direction of English oratorio, or Biblical The tenor recitative, "The mighty master smiled to see," is a music-drama, with Esther (1732) and Deborah (1733). But the short transition to a "third movement," celebrating love in public approbation of Alexander's Feast, as well as the more sensuously lyrical music. Notable is the lovely cello obbligato to profound quality of Handel's musical expression, made it the the tender soprano aria, "Softly sweet in Lydian measures," and first great work in a series of successes: Saul (1739), Israel in this is followed by the sparkling tenor aria, "War, he sung, is toil Egypt (1739), Messiah (1742), Samson (1743) and Belshazzar and trouble," with a skipping and leaping accompaniment by (1744). the violins in unison. The chorus enters, "The many rend the Alexander's Feast has never been considered an oratorio (a skies," with noble, sustained lines over excited strings, and then form some viewed as disguised theatrical music). But a blaze of counterpoint. The happy soprano aria, "The prince, aesthetically it belongs with his great oratorios. While it does unable to conceal his pain," is again accompanied by leaping not call for scenery or stage action, it is dramatic and pictorial. unison violins. There is a change to a more tender mood in "At And, more important, Handel's new and grander style is fully length with wine and love oppressed," and then the chorus formed. Although fine solo voices are required, there is less returns with "The many rend the skies" to end the "third emphasis on sheer virtuosity, with fewer da capo arias. movement" and Part One of Handel's ode. Its premiere introduced Handel's "find," the English tenor With a Beethoven-like sense of drama, Handel constructs John Beard, who would be an important performer in the later Part Two with two sharply contrasting movements. Agitated, oratorios. The chorus now plays a big role, and its music has a ominous unrest is followed by a mighty outburst of jubilation. rich contrapuntal texture. Replacing the chain of arias, great The first of these movements is eloquently analysed by Winton blocks of musical form take shape, integrating recitative, aria Dean in Handel's Dramatic Oratorio's and Mosques (London, and chorus. Balancing the arias, there are powerful 1959). accompanied recitatives, quite different from a secco "The first recitative is remarkable for the gradual (unaccompanied) recitative. These new recitatives, accumulation of the orchestra, the four-part strings joined in accompanied by the full orchestra, attain the melodic beauty turn by double basses, oboes, bassoons, trumpets, and finally and strength of arias, and at the same time their comparative drums - the last two, for the first time in the work before rhythmic freedom enables the composer to musically explore plunging into the thunderous chorus 'Break his bands of sleep reflective moods. The orchestration, perhaps inspired by the asunder.' Here the trumpets and drums keep up a dramatic theme of the "power of music," is unusually rich and colourful. rhythm that is scarcely ever repeated in two consecutive bars. Basically it employs the standard Handel orchestra, with violins, When the voices cease, violins, violas, basses and drums carry violas, and oboes, as well as continuo harpsichord, and on the pattern for four bars in octave unison, and we are basses. But in various sections, Handel adds flutes, bassoons, already in a second recitative, based on music from the first. trumpets, and horns, calls for by solo instruments The magnificent bass air, 'Revenge, Timotheus cries,' follows at including the cello, divides the violas, and indicates where he once. The first half is concerned with the furies, the second half wants and doesn't want organ and bassoons to be added to the with the 'ghastly band' of ghosts, 'each a torch in his hand'; and continuo. Handel drops from a D major Andante allegro scored for strings, In form, Alexander's Feast can be said to combine the oboes, and trumpet obbligato into a G minor Largo for three spaciousness and heroic-tragic drama of an oratorio with the bassoons, divided violas, and cellos, double basses, to an organ musical concentration of an ode. It is an almost symphonic solo. conception that consists basically of five "movements," each Handel may now be accused of treating the sense of combining recitative, aria and chorus. The first expatiates on Dryden's text rather freely, in order to build up his glorious the mood of a happy celebration. The second is tragic. The third finale. The accompanied tenor recitative, "Give the vengeance is sensuously lyrical. The fourth is in a mood of dramatic unrest. due," is a transition to a more peaceful mood, although the The fifth is a grand, joyous resolution. orchestra illustrates "how they toss their torches on high." The The three-part orchestral overture is followed by what can ensuing lively tenor aria expresses a heartfelt "joy," but not the be called, in a Handel work, a "vocal overture": a tenor "furious joy" of the text. recitative and a brightly florid tenor aria, taken up by chorus. Even more tranquil and lovely is the soprano aria and grand The secco tenor recitative then introduces the musician chorus, hardly evoking the "firing" of "another ," but rather, Timotheus and the theme of music. The accompanied recitative in the beautiful orchestral figure, subtly evoking a memory of for soprano, with strings, expands on the power of music, and in the rhythm of "none but the brave" from the very opening of "The list'ning crowd" there is a mighty depiction of the shouts the ode. All this of course is no oversight on Handel's part, but a

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matter of his own feeling for the kind of emotions he wants to CD41 arouse in concluding this tribute to the power of music. CORONATION ANTHEMS Text and music join hands again in the tenor recitative, Georg Frederic Handel, born in Halle in 1684, gained his musical "Thus long ago." The flutes whimsically illustrate the "heaving education in Germany and Italy before taking up an bellows" and "breathing flute"; the following chorus, "At last appointment as Kapellmeister to the Elector of Hanover. divine Cecilia came," could well serve as a great finale, with its Spending long periods of absence from this post in London, he splendid prelude and then its fugue on "with nature's mother eventually took permanent residence there, though after the wit and unknown arts before." (Certainly in Handel's mind must death in 1714 of Queen Anne, the last of the Stuart dynasty, his have been the thought that fugal counterpoint was not known patron from Hanover became King George I of England, a happy in ancient times.) coincidence that was to provide support through his life and But splendour follows, with the short tenor and bass was to lead indirectly to the genesis of these four Coronation recitatives introducing a truly mighty closing double fugue, anthems. begun by the soloists and taken up by tile' chorus, "Let old Handel’s principal work, by output, during the four decades Timotheus yield the prize." spent in London was related to the Opera, but his interest in choral music was to find fruit in a number of sacred Oratorios, Handel composed the Ode for the Birthday of Queen Anne in including Messiah and works such as the Jubilate and London in January, 1713, two decades before Alexander's Feast. written to celebrate the Treaty of Utrecht and a group of He was then 28 years old, a composer of ripe powers, exceptional but little performed Anthems written for the Duke Kapellmeister to the Elector Georg of Hanover, Germany, but of Chandos. keenly attracted to life in England. He was overstaying his Shortly before the sudden death of George I in 1747, second visit to London – his first having been a six-month stay in Maurice Greene had been appointed Director of Music to the 1710 – taxing the patience of his employer, the Elector Georg. Chapels Royal, and it would have been reasonable to expect The Ode for the Birthday of Queen Anne was well received that he would have been fully responsible for the music at the at court, and after another celebration piece of the same year, Coronation. The young King George II had other ideas and the Utrecht Te Deum, the Queen settled on him a yearly insisted that Handel be commissioned, with “words supplied by pension of two hundred pounds, prompting Handel to stay in the Bishops”. Although Handel almost certainly took mild England on an extended "vacation" from his position in offence at not being trusted to choose his own texts, the Germany. In 1714, however, Queen Anne died. By the odd choices made were traditional, being drawn mainly from the politics and interrelationships of European royalty, the Elector ancient Latin Rite for Coronation. Georg of Hanover became the next ruler of England, King The ordering of the anthems when performed during a George I. The monarch's annoyance at his Kapellmeister's coronation is slightly different from the concert order presented abandonment of his German duties soon wore off (although here. would normally be performed second, probably not, despite the colourful story, because of the after Let thy hand be strengthened which, with its strident start, magnificence of the Water Music, composed for a royal river announces its rightful place with conviction. The text is taken party). from Psalm 89, though in a literal translation from the pre- Handel sank deep roots in England. For audiences who Reformation Latin service for coronation. It is the only one of found the heritage of Purcell (who had died twenty years before the four anthems which is not constrained by the presence of Handel arrived) too reserved, the young Handel offered operas trumpets to be in the key of D major. In three movements, the full of lovely musical invention, set to Italian , with second section , establishing justice and judgement as the basis spectacular scenery, sung by brilliant imported virtuosi; and of the monarch’s authority, is remarkably melancholic in style Handel became the reigning composer in England. and in certain respects contradicts the words, though musically The ode for Queen Anne is notably a major setting of an it serves very well, acting as a quiet and contemplative interlude English text, composed when most of Handel's was before the final, stately Alleluia. being written to Italian words. It shows an important element of Zadok the Priest, undoubtedly the best known of the four Handel's development as an English composer, not simply the anthems, is also based on the old Latin rite. The long ritornello matter of the text, for while it shows the Italian influences on opening an expectation and anticipation that no Handel, it also aptly takes up and expands the form and style of amount of repeated hearings can dull. The tension, produced by the Purcell festival odes, particularly in the close marriage the repeated chords of oboes and bassoons and rising arpeggios between solo lines and chorus. While the florid solo vocal lines of the strings as the key gradually shifts away from the home suggest Handel's operatic style, and the choral writing is simple, key, is resolved magnificently at the climax as chorus and yet there is a definite link to Purcell. trumpets enter with the chorus in seven parts loudly The overall message of the Ode for the Birthday of Queen proclaiming the anointment of . Handel gives no Anne, expressed in its bubbling joyousness, is of the queen as instructions in respect of tempo or dynamic aside from marking the creator of "a lasting peace on earth." The mood captures the beginning soft and the climax loud. The music is however so the great relief in England over the end of the twelve-year "War skilfully written that the rising arpeggios beat like a clock and of the Spanish Succession," which had involved all the nations the gradual crescendo from start to finish emerges as naturally of middle and Western Europe and even the American colonies as a flower emerging into bloom. The final two sections follow (although the official signing of the Peace of Utrecht would take naturally with the words that have been sung in one form or place some months later). Handel preserves throughout an another at every English Coronation since that of Edgar in 973 intense feeling of happiness, and interest never flags. AD – and all the people rejoiced and said “God Save the King!, The work is beautifully conceived in terms of seven Long live the King!”. movements, each of which starts with one or more solo voices, The third anthem The King shall Rejoice consists of four and closes with chorus. The repeated lines, "The day that gave movements and a final Allelujah. It starts with another lengthy great Anna birth," occurring in each movement, are each time ritornello , this time clearly conveying the festivity and occasion given a different musical setting. The melodic fund is lavish. with full orchestra and fanfares. The second movement in triple There are beautiful instrumental touches, as in the solo trumpet time provides a contrast in orchestration without trumpets and obbligato in the opening movement, and lilting dance rhythms, drums. The strings playfully contrast high and low melodies as in the siciliana in "Kind Health descends." In the last section, leading to a rising triplet phrase played in thirds. The chorus "United Nations shall combine," the chorus divides for fourteen enters, simply phrased and in just four parts, but then Handel bars into two antiphonal groups. heightens the tension with chains of suspensions on the words © Sidney Finkelstein “of thy salvation”. The brief third movement is a joyful outburst

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that initially seems to suggest it will be more protracted. But, "Te Deum for St Cecilia's Day" by Purcell as the official festival after a shift of harmonics, it leads directly into the fourth music thirty years previously, the "" movement, which introduces a fugue with three distinct choral (together with the anthem "The King shall rejoice") now voices accompanied initially by violins but then joined in steps established itself as the English court's major ceremonial work. by oboes, trumpets and drums. The final, Allelujah , this time a And Handel was in need of this artistic success, for after his double fugue with two tunes worked together from the outset, various excursions into the field of composing operas had finally reaches a magnificent climax, celebrating the point in the failed and even his two oratorios "Samson" and the "Messiah" service when the King is crowned. had not been received particularly well by London audiences, The last of the four anthems, My Heart is Inditing is gentler and he had now once again drawn attention to himself. (In view of verse-like, with each voice of the chorus written initially for the succession conflicts in Europe since 1740 and other chaotic reduced solo-like performance. Following a text from political circumstances, even the English aristocrats obviously and 49 it was sung late in the service at the crowning of had more important matters to discuss than Handel's latest Queen Caroline. Jaunty and light rhythms dominate both the musical innovations.) second and third movements, highlighting reference to King’s Handel's operas, oratorios and concertante instrumental daughters and, more light-heartedly The King shall have music undoubtedly make up the larger and more important part pleasure in thy beauty. The final movement, a jovial allegro, of his work. In terms of both number and size, his compositions follows the now well established model of a virtuoso ritornello for the church occupy a comparatively subordinate position. building to the entry of choir in a display of ceremonial pomp Apart from the anthems (non-liturgical compositions to a and driving pace. Finally, and triumphantly, the trumpets and biblical text, in the form of or cantatas), the group drums enter, bringing us to a fitting climax. formed by the five Te Deum settings is of particular excellence © Martin Medforth and significance. The "Utrecht Te Deum" of 1713 was Handel's first composition in the English language, having been written Organ Concerto No.7 in B flat HWV306 was composed in on the occasion of the Peace of Utrecht, which ended the War February 1740 and was played for the first time on 27 February of the Spanish Succession. In the ensuing years it was followed during the first performance of the ode L’Allegro, il Penseroso by three smaller works, and finally by the "Dettingen Te Deum". ed il Moderato (HWV 55). For this concerto Handel demanded a This work is grander, more extensive and of greater musical bigger organ than in earlier works: an instrument with two diversity than its predecessors. Its extroverted conception keyboards and pedal which he makes full use of in the first stresses the high status and official quality of state affairs. movement. The fourth movement is kept “ad libitum” in Fanfares with kettle-drums and trumpets open the work; in Handel’s original and for the present recording Ton Koopman’s keeping with the character of the event, festively jubilant suggestion for its realisation is played in imitation of the fourth choruses afterwards alternate with solo parts in elevated movement of the Oboe Sonata HWV365. religious Blood. The similarities to the "Messiah"-chiefly in the © Matthieu Kuttler choruses-can hardly be missed. Moreover, as the Handel researcher Friedrich Chrysander already noted at the end of the nineteenth century, the composer made very free use of an CD42 earlier Te Deum setting by Francesco Antonio Urio- just as his Dettingen Te Deum own "Dettingen Te Deum" would in turn later serve as the Led by King George II in person, the English army beat the musical quarry that yielded the material for his oratorio " French at the battle of Dettingen on June 27, 1743, one of and his Brethren". numerous military confrontations in the course of the War of © Wofgang Lempfrid Succession between Prussia and Austria, which left its mark on Translation: J & M Berridge all Europe. Whereas the Prussian King Frederick the Great had won France as an ally, England fought on the side of the house CD43 of Habsburg, supporting Maria Theresa's claims to succeed to FRIEDENSODE · UTRECHTER TE DEUM the throne. However, the victory at Dettingen was less due to When George Frideric Handel settled in London in 1712 at the masterly strategy on the part of the English than to the fact that age of 27, his reputation as a composer of operas and solo the French army was in a desolate state and under the cantatas was already firmly established in musical circles. With command of amateurs. Nor did it end the War of the Austrian the death of in 1695, England had lost her only Succession. That would drag on for another five years; but for musical personality of real pre-eminence, so that it was little the time being King George II had done his duty as an ally and wonder that the successful German composer soon found was able to return to London unscathed. Twenty days later, on himself a protégé of the English court and burdened with the July 17,1743, Handel began composing the" Dettingen Te obligation to uphold the English musical tradition. The way in Deum". Also known as the "Ambrosian hymn", the Te Deum which Handel promptly fulfilled this expectation by composing was traditionally held to be the only musical form appropriate his first extensive settings of English texts for ceremonial to celebrating a ruler's recovery or return from battle. Did occasions shows tactical genius: he wrote the "Utrecht Te Handel write the work on his own account? Was it a Deum" and the so-called "Peace Ode", which is properly called commissioned work? The original sources supply no "Ode for the Birthday of Queen Anne". Both these works show information on this subject. At any rate, an official victory the now only 18-year-old composer's sovereign mastery over celebration accompanied by all the concomitant pomp and the formal and stylistic inventory of German and Italian sacred ceremony, at which Handel's music might have been performed music. At the same time he succeeded in taking up the English (as his "Utrecht Te Deum" had been in 1713) did not take place tradition of psalm and anthem compositions and developing at St Paul's, and it is probable that no such event was ever them further - the achievement from which his fame in England planned. Instead, the work was first performed in comparatively largely derives. modest circumstances (but with the whole court in attendance Altogether. Handel composed five Te Deums. In Handel's nonetheless) on September 26, 1743 in the at St day compositions of this kind were as a rule commissioned to James's Palace. The enthusiasm with which the composition form part of special church service, and demonstrated the was received was almost unanimous. Only music scholar might of Great Britain. Thematically based upon a Gregorian Charles Burney, who was otherwise very devoted to Handel, melody, they were grandly enhanced with triumphal fanfares contemptuously called the dignified and ceremonial gesture of and artillery salutes. In the famous Utrecht Te Deum, as in his the music "the maestro's great bow-wow style". Nonetheless, other Te Deum compositions, Handel eschewed such pompous just as Handel's "Utrecht Te Deum" had replaced the traditional embellishments. Written at the beginning of 1713, the work

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was occasioned by the Treaty of Utrecht, which concluded the The tenor that follows the overture leads to a mighty Spanish War of Succession and proved highly advantageous for Handelian chorus; God's England. Handel received the commission to write the Te Deum ordering of the original is vividly reflected in the musical before the negotiations had even been finalized. progression from discord Following the declaration of peace on May 5, 1713, the to euphony; the harmony of the music triumphs over the work was performed during a celebratory service held in St confusion of the original Paul's Cathedral. Having played a part in this state occasion, condition. Handel gained access to influential circles in the kingdom. The Accompanying the solo tenor and soprano in a kind of opulently-conceived work, calling for a five-voice choir, five solo "song with obligate instruments", singers and an orchestra augmented with timpani and violoncello, trumpet and timpani, flute, and violin now enter trumpets, came to be performed in annual alternation with one after the Purcell's Te Deum. In the public estimation, Handel had thereby other, finally climaxing in praise of the "holy organ", the queen visibly been placed on a par with his great English predecessor. of instruments, which Although the Te Deum was composed for an official court functions as a symbol for St. Cecilia herself and whose power event, its words exalt the might and glory of God. In Handel's surpasses even that of Ode for the Birthday of Queen Anne, set to the words of an Orpheus' lyre. anonymous English poet, the case is different. Here, God's Music's ability to stir and tame the passions-expressly praise is explicitly coupled with thanks to the Queen for the emphasized here in the text is welcome peace - although the unpopular monarch had in fact impressively developed in Handel's music. The "sweet", had no hand in the matter. The choral refrain "The day that "heavenly" sound of the gave great Anna birth, who fix'd a lasting peace on earth" is cellos alternates with the battle call of the trumpets; timpani repeated seven times in the course of the work. The Ode was accompany a martial first performed on February 6, 1714 shortly before Queen Anne chorus; the lament of the flute gives way to jealousy and died - for the occasion of her fifty-ninth birthday. desperation, whose expression © Christiane Krautscheid is given to the violins. Translation: Janet & Michael Berridge A splendid chorus, full of contrasts concludes the work. It conjures up the image of CD44 the music of the spheres in praise of God and envisions the end ODE FOR ST. CECILIA’S DAY of time accompanied George Friedrich Handel composed his Ode for St. Cecilia's Day by music, and thereby no longer to be feared. in the astonishingly The St. Cecilia Ode was performed often and with much short time span of just nine days in September 1739, setting a success during Handel's text written lifetime. A careful arrangement of it by Mozart (1790) adapted in 1687 by the English poet John Dryden. Following Alexander's it to the taste of the Feast from waning 18th century-an indication of the high regard for this 1736, it represents another contribution by the composer to the work from later very English tradition generations. High praise comes down to us also from Frederic of celebrating St. Cecilia's day with extravagant musical Chopin, who confessed entertainments. St. Cecilia has that this work by Handel "comes closest to that ideal enclosed been honoured as the patron saint of music since the 15th in the depth of my soul century-her feast day falling of sublime music." on 22 November in the liturgical calendar. Thus Handel's St. © Armin Krämer Cecilia Ode was first Translation: Mark Knoll performed on this date in 1739, along with Alexander's Feast, as part of the extensive program of London's "Society of Music", which every year CD45-46 celebrated St. Cecilia's day MESSIAH with a church service, an anthem, and a dinner. Since 1683 the Messiah, an Oratorio, also called A New Sacred Oratorio society had regularly (HWV56), is an Oratorio by George Frideric Handel, who commissioned new compositions in honour of the saint, composed it in 1741. The first performance took place in 1742 resulting in a continuous in . The work, which usually lasts a little less than two and English baroque tradition of St. Cecilia compositions, including, a half hours, is mostly performed around Christmas, especially besides Handel's in Anglo-Saxon countries, but also around Easter. The work has contributions, significant works by Henry Purcell and . been repeatedly changed by the composer, in the course of his Handel's St. Cecilia Ode, unlike Alexander's Feast, does lifetime. without a dramatic plot; instead Dryden's text juxtaposes dynamic human "affects", The Composer, the Oratorio and the way to Messiah which are each assigned to George Frideric Handel, considered one of the greatest individual instruments. Between verses describing the composers of the baroque period, was born in Halle, Germany, beginning of creation and the on 23 February 1685. He died in London on 14 April 1759, and last judgement, the ode thematically encompasses the entire was buried with full ceremonial honours in Westminster Abbey. course of the world. In In his later years he preferred the Anglicised form of his name the overture to his setting, Handel reuses material from the rather than the original form, Georg Friedrich Händel. In fifth of his Concerti Grossi, England, he was the most renowned musical figure of his day. Op.6, combining it with ideas borrowed from the contemporary Handel composed music at an unbelievable rate, often componimenti borrowing from himself (and others) merely to earn a living, yet Musicali p er if Cembalo by the Viennese composer Theophil he sustained an extraordinary level of inspiration. Handel Muffat, to whom he is produced works in every genre, including organ concertos, indebted in many other movements as well (e.g., in the final keyboard suites, concerti grossi for strings, accompanied chorus). sonatas, countless vocal works and no less than 45 Italian operas. However, he is principally celebrated for his Water

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Music, Royal Fireworks Music, coronation anthems and English words to music was, even in his later works, at times oratorios. remarkably flawed. Although Handel was influenced by the Although nowadays the general public knows Handel as an Anthems and Odes of Henry Purcell (e.g. the St. Cecilia Odes) it Oratorio composer – especially due to Messiah – he only was above all the German which had great started composing Oratorios when he was fifty years old. Opera effect on his work. Between 1716 and 1718, in Germany, he got was the main thing in his life. From the time when he was acquainted with Barthold Heinrich Brockes’ Passion, as well as eighteen years old, at the start of his career at the Hamburg the Cantatas on texts by (which had Opera, until around 1740, he had occupied himself with this already been issued in print). In his Anthem Oratorios, musical form. Writing for choirs, an essential part of Handel’s Handel strictly followed the text based on the , but Oratorios, was something that he still needed to develop. In in musical respect there is a clearer relation with the Northern 1740, Johann Mattheson wrote about his first encounter with German Cantatas than with Purcell: The structure of connected Handel in Hamburg: ‘He was strong at the organ, in fugue and musical themes that constantly vary with Purcell, were replaced other counterpoints, particularly extempore; but he knew by separate, independent choirs and arias by Handel – often precious little about melody before he came to Hamburg.’ with an instrumental introduction. However, Handel developed these skills in Italy, where he wrote The texts for Messiah were provided by : a his first oratorios: Il Trionfo del Tempo e del Disinganno number of short texts from the Old and New Testament. Thus (HWV46) and La Ressurrezione (HWV47). the work differs from the standard Oratorio – a complete ‘Handel says he will do nothing next Winter, but I hope I Biblical story put to music, like the other more than 25 dramatic shall persuade him to set another Scripture collection I have Oratorios Handel wrote. The subject matter of Messiah is the made for him, & perform it for his own Benefit in Passion week. Biblical Messiah. The work consists of three parts: The I hope he will lay out his whole Genius and Skill upon it that the prophecies of the , with the Proclamation of the Composition may excell all his former Compositions, as the Messiah; His Death, the Resurrection and the Ascension; His Subject excells every other Subject. The Subject is Messiah...’ Return and Reign. (Charles Jennens to Edward Holdsworth, 10 July 1741; Handel needed no more than 24 days to compose the correspondence in the Gerald Coke Collection) Jennens' remark work: from 22 August to 14 September 1741. In November of about 'another Scripture collection' refers to Handel’s preceding that year he travelled to Dublin. The first performance, Oratorio Israel in Egypt, which Handel wrote in 1738, however, did not take place until 13 April 1742, as a benefit immediately after he produced the musical setting of Jennens’ concert, after an extremely harsh winter. It was a great success; first libretto Saul. The libretto of Israel in Egypt was a selection ladies were requested not to come in hoop skirts, so that more of Biblical texts; the music was largely derived from the Funeral tickets could be sold. The revenue was divided equally between Anthem for Queen Caroline (The Ways of Zion Do Mourn, a number of charities. One year later, Messiah was performed HWV264). Jennens’ next compilation was L'Allegro and Il in Covent Garden, London. Before the concert, there was a Penseroso, to which he, at Handel’s request, added a new discussion whether the work should be performed in a theatre. poem, Il Moderato (HWV55); the work was premiered in 1740. Apart from the first version from 1742, there are The next season Handel did not issue an English-language work adaptations from the years 1743, 1745, 1749, 1750 and 1754. but two new Italian operas: (HWV 41) and Deidamia There is no definitive version of Messiah; a fairly large number (HWV42). Both works were failures commercially speaking, and of segments, especially the arias, has been handed down in Handel considered going back to Germany. different versions, which go back to Handel’s time. The reason Against this background, Jennens came up with the plan to why Handel wrote so many versions lies in Handel’s method of write an Oratorio, to be performed during the Holy Week, when working: he often made changes during rehearsals and after the theatres would be closed. A full-house performance, and performances. Also, the different soloists – and their varying thus an income for Handel, would then be guaranteed. The idea skills – caused him to make changes. of a Biblical compilation came from Israel in Egypt, but there The last version is therefore not necessarily the version that would be less emphasis on the (not so popular) choral pieces. Handel considered to be definitive – it could well be that There would have to be a balance between soli and choirs, like previous versions were preferred and that later alterations in L'Allegro. So Handel did not give up on opera until he was were required due to circumstances. There are five versions, forced to: the public had had enough of Italian operas. His first including the autograph score in the Royal Collection in the Oratorios (Esther, Deborah and ) received more . At least eight other copies from the 18th century attention than Handel’s operas. After the first major Oratorios have survived. (Saul and Israel in Egypt), Handel turned his back on opera in 1740. The Music Handel wrote Biblical as well as non-Biblical Oratorios: The Handel never composed a work without having a future non-Biblical ones can be divided into Concert or Cantata performance in mind. The libretto could have been lying about Oratorios (such as Alexander's Feast [HWV65] or L'Allegro, Il just as long as the one for his Oratorio Saul if an offer from Penseroso ed Il Moderato) and mythological ones (like Ireland had not arrived unexpectedly. William Cavendish, third [HWV60] and Semele [HWV58]). The Biblical Oratorios can be Duke of Devonshire and Lord Lieutenant (the British monarch’s divided into heroic ones (in which a Biblical hero(in) forms the personal representative) of Ireland, invited Handel to contribute subject matter of the libretto, like Esther [HWV50] or Judas to a number of charity concerts during the winter season in Maccabaeus [HWV63]), narrative ones (a Biblical story forms Dublin. A new audience and a series of concerts inspired Handel the theme, like that of or the dilemma to plan a sequence of 'entertainments', including his most of Jephtha [HWV70]), and the so-called anthem oratorios (Israel recent worldly successes: L'Allegro, Il penseroso ed Il Moderato, in Egypt and the Occasional Oratorio). Messiah is an Anthem Acis and Galatea, the Ode for St. Cecilia's Day, Esther and Oratorio. The content of an Anthem is, as a rule, an Old Alexander's Feast. For the Sacred part, Handel would use Testament text, usually from the Psalms, without action. Jennens’ libretto. As mentioned before, Handel started working A big difference between Handel’s Oratorios and his operas on Messiah on 22 August 1741 – on 28 August, Part I was was the language used: the Oratorios were in English. Although completed, on 6 September Part II followed, and on the next this brought the works closer to the audience, it was Saturday, 12 September, Part III was finished. Two days were problematic for Handel’s Italian singers because they could not used to work out fragments (Handel often filled in recitatives express themselves well in English. This also applied to Handel: and details at the end) – which makes a total of 24 days for the although he had become a naturalised British citizen, he did not entire composition. For Handel it was an uncertain experiment, have a thorough command of the language, and the way he put with an uncertain fee, which would probably not be repeated. A

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number of days after he finished Messiah, Handel simply • For the first performance in London, in 1743, arioso started working on a new Oratorio: Samson, of which the first arrangements of And lo! the Angel of the Lord and Their Sound act was completed on 29 September. Is Gone Out were added; On 18 November 1741 Handel arrived in Dublin. The city’s • For the repeat performance in 1745, there was a 4/4 cultural life was similar to that of London. On 10 December, in a arrangement of Rejoice Greatly as well as the choir version of charity concert for the Mercer's Hospital, the Utrecht Te Deum Their Sound; and Jubilate, as well as a '' by Handel, • The participation of the castrato singer Gaetano Guadagni together with a specially written Anthem by , urged Handel to write new arrangements of But Who May were performed in St. Andrew's Church; according to reports, Abide and Thou Art Gone Up On High. In addition, Handel was invited to play the organ. transpositions of the soli and a few alterations of voice types On 12 November the sale of subscriptions for the Six Musical (soprano for tenor and vice versa) were put in. Entertainments commenced; with great success, since all six The choirs remained unaltered. Each performance of Messiah concerts were sold out, so that Handel ‘needed not sell one requires a selection of alternatives single Ticket at the Door’, as he wrote to Jennens on 29 or the aim to present a specific version. The Hallelujah choir, at December. A second subscription series started on 17 February the end of Part II, is the 1742, which included Alexander's Feast, with new alto parts for most famous piece from the Oratorio. the Susannah Maria Arne, who had joined Handel’s company. The opera Imeneo also was performed once more – The Orchestration as a concertante 'serenata' – and the series was concluded with The cast for Messiah varies, dependent on the version; for the Esther. Public rehearsals of Messiah took place on Friday 9 April version of 1754 (which was used for the charity performance for 1742, and on 13 April the work was performed for the first time. the Foundling Hospital), the following line-up exists: After one month, Handel gave two more performances, • 5 soloists: 2 , alto, tenor and bass preceded by public rehearsals. The London premiere of Messiah • choir: 4 (or 6) boy sopranos and 13 male voices (, took place on 23 March 1743, as part of a second subscription and basses) series; the first series was completely devoted to Samson. In the • orchestra consisting of: newspapers, Messiah was not announced under its actual • strings (14 violins, 6 violas, 3 cellos and 2 double basses) name, but as 'A New Sacred Oratorio'. One of the papers was • 4 oboes, 4 bassoons, 2 horns, 2 trumpets and timpani wondering if such a work could be performed in the theatre, • organ and harpsichord and by musicians from the theatre world. Messiah is Handel’s only 'Sacred' Oratorio, and the only one Messiah in the course of time that he performed in a sacred building (all of his other oratorios Around 1750, a Messiah tradition arose in England. From then were meant for the theatre). Handel did not put too much on, Handel concluded his annual season before Lent with emphasis on the choir, as he did in Israel in Egypt, but decided Messiah (so towards Easter, not Christmas), and one month on a more equal proportion of choir to soli, as in L'Allegro. But later he would repeat the performance in the Foundling in Handel’s oeuvre, Messiah still contains the most choirs (with Hospital. the exception of Israel in Egypt). The libretto is equally divided In the United States, in 1857, the Haydn and Handel Society between the Old and New Testament, and the texts have organised a complete Messiah with 600 to 700 voices. Its been ‘condensed’. The ‘story-line’ goes from the Proclamation, success led to a performance of the Hallelujah choir at the Birth, Crucifixion, Resurrection and Ascension to the Salvation Grand (Part III is primarily based on the Anglican service for the dead). National Celebration of Peace, with 10,000 voices and an Thus, Messiah covers all important Christian holidays. Handel orchestra of 500 members. Towards the end of the 19th associated the work mainly with Easter, but nowadays, people century, however, there was a growing body of opinion that connect the work to Christmas – especially in the Anglo-Saxon wished to return to line-ups that remained closer to Handel’s countries. Handel limited his orchestration to strings, timpani, original music. The aim was to approach the scale, idiom and and the occasional instrumental solo (the trumpet). Oboes and style of Handel’s own performances – based on the thought bassoons were added for the London performance, where the that the closer a concert came to Handel, the more the music strings for the choirs were doubled. would appeal to the public. The possibilities for vocal fireworks are limited – Handel The present-day professional performances of Messiah are composed four Da Capo arias, and reduced them to two later primarily built on this principle. However it was not until 1980 (He Was Despised and The Trumpet Shall Sound). Despite the that the first commercial recording of Messiah was issued in a fact that the work was written within such a short period of line-up that corresponded with the way in which Handel himself time, little material has been taken from other works. The main conducted the work, and played on authentic instruments of ‘borrowed’ fragments originated from Handel’s own Handel’s time – or copies of them. compositions: e.g. he transformed Italian duets into choirs, sometimes resulting in flawed accentuations (For unto Us a Transcription / Arrangements Child Is Born, after Nò, di voi non vo fidarmi, in which the Besides Handel’s own adaptations and alterations, many more emphasis on Nò sounds natural) or not very fitting coloratura variations and rearrangements were added in subsequent (the semiquavers in And He Shall Purify and His Yoke Is Easy, centuries. In 1789, made an derived from Quel fior che all'alba ride, in which they fit arrangement of Messiah. He was requested to do so by completely). Also, And He Shall Purify contains fragments from Gottfried van Swieten, who wished to perform the work in his the Harmonischer GottesDienst by Telemann, and the Prelude Musicalische Cavalirs-Gesellschaft. Mozart made ‘added in G, BuxWV163, by Dietrich Buxtehude. accompaniments’, i. e. new orchestrations. By then, the basso As mentioned before, Handel has revised Messiah many continuo had passed out of use, and Handel’s instrumentation times, for artistic reasons and to adapt the work to new soloists was considered meagre and unsatisfying. Mozart added more or other performance circumstances. Consequently, the work wind instruments to the orchestra: 2 flutes, 2 clarinets, 2 horns had never been exactly performed as it was first written in and 3 ; the trumpet part was revised. In Mozart’s 1741: version, the wind players support or enhance the strings, but • For the premiere in Dublin, in 1742, new music was added, in occasionally play a more independent melodic role as well. The particular an arrangement for duet and choir of How Beautiful; English text was replaced by a German translation. The first performance took place at the residence of Count Johann Esterhazy; it was conducted by Mozart himself. Until halfway

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the 19th century, Mozart’s version was highly valued; his The pitch difference between Rome (A = c.385Hz) and instrumentations were even partly included in the scores that Venice (A = c.430Hz) was considerable, amounting to a whole were used for British performances up to the beginning of the tone. In a 1752 essay Quantz states: ‘In Rome at one time wind 20th century. With the of historically informed instruments were banned from the church. Whether the performances of Baroque music, Mozart’s arrangement faded unpleasant high pitch or the manner of playing the instruments into the background; however – also from the angle of the was the reason for this, I must leave undecided. For although historically informed performances – concerts have taken place, the Roman pitch was low, and advantageous for the oboe, the and recordings have been made with Mozart’s arrangement. oboists then played on instruments that were a whole tone higher, so that they were obliged to transpose. And these high instruments produced an effect like that of German shawms CD47-48 against the others that were tuned low.’ LA RESURREZIONE Thus, almost all music composed around this time in Rome La Resurrezione was performed with oboes playing a whole tone higher (in the La Resurrezione HWV47 is a sacred oratorio by George Frideric Venetian pitch) than the violins. For example, if a piece was Handel, set to a libretto by Carlo Sigismondo Capece (1652– written in D major for the strings, the oboes were playing it in C 1728). It was first performed on Easter Sunday of 1708 in Rome, major. This is also confirmed by the orchestral material of under the patronage of the Marchese Francesco Maria Ruspoli Carmelite Vespers by Handel (1707) and other music by Caldara (1672–1731), the most important of Handel’s Italian patrons. and Scarlatti (the oratorio Il Giardino di Rose, Ruspoli was one of the leading lights of the Arcadia, the literary performed at Ruspoli palace in 1707) where the oboes were society founded in 1690. notated a whole tone lower (‘un ton più basso’). Although the The work details the events between – and during – Good original parts of La Resurrezione are lost, its exceptionally high Friday and Easter Sunday, with the action carried forward in range and implausible keys for the oboe suggest that their parts recitative, and the exploration of character and delineation of were notated a tone lower. mood taking place in the arias. The characters of the liturgical When we look at the keys of the arias where the oboes are drama that appear in the oratorio are Lucifer, an Angel, Mary involved, we find unnatural keys for this instrument (such as in Magdalene, St John the and St Mary Cleophas. ‘Naufragando va per l’onde’, where the B part goes to F sharp A large orchestra was employed for the occasion, consisting minor). Here the oboist, if playing at the same pitch as the of a plus one viola da gamba, two trumpets, strings, has to deal with complex fingerings. When we perform one , four oboes, a theorbo/archlute as well as this aria as it was intended (with transposition), the oboist can recorders and transverse flutes. The role of play it in E minor (while the strings play in F sharp minor): a very was sung at the first performance by the female soprano beautiful and open key for the oboe, without the need for odd . However, the participation of female fingerings. However, the lower pitch has its biggest influence in singers was prohibited by Papal edict, and the went to the the singer’s part and in the choice of tempi. Soloists sing in a length of admonishing Ruspoli for permitting Durastanti to take lower which lends a completely different range of part. In the second performance her role was sung by a colours and dynamics. castrato. The only details given concerning this individual are The use of transposition in the Baroque time was more that he was called ‘Pippo’, and was in the service to the former common than in today’s historically informed performances of Queen Casimira of . Durastanti later sang in Handel’s early music. We are too fixated on the single standard of 415Hz, Agrippina (Venice) and spent almost all of her career in singing mainly for practical reasons. Many modern Baroque musicians Handel’s music. The violins at the first performance of La view such pitch differences and relative transpositions as Resurrezione were led by the composer and violinist Arcangelo obstacles instead of seeing the challenging potential of Corelli. enrichment in the scores before them. This set presents the first recording of La Resurrezione in This recording is based on a source held in the Santini the low Roman pitch, with transposing winds; Contrasto Collection in Münster (Germany). Various details show that it Armonico is, indeed, the first orchestra in modern times to must have been written before the first performance on 8 April explore this field and apply it to a well-known work by Handel. 1708. The writers are well known from other works of Handel’s In the early 18th century, the pitch commonly used in Rome Roman period and include his most reliable copyist, who was very low compared to other European cities. The high undertook the principal part of the present work. In addition, number of castrati that were singing there may be one reason, there are a number of corrections and additions in Handel’s but so too may be the appreciation of the city’s cognoscenti for own hand, which show that the copy was made directly from the low pitch. Michael Praetorius reported in 1618 that: ‘The the autograph. Some of the alterations are significant enough to lower pitch of which we have spoken (a minor third down) is lead to the conclusion that this was the score used for the first used a great deal in different Catholic chapels in Germany, and performance at the Palazzo Bonelli. in Italy. Some Italians quite rightly take no pleasure in high- There are substantial differences between the Münster pitched singing: they maintain that it is devoid of any beauty, manuscript and Chrysander’s edition, based on the autograph that the text cannot be clearly understood, and that the singers score in the library of the Royal College of Music in London. have to chirp, squawk and warble at the tops of their voices, for These differences are most evident at the beginning, where all the world like hedge-sparrows .’ Since Praetorius’s reference Handel changed the order of the pieces aiming for a more was at A+1 (about A = 465 Hz), the low level would have been dramatic and tense opening. A-2 (about A = 392Hz). He was thus referring to the Roman Take the aria ‘Così la tortorella’: the scales played by bassi e pitch. La Resurrezione was composed almost a century later, violini all’ottava are strongly and precisely erased with a pen, so but Praetorius’s report shows that the Roman taste for low I elected to omit them. We performed this very emotional, pitch remained unchanged over time. intimate and delicate aria with just transverse flute, viola da Due to a Papal ban, the performance of double reed gamba and theorbo, with the violins joining in at the ritornello instruments in church was forbidden. The nobility, however, in the B section. found a way around this lack of ‘native’ oboists by inviting I decided to perform the arias ‘D’amor fù consiglio’, ‘Ferma virtuosi from Venice and Milan. One of the most prestigious l’ali’ and ‘Piangete, sì, piangete’ with a violone in 12’. Although oboists was Ignazio Rion, who possibly took part in La Handel expressly asked for this instrument only in ‘Ferma l’ali’, I Resurrezione in 1708 (the Sig. Ignazio stated in the payment list found it equally appropriate elsewhere in place of a double bass of the 1708 performance could also be Ignazio Sieber, another which is playing the ripieno part in the rest of the arias. The Venetian virtuoso who was in Rome at that time). booklet note to Contrasto Armonico’s recording of Aci, Galatea

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e Polifemo explains how Handel’s distinguishing between wilt give the Ammonites into my hand, then whoever comes violone and double bass has been obscured by both the forth from the doors of my house to meet me, when I return ambiguities of some early sources and modern victorious from the Ammonites, shall be the Lord’s, and I will misunderstandings. In ‘Ferma l’ali’ he writes violoni senza offer him up for a burnt offering.”’ Jephtha gained victory over cembalo but in ‘Naufragando và per l’onde’ he writes violoncelli, the Ammonites: ‘Then Jephtha came to his home at Mizpah; senza cembalo e contrabassi. My research leads me to and behold, his daughter came out to meet him with timbrels believe that when Handel marked violone or violone grosso (as and with dances; she was his only child… And when he saw her, in the cantata Tra le fiamme ), he was asking for a large viola da he rent his clothes and said, “Alas, my daughter! you have gamba, which is not a double bass but a large viol with a big brought me very low, and you have become the cause of great body. This can play at the cello’s written pitch but also down to trouble to me; for I have opened my mouth to the Lord, and I a low G, a fourth lower than the cello. The result is a lightweight cannot take back my vow.” And she said to her father, “Let this bass with a large body but a delicate sound. thing be done for me; leave me alone two months, that I may Handel’s Italian period clearly made him very aware of the go and wander in the mountains, and bewail my virginity…” And different possibilities offered by cellos, and double at the end of two months she returned to her father, who did basses. The nomenclature of the instruments in his scores is with her according to his vow which he had made. She had never misleading (if read with the right key in mind). The young never known a man. And it became a custom in Israel that the Handel had a perfect image of the sound he wanted to obtain; daughters of Israel went year by year to lament the daughter of he used the violone only in special settings, for example in Jephtha…’ combinations with muted violins, recorders and viola da gamba. The tragic potential in the story of Jephtha received a new Perhaps most frustrating are the occasions when a violone is twist in the Renaissance period. In 1554 the Scottish humanist promised in a CD booklet or concert programme, only for our George Buchanan wrote his Latin Jephthas sive votum ears to tell us we are listening to a double bass. (Jephtha or the Vow ), a version which was to be considered the In the payment list of the first performance (Ruspoli model for many years hence. Even Handel’s librettist Thomas documents, Kirkendale) we find a trombone player, but there is Morell had recourse to some of its details. More than anything no evidence of a trombone in the score or a separate part for it. else, the 17th-century oratorio took up the theme of the lament This is a mystery to scholars and performers. Some scholars which provides such an impressive conclusion to the attribute the trombone to a bassoon, (which plays in the Angel’s proceedings. In the 18th century, the belief that man was aria ‘Risorga il mondo’). Others propose a more spectacular inherently good and history followed the path of progress made solution, by letting the trombonist play alongside the recitatives tragedy and lamentation an unacceptable ending for a drama. of Lucifer. The sacrifice of Jephtha’s daughter was too morbid an outcome Neither solution convinced me. As there is no specific part for the humanists, prompting them to adapt the story along the for this instrument in the oratorio, I believe the trombone lines of Abraham. In Handel’s work, an angel – an angelus ex player was a member of the continuo group, not a soloist. In machina – saves Jephtha’s daughter from being slayed and Rome there was a custom of doubling the bass part with the decrees that she shall serve God as a virgin in his temple: ‘Thy trombone , using it as a . Angelo Berardi described daughter, Jephtha, thou must dedicate to God, in pure and the trombone as a kind of tromba ‘che suona il basso, ne virgin-state for ever, as not an object meet for sacrifice.’ In concerti e sinfonie fa bonissimo effetto’. Stradella also required order to allow this reinterpretation of the Bible story, the words the trombonist doubling the bass line to play the notes staccato of the vow had to be changed so that now they read ‘(If, Lord, I) using as little breath as possible (‘tutti bassi con un trombone safe return a glorious conqueror; – what or whoever shall first solo, ma deve il trombone sonare staccato assai e con poco salute mine eyes, shall be for ever thine, or fall a sacrifice.’ This fiato’). In many of the oratorios and cantatas performed by ambiguity is, to judge by the words of the angel, inspired by the Corelli, the orchestra included a trumpet ensemble consisting of Holy Spirit: ‘The Holy Spirit, that dictated thy vow, bade thus two trumpets ( clarini ) and a trombone (Walther calls this a ‘bass explain it and approves thy faith’; the modification of the or octave trombone’). These parts were not written into the biblical account draws its legitimacy from the Holy Spirit who scores. On this basis, I decided to let the trombone play the bass had inspired the Evangelists to write the New Testament. The part while the trumpets are playing, creating a in revised version of the story of Jephtha reflects the Christian the orchestra. departure from the harsh image of God presented by the Old Such innovative work with La Resurrezione was possible Testament, so that Handel is fully justified in concluding his thanks to the high professionalism and great flexibility of all the oratorio with ‘Hallelujah. .’, in the Easter spirit. musicians involved in this recording, but I would like to pay The subject of biblical war heroes was a favourite in 18th- special tribute to the work of Bruce Haynes. His inspiring book century England. They offered suitable figures with whom the The Story of A gave me a lot of ideas and encouraged me in my English could identify their own escapades on the battlefield – pursuit of innovation and rediscovery. I hope that the result against the Irish and, particularly in the 1740s, against the Scots may show a hitherto unseen face to this significant and in their quest for independence. Handel had paid tribute to this remarkable oratorio, allowing us to appreciate the kind of trend with Joshua and – more notably – Judas Maccabaeus , the instrumental sonorities and balances which one can only hear latter a patriotic celebration of the Duke of Cumberland and his when the appropriate pitch and instruments for this music are famous victory over the Scots. But after 1747 the intellectual used. climate changed. With the United Kingdom’s status as a great © Marco Vitale power having been secured beyond its borders in the Treaty of Aix-la-Chapelle of 1748, the urge to glorify heroes subsided. The cult of the noble gave way to greater emotionality, the Age of CD49-51 Reason to the Age of Sentiment. Public figures withdrew to the JEPHTHA bosom of the family, and the triumphant mannerisms of the The will to sacrifice, forgo love and trust in God: aspects of Baroque period now took second place to human warmth and Handel’s Jephtha introspection. Handel and his librettist were aware of this The 11th Chapter of the tells the story of change. It is not the tragic war hero alone who is protagonist of Jephtha the Gileadite. The son of a harlot, he was disinherited the oratorio, for his daughter – now called Iphis, after Buchanan and forced to flee from Israel, but when the Ammonites made – ranks easily on a par. The figure of the mother – who only war on Israel, the elders went to bring Jephtha back and played a minor role in Buchanan’s account – and the promised they would make him their leader once victory was introduction of Hamor the fiancé transpose the conflict from secure: ‘And Jephtha made a vow to the Lord, and said, “If thou the public arena to the family. The mother who, at Jephtha’s

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very first appearance, stands by his side bemoaning their The worry that Jephtha has caused with his ill-considered, separation through the war, is then filled with dark forebodings presumptuous vow is dispelled by the unshakable trust of the and finally urges her husband to rescind his vow – the faithful in God. But the price of victory – renunciation of love – betrothed longing for the consent of both father and daughter is happily glossed over in the musical jubilation. Iphis is to the marriage, offering to sacrifice himself in place of Iphis condemned to remain a virgin, but she has become fully and ultimately yielding to heaven’s judgement, not without reconciled with her position as the victim and is prepared to sorrow at the loss of his beloved. The ‘family’ conclusion, widely give her life for victory. She aspires to be a ‘grateful victim’, and considered weak in dramatic terms, accords with the general on hearing the news that not death, but deprivation of love, is societal shift from an outward to an inward-looking perspective. to be her fate, she consents to the ‘highest will’ in joyfully On a linguistic level, this is reflected in Thomas Gray’s graveyard agitated tones. In 1911 Arnold Schering described this oratorio poetry. He captured the spirit of the time with his Written as ‘Handel’s third apotheosis of the eternal feminine’. Of the in a Country Churchyard , published in 1761. That famous line, feminine robbed of its erotic power, we must add, the victim of ‘far from the madding crowd’s ignoble strife’, perfectly sums up a puritanical (and patriarchal) society. Handel presented a most the conclusion of Jephtha . penetrating picture of lphis and Hamor, laden with infectious Handel was beset with poor health and the sight in his left traits of sensitivity. The young man’s aria telling of his love is eye was rapidly waning when he wrote his last oratorio. He had rendered in the modern, sentimental vein, while the girl lost it altogether by the time he began composing Act III on 18 articulates her feelings in the blissfully ‘naïve’ siciliano tradition. May 1761. The premiere of Jephtha was held at the start of the And both sing of their joy in a duet betraying a hint of the galant new oratorio season the following Lent, with the composer style. As the final chorus reminds us – ‘blessed by they who fear himself wielding the baton at the Royal Covent Garden Theatre the Lord’ – it is their ingenuous love which carves their destiny on 26 February 1762. Handel drew on compositions as victims of this world. of his own and others alike for his work, which he normally © Volker Mertens adapted to suit the occasion. In other words, he made particularly extensive use of the technique of parody that formed a typical element of 18th-century music. Of the 44 CD52-53 pieces in Jephtha , nine are from another pen and ten are taken ISRAEL IN EGYPT from his own earlier works. Seven of the nine choruses borrow George Frideric Handel was born in Halle, in the central part of extensively from six masses by the Bohemian composer Franz what recently was East Germany. He was almost exactly Johann Habermann, first published in 1747 – Handel may have contemporaneous with Johann Sebastian Bach, born at received them from Georg Philipp Telemann with whom he Eisenach, Thuringia, about 120 miles southwest. Both men were maintained correspondence. He took his cue not only from the deposited into a fragmented, economically depressed and musical themes, also incorporating entire sections into his new depopulated region: With the collapse of the Holy Roman version (the fugue theme and counterpoint, for example) Empire in 1648, Europe dissolved into hundreds of princely though without following developments in the original material states, divided between the Empire's Catholicism and Martin any further – Habermann’s fugues being for the most part Luther's Protestant initiative. Incredibly, music flourished in this highly conventional and brief. In the concertante movements, tumultuous environment. however, he often adheres very closely to the original. Handel’s Unlike Bach, who was born into a musical family, Handel technique of using existing pieces has traditionally been linked became a musician against his parents' wishes. At 17, he with his skills at improvisation. An improvisor needs not only a became a church organist, and at 18, he went to Hamburg to pre-specified theme, but also set pieces which can be play violin and harpsichord in the opera house. Opera integrated into a formal pattern. But Handel’s flexibility was fascinated him from the beginning, and within three years such that he could borrow just the theme, an entire section or Hamburg was presenting his operas. The Italians were even the formal pattern itself: one, two or all three aspects preeminent in opera, so he soon found the way to Italy, where from the material chosen. he spent three years churning out additional operas, and at The overture to Jephtha is not an original creation either: least one oratorio. In 1710 he returned to Germany, but almost Handel took it from the stage music he wrote for Tobias immediately left for England to produce an opera; he returned Smollet’s in 1749–60. The grand, emotive beginning and to Germany briefly but went back to England, where he lived the earnest Allegro are well suited as an introduction to a until his death in 1759, save for brief visits to the Continent. biblical drama, and Handel also deleted the minuet (which was Like Bach, Handel was one of the pillars of the Late Baroque in a much lighter vein), replacing it with a new one which musical period. The Baroque musical style emerged about 1600, anticipates the more sensitive aspects that form a major with composers such as Gabrielli and Monteverdi, and ended, element of the oratorio as a whole and are particularly practically, at Handel's death. His output was prodigious: Over characteristic of the young couple, Iphis and Hamor. Jephtha is 40 operas, two dozen oratorios, hundreds of anthems, cantatas, initially portrayed as a noble warrior oblivious to the solos and songs; a hundred or more pieces of chamber and implications of his vow, while his wife Storgè sees the woeful orchestral music, including the familiar Water Music and Royal consequences approaching. The choruses, on the other hand, Fireworks music; and several books of keyboard works. He are used to depict the children of Israel turning to God, while never married, and was an eccentric figure-- one account has the battles are treated most graphically in scenes laid out on a him, an old man, wandering along London streets, jabbering grand scale. The work reaches its climax in the final chorus of loudly to himself in a curious mixture of German and English. Act II; here Handel changed the original words ‘What God But his legacy, in particular to the English oratorio, remains. ordains is right’ into ‘Whatever is, is right’ – a sign, perhaps, that Groves, commenting on Handel's successors in England, says, the blind composer had submitted to his fate (the change of key "...over [the next century of effort] brooded from first to last from major to minor and back to major, ending in minor, would the elephantine shadow of Handel..." (quoted in the Harvard seem to suggest this). Act III is concerned with the fate of Iphis. Dictionary of Music, ed. Apel, 1960). Israel in Egypt: History. Here the angel announces God’s judgement that she shall Handel's oratorio was written in 1738, three years before the become a virgin in the Temple, thus being lost to the world and better known Messiah. The ecclesiastical authorities would not living for the greater glory of the Lord. This turn of fate is a allow stage productions of Biblical works, or any stage source of joy for all around, from the chorus to Iphis and Hamor productions during Lent; the concert-style oratorio presentation themselves, and the final chorus is an expression of undiluted solved both problems. optimism. This is what enables Handel to end the work, like so The story of Israel in Egypt is familiar Judeo-Christian many of his other oratorios, with the words ‘Hallelujah. Amen.’ history: The Hebrew tribes of Israel entered Egypt voluntarily,

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probably about 1600 B.c., at the invitation of Joseph, the CD54-55 kidnapped son of Jacob, then a high official in the Pharaonic JUDAS MACCABAEUS administration. Under Egyptian rule, the Israelites initially Since his arrival in England in 1710 George Frideric Handel prospered, and their numbers multiplied, over three centuries, (1685-1759) had been a dominant figure in the musical life of to perhaps 600,000, as much as 40% of the Egyptian populace. his adopted country. His operas had been hugely popular in With a change in ethnic succession of the Pharaohs, however, London up to c1728, before the onstage antics of rival prima Hebrews were disenfranchised and enslaved. , Hebrew by donnas Cuzzoni and Bordoni, his own rivalry with fellow- birth, the adopted son of a Pharaonic queen (possibly composer Bononcini, and the huge success of Gay's The Hatshepsut, queen to Thutmose II, or, alternatively, the Beggar’s Opera together conspired to cause his operas to fall daughter of Rameses II; the date of the Exodus is uncertain over out of favour. His works for state occasions however such as the a period of about two hundred years) as a young man was a coronation anthem Zadok the Priest (1727) and the suitably loyal Egyptian subject and may have been a military leader. He grave The Ways of Zion do Mourn (following the death of Queen fled Egypt-- possibly at Hatshepsut's death, when her half- Caroline in 1737) were justly famous. brother and arch-enemy, Thutmose Ill, assumed the throne— During the 1730s he found a ready audience for his and spent 40 years in the wilderness. He returned, reluctantly, oratorios that were admired as much their theatricality as for aged 80, to lead the Hebrews out of Egypt, and confronted their sentiment. By 1745 however there was a tailing off of Pharaoh. Attempts at negotiation caused a backlash, and Moses interest in these works and audiences were diminishing. In initiated a series of ten plagues, targeting particularly sacred addition to these travails Handel's health was suffering and he aspects of the Egyptian culture. The Nile itself, the sacred river, left London to recuperate. That summer he began work on a was first: Its waters turned to blood and became unpalatable. new piece Judas Maccabeus but shelved it temporarily in order Then came frogs, lice, flies, locusts, cattle pestilence, boils, hail, to complete an Occasional Oratorio, a piece of largely recycled a 'great darkness', and, the crushing blow, the death of Egypt's music designed to spur on the loyalists in their fight against the first-born sons. Pharaoh's magicians tried to demonstrate that Jacobite invader Bonnie Prince Charlie, whose forces had these plagues were tricks-- they succeeded in replicating the advanced as far south as Derby. The bloody battle of Culloden bloody river and invoking frogs-- but the continuing curses in April 1746 ensured victory against the Pretender and Handel broke Pharaoh's will, and, in a moment of weakness, he felt able to recommence work on Judas Maccabeus, completing approved the departure. (In fact, the Egyptians ceded "silver it in August 1746. The topicality of its subject was not lost on and gold" to the Hebrews to ensure their exit.) Pharaoh the English and the piece was a storming success (Lord subsequently changed his mind and dispatched an army to Shaftesbury wrote that it 'went off with very great Applause') overtake them, but Moses' charges escaped across the Red Sea with numerous further performances given, many of them on sand laid bare by a strong east wind; the army and its conducted by the composer himself. The use of special drums chariots, attempting to follow, bogged down in the sand and brought in from the Tower of London for the chorus Sound an were wiped out when the waters returned. Modern alarm excited comment at the first performance on 1 April explanations can be found for the plagues, and even for the sea 1747. crossing; however, the concurrence of these events, and Moses' For the libretti of both Judas and Occasional Oratorio foreknowledge of them, certainly rank as miracles, whatever Handel turned to Rev Thomas Morrell, the amiable curate of the explanation. Kew and Rector of Buckland in Hertfordshire. Morrell had a Israel in Egypt: Music. Some authorities believe Handel wide circle of acquaintances including Hogarth and Garrick and intended to utilize a previously composed anthem as the first he was on good terms with Handel (the composer even left movement of his Biblical drama. As presented here, however, £200 in his will to Morrell). However they did have their spats; this oratorio consists of only the two parts that Handel Morrell had the effrontery to criticise one section of Judas and composed in two weeks during October, 1738. The first tells the received the following withering reply: 'You teach me musick, story of the oppression and the escape. Much of the story sir! Mine musick is good musick. It is your words that is bad. comes from the Biblical account in Exodus, but Handel Hear the passage again. Now go and make words to that (probably acting as his own librettist) interspersed references to musick!' Musicologists tend to agree with Handel's opinion of the story from Psalms in lieu of relying totally on one book. The Morrell's libretto, but have also suggested that Handel 'dumbed second part-which Handel in fact wrote first-- consists of Exodus down' in this piece to appeal to the masses, perhaps forgetting Chapter 15, v. 1-21, in order, known as the Song of Moses, the circumstances under which this oratorio was composed. rejoicing over the triumph. Only the final lines of that text, Judas Maccabeus was composed not for subscribers but for a attributed in the scripture to Miriam the prophetess, sister of nation and its people recovering from crisis. Its success with the Aaron, appear to actually date from that early time; a later poet general public ensured that Handel netted a considerable sum expanded on the same theme. Parts of verse 18, praising the from the multiple performances. Lord, recur in the last five pieces of the oratorio. The work as heard today has changed somewhat over the Like Messiah, Israel in Egypt is somewhat atypical of Handel years. In fact Judas, although an instant success, underwent oratorios. It contains relatively little solo material; also unusual some immediate changes as Handel was encouraged to add to is the extensive use of double choruses, with the themes his already large-scale oratorio with extracts from other works, alternately echoed and reinforced. The work nonetheless including 'See the conqu'ring hero' from Joshua (1750) and Wise exhibits Handel's opera-honed dramatic sense, not only in men, flattering from Belshazzar (1758). Handel's works have choral climaxes but in orchestral textures which paint the remained popular due to their effective scoring and mixture of scenery for the story. The hailstorm begins with a few small styles, for he was able to incorporate German profundity, Italian missiles, and rises to a roar as the chorus enters; the frog hop melody and English intensity into his music as and when the through the king’s chambers before being announced; and, as occasion demanded. the chorus tells of the locusts without number, they can be To follow the scenario it is necessary to know something of heard buzzing furiously in the orchestra. And, in the second part the events in Jerusalem in 169BC when the invading Syrian of the oratorio, the exultant themes convey the essence of army under Antiochus Epiphanes sacked the temple and songs of victory of every age and culture. suppressed the Jewish religion. Under their leader Mattathias © James Fancher the Jews embarked on a fiery resistance and by the time of Mattathias' death they had succeeded in partially driving back the Syrians. Judas Maccabeus, son of Mattathias, then played a leading role in defeating the Syrians in a number of battles between 166 and 164BC. In that time Maccabeus purified the

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Temple in Jerusalem, an event subsequently celebrated by the of the Stage." But the suggestion this gives of a compromise, festival of Hanukkah, and obtained religious freedom for the with its appeal to both "church music" and "theatre" camps Jews. Judas Maccabeus was eventually killed at the battle of among English audiences, should not be taken literally. The Elasa. form was an organic one rising out of the unspoken needs of The oratorio begins with the funeral procession of the late English life. It signified the change from the concept of musical leader Matthathias Mourn, ye afflicted children ... For Zion, theatre as an imported luxury, an entertainment in the course lamentation make ... Pious Orgies ... O Father, whose mighty of which people could chatter about how well the music suited power. Mattathias' son Simon attempts to rouse the Israelites their favourite virtuosi instead of how well the singers served out of their grief suggesting that they choose his warlike the music, to a kind of music drama which captured and brother Judas as Mattathias' successor Arm, arm ye brave. expressed in the deepest way the hopes, feelings and moralities Judas wastes no time in dramatically inspiring the Israelites in in terms of which the nation saw its communal life. To what his bravura aria Call forth thy powers, my soul. Following extent Handel planned the oratorio form this way, in his first prayers for liberty from the Syrian yoke Come, ever-smiling experiments, is an open question. But the concept deepened liberty, the warlike theme returns to close the first act from work to work. The oratorios aroused puzzled questions Disdainful of danger ... No unhallowed desire ... Hear us, O Lord. and even hostility. Was the theatre a place to make people Act Two opens with a dramatic celebration of victory for think? Did England, proud of its trade and prosperity, need an the Jews Fall 'n is the foe, but in the midst of their partying and English music? Was it proper for the words of the Scriptures to acclamation of Judas, a messenger brings word of renewed be heard in the theatre? And from the showmanship point of threat of war as the Syrian king Antiochus has sent his 'valiant view, in oratorio there was a loss of scenic spectacle and of Gorgias, and commands his proud, victorious bands to out emphasis on vocal glitter, not compensated for by the grandly Israel s strength, and to erase ev'ry memorial of the sacred majestic and movingly dramatic role that the chorus was place'. Once again the hopes of the chorus led by an Israelite assuming in the new form. But an art form that corresponds woman descend to new depths Ah! Wretched Israel! but in his spiritually to its times makes its way, causing the inherited famous aria The Lord worketh wonders his glory to raise Simon fashions to seem shallow. Handel changed the tastes of his again revives their spirits and the Israelites reaffirm their faith in audiences, and won others to the music theatre who previously God's power. had never been near it. His victory was signalled by the One of Handel's greatest gems opens Act Three: the priest's reception of Samson. aria Father of heaven as he prays for the decisive Jewish victory. A sign of Handel's mastery at this period is the way in which As if in answer to his prayers a messenger announces a huge each big work is a unique formal, emotional and dramatic defeat for the Syrians at Capharsalama and the triumphant concept. Thus Saul, produced in 1739, is the supreme Biblical Judas returns to the strains of See the conqu'ring hero comes. opera, with its sharply delineated characters, historical sweep, Judas introduces the Roman ambassador who brings a promise changes of scene and vivid action. Israel in Egypt, produced the of protection for Jerusalem against further attack With honour same year, is a grand choral pageant. Messiah, produced in let desert be crown 'd... Peace to my countrymen. With this Dublin in 1742, draws upon the Nativity Play and Passion Play peaceful prospect before them the Israelite woman sings the giving them an apotheosis in a splendid anthem framework. famous air ' O lovely peace, with plenty crown'd' before Simon And Samson, based on 's drama, "Samson and the chorus bring the piece to a joyous conclusion Rejoice, O Agonistes" (written in 1671) is music drama cast in the Greek Judah..Hallelujah. model, with unity of time and place and with one ascending © James Murray line; the rise of the tragic hero Samson out of despair at his own captivity and weakness, to triumph over the enemies of his people, while sacrificing his own life. CD56-57 , in HandeI's Dramatic Oratorios and Masques, SAMSON praises Newburgh Hamilton, the librettist, for skill in reducing The oratorio Samson was composed by Handel in the latter part Milton's drama - "composed for the study" - to less than half its of 1741, revised and expanded a year later, and first performed original length, and drawing upon other Milton poems for some on February 18, 1743, at Covent Garden in London. Its reception arias and choruses he found it necessary to add. We must was one of Handel's greatest triumphs. A correspondent to the regretfully agree with Winton Dean; regretfully, because of the Dublin Journal wrote, 'That Gentleman is more esteemed now kind of verse changes that Hamilton made in order to give than ever. The new Oratorio (called Samson) which he Handel a text that would fit the symmetries and rhythms of his composed since he left Ireland, has been performed four Times musical style. It is a pity, for example, that Milton's great lines, to more crowded Audiences than ever were seen; more People with their blank verse splendour, have often to be turned into being turned away for Want of Room each Night than hath jingles. Thus Milton's, been at the Italian Opera." It was presented for nine successive O dark, dark, dark, amid the blaze of noon seasons. Today it stands as one of Handel's greatest works. Irrecoverably dark, total eclipse George Bernard Shaw wrote of Samson, "it shows him in his Without all hope of day! becomes highest, most heroic vein, at the height of his strength, decision, Total eclipse! No sun, no moon, audacity, and mastery. The first four bars of Fix'd in his All dark amidst the blaze of noon! everlasting seat are alone worth getting up a performance on But this became the text for one of the great arias in the the festival scale for." oratorio, and if the words taken by themselves are weaker than Handel, aged fifty-eight in 1743, had grown immeasurably Milton's, the music is truly in keeping with Milton's depth of from the young German who had visited England in 1710, fresh feeling. In other words, the changes were practical and skilfully from a successful sojourn of learning and composing in Italy. He functional. If in the adaptation much of Milton's mighty word made England his permanent home from 1717, providing music is weakened, yet the poem was meant to be complete in London with fashionable operas composed in Italian style to itself, not set to music. And in the adaptation, a new art form Italian librettos. As his roots sank deep in English life, he slowly was made possible in which Milton's theme was illuminated by developed and forged the new form of the English oratorio. A Handel's own apt and mighty music. definition of the form is provided by Handel's librettist, the In using Old Testament themes for his oratorios, to give hard-headed practical-minded Newburgh Hamilton, in his expression to and exalt English spiritual life, Handel was preface to the word-book of Samson: "A musical Drama, whose following in the path of Milton, whose Paradise Lost, written to subject must be Scriptural, and in which the Solemnity of "justify the ways of God to Men," was also a justification of the Church-Musick is agreeably united with the most pleasing Airs great upheaval in which England had done away with the

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absolutism of kings. Milton's also relates Again Harapha is pitted against Samson, and Harapha has a fine deeply to Milton's own land and condition. Dean Jack H. air; "Presuming slave." Samson's "Thus when the sun," after Adamson of the University of Utah's College of Letters and Harapha leaves, very effectively reveals the change of mood in Science, a leading authority on Milton, writes as follows about him, as he begins to see, with joy and confidence, the path the character of Milton's Samson, and thus also throws light before him. Winton Dean perceptively notes that Handel here upon Handel's hero: "Milton's Samson is not the Samson of the sets the last line of the text, "Each fetter'd ghost slips to his Old Testament, a folk-hero who is good at riddles, a several grave," four times, to quite different music, "and with conventional strong man, primitive in intellect and emotions. each repetition draws out new shades of meaning." There is a Rather Milton touched Samson with the grandeur of a Greek fine aria for Micah, and again a chorus with solo, of Philistine tragic hero. Samson Agonistes literally means 'Samson, the revelry, Samson has entered the temple, presumably, to obey Wrestler' and Milton means, by this name, to designate the the demands of the priests of . sings an aria of moment of Samson's greatest feat of strength when he wrestles exalted beauty expressing love for his son Samson, "How willing the pillars of Dagon's temple to the ground. But Milton also my paternal love," He and Micah are alone. Their short means much more. His Samson suffers physically but he suffers recitative is suddenly broken into by the noise of the even more spiritually. Milton's Samson Agonistes is a man destruction of the temple, a vivid sinfonia followed by the wrestling with himself, in agony from his own inward turmoil. despairing chorus of the Philistines. A messenger tells what has "Finally, Milton's play may be a symbolic commentary on happened, and a long, grand and sublime elegy, funeral march the meaning of blindness. What is it, he asks, to see clearly? and follow; aria, recitative, and chorus with solo voices What does it mean to be blind? Milton's answer is clear. lamenting the death of Samson. In the original version of the Samson's enemies are blind, for they do not see that arrogance oratorio, written in 1741, this had ended the work. But in the and pride make men mad; they do not see that violent men call revision a year later, Handel added the brilliant and since then, for their own destruction. And in their blindness the Philistine famous, soprano aria with trumpet obbligato, "Let the bright tyrants, in sport call for Samson who at last sees clearly what his Seraphim," and the following chorus. One thinks of the "happy divine calling had always been: to die for the freedom of his finale" Mozart added to , after what was people." spiritually the end of the work. The Handel addition, like Mozart's, can be dispensed with dramatically, but in both cases About the Oratorio we are given music that we would not like to do without. The oratorio Samson is in one continuous unbroken dramatic © S. W. Bennett movement and the act divisions - not found in Milton - are merely for theatre convention. Act One starts, after the Sinfonia, with a short recitative by Samson, who is blind and in CD58-59 chains, and then presents one of those splendid Handel "blocks" THEODORA of music, choral and solo, here depicting the pagan festival of Handel's first English oratorios Acis and Galathea and Esther the Philistines, praising their god Dagon. In striking contrast date from 1718 and were both revised in 1732. Around this comes the misery of Samson, expressed in the touching aria, time the popularity of his Italian operas began to fade and 'Torments, alas," then the recitative with Micah, and rising in instead he put his energy towards composing oratorios to be intensity with Samson's great aria Total eclipse!". It is answered performed at the theatre (his final opera Deidamia dates from by a note of hope in the magnificent chorus, "O first created 1740/1). From 1743 (Samson) it became something of a beam, with its radiant music on "Let there be light!" tradition for new oratorios to be aired in London during Lent. Manoah, father, enters, seeking his son, and has a Semele, Joseph and his Brethren, Hercules, Belshazzar; An brilliant aria, "Thy glorious deeds," which combines lament with Occasional Oratorio, Judas Maccabaeus. Joshua, Alexander memories of Samson's past exploits. Samson's third aria, 'Why Balus, Susanna and Solomon all received their first does the God of Israel sleep?" with its strong, protesting performances between 1743 and 1749. character, gives still new musical breadth to his musical Handel was accustomed to working at great speed, but portrayal. After another chorus of the Israelites, comes even by his exacting standards Theodora was composed quickly, Samson's deeply moving accompanied recitative, "My genial having been started on 28 June 1749 and completed just over spirits droop." It is worth notice that, as Winton Dean points one month later on 31 July. Handel, at the suggestion of the out, a heroic role like thus given to tenor voice was an Price of Wales, first used Rev Thomas Morrell as librettist for innovation on Handel's part, and created a new kind of Judas Maccabaeus, which was written in celebration of the dimension for the voice. The serenely beautiful chorus, ''Then Duke of Cumberland's victory over the Jacobites at Culloden in round the starry throne," closes the act. 1746. Morrell also wrote the text for Alexander Balus but is not If in Act One male voices have predominated, Act Two thought to have been Handel's collaborator for his next two restores the balance, first with ,One of Handel's most beautiful projects Solomon and Susanna. For Theodora Morrell turned to arias, Micah's "Return, return, Oh God of hosts!" The long the novel The Martyrdom of Theodora and of Didymus by the dramatic scene follows between Samson and , with scientist the Hon Robert Boyle (1627-91). Boyle's novel is partly Handel's artful writing for soprano voice effectively depicting based upon the Corneille tragedy Theodore, vierge et martyre Delilah's renewed sensuous temptation of Samson. The climax (1646). Morrell chose to ignore much of both Boyle and is the great duet, "Traitor to love!" as the rejected Delilah turns Corneille: Part One is his own invention and the first two scenes against Samson. Then another dramatic conflict arises - a of Part Two are based upon a section of Boyle's novel that was conflict of , musically and conceptually - as Samson is subsequently lost. Like other fine operatic composers, Handel scornfully challenged by and defies Harapha, the Philistine was a severe and astute critic of libretti and he discarded parts strong man. Again a powerful duet climaxes the battle of minds, of Morrell's work that he considered to be ineffective including "Go, baffled coward, go," and the act closes with choral the conversion of Septimius as Theodora dies at the stake. splendour. There are choruses of the Israelites praying to Otherwise he rated Morrell's work as a model of its kind. Jehovah, of the Philistines joyfully expecting the renewed That Handel was able to complete this masterly work in festivities to Dagon, and a magnificent finale, the conflictful such a short time is partly explained by the fact that some of chorus with soloists, "Fixed in his everlasting seat." the music was not entirely original: for the overture and Act Three consummates the reversal of fortunes that is the elsewhere he made use of themes by Giovanni Clari (1677- heart of Handel's tragic drama; the Israelites triumphing, 1754) and keyboard suites by Gottlieb Muffat (1690-1770). although with the heroic self-sacrifice of Samson, and the pagan Other 'borrowings' were from Lotti's Missa sapientiae and Philistines cast in despair with the destruction of their temple. Steffani's opera La lotta d'Ercole con Acheloo. Despite this, it

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has been said that Theodora (and Part Two in particular) will become the plaything of the soldiers, an event viewed with represents Handel's inspiration at its finest. Handel thought happy anticipation by the crowd Venus, laughing from the skies. highly of the work and told Morrell he rated the chorus He saw Alone and naked in her cell, Theodora prays for blessed release the lovely youth far beyond the Hallelujah Chorus. O thou bright sun ...With darkness deep ...But why art thou Following three performances at Covent Garden in March disquieted, my soul? …Oh, that I on wings could rise. 1750 and a cut revival in 1755, Theodora lay virtually ignored Didymus chooses the moment to confess his Christian for over a century. Handel, on being told that a gentleman had beliefs to Septimius Long have I known thy friendly social soul. bought up all the boxes for the third performance, exclaimed: Since it was Theodora who converted him he announces his 'He is a fool then, for the Jews will not come to it...because it is plan to rescue her; Septimius agrees to order his soldiers to turn a Christian story and the ladies will not because it is a virtuous a blind eye as he enters Theodora's cell No more …Tho' the one'. His only consolation was that with the theatre half empty honours that and Venus receive. Didymus thanks his old the music 'would sound well'. friend Deeds of kindness to display. At night-time elsewhere Hiller performed it in Koln in 1860 and Sterndale Bennett Irene prays that Theodora will remain pure The clouds begin to conducted a private London performance five years later. This veil the hemisphere ...Defend her, Heav'n. Let angels spread was followed by a notable revival at a Handel Festival at the their viewless tents around her bed; keep her from vile assaults Crystal Palace in 1868. Novello published a bowdlerised version secure, still ever calm, and ever pure. in 1874, the original version not being reprinted until 1985, Didymus, his visor lowered, has entered Theodora's cell Or several years after the recording on this CD. lulled with grief …Sweet rose and lily, flow'ry form. As he The action is set in Antioch, part of Roman occupied Syria, approaches Theodora, she awakes in alarm. He announces during the reign of the Emperor Diocletian, in AD 304. On the himself as Theodora's deliverer, suggesting that she put on his Emperor's birthday, Valens, the Roman President, orders the clothes. At first she is reluctant to be rescued by him Excellent death penalty for those who refuse to worship the Roman god youth! I know thy courage, virtue and thy love and instead begs Jove. An officer, Septimius, is told to carry out the punishment him to kill her The pilgrim’s home, the sick man’s health. He Go, my faithful soldier, go. Didymus, a Roman soldier, asks for refuses and insists that she escapes in his clothing Forbid it, tolerance towards other religions Vouchsafe, dread Sir, a Heav'n! Shall I destroy the life I came to save? Theodora gracious ear, arguing that this would bring friends to Rome. suspects that Didymus will pay with his life but agrees. They However Valens, seeing this tolerance as a sign of weakness, sing a blissful farewell duet To thee, thou glorious son of worth announces the tortures that await those who refuse to bow to ...I hope to meet on Earth, but sure shall meet in Heav'n. Part II the Roman way Racks, gibbets, sword and fire. His soldiers echo closes as Irene and the Christians, in praying for Theodora, these bloodthirsty sentiments For ever thus stands fixed the evoke the miracle of the Widow of Nain 'Tis night, but night’s doom of rebels to the Gods and Rome. sweet blessing is denied …He saw the lovely youth, Death’s early Whilst Didymus rails against such inhumanity Most cruel prey. edict... The raptured soul defies the sword, Septimius privately As Irene prays Lord, to thee, each night and day a stranger has some sympathy with the view expressed by his junior approaches. Irene recognises Didymus but it is revealed to be officer I know thy virtues, and ask not thy faith but sees no Theodora, who explains how the faithful Roman saved her alternative to carrying out the orders of Valens, whatever they When sunk in anguish and despair...Blest be the hand. A may be Descend kind pity, heav'nly guest. messenger tells of Didymus' unrepentant attitude in court and At a secret prayer meeting the Christians are joined by of Valens' fury: Theodora is to be executed as soon as she is Princess Theodora who renounces all her worldly goods Tho' recaptured. Theodora is overjoyed at this: better to die a virgin hard, my friends ...Fond, flatt'ring world, adieu. This is than face dishonour at the hands of the soldiers. She rushes commended by one of the Christian women, Irene, who away to attempt the rescue of Didymus. condemns inherited wealth Oh bright example of all goodness In the courtroom, where Didymus explains his actions in ...Bane of virtue, nurse of passions . Whilst the Christians pray freeing Theodora from a dreadful illegal punishment. As Valens for inspiration Come, mighty Father, news arrives of Valens' condemns him to death, Theodora rushes in to argue that she decree Fly, fly, my brethren. Irene urges all to remain calm and not Didymus should be condemned. Septimius is amazed at Whither should we fly? Or fly from whom? ...As with rosy steps the couple's bravery Dwells there such virtuous, courage ...From the morn advancing. Virtue springs each gen'rous deed as are the heathens in the Septimius enters and is unable to understand why the courtroom How strange their ends . Valens has had enough: if Christians are so set upon their own destruction Mistaken both plead guilty then both will die. That being settled wretches! ...Dread the fruits of Christian folly. Theodora tells Theodora and Didymus face death with fortitude; Didymus him that she takes her orders from God even though it may lead assures Septimius that they will achieve bliss in Heaven And to death Deluded mortal. However Septimius informs her that must such beauty suffer …Streams of pleasure ever flowing her fate will be worse than death: she is condemned to serve as …Thither let our hearts aspire. Irene and the Christians pray that a prostitute in a brothel frequented by Valens' soldiers Death is their faith be equal to that of Theodora and Didymus Ere this not yet thy doom. Appalled, Theodora prays to the angels to their doom is past ...O love divine. end her life before she can be defiled O worse than death © James Murray indeed! ...Angels, ever bright and fair. Didymus has arrived too late to save Theodora Unhappy, happy crew! Irene advises him of Theodora's fate Alas! She’s gone. Didymus, admitting his Christian beliefs, determines to rescue Theodora Kind Heav'n, if virtue be thy care with courage fire me, or art inspire me, to free the captive fair. On the wings of the wind will I fly, with this princess to live, or this Christian to die. Irene and the Christians wish him well in their prayers O love, how great thy pow 'r ... Go, gen'rous, pious youth. The Roman celebrations are at their height as Valens and the heathens praise not only love, but also Flora and Venus Ye men of Antioch, with solemn pomp. After lauding Diocletian Wide spread his name, Valens dispatches Septimius to ask if Theodora has decided to worship at love's altar Return Septimius, to the stubborn maid. If not, then she

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CD62-63 music, Solomon providing commentary. The Queen departs SOLOMON with an unforgettable aria, accompanied by oboe, flutes, violins, George Frideric Handel's usual custom was to prepare for the and bass. The principals depart in a triple time duet, a fitting following oratorio season during the previous spring and conclusion to a splendid oratorio. summer. He began composing Solomon on May 5, 1748 and © Prof. J. Merrill Knapp, Princeton University finished it on June 13, 1748. Solomon was heard for the first time on March 17th, 1749, with repeat performances on March 20th and 22nd. The work was not heard again until March, CD64-65 1759, six weeks before Handel's death, when it was presented SEMELE in a version fatally marred by cuts, changes, and interpolations. Semele is really an English opera and perhaps the finest of its The author of the libretto is unknown. Some writers have kind written between the death of Henry Purcell in 1695 and ascribed it to , but this seems doubtful when the the twentieth century. Because it was presented in London in rest of his work for Handel is considered. February 1744 "After the Manner of an Oratorio" (i.e. not All three acts of the oratorio deal with a different side of staged), it has always been labelled as an oratorio. Yet Handel Solomon. Act I emphasizes his piety and marital bliss, the was thinking in operatic terms when he divided his score into librettist tactfully making no mention of the Biblical 700 wives acts and scenes (including stage directions) and chose a secular and 300 concubines. Rather Solomon is portrayed in love scenes subject which his librettist called "The Story of Semele." If the with his one beloved wife and queen, who has no name except composer had still been producing opera (he gave it up in that she is Pharaoh's daughter. 1741), the work might very well have been staged. But for Act II portrays the wisdom of Solomon in the famous tale of London audiences of that time staged serious opera was Italian, the two women who each claim to be the mother of the same and English was the language of ballad operas (e.g. The Beggar's baby. Opera, 1728) and lighter trifles. Even when Semele had its only Act III presents a musical masque for the visiting Queen of Handelian revival in December, 1744, five Italian arias, which Sheba. The passions of fury, tortured soul, and calm are so were added to the score for some new Italian singers unused to vividly portrayed by the chorus and Solomon that the Queen is singing in English, did not seem out of place. In modern times, overwhelmed by the power of the representation. The view of Semele has been successfully staged, particularly during the the newly finished temple completes her awe, and she presents 1950's and 1960's in England, and its aptness for this treatment her treasure to the great Solomon. Both end by pledging peace is no longer in doubt. and glory to their respective realms. The story, classical Greek legend, has come down to us The overture has the usual introductory and dotted largely through Ovid's Metamorphoses (Book 1II), where the Maestoso or Grave section leading to a fugal Allegro, which, in Greek names became Roman. Many of these myths relate the this case, is the highlight of the overture. love adventures of the gods with mortal maidens. This Act I begins with a powerful double chorus, the initial particular one tells of Jupiter's love for Semele, beautiful words announced by basses alone. The double choruses (i.e. daughter of Cadmus, King of Thebes, and what happens when a eight parts) herein mostly have a massive orchestral mortal tries to assume the status of a god. accompaniment of brass, winds, and strings. Often the William Congreve, renowned comic dramatist, put the orchestra itself is divided into two groups to give further solidity legend (slightly altered) into the shape of a libretto in 1706 for a to the structure. The next double chorus sings in block chords composer named John Eccles. For obscure reasons, the opera with some extraordinary modulations, a passage giving way to was never performed then, but the text was included in the imitative writing. printed 1710 edition of Congreve's works. Here it was probably Solomon appears in a moving arioso with an seen later by Handel and his anonymous collaborator, who accompaniment of solo strings (minus cello) and bassoon. The were looking for new material to set to music. In 1744, the orchestra both accompanies the voice and punctuates it. For unknown but skilful librettist took Congreve's setting pretty some unexplainable reason, Handel originally wrote the part of much as it was, but instituted a number of cuts and further Solomon for a female mezzo-soprano, although he had tenors minor changes. He also added verses which were purloined and basses to draw on. Ingenious reasons (e.g. a holdover from from Pope, Dryden, and other worthies for the second half of the high voice syndrome of Italian opera) have been set forth Act II (the famous "Where'er you walk" stanzas are by Pope, not but none are convincing. At any rate, the part is taken here by a Congreve). Most of the new text was for the purpose of giving baritone who sings the music an octave lower than written. the chorus a more generous role than it had previously. Praise and rejoicing continue. Zadok's air is lively and interesting. Solomon's reply to this adulation is sufficiently THE STORY humble to make us believe he is human and his modesty is real. (Directions and lines in quotations are from the original 1710 Then Solomon and his queen converse directly, preceding one Congreue edition and the Semele printed libretto of 1762.) of Handel's most inspired melodies and simple love songs, the ACT I Semele is betrothed to Athamas, prince of Boetia, but queen's aria "With thee the unsheltered moor I'd tread." has delayed her nuptial rites. Scene 1 opens in 's temple Handel's unparalleled melodic gift particularly endeared him to (Jupiter's wife and the guardian of marriage vows) where priests his audiences. The tune is not only genuinely affecting, but offer a sacrifice. Cadmus and Athamus urge Semele to "il1v.~nt possesses some unexpected phrase lengths that give it a no new Delay" to the prospective union. But Semele, in an piquant turn. aside, admits to Jupiter's love and calls on him to resolve her The final number in the act, an equally famous and even dilemma. Ino, Semele's sister, is in love with Athamas, but he more charming piece, the so-called Nightingale Chorus, bids the will not notice her. "Thunder is heard at a distance, then a Noise lovers go their ways without disturbance, and "nightingales lull of Rain; the Fire is suddenly extinguish'd on the Altar." The them to sleep with their song." Flutes, strings, and a five part priests and people interpret this as an omen that Jupiter (Jove, chorus enchant with lullaby figures, bird calls, pedal points, and to give him his colloquial name) is angry. After the fire rises up a simple G major mood. and dies down again, Cadmus reads the signs to mean that Act 11 opens with a splendid choral and orchestral "Juno assents [to the union], but angry Jove denies." The priests outburst, a prelude to Solomon's duties as king and judge, call upon Athamas and Semele to cease their vows: "'tis impious portrayed dramatically. to proceed." Scene 2 shows Ino trying to comfort Athamas at Act III opens with a sinfonia of oboe and strings, a this unexpected and shattering blow to his hopes; she openly miniature concerto movement which has long been popular. declares her love for him. (The scene is omitted in the The music proceeds as the Queen of Sheba is entertained with recording.) In Scene 3 Cadmus interrupts the two and describes

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in despair how after he and Semele fled Juno's temple, Semele THE MUSIC was suddenly surrounded by flame and then snatched away by Handel's music is masterly - a splendid compilation of recitative a huge eagle who bore her away into the sky. Cadmus in Scene (particularly the accompanied variety), aria, ensemble, and 4 asks Jove's holy priests what has happened to Semele. They chorus. The chores, because of the oratorio tradition, has an hail his good fortune by saying she has been taken by Jupiter important role in the drama, acting as both participant in the and "Endless Pleasure, endless Love, Semele enjoys above." This action (priests, Zephyrs etc.) and commentator on it in the famous air and chorus should rightfully be sung by an Greek fashion. It mirrors local reactions (acclamation, terror and anonymous goddess or priest, but Handel gave it to Semele joy) as the story unfolds, and is a unifying factor throughout. because he probably needed a good singer to present the music One of Handel's greatest achievements is his portrayal of and the character change made no difference in an oratorio character. Juno, Semele, and Jupiter are human beings caught performance. in different dilemmas; yet they come alive in their music. ACT II Scene 1 Juno has sent the goddess, , to find where Athamas, Ino, Iris, and Cadmus are more shadowy, although Jupiter has taken Semele. Iris describes the inaccessible palace Cadmus shows Handel's sympathy for the grieving father. Jupiter has built, guarded by "two fierce Dragons." Juno Somnus provides the light touch; Congreve's genius for the determines to enlist the help of Somnus, God of Sleep, to seal comic being heightened by his musical collaborator. "the wakeful Dragon's Eyes" and give her access to the palace. Juno, the vengeful wife and woman, is a superb Scene 2 "An Apartment in the palace of Semele; she is sleeping. characterization. Although she does not appear until Act II, she Loves and Zephyrs waiting.... Semele awakes and rises." Scene 3 is a strong presence in the last two acts. Her initial accompanied Jupiter enters and they both declare their love, helped by the recitative in Act II ("Awake, Saturnia, from thy Lethargy"; chorus of Loves and Zephyrs. But Semele also sighs and speaks Allegro concitato ma pomposo), when she learns from Iris what of her loneliness when Jupiter leaves her. Jupiter senses her Jupiter has done and vows revenge, is a vivid piece of tone reaching for immortality and determines to distract her. He painting. Handel mirrors every phrase from repetition of the sends two Zephyrs to fetch Ino to Olympus to give Semele descending octave discords on "... down to of companionship. Scene 4 "Semele and Ino meet and embrace... let her fall" to the trembling of the universe (shivering [they] sit and observe the Rural Sports, which end the Second strings) and the "forky Stings" of the two fierce dragons (rapid Act." triadic movement). Her dispatch of Iris and herself to fetch ACT III Scene 1 "The Cave of Sleep. The God of Sleep lying Somnus ("Hence, Iris, hence away") is a colourful in on his bed. A soft Symphony is heard. Then the Music changes two contrasted parts: the first, a lively classical travelogue with to a different Movement." Juno and Iris appear. Juno calls on a repeated note bass ostinato; the second, a drowsy description Somnus to awake and obey her command. In a humorous of Somnus gradually reverting back to the necessity for haste in dialogue, Somnus refuses to budge until Juno promises to grant reaching him. In Act III, 1, she is first the militant goddess trying him his lady friend, the nymph . He then agrees to cast to arouse Somnus and failing; then the clever tactician, knowing sleep upon Jupiter and that Semele will appear to Jupiter in an the key to his possible quick response. Her scene with Semele alluring dream so that Jove "may wake impetuous, / Furious in (III, 3) has another climactic accompanied recitative when she Desire; / Unable to refuse whatever Boon / Her Coyness shall bids Semele ask Jupiter to appear as "the mighty Thunderer." require." Moreover, Juno commands Somnus to lend her his Here again, Handel brings out the formidable pomp of majesty magic rod, so she can charm the ferocious sentinels. He is also and the means to inspire love by a judicious mixture of single to put Ino to sleep, so that Juno can appear to Semele in Ino's and rapid chord figuration. form. Scene 2 Semele in her apartment has had troubled Semele is the incarnation of female love, with all its moods thoughts in her sleep. (The scene is omitted in the recording.) and emotions. The captivating "Endless Pleasure, endless Love" Scene 3 "Enter Juno as Ino, with a Mirrour in her Hand." She has a foot-tapping gavotte rhythm and Purcellian harmony plays upon Semele's vanity and tells her that her appearance is which has endeared it to all who have ever heard it; and the becoming more godlike. Juno suggests that when Jupiter chorus which echos Semele's delight gives an added dimension appears that Semele "Refuse his proffer'd Flame" until he grants to the charming melody. "O Sleep, why dost thou leave me" her wish: "Conjure him by his Oath/Not to approach your with only continuo accompaniment of rocking lullaby bass notes Bed/In Likeness of a Mortal/But like himself, the mighty is an enchanting picture of the beautiful Semele just awakening Thunderer." As Juno leaves, her remark made aside shows her from her dreams of love. The melisma on "wand'ring" stretches venom "And sure Destruction will ensue/Vain wretched Fool - out to eternity. But there is drama also in her Act I invocation to [to her] Adieu." Scene 4 "Jupiter enters, offers to embrace Jove to help her when Athamas and Cadmus press her to Semele; she looks kindly on him, but retires a little from him." decide. The elongated melodic delineation of "Oh Jove, assist Semele leads Jupiter on and finally makes him "swear by the me" in the recitative and the contrasted cross accents and Stygian Lake" to grant her request. When Jupiter hears what it dynamics of the following Larghetto, "O Jove! in pity teach me is, he tries desperately to make her retract. She refuses and which to choose" (note the skip of a ninth on "Jove") are moving withdraws. Scene 5 Jupiter, alone, is in despair at her wish and testimony to her distress. In Act III when Jove approaches his rash oath to carry it out. "... when I appear ... /Arm'd with Semele in his godlike raiment, she realizes her folly too late, and inevitable Fire/She needs must instantly expire." Scene 6 Juno her poignant repentance and regret is recreated by Handel in a appears and rejoices in her coming revenge. Scene 7 "... Semele remarkable F minor arioso of broken chords, gasping phrases, lying under a Canopy ... she looks up and sees Jupiter and calls for pity that come to a climax in orchestra silence as descending in a black Cloud.... As the Cloud which contains she expires. Jupiter is arrived ... a sudden and great Flash of Lightning breaks Jupiter is hardly a forbidding figure. He is mostly a man in forth, and a Clap of loud Thunder is heard; when at one instant love who tries to humour the whims and fancies of his wayward Semele with the Palace and the whole present Scene mortal. "I must with Speed amuse her" shows the lover who disappears...." Scene 8 Cadmus. Athamas, Ino, and Chorus of cannot let his lady complain; it is good, straightforward Handel. Priests express terror at what has happened, but Ino and But "Where'er you walk" is the aria everyone knows. Its Athamas now say it is the will of Jove that they be wed (all but matchless melody and accompaniment have long made it a the chorus of this scene is omitted in the recording). Scene 9 favourite of every tenor in the concert hall. Somehow the music Apollo appears in a cloud and foretells that "From Semele's evokes, as few other airs can, the bliss of Arcadian fields. Ashes a Phoenix shall rise/The Joy of this Earth and Delight of Interestingly enough, Handel directed that it be sung Largo e the Skies." He will be Bacchus, the god of wine, "more mighty pianissimo per tutto. than Love/And Sighing and Sorrow for ever prevent." Somnus and his two arias, along with the opening Act III Sinfonia of strings and two cello parts doubled by bassoons to

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represent his sleep at the beginning, represent one of the high points of the score. The very even movement of the strings up and down again and again in a harmonic progression that seems to go nowhere in "Leave me, loathsome Light" is a perfect sketch of the god who is too tired to move. His more animated reaction to the mention of Pasithea in "More sweet is that name than a soft, purling Stream" reminds one of a ponderous bear just aroused from his winter's nap and not quite awake yet. ' There is an unusual quartet in Act I for Semele. Ino, Athamas, and Cadmus where Handel manages to portray the four people with differing emotions (mostly sympathy for Ino who seems undone) in a remarkable manner. The composer who, at least in his operas, seldom wrote for more than two people in an ensemble, captures the essence of the moment in this quartet and anticipates the technique of Mozart and Verdi by many years. The choruses range from the chordal blocks of the priests in "Cease your Vows" and "Hail Cadmus hail" (Act I); to the lilting, playful rhythms of Loves and Zephyrs in "How engaging, how endearing" and "Now Love that everlasting Boy" - a hornpipe (Act II); to the more extended double fugue of "Bless the glad Earth with heav'nly Lays" and "Oh Terror and Astonishment." Handel's feeling for the apt musical phrase in either homophonic or contrapuntal setting is one of his finest gifts. All in all, Semele is one of his most satisfying achievements. © J. Merrill Knapp, Professor of Music, Princeton University

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SUNGTEXTS

CD29 man zählt und schließt es nicht im When He makes the trees and fields to NINE GERMAN ARIAS Kasten ein. bloom. 1. Künft‘ger Zeiten eitler Kummer Be praised, be glorified. Künft'ger Zeiten eitler Kummer 8. In den angenehmen Büschen stört nicht unsern sanften Schlummer, In den angenehmen Büschen, 6. My Soul Hears in Seeing Ehrgeiz hat uns nie besiegt. wo sich Licht und Schatten mischen, My soul hears in seeing Mit dem unbesorgten Leben, suchet sich in stiller Lust When, to glorify the Creator, das der Schöpfer uns gegeben, Aug' und Herze zu erfrischen. Everything rejoices, everything laughs, sind wir ruhig und vergnügt. Just listen Dann erhebt sich in der Brust To the splendor of the blooming 2. Das zitternde Glanzen mein zufriedenes Gemüte spring. Das zitternde Glänzen der spielenden und lobsingt des Schöpfers Güte. It is the language of nature, Wellen That clearly through our eyes versilbert das Ufer, beperlet den 9. Flammende Rose, Zierde der Erden Speaks to us everywhere., Strand, Flammendce Rose, Zierde der Erden, die rausehenden Flüsse, die glänzender Gärten bezaubernde 7. You, Who From Dark Vaults sprudelnden Quellen Pracht; You, who from dark vaults bereichern, befruchten, erfrischen das Augen, die deine Vortrefflichkeit Dig up your vain mammon, Land, sehen, Look what rich treasures und machen in tausend vergnügenden müssen vor Anmut erstaunend You have here in the air. Fällen gestehen, Do not say: it is only colour and light, die Güte des herrlichen Schöpfers daß dich ein göttlicher Finger gemacht. It cannot be counted or locked in a bekannt. chest. ENGLISH TRANSLATION 3. Süßer Blumen Ambraflocken 1. Vain Cares of the Future 8. In The Pleasant Bushes Süßer Blumen Ambraflocken Vain cares of the future In the pleasant bushes, euer Silber soll mich locken, Do not disturb our gentle slumber, Where light and shadows mix, dem zum Ruhm, der euch gemacht. Ambition has never conquered us, There one tries in quiet joy Da ihr fallt, will ich mich schwingen With the untroubled life, To refresh the eyes and heart. himmelwärts und den besingen, That the Creator gave us, der die Welt hervorgebracht. We are at peace and content. Then my contented spirit Rises in my breast 4. Süße Stille, sanfte Quelle 2. The Flickering Shimmer And sings the praises of the Creator’s Süße Stille, sanfte Quelle The flickering shimmer of playful goodness. ruhiger Gelassenheit, waves selbst die Seele wird erfreut, Silvers the shore, pearls the beach, 9. Flaming Rose, Ornament of the wenn ich mir nach dieser Zeit The rushing rivers, the bubbling Earth arbeitsamer Eitelkeit springs Flaming rose, ornament of the earth, jene Ruh' vor Augen stelle, Enrich, nourish, and refresh the land, Magical splendor of glittery gardens; die uns ewig ist bereit. And make known in a thousand Eyes, who have seen your excellence, delightful examples Must, before such beauty, admit with 5. Singe, Seele, Gott zum Preise The goodness of the magnificent awe, Singe, Seele, Gott zum Preise, Creator. That a heavenly finger has made you. der auf solche weise Weise alle Welt so herrlich schmückt. 3. Perfumed Petals of Sweet Flowers Der uns durchs Gehör erquickt, Perfumed petals of sweet flowers der uns durchs Gesicht entzückt, Your silver colour entices me wenn er Bäum' und Feld beblümet. To praise him who made you, sei gepreiset, sei gerühmet. Because you fall, I wish to soar Heavenward and sing of him, 6. Meine Seele hört im Sehen Who created the world. Meine Seele hört im Sehen wie, den Schöpfer zu erhöhen, 4. Sweet Stillness, Gentle Source alles jauchzet, alles lacht. Sweet stillness, gentle source Höret nur Of peaceful composure, des erbüih'nden Frühlings Pracht Even the soul is gladdened, ist die Sprache der Natur, When, after these times die sie deutlich durchs Gesicht Of laborious futility, allenthalben mit uns spricht. I imagine that peace, Which is prepared for us in eternity. 7. Die ihr aus dunkeln Grüften Die ihr aus dunkeln Grüften 5. Sing, O Soul, Praising God den eiteln Mammon grabt, Sing, O soul, praising God, seht, was ihr hier in Lüften Who, in such a wise manner, für reiche Schätze habt. So gloriously adorned the whole world. Sprecht nicht: es ist nur Farb' und Who refreshes us through hearing, Schein, Who delights us through sight,

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CD30 CANTATAS FOR SOPRANO SOLO spiri intorno a te fedele, dielle amore e virtù l’alma abbellì. Da quel giorno fatale (Delirio e che mova i bianchi lini amoroso) pellegrini in Acheronte. Care selve, aure grate 1. Introduzione (strumentale) 8. Recitativo 17. Recitativo 2. Recitativo Ma siamo giunti in Lete; Care selve, aure grate, erbette e fiori, Da quel giorno fatale, odi il suono soave degli Elisi beati. che l’aspre mie querele, che tolse morte il crudo Tirsi a Clori, compagni a dolor mio, sì spesso udite, ella per duolo immenso, 9. Entrée tutti a Clori ridite, sciolto il crin, torvo il guardo, se d’altro, che di lei parlo e ragiono incerto il piede, par ch’abbia in sè 10. Minuet e Arietta e quanto all’amor suo fedel io sono. due volontà due cori. In queste amene E del chiaro intelletto, piagge serene, 18 Aria per gran fiamma d’amor, turbato il da sè ridente Ridite a Clori, erbette e fiori, raggio, nasce ogni fior. s’altro mai sento foco al mio cor. ora s’adorna, ora del crin negletto Tra suoni e canti, Se lei non miro, piango e sospiro, fa dispettoso oltraggio; sempre clemente, e’l mio lamento figlio è d’amor. e varia nel pensier, ma sempre bella, spiran gli amanti d’amor. agitata, così sempre favella: 19. Recitativo 11. Recitativo Se cangiarsi potesse 3. Aria Sì, disse Clori, l’antica forma usata Un pensiero voli in ciel, e se d’un sole estinto oh quante volte, oh quante, se in cielo è quell’alma bella, più non vide il bel lume, in fronda, in sasso, in fior mi cangerei, che la pace m’involò. lo vide almen per fantasia dipinto. almen baciar potrei Se in Averno è condannato calpestato talor sue vaghe piante; per avermi disprezzato, 12. Minuet e nelle belle , io dal regno delle pene cangiato in fronda o fiore il mio bene rapirò. Dite mie piante mi porterebbe amore.

4. Recitativo 13. Recitativo 20. Aria Ma fermati, pensier, pur troppo è vero Ditemi, o piante, Non ha forza nel mio petto che fra l’ombre d’Averno o fiori voi, altro affetto, altra beltà. è condannato per giusta pena, che da Eurilla mia Non conosce l’alma amante e per crudel mio fato. beltà prendete? l’incostante infedeltà. Sì, sì, rapida io scendo Dite, vedeste mai a rapir il mio bene più risplendenti rai, Allor ch’io dissi addio dell’arso Dite alle infocate arene. ninfa di lei più vaga Ma che veggio? o più gentile? 21. Recitativo Rimira il mio sembiante dispettosa, Ah, no, no, no, Allor ch’io dissi addio poi fugge, un’ombra errante. ch’altra simile a lei darsi non puote, e ch’io lasciai quel memorabil loco, Tirsi, ah, Tirsi, ah! crudele! se tutto il vago, e il bello, dove nacque il mio foco, che si mira in altrui sparso e diviso, pensò folle il cor mio 5. Aria tutto raccolse amor nel suo bel viso. tutti gli ardori suoi render di gelo, Per te lasciai la luce, e fortuna cangiar per cangiar cielo. ed or che mi conduce 14 Aria Ahi lassa! che mi segue amor per rivederti, Il candore tolse al giglio, in ogni tempo, in ogni parte amore. tu vuoi partir da me. alla rosa il bel vermiglio, E di notte e di giorno, a tutte l’ ore, Deh! ferma i passi incerti, quando amore la formò. all’occhio della mente, o pur se vuoi fuggir, Al suo petto diè il candore, rende l’ oggetto ognor presente. dimmi, perché? della rosa il bel cinabro, e alle sue pupille ardenti 22. Aria 6. Recitativo tutti i rai del sol donò. Son qual cerva ferita che fugge Non ti bastava ingrato, dalla man che l’ancide e l’impiaga. d’avermi in vita lacerato il core? 15. Recitativo Ma se meco è lo stral che mi strugge, Dopo l’ultimo fato, Ma la beltà del volto lontananza non salda la piaga. siegui ad esser per me non è il pregio maggiore furia d’amore; ch’in lei si celi, 23. Recitativo anzi ti prendi a scherno ch’io venga se nel suo nobil core Anzi se nacque il mio teco tutto lo stuol delle virtudi è accolto, amoroso desio ad abitar l’inferno. e con tal lume in seno d’una bella virtù figlio innocente, Ma pietà per rigore ti renderò. tanti sparge d’intorno sia lontano o presente, Su, vieni al dolce oblio di Lete; raggi dal viso adorno ch’abbagliato sempre fisso è nel cor l’amato oggetto, indi daranno pace gli Elisi riman, né a così giusto affetto, al già sofferto affanno. chi la rimira come rimaner suole resiste di ragion l’alto consiglio, chi le pupille sue fissa nel sole. ch’anzi a seguir m’esorta 7. Aria un bell’amor che di virtude è figlio. Lascia omai le brune vele, 16. Aria negro pin di Flegetonte. Per formar sì vaga e bella pastorella Io farò che un zeffiretto, con virtude amore s’unì. per diletto, Tutto il bel che appar di fuore

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24. Aria one of Love’s Furies; 15. Recitative Il dolce foco mio, thus you scorn me for coming But the beauty of her face ch’accende un bel desio, to live in hell with you. is not the greatest marvel amor lusinga. But I will repay your callousness with concealed in her, Ma nasce un rio timor, pity. for in her noble heart onde languisce il cor, Arise, come to the sweet oblivion of the whole flock of virtues is gathered, ch’egli non finga. ; and with such inner light then the Elysian Fields will grant peace such bright rays emanate in place of the torment you have from her splendid face that ENGLISH TRANSLATION suffered. whoever looks at her is dazzled in the From the fateful day (Love’s fury) same way 1. Introduction (instrumental) 7. Aria as if he were gazing at the sun. Leave your brown sails, 2. Recitative dark timbers of . 16. Aria From the fateful day I will make To fashion such a lovely shepherdess, when death took Thyrsis away from a delightful breeze Love united with Virtue. Cloris, waft faithfully around you, Love gave her all the beauty of her she, overwhelmed with grief, so that your white sail appearance with hair dishevelled, troubled roams towards Acheronte. and Virtue adorned her soul. countenance and faltering gait, seemed torn 8. Recitative Dear woods, sweet breezes by contradictory desires. But we have arrived in Lethe; In her the bright rays of reason hear the sweet sound of the blessed 17. Recitative were troubled by Love’s strong flames, Elysian Fields. Dear woods, sweet breezes, plants and so that she appeared well groomed flowers, one moment, 9. Entrée constant witnesses to the bitter groans and in another unkempt, in a hideous that accompany my suffering, rage; 10. Minuet and Arietta go, tell Cloris and wandering in her thoughts, but In these pleasant if I speak and think of anyone but her, still beautiful, bright plains and how faithful I am to her in love. and distraught, thus she spoke: every flower is born smiling. 18. Aria 3. Aria Amid music and singing, Go, tell Cloris, plants and flowers, May my thoughts fly to heaven, lovers breathe love if I feel enflamed in my heart for if the noble soul who stole my peace from the clement air. anyone else, is there. if I do not see her, weep and sigh for But if he has been condemned to 11. Recitative her, Avernus Yes, said Cloris, and if my lamenting is born of for having scorned me, and if the sun were to be extinguished for her. I will snatch my love and I could not see the light any more, from the realm of pain. I would see it depicted in imagination. 19. Recitative If the old, accustomed forms 4. Recitative 12. Minuet could change, But cease, thoughts, for, alas, O how many times, how many, he has indeed been condemned Tell me, beloved plants I would change myself into a branch, a to the shades of Avernus, deservedly, stone or a flower; and to my cruel misfortune. 13. Recitative then, trampled, at least I could kiss Yes, I descend in haste Tell me, O plants, her dainty feet; to snatch my love you flowers, then, changed into a branch or flower, from thirsty on the scorching does your beauty I would be placed by Love sands. come from Eurilla? in her lovely hands. But what do I see? Tell me, did you ever see Look at my hideous appearance, more resplendent eyes, 20. Aria then flee, like a wandering shadow. or a lovelier, No other feeling, no other beauty Thyrsis, ah cruel Thyrsis! more gentle nymph? reigns in my heart. Ah, no, no, no, The soul that loves 5. Aria there can be none similar to her, knows neither inconstancy nor For you I left the light, since Love has gathered in her infidelity. and now that Love leads me here beautiful face to see you again, all that is fine and beautiful When I said goodbye you want to leave me. that can be seen scattered and divided Ah, do not steal away, among others’ faces. 21. Recitative or, if you want to flee, When I said goodbye tell me, why? 14. Aria and left that unforgettable place The white he took from the lily, where my love was born, 6. Recitative the rose from vermilion, I fancied, in a fit of madness, Was it not enough, ungrateful one, when Love fashioned her. I could turn all my fire into ice, that when you were alive you tore my To her breast he gave the white, and follow a new fortune under a new heart out? the rose’s fine cinnabar, sky. Even after the last blow of fate, and to her glowing eyes Alas, Love follows me you continue to be for me all the rays of the sun. at all times, everywhere.

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And night and day, at every hour, del riso ogni diletto, 14. Aria it keeps my beloved constantly present Se sprezzo dell’amore Piangerò, ma le mie lacrime in my mind’s eye. le sue severe leggi, ed il rigore. saran simboli dif è. Quando piange un’alma forte, 22. Aria 6. Aria sol nel regno della morte, Like a wounded deer I flee Ben impari come s’ama si lusinga aver mercè. from the hand that kills and wounds in amor chi vuol goder. me. Non ha pari alla mia brama 15. Recitativo But if I carry the arrow that torments il rigor, del nume arcier. Fra quell’orride soglie, me, tutto festante, distance will not heal the wound. si raggira il piede O lucenti, o sereni occhi olocausto d’amor, e della fede. 23. Recitative 7. Recitativo Thus if my amorous desire O lucenti, o sereni occhi, 16. Aria was born the innocent child luci fatali, Su rendetemi colei, of a noble virtue, ben vi scorgo consolata un infelice, the object of my love, whether near or quai tremoli baleni; cari numi, amati dei, far, che fulmini d’amore voglio Nice. is for ever lodged in my heart, presagite crudeli Date tregua al duol interno! nor can high counsel a questo core? Dalle fiamme dell’inferno reasonably resist such a just affection, sorgerò nova fenice. but exhorts me to follow 8. Aria Voglio Nice. a noble love born of virtue. Per voi languisco e moro, luci belle e pur godete. 24. Aria Voi, negandomi ristoro, Aure soavi e liete My sweet flame, dispettose m’uccidete. 17. Recitativo fanned by a noble desire, Aure soavi e liete, is flattered by Love. 9. Recitativo ombre notturne e chete, But a base fear is born in me, Messaggiero verace, voi dall’estivo ardore and my heart languishes, or la guerra bramate, dolci ne difendete. in case he is feigning. or la tregua vi piace, Ma non trova il mio core, Translation: James Chater e per tormento all’alma innamorata nel suo cocente ognor loco amoroso, siete qua’acri demoni d’averno chi lo difenda o chi gli dia riposo. e nel ciel di beltà lampi, d’inferno. Onde fra voi solingo, CD31 di parlar a colei Un’alma innamorata 10. Aria che pur non m’ode, 1. Recitativo In voi, pupille ardenti, aure soavi, ombre notturene io fingo. Un’alma innamorata, ritrovo il mio piacer, prigioniera d’amore, torvo la pena. 18. Aria vive troppo infelice. Per voi, luci splendenti, Care luci, che l’alba rendete Divien sempre maggiore quel faretrato amor, quand’a me così belle apparite il mal, che non intende, il mio dolente cor, voi nel cor mille fiamme accendete, allor che nell’amar schiava si rende. stringe in catena. ma pietà dell’ardor non sentite.

2. Aria 19. Recitativo Quel povero core, Del bell’idolo mio Pietà, Clori, pietà ferito d’amore 11. Recitativo se quell che pietà sia sospira se adira, Del bell’idolo mio dentro al tuo cor si sa. se vive fedel. quest’è la fragil sua terrena salma. Deh! Fa che l’alma mia Sia il solo dolore Per rintracciar quell’alma veda e conosca a prova, geloso timore, scenderò d’Acheronte che la pietà nel tuo bel cor si trova. le pene e catene, al tenebroso lago; martire crudel. quell’ adorato imago 20. Aria mi sarà cinosura in fra gl’abissi. Un’aura flebile, 3. Recitativo Corri, corri a morir, misero amante, un’ombra mobile, E pur benché egli veda che la mortal sentenza sperar mi fa morta del suo servir, io già la fluminai, e già la scrissi. che Clori amabile, la speme istessa nell’alma nobile vuole col suo languir, 12. Aria senta pietà. viver con essa. Formidabil gondoliero, io ti bramo, approda alla riva. 4. Aria Nel varcare il temuto sentiero Tra le fiamme (Il consiglio) Io godo, rido e spero, Un certo diletto 21. Aria ed amo più d’un core, mi nasce nel petto, Tra le fiamme tu scherzi per gioco, e so ridir perché. che l’alma ravviva. O mio core, per farti felice, Se segue il mio pensiero e t’inganna una vaga beltà. un vagabondo amore 13. Recitativo Cadon mille farfalle nel foco, cercate voi dov’è. Ma se non la rinvengo e si trova una sola fenice, là nello stigio regno, che risorge se a morte sen va. 5. Recitativo misero, oh! che farò? In quanto a me ritrovo

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22. Recitativo 4. Aria Dedalo già le fortunate penne I rejoice, laugh and hope, 12. Aria tessea con mano ardita and love more than one heart, Formidable gondolier, e con tenera cera piuma a piuma and I can tell you why. I want you, approach the shore. aggiungea. If my mind pursues While crossing the fearful border, Icaro, il fanciulletto an idle love, a certain delight sovente confondea l’ingegnoso lavoro; you will be hard put to see it. is born in my breast, Ah, così mai trattato non avesse e cera that revives my spirit. e piume: 5. Recitative Per chi non nacque augello il volare è For I am bursting 13. Recitative portento, with laughter and joy, But if I do not find her again il cader è costume. if I spurn the harsh laws there in the Stygian kingdom and rigours of love. miserable one, oh! what will I do? 23. Aria Pien di nuovo e bel diletto, 6. Aria 14. Aria sciolse l’ali il giovinetto, May he who wishes to be happy in I will weep, but my tears e con l’aure gìa scherzando. love will be symbols of faith. Ma del volo sì gradito learn how to love. When a strong soul cries, troppo ardito My desire cannot be compared with even in the kingdom of death, l’onda ancor va mormorando. the rigour of the archer God. it hopes to find mercy.

24. Recitativo 15. Recitative Sì, sì, purtroppo è vero: O shining, o serene eyes Over those horrid thresholds, nel temerario volo molti gl’Icari son, 7. Recitative completely jubilant, Dedalo un solo. O shining, o serene eyes, one wanders into fatal lights, a conflagration of love and of faith. 25. Aria I see you Voli per l’aria chi può volare as quivering lightning flashes; 16. Aria scorra veloce la terra il mare what cruel Give her back to me, parta, ritorni né fermi il piè. thunderbolts of love console an unhappy soul. Voli ancor l’uomo ma coi pensieri do you presage to this heart? dear spirits, beloved gods, che delle piume ben più leggeri I want Nice. e più sublimi il ciel gli diè. 8. Aria Give peace to my inward grief! For you I languish and die, From the flames of the inferno 26. Recitativo beautiful lights, and yet you rejoice. I will rise a new phoenix. L’uomo che nacque per salire al cielo, You, denying me relief, I want Nice. ferma il pensier nel suolo, scornful, kill me. e poi dispone il volo con ali che si finge, 9. Recitative Soft and delightful breezes e in sé non ha. True messengers, 17. Recitative now you desire war, Soft and delightful breezes, 27. Aria now a truce pleases you, hushed evening shadows, Tra le fiamme… and to the torment of a loving soul from summer heat you are like savage demons of , you give us sweet relief. ENGLISH TRANSLATION and in a heaven of beauty, flashes of But my heart cannot find, A soul enamoured hell. in its ever-burning, loving core, 1. Recitative the one who will defend it or give it A soul enamoured, 10. Aria rest; imprisoned by love, In you, burning eyes, wherefore alone among you, lives in a wretched state. I rediscover my pleasure, I imagine speaking to her, The evil always becomes greater [and] I find pain. who does not hear me, than the soul realizes, Because of you, splendid lights, soft breezes, evening shadows. when by loving she turns into a slave. love, with his arrows, my sad heart 18. Aria 2. Aria binds in chains. Dear eyes, that bring the dawn The poor heart when so beautiful you appear to me, wounded by love you light a thousand flames in my sighs if it becomes enraged, Of my beautiful idol heart, if it remains faithful. 11. Recitative but you do not feel pity for the May the only hurt be This is the fragile, earthly corpse burning. jealous fear, of my beautiful idol. pains and chains, In order to track down her soul 19. Recitative cruel torment. I will descend Pity, Clori, pity, to the gloomy lake of Acheronte; if that which pity 3. Recitative that beloved image is known inside your heart. And yet, although it sees will be my guiding light among the Pray! Make my soul hope itself die abysses. see and experience the proof when it serves her, Run, run to die, miserable lover, that pity exists in your beautiful heart. it desires to live in hope since the deadly decision I have by languishing. already made, and already written.

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20. Aria 27. Aria volgi altrove l’amante pensier. A gentle breeze, You playfully dart… a passing shadow, 5. Recitativo makes me hope Translation of cantatas Un’alma that lovely Clori innamorata and Tra le fiamme by Fillide in [her] noble soul James Chater Credi a miei detti, Aminta, feels pity. Translations of continuo cantatas are e lascia in pace me, che per genio reprinted by permission of the e per costume antico publisher from HANDEL AS ORPHEUS: ho troppo in odio l’amorosa face. Among the flames (The advice) VOICE AND DESIRE IN THE CHAMBER 21. Aria CANTATAS by Ellen T. Harris, Aminta You playfully dart among the flames, Cambridge, Mass.: Harvard University Come in odio aver puoi O my heart, to make yourself happy, Press, Copyright © 2001 by the Quella face d’amor, che ogni momento and are deluded by a fine-looking President and Fellows of Harvard si vede sfavillar ne’ lumi tuoi. beauty. College. Thousands of butterflies fall into the 6. Aria fire, but there is only one phoenix CD32 Aminta who can rise from the dead. Aminta e Fillide HWV83 Forse che un giorno 1. Ouverture / Recitativo il Dio d’amore 22. Recitative potrebbe al core Daedalus once, with crafty hands, Aminta piaga formarti, weaved Arresta il passo, ninfa, che sia mortal. fortunate wings di questo cor, empia tiranna! Che bel mirarti and with soft wax added feather to e se il duol che m’affanna, allor languire feather. come figlio d’amor, udir non vuoi, penar, soffrire, Icarus, the boy, soffri almen, spietata, l’aspre punture, often bungled this cunning work; come effetto crudel d’acuto stral. ah, he should never have treated wax de’ scherni tuoi. or wing in 7. Recitativo this way: 2. Aria for one not born a bird, flying is Fillide ominous, Aminta In vano, in van presumi, and usually ends in a fall. Fermati, non fuggir! scuotere il mio pensier, lasciami pria morir, chè di Cupido l’arco schernisco 23. Aria Fillide ingrata! e dello stral mi rido. Full of renewed joyfulness, Scorgi la mia costanza, the young boy unfurled his wings, poi, se rigor t’avanza, Aminta darting about in the wind. scacciami del tuo sen, Deh! per pietà But the flight, bella ostinata. rispondi ninfa bella e crudele, so enjoyed but too bold, se ti specchiasti mai nel rio, nel fonte, is still being talked about by the 3. Recitativo come amor non ascondi murmuring waves. di tua rare beltade? Aminta E se ami, e se conosci 24. Recitative Questa sol volta almeno, del tuo volto gentil, tutti i tesori, Yes, yes, alas it is true: odi le mie querele perchè non brami ancor there are many like Icarus, flying ascolta i miei sospiri! che altri l’adori? rashly, but there is only one Daedalus. Fillide Fillide Tu mi chiami crudele, Perchè non vuò pastor, 25. Aria Senz’avvederti ancora, che il fonte e il rio, Fly through the air, whoever wishes to quanto lontan del giusto erri e deliri. s’accrescan coll’umor del pianto mio. do so, scurrying through earth and sea, Aminta 8. Aria coming and going without stopping. Dunque l’amarti e l’adorati, o cara, May man fly, but with thoughts stimi una follia? Fillide far lighter and more sublime than Fu , fu gioco wings, Fillide chi disse che il foco such as heaven gave him. Seguir chi fugge, del nume di Gnido e chi l’amor disprezza, contento ci dà; 26. Recitative è proprio d’alma Quel cor che non pena The man born to ascend to heaven a delirare avvezza. nell’aspra catena rests his thought upon the ground, così per diletto and then furnishes his flight with wings 4. Aria cantando sen và. that are contrived, Fillide 9. Recitativo that he was not born with. Fiamma bella che al ciel s’invia s’Euro infido gli neghi affetto Fillide cangia a forza l’usato sentier. Libero piè fugga dal laccio, Così ancora se cruda, se ria, e i giorni coll’aura sol te discaccio da questo mio petto, di libertà respiri.

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Aminta costante e fedele as the progeny of love Quei che sembran martiri, quest’alma sarà. at least, unfeeling girl, consider it che han faccia di tormenti Che se Filli ad amarmi si muove, as the cruel effect of your scorn. d’ogni amator nel seno, son chiare le prove Fillide, in un baleno, di sua fedeltà. 2. Aria si cangiano in piaceri ed in contenti: Dunque se ciò t’affrena, 15 Recitativo Aminta vieni pur lieta, o cara, Stay, do not fly; incontro alla dolcissima catena. Fillide rather let me die, Vincesti, Aminta, e l’amoroso affanno, hard-hearted Phyllis. Fillide per dichiararmi affatto Observe my constancy, Taci, pastor, non più! di libertade priva, then, if your severity persists, già dell’anima mia si fa tiranno; drive me from your heart, Aminta ma con tanta dolcezza stubborn, beautiful girl. Come dunque crudele, usa i rigori, che il rio martoro, più ascoltarmi non vuoi? quando mi giunge in seno, 3. Recitative vesta manto di gioia e di tesoro. Fillide Aminta No perché han troppo forza i detti 16. Aria This once, at least, tuoi. hear my ; Fillide listen to my sighs. Aminta È un foco, quel d’amore, Ah! Barbara, inumana, che penetra nel core, Fillide se la giusta cagione dell’amor mio ma come? Non si sa. You call me cruel nel mio parlar comprendi, S’accende a poco a poco, without yet perceiving how much come di pari ardor tu non t’accendi? ma poi non trova loco, you rave and stray far from good e consumar ti fa. sense. 10. Aria 17. Recitativo Aminta Aminta Then you think it folly, beloved, Se vago rio Aminta to love you and adore you? fra sassi frange Gloria bella di Aminta l’amato argento, mirar, Fillide vaga, Fillide al fin contento dalla sua fedeltà Following one who flees posa nel mare. costretta e vinta. and who despises love Il ciglio mio, befits a soul che sempre piange, Fillide disposed to madness. non trova seno, Si, si, vincesti che ponga freno 4. Aria al suo penare. Aminta e Fillide Ed io fedele amante! Fillide 11. Recitativo Ed io sempre costante! The lovely flame which rises to heaven Fillide should the wayward east wind D’un incognito foco, Fillide deny it achievement must change its già sento a poco a poco, Dirò che non fu mai vana speranza, usual path. le vampe entro del seno. vincer l’altrui rigor con la costanza. So also, if harshly and cruelly Mia cara pace, addio! I drive you from my heart, vuol di me vendicarsi il cieco Dio. Aminta your loving thoughts should turn Ridir potrò che, spargere querele, elsewhere. 12. Aria non fu mai vista indarno alma fedele. 5. Recitative Fillide 18. Duo Sento che il Dio bambin Fillide col strale suo divin, Aminta e Fillide Believe my words, Amyntas, m’ha il sen piagato. Per abbatter il rigore and leave me in peace, for by E già questo mio cor d’un crudel spietato core, inclination and long-accustomed habit più non ricusa amor, forte scudo è la costanza I hold love’s torch too much in hate. ed è cangiato. e il valor di fedeltà. Volga al cielo i sguardi, ai Numi Aminta 13. Recitativo chi, al fulgor di quei bei lumi, How can you hate that torch of love vuol nutrire la speranza which at every moment Aminta di trovar un dì pietà. is seen sparkling in your eyes? Felicissimo punto, in cui nel seno ENGLISH TRANSLATION 6. Aria la mia fiamma ti giunge, 1. Overture / Recitative e l’amoroso dardo il cor ti punge. Aminta Aminta Perhaps one day 14. Aria Halt your steps, nymph, the god of love merciless of my heart, may give your heart Aminta and if you will not hear a wound Al dispetto di sorte crudele, the grief that afflicts me which will be fatal;

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How lovely then Fillide with such gentleness that the cruel to gaze upon you No, for your words have too much pain, languishing and grieving, power. when it reaches my heart, suffering the stinging wounds puts on a cloak of joy and delight. of a sharp arrow. Aminta Ah, unfeeling, inhuman girl, 16. Aria 7. Recitative if the true cause of my love you understand from my words Fillide Fillide why do you not burn with an equal Love’s fire is a fire Vainly, vainly you attempt flame? which penetrates the heart – to trouble my thoughts but how? No one knows. when I scorn Cupid’s bow 10. Aria It grows by degrees and laugh at his arrow. but then finds no place to go Aminta and burns you away. Aminta Though a pretty stream Ah! in pity answer me, fair and cruel may break up its lovely silver 17. Recitativo nymph, among rocks, if you have ever seen at last it happily Aminta from your reflection in brook or spring comes to rest in the sea; It is Amyntas’ wondrous glory how love does not hide but my eyes, to see fair Phyllis from your rare beauty: ever weeping, chained and conquered and if you love, and if you know find no heart by his fidelity. all the delights of your delicate face, that offers respite why do you not also desire to their suffering. Fillide others to adore? Yes, yes, you have won 11. Recitative Fillide Aminta and Fillide Because, shepherd, I would not Fillide And I am your faithful lover! have the spring and brook Now little by little And I am ever true! swollen with water of my tears. I feel the flames of an unknown fire within my breast. Fillide 8. Aria Farewell, my dear peace! I shall say that never vain was the hope The blind god will have his revenge of overcoming with constancy Fillide upon me. another’s He spoke in jest, in mockery, coldness. who said that the fire 12. Aria of the god of Gnidus Aminta brings happiness: Fillide I can repeat that never was a faithful that heart which does not suffer I feel that the baby god soul in harsh chains has wounded my breast seen to utter laments in vain. thus goes its way with his divine arrows; singing in delight. and already my heart 18. Duo is changed 9. Recitative and no longer refuses love. Aminta and Fillide In attacking the coldness Fillide 13. Recitative of a cruel, pitiless heart, With unfettered steps let me fly from constancy is a strong shield the snare Aminta and so is the valour of fidelity. and all my days let me breathe only Most happy that moment Let him turn his heaven to the gods, the air of liberty. when my flame who in the splendour of those fair eyes reaches your breast would nourish hope Aminta and love’s dart pierces your heart. of one day finding compassion. These seeming tortures which have the appearance of 14. Aria Translation by Anthony Hicks torments Reproduced by permission of his in the breast of every lover, Aminta Executors Phyllis, in one lightning flash Despite cruel fate, change to pleasures and delights. my soul shall be constant Therefore, if that is what holds you and faithful; back, for if Phyllis is moved to love me come then, beloved, happily into the the vindication compass of its fidelity is clear. of the sweetest of chains! 15. Recitative Fillide Be silent, shepherd. Say no more! Fillide You have won, Amyntas, and love’s Aminta torment by declaring me Why so, cruel girl? utterly deprived of liberty Will you no longer hear me? now becomes the ruler of my spirit; but it uses its severity

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CD33 8. Aria Qu’à les rendre aimables, Clori, mia bella Clori HWV92 Di gelosia il timore Puis qui’l les a rendus si courts. 1. Recitativo dice all’amante core Aimons nous, l’amour nous convie Clori, mia bella Clori che non sarai fedel. Livrons nous à tous nos désirs, lungi da te, che sei Ond’io, tra gelo e foco, Sans compter les jours de la vie. dolce d’ogni mio ben cagione amata mi struggo a poco a poco Cherchons à goûter ses plaisirs. quest’alma sventurata, per mio destin crudel. Aimons nous. come viver potrà? Se sol da quelle 14. Récitatif luci del volto tuo Sans y penser (Cantate française) serene e belle HWV155 Silvie prende il misero cor grato alimento, 9. Chanson Vous ne sauriez flatter ma peine, come lungi starò, Doux ruisseaux, paisible fontaine. senza che mi dia morte Silvie Mon Tirsis va quitter ce lieu. il mio tormento? Sans y penser Hélas! Hélas! Ma douleur est extrême À Tirsis j’ay su plaire Quand je pense qu’il faut 2. Aria Sans y penser Recevoir adieux Chiari lumi, voi che siete Aussi Tirsis m’a su charmer. De ce charmant berger que j’aime. il mio fato, rispondete, Amour prend soin, senza voi viver potrò? Prend soin de cette affaire. 15. Air Voi ch’il duol mio non gradite Il pourrait bien se già pietose un sì mi dite Dégager sans y penser. Tirsis ma il mio cor teme di nò. Non, non je ne puis plus souffrir 10. Récitatif Les infidélités 3. Recitativo D’une ingrate bergère Temo, ma pure io spero, Tirsis Ma bouteille sera bella, di non morir, Si’l ne falloit que bien aimer Désormais mon plaisir. che quello stesso pensier che mi Pour attendrir ma bergère, Si quelquefois elle devient légère tormenta, Tous mes rivaux J’en suis quitte pour la remplir. mi dice ancor: Ne sçauroient se il bel sembiante impresso M’alarmer. porti della tua Clori in mezzo al petto, Mais, hélas! ce n’est point l’amant Clori, vezzosa Clori HWV95 L’alta virtù del tuo costante affetto Le plus fidèle qui doit espérer 16. Recitativo ovunque il piè s’aggiri D’être heureux. Clori, vezzosa Clori, farà che quella in ogni oggetto miri. C’est toujours celui Lontan dal tuo sembiante Qui sait plaire Fra i taciturni orrori 4. Aria Et que l’on croit Di boscareccie piante, Ne gigli e nelle rose Le plus amoureux. Fra le pompe del prato, cara le tue vezzose E il mormorar del rio, sembianze io mirerò. 11. Air Ho sempre dinanzi Nel sole e nelle stelle Il tuo bel volto amato. delle tue luci belle Tirsis l’imago adorerò. Petite fleur brunette, 17. Aria Aimabile violette, Il bosco, il prato, il rio, 5. Recitativo Que ne puis je avec Di te, caro ben mio Non è però che non molesta e grave Vous changer mon triste sort! L’imagine adorata lontananza si dura Vous languissez dans Riportano al pensier. abbia l’alma a soffire Le sein de Silvie. E se zampilla if fonte che quel piacer soave Je trouverais Mi par di star à fronte di cui parte si perde La vie où vous trouvez la mort. De lumi tuoi vivaci perdere no si può senza martire. E del tuo guardo arcier. 12. Récitatif 6. Aria 18. Recitativo Mie pupille Tirsis Se l’usignol canoro, se tranquille Vous, qui m’aviez procuré Dolcemente si lagna foste un giorno Une amour éternelle Dell’infida compagna, or v’invito a lacrimar. Vous, qui j’amais si tendrement, Mi richiama nel seno Ne sarete Pouvez vous bien être infidèle Quel geloso veleno mai più liete À votre plus fidèle amant? Che lontano date se non torno Je devrois vous rendre la change, M’opprime il core: Clori vaga a rimirar. je devrois vous haïr ou changer. In somma a tutte l’ore, Mais si c’est par là qu’on se venge, Et ovunque rivolgo il piede errante 7. Recitativo Je ne veux jamais me venger. Sempre fido e costante Tu nobil alma intanto Mi si fa scorta amore, se hai pietà del mio pianto, 13. Air Quel caro amor che servo tuo mi rese, figlio insieme d’amore, e gelosia, E di fiamma si bella il cor m’accese. quella parte che mia, Silvie è nel tuo sen, poichè tuo servo io fui, Nos plaisirs seront serba tutta per me, niegala altrui. Peu durables, Le destin a comté nos jours. Ne songeons

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19. Aria Se in così rio tormento, Non è possibile, Spero trovar pietà del mio martire! 6. Aria O Clori amabile No, non basta il soffrire, My eyes, Che di te scordesi Se sperar non mi lice once so tranquil, L’amante cor. In così fiera sorte, I now invite Non e Credibile Se non la tirannia di cruda morte. to shed tears. Quanto durabile Ne giova il pianger sempre And you will never Sarà nell’anima A franger del destin le dure tempre. be happy again L’acceso ardor. if I do not return 27. Aria to see my lovely Clori. Dunque se il tanto piangere Pensieri notturni di Filli (Nel dolce Non basta il fato a frangere, 7. Recitative dell’oblio) HWV134 Vivere io più non vuò, Meanwhile you noble soul, 20. Recitativo Ch’il misero mio cor, if you feel pity for my tears, Nel dolce dell’oblio A così rio dolor, born of both love and jealousy, benché riposi (Al fiero suo dolor,) that part which is mine la mia Filli adorata veglia Resistere non può. in your heart, since I was your slave, coi pensier suoi keep it all for me, refuse it to others. e in quella quiete ENGLISH TRANSLATION Amor non cessa mai Clori, mia bella Clori HWV92 8. Aria con varie forme Fear of jealousy la sua pace turbar 1. Recitative tells the lover’s heart mentr’ella dorme. Clori, my lovely Clori, you will not be faithful. how can this ill-fated soul of mine So, caught between frost and fire, 21. Aria live far from you, I gradually pine away: Giacché il sonno a lei dipinge the beloved source such is my cruel destiny. la sembianza del suo bene, of all my happiness? Translation: James Chater nella quiete ne pur finge If my wretched heart d’abbracciar le sue catene. finds welcome sustenance Sana y penser (Cantate française) only from your face, HWV155 22. Recitativo lit up by those bright and beautiful 9. Chanson Così fida ella vive eyes, al cuor che adora how can I remain far from you Silvie e nell’ombre respira without dying Without thinking about it la luce di quel sol of torment? I made Tirsis fall in love with me. per cui sospira. Without thinking about it 2. Aria Thyrsis also claimed my heart. 23. Aria Bright eyes, you who are Love has taken charge Ha l’inganno il suo diletto my destiny, reply: Of this affair. se i pensier mossi d’affetto without you can I live? He [also] might withdraw from it stiman ver ciò che non sanno. You, who do not want me to suffer, Without thinking about it. Ma se poi si risveglia un tal errore tell me a compassionate ‘yes’, il pensier ridice a noi but my heart fears you mean ‘no’. 10. Recitative ha l’inganno il suo dolore. 3. Recitative Tirsis I fear, and yet I hope, If loving well were all that were Lungi n’andò Fileno HWV128 o fair one, not to die, required 24. Recitativo for that same thought that torments To soften the heart of my shepherdess, Lungi, lungi n’andò Fileno, me still tells me: All my rivals Filen, del viver mio parte migliore, ‘If you bear the lovely resemblance Could not Alma dell alma mia, of Clori imprinted on your heart, Excite my fears. Cor del mio core! the noble virtue of your undying love But, alas! it is not the lover O Dio! sapessi almeno, will cause you to see it reflected in Who is most constant who can hope to Dov’ei lasciandomi rivolse il piede, every object, be Che, in segno di mia fede, wherever you may roam.’ Rewarded with joy. Al caro ben volar vorrei d’appresso, It is always the one Ma giacché tanto a me non è 4. Aria Who knows how to charm concesso, In lilies and roses And who is thought to be Ah! disfatevi intanto I will see your The most loving. Mie dolenti pupille in mesto pianto. lovely appearance reflected. In the sun and the stars 11. Air 25. Aria I will see reflected Si, piangete, O mie pupille, the image of your lovely eyes. Tirsis Ed al suon di vostre stille O tiny, dark flower, Coi sospir risponda il cor. 5. Recitative O violet so winsome, E risuoni in flebil eco, Not that my soul does not suffer Why cannot I exchange my In ogn’antro, in ogni speco, from such a troublesome, severe, Sad fate with you! La mia pena, if mio dolor. cruel separation, Your petals wilt for that sweet pleasure On Sylvia’s bosom. 26. Recitativo of which one loses a part I would find life where Ahi! m’inganno, infelice, cannot be lost without suffering. You find death.

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I seem to stand in front of Lungi n’andò Fileno HWV128 12. Recitative Your sparkling eyes 24. Recitative And your dart-like glance. Far, far Fileno has gone. Tirsis Fileno, the better part of my life, You, who aroused in me a love 18. Recitative Soul of my soul, That could last forever If the singing nightingale, Heart of my heart! You, whom I loved so tenderly, Sweetly complaining O God! if at least I knew Can it be so that you are unfaithful Of his unfaithful companion, Where, leaving me, he directed his To your most faithful lover? Calls up in my breast steps, I ought to pay you back in your own That jealous poison For, as a sign of my faith, coin, That, far from you, I would fly close to my dear beloved, I ought to hate you or change Oppresses my heart: But since that much is not granted to But if that is how one gets revenge, [Then] in sum, at all hours, me, I never want to do so. And wherever I wander, Ah! dissolve meanwhile Always faithful and constant, My grieving eyes in bitter tears. 13. Air Love escorts me, That dear love that made me your 25. Aria Silvie servant, Yes, weep, O my eyes, Our pleasures will And with a beautiful flame fires my And at the sound of your tears Only be fleeting, heart. Let my heart respond with sighs. For Fate has counted our days. And let resound in plaintive echo, Let us not think 19. Aria In every cave, in eury cavern, Only of how to make them happy, It is not possible, My suffering and my sorrow. Since it has made them so short. O lovely Clori, Let us love, for love invites us, For the loving heart 26. Recitative And give way to all our desires, To forget you. Ah! I deceive myself, unhappy me, Without counting the days of our life. It is not believable If in such crud torment Let us seek to enjoy its pleasures. That burning ardour I hope to find pity for my torture! Let us love. Will be so lasting No, the suffering is not enough, In the soul. If it is not permitted for me to hope 14. Recitative Translation: Ellen T. Harris In such a cruel fate, Except for the tyranny of a cruel death. Silvie Nor does the endless weeping help You cannot assuage my sorrow, Pensieri notturni di Filli (Nel dolce To break the harsh grip of destiny. Soft waters, peaceful fountain. dell’oblio) HWV134 My Thyrsis is about to go from here. 20. Recitative 27. Aria Alas! Alas! My distress knows no limits, Although she sleeps Thus, if so much weeping When I think that it is necessary in the sweetness of oblivion, Is not enough to crush fate, To receive farewells my beloved Phyllis’ I wish to live no longer, From this charmin shepherd whom I thoughts are awake, Since my miserable heart, cherished. and in the stillness Such cruel pain, Love never ceases (Its own fierce pain,) 15. Air to disturb her peace Can no longer withstand. Tirsis in various ways Translation: Ellen T. Harris No, no, I can longer bear while she sleeps. The faithlessness Of an ungrateful shepherdess. 21. Aria Now this bottle will Since sleep conjures up Henceforth be my pleasure. the resemblance of her beloved, And if perchance it gets light, she imagines, in the stillness, All I need to do is refill it. that she is embracing his chains. Translation: Terence Best 22.Recitative Thus she remains faithful Clori, vezzosa Clori HWV95 to the beloved heart 16. Recitative and in the shade she breathes in Clori, charming Clori, the light from that sun Far from your countenance, for which she longs. Among the silent terrors Of the [dark] woods, 23. Aria Among the splendour of the fields, Deception is joy, And the murmur of the river, if thoughts, moved by love, I always have before me take as true what they do not know. Your beautiful, loved image. But if on waking our thoughts reveal the error, 17. Aria deception is pain. The wood, the field, the river Translation: James Chater My dear beloved, Carry back the adored image Of you to my thoughts. And if the fountain gushes forth,

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CD34 Cadon mille farfalle nel foco, và, non ti credo! ITALIAN CANTATAS e si trova una sola fenice, Mira Lilla gentile che risorge se a morte sen va. 6. Amor, gioie mi porge Text: anonymous Amor, gioie mi porge, Recitativo e tu, sempre più ria, Recitativo Dedalo già le fortunate penne le trasformi in tormenti, o gelosia! Mira Lilla gentile, tessea con mano ardita Onde al bendato nume rinunzio ogni mira quel verde prato e con tenera cera diletto, Che con ridenti fiori piuma a piuma aggiungea. poiché dentro il mio petto col tuo fanno vaga corona all’amen colle Icaro, il fanciulletto crudel veleno, Ed innaffiato da cristallini fonti sovente confondea fai le dolcezze sue cotanto amare, che bacian mormorando il seno a l’ingegnoso lavoro; ch’io non bramo a gioir per non Flora. Ah, cosi mai trattato non avesse penare. Ed armoniosi augelli e cera e piume: Che soavi accenti Per chi non nacque augello 8. Caro autor di mia doglia Tutti brillan di gioia il volare è portento Caro autor di mia doglia, Ed io tra catene d’amor il cader è costume dolce pena del core, E tra tormenti! mio respiro, mia pace! Aria No, no, Che d’altri che di te mai non Aria Pien di nuovo e bel diletto, sarò. Non dar più pena o cara sciolse l’ali il giovinetto, O volto, o lumi, o labbra! A un cor che tanto t’ama e con l’aure già scherzando. Dagl’amori flagellata la discordia E per te more Ma del volo si gradito fuggirà, Gemendo ogn’or sospira troppo ardito bella gioia innamorata lampi eterni Ch’altro da te non brama l’onda ancor va mormorando spargerà. Che darti il core Dagl’amori flagellata la discordia Recitativo fuggirà. Recitativo Si, si purtroppo è vero: Ferma deh ferma o bella nel temerario volo 10. Ahi, nelle sorti umane Dove giri le piante? molti gl’lcari son, Dedalo un solo! Ahi, nelle sorti umane Ferma per pietà! quella sarìa d’un cor felicità maggior Ascolta almeno un cor Aria ch’è senza affanno! Che tutto fedeltà langue e sospira! Voli per l’aria chi può volare Ma le speranze vane ingannano i O Dio! Già la bella sparì, sparì l’infida (impenni l’ali chi può volare in pensier, Né vi è chi dà soccorso La caduta di Icaro) che il duolo ed il piacer compagni Al dolor mio scorra veloce la terra il mare vanno. parta, ritorni né fermi il piè. Nò, di voi non vo’ fidarmi Aria Voli ancor l’uomo ma coi pensieri Nò, di voi non vo’ fidarmi, cieco amor, Consòlati mio core che delle piume ben più leggeri crudel beltà! Discaccia quel dolore e più sublimi il ciel gli dié. Troppo siete menzognere, lusinghiere Che l’alma ti piagò deità. E spero che Amore Recitativo Altra volta incatenarmi già poteste il Vendicarà quel core L’uomo che nacque per salire al cielo, fido cor! Che infido m’oltraggiò ferma il pensier nel suolo, So per prova i vostri inganni: due e poi dispone il volo tiranne siete ogn’or. Recitativo con ali che si finge, e in sé non ha Sogno o son desto? Già mi lasciò l’infida dispietata! Già più non la rimiro! CD35 Saettatela o dei, se giusti siete! Italian Duets Ma no! Fermate! 2. Quel fior che all’alba ride Il mio cor trafiggete ed impiagate! Quel fior che all’alba ride Viva la bella! Io sol morir dovrò, il sole poi l’uccide, Ma non già quella! e tomba ha nella sera. E’ un fior la vita ancora, Aria l’occaso ha nell’aurora, Benché infida tu mi fuggi e perde in un sol dì la primavera Benché ingrata mi disprezzi Pur per te morir dovrò 4. Và, và speme infida pur E se poi dirai pentita: Và, và speme infida pur, ‘Idol mio, son la tua vita!’ và, non ti credo! Ancor io morir vorrò. Tu baldanzosa mi vai dicendo al core: presto in dolce pietà vedrai cangiarsi Tra le fiamme HWV170/La caduta di quel che teco usa Filli aspro rigore. Icaro Ma se mendace e vana fosti ognor, Libretto: Cardinale Benedetto Pamphili ch’in tal guisa a me dicesti, fede or vuoi che ti presti, Aria quando di lei nel volto Tra le fiamme tu scherzi per gioco, sdegno e dispetto accolto O mio core, per farti felice, più che mai contro me misero io vedo? e t’inganna una vaga beltà. Và, và speme infida pur,

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CD36 Solo a Cintia io son fedel. APOLLO E DAFNE (La terra è liberata) Alle fiamme del germano DAFNE HWV122 Cintia vuoi ch’io sia crudel. Sorda son O? 10. Recitative APOLLO 17. Recitative APOLLO La terra e liberata! APOLLO Orsa e tigre tu sei! La Grecia e vendicata! Apollo ha vinto! Che crudel! Dopo tanti terrori e tante stragi DAFNE Che desolaro e spopolaro i regni DAFNE Tu non sei Dio! Giace Piton, per la mia mano estinto. Ch’importuno! Apollo ha trionfato. Apollo ha vinto! APOLLO APOLLO Cedi all’amor, o proverai la forza. 11. Aria Cerco il fin de’ miei mali. APOLLO DAFNE Pende il ben dell’universo DAFNE Nel sangue mio questa tua fiamma Da quest’arco salutar. Ed io lo scampo. amorza. Di mie lodi il suol rimbombe Ed appresti l’ecatombe APOLLO 24. Duet Al mio braccio tutelar. Io mi struggo d’amor. APOLLO Deh, lascia addolcire quell’aspro rigor. 12. Recitative DAFNE APOLLO Io d’ira avvampo. DAFNE Ch’il superbetto Amore Più tosto morire che perder l’onor. Delle saette mie ceda a la forza; 18. Duet Ch’omai più non si vanti APOLLO AND DAFNE APOLLO Della punta fata! d’aurato strale. Una guerra ho dentro il seno Deh, cessino l’ire, o dolce mio cor. Un sol Piton più vale Che soffrir più non si può. Che mille accesi e saettati amanti DAFNE APOLLO Più tosto morire che perder l’onor. 13. Aria Ardo, gelo. APOLLO 25. Recitative Spezza l’arco e getta l’armi, DAFNE APOLLO Dio dell’ozio e del piacer. Temo, peno; Sempre t’adorerò! Come mai puoi tu piagarmi, Nume ignudo e cieco arcier? APOLLO AND DAFNE DAFNE All’ardor non metti freno Sempre t’aborrirò! 14. Aria Pace aver mai non potrò. DAFNE APOLLO Felicissima quest’alma 19. Recitative Tu non mi fuggirai! Ch’ama sol la libertà. APOLLO Non v’è pace, non v’è calma Placati ai fin, o cara. DAFNE Per chi sciolto il cor non ha. La beltà che m’infiamma Si, che ti fuggirò’. Sempre non fiorirà; ciò che natura 15. Recitative Di più vago formò passa, e non dura. APOLLO APOLLO Ti seguirò, correrò, Che voce. Che beltà! 20. Aria Volerò sui passi tuoi: Questo suon, questa vista il cor APOLLO Più veloce del sole esser non puoi. trapassa. Come rosa in su la spina Ninfa! Presto viene e presto va: 26. Aria Tal con fuga repentina, APOLLO DAFNE Passa il fior della beltà. Mie piante correte; Che veggo, ahi lassa? Mie braccia stringete E che sarà costui, chi mi sorprese? 21. Recitative L’ingrata beltà. DAFNE tocco, la cingo, APOLLO Ah, ch’un Dio non dovrebbe La prendo, la stringo Io son un Dio, ch’il tuo Altro amore seguir ch’oggetti eterni: Ma, qua novità? Bel volto accese. Perirà, finirà caduca polve Che vidi? Che mirai? Che grala a te mi rende, Cieli! Destino! che sarai mai! DAFNE Ma non già la virtù che mi difende. Dafne, dove sei tu? Che non ti trovo. Non conosco altro Dei tra queste selve Qual miracolo nuovo Che la sola : 22. Aria Ti rapisce, ti cangia e ti nasconde? Non t’accostar divinità profana. DAFNE Che non t’offenda mai del ‘verno il Come in Ciel benigna stella gelo APOLLO Di Nettun placa il furor, Ne il folgore dal cielo Di Cinta io son fratel; Tal in alma onesta e bella Tocchi la sacra e gloriosa fronde. S’ami la suora, La ragion frena t’amor. Abbia, o bella, pietà di chi t’adora. Come in Ciel, etc. 27. Aria APOLLO 16. Aria 23. Recitative Cara pianta, co’ miei pianti DAFNE APOLLO lì tuo verde irrigherò; Ardi, adori, e preghi in vano: Odi la mia ragion! De’ tuoi rami trionfanti

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Sommi eroi coronerò. ACI chiamerò a vendicarmi Se non posso averti in seno, Ahi, questo è duol arpie, sfingi, chimere e gerioni, Dafne, almeno che ogn’altro duolo avanza. e spargerà sdegnato Sovra il crin ti porterò. il cielo ancor fulmini, lampi e tuoni. 5. Aria ACI 10. Aria CD37-38 Che non può la gelosia GALATEA ACI, GALATEO & POLIFEMO quando un core Benché tuoni e l’etra avvampi, 1 Duetto arde d’amore, pur di folgori e lampi ACI e per gioco amar non sa. non paventa il sacro alloro. Sorge il dì, e tranquillo Lo può dir l’anima mia, Come quello anch’io pur sono, par che brilli ancor il ciel. ché un momento ché non credo e m’abbandono di contento a timor di rio martoro. GALATEA non sa quando aver potrà. Spunta l’aurora, e più sereno 11. POLIFEMO par che brilli ancor il ciel. 6. Accompagnato Cadrai depressa e vinta GALATEA al mio temuto piede; ACI Ma qual orrido suono anzi quella mercede che mi nieghi, Scherza l’aura in braccio a Flora, mi ferisce udito? superba, e sol pena il cor fedel. crudel, con pena acerba, ACI piangendo e sospirando, GALATEA Spaventevol muggito pentita chiederai. Ride il fiore al prato in seno, mi circonda di orrore, e sol pena il cor fedel. anzi parmi che intorno GALATEA faccia tremar de’ monti Ma dimmi il quando? 2. ACI tutte le spaziose atre caverne. Vanti, o cara, il ruscello POLIFEMO di fremer gorgogliando, 7. GALATEA Quando già disperata, rotto fra sterpi e sassi, Ahi, che dall’ombre eterne lacerando le chiome, finché poi mormorando quasi uscisse alla luce, col rival non godrai. con gl’argentei suoi passi sarà l’empio gigante. arrivi a ribaciar del mar l’arene, Già il mostruoso amante, GALATEA ché sol da te, mio bene, punto da gelosia, Ma dimmi il come? quando lontan son io, dell’antro oscuro misero al par di quello, fa che il cardine strida, 12. Aria provo nel fido sen duolo più rio. e mentre acceso sgrida, POLIFEMO il mio cor, mal sicuro Non sempre, no, crudele, GALATEA all’incontro crudel di due pupille, mi parlerai così. Se di perle un tesoro par che senta latrar voraci Scille. Tiranna, un cor fedele vedi, bell’idol mio, si prende a scherzo, a gioco; sparso di Flora ad arricchire il manto, ACI pentita a poco a poco tu rugiada lo credi, ed è mio pianto. Già viene. spero di vederti un dì.

3. Aria GALATEA 13. GALATEA GALATEA Oh Dio! t’invola Folle, quanto mi rido Sforzano a piangere al suo barbaro sdegno, e ti consola. di tua vana speranza. con più dolor l’astri ch’arrisero 8. Aria POLIFEMO al tuo martir; POLIFEMO Con orrida sembianza e in petto frangere Sibilar l’angui d’Aletto dunque vuoi che ruotando irato il mi sento il cor, e latrar voraci Scille ciglio, perché più misero parmi udir dintorno a me. rende maggior la tema dovrai languir. Rio velen mi serpe in petto, del tuo grave periglio? perché a’ rai di due pupille Inerme e tu non sei? 4. ACI arde il cor senza mercé. E non son io che posso usar la forza, E qual nuova sventura e non trattar preghiere? con violenza ria 9. GALATEA O chi mai dalle fiere ti sforza a lagrimar? Deh lascia, o Polifemo, furie del cor geloso difenderti potrà? di languir sospirando, GALATEA miserabil trofeo del cieco Dio. ACI Anima mia, di Polifemo irato Io, che non posso, mi costringe a penar l’empio furore; POLIFEMO io, che stimo assai poco armato di rigore Se schernito son io, per l’amato mio bene serba meco sdegnato mentre di sdegno fremo, tutto il sangue versar dalle mie vene. d’atro velen l’immonde labbra infette; della viperea sferza meditando vendette prive render saprò le furie ultrici, 14. Aria vibra da’ lumi suoi lampi di foco, e a rendere infelici ACI tuona la voce orrenda, l’ore di vita al mio crudel rivale, Dell’aquila l’artigli e tende in ogni loco, luttuosa e ferale se non paventa un angue, con empietà tremenda, la scuoterò dintorno, de’ miseri suoi figli insidie a fulminar la mia costanza. e forse in questo giorno può il nido insanguinar.

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Ma se ritorna poi, cada il mio sen costante; POLIFEMO prova gli sdegni suoi, esca di augel rapace Ah, crudo fato! Tu pur fuggi, oh crudel! e della prole il sangue rendi pur se ti piace, attende a vendicar. le viscere infelici; ACI e biancheggiar disciolte Respiro. 15. POLIFEMO per quest’erme pendici Meglio spiega i tuoi sensi. fa che miri il pastor l’ossa insepolte; GALATEA prendi di me la palma; Addio; ACI ma non turbar dell’idol mio la calma. precipito nell’onde, idolo mio! Invan, invan pretendi vincer la sua costanza, 20. Terzetto 2. Aria che generosa e franca, POLIFEMO POLIFEMO fa languida mancar la tua speranza; Proverà lo sdegno mio Fra l’ombre e gl’orrori ché se mai, lassa e stanca, chi da me non chiede amor. farfalla confusa, per me fia che vacilli un sol momento, già spenta la face, io sol, che non pavento, GALATEA non sa mai goder. come l’aquila invitto Perché fiero? Perché, oh Dio, Così fra timori difenderò quel core, contro di me tanto rigor? quest’alma delusa quel fido cor ch’è mio, non trova mai pace dell’aspe rio del tuo lascivo amore. ACI né spera piacer. Idol mio, deh, non temer. 16. Aria 3. POLIFEMO POLIFEMO POLIFEMO Ma che? non andrà inulta Precipitoso Se disprezzi un cor fedele, la schernita mia fiamma. Io vilipeso, nel mar che freme gioir voglio al tuo martir. io d’empio sdegno acceso, più corre il fiume saprò ben vendicarmi, che stretto fu. GALATEA e del rivale in petto svenar saprò di Ho per costume, Empio, barbaro, crudele, Galatea privo di speme, ti saprò sempre schernir. l’affetto. anch’io sdegnoso rendermi più. ACI ACI Soffri e spera di goder, Purché l’amato benesol per me non 17. GALATEA idol mio, non temer. soggiaccia a rio tormento, Sì, t’intendo, inumano, squarciami ancor il sen, ch’io son pensi macchiar, crudele, 1. POLIFEMO contento. dell’innocenza mia l’alto candore. Ingrata, se mi nieghi Ma già parte l’ingrato, A tue meste querele, ciò che sperar potrei come tuo dono, e solo e disperato quanto più divien sordo il fido core; io che schernito sono io qui rimango. Ah stelle! ma tal pensiero invano ottener lo saprò come rapina. meco troppo rubelle, sveglia nella tua mente se il mio cor tanto adora, mal fondate speranze, GALATEA fate, che un’altra volta ché d’altro amore accesa, Poiché il ciel già destina miri l’idolo mio, e poi ch’io mora. più coraggiosa e forte, che ti lasci, o mio bene, prima d’amarti incontrerò la morte. corro in braccio a Nereo. 4. Aria ACI 18. Aria POLIFEMO Qui l’augel da pianta in pianta GALATEA Dolci catene lieto vola, dolce canta S’agita in mezzo all’onde, ti faran queste braccia. cor che langue a lusingar. lontano dalle sponde, Ma si fa cagion di duolo nel tempestoso mar ACI sol per me che, afflitto e solo, la navicella. Empio, t’arresta. pace, oh Dio, non so trovar. Scherzo di vento infido corre da lido in lido, GALATEA 5. GALATEA né la fa naufragar Tormentosa e funesta Giunsi al fin, mio tesoro, forza di stella. pria m’accolga la Parca. nelle cupe, e profonde procellose voragini del mare: 19. POLIFEMO POLIFEMO pensai, caro mio bene, So che le cinosure Ecco al mio seno ti stringo. render, per non penare, che ti chiamano in porto e l’orche e le balene de’ lumi del tuo ben son le due stelle; GALATEA vendicatrici del mio grave affanno, ma non so qual conforto Ah, genitore, col tuo duro tridente ma vuol destin tiranno in mezzo alle procelle corri e svena il tiranno, il traditore. che non speri pietà del mio languire. sperar potrai dal tuo gradito amante, quando destarle sa fiero gigante. ACI ACI Non ti smarrir, mia vita. Ahi, che rende più atroce ACI la tua barbara pena il mio martire. Senti, quando adempire GALATEA brami le tue vendette, In libertà gradita fa che del ciel saette ecco alfin che già sono. vibri contro di me Giove Tonante; fa che lacero, esangue,

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6. Aria Né da cardini suoi E tu, mio genitore, GALATEA si scuote il mondo? quell’infelice salma, Se m’ami, o caro, Né di Cocito l’onda trofeo di cruda morte, se mi sei fido, velenosa e funesta deh, fa che si converta in fresco rio; lasciami sola toglie all’empio il respiro? che quando al mar che freme, a sospirar. Dal gorgone insassito con tenero d’amor dolce desio, Nel duolo amaro e ancor non resta? fia che giunga in tributo, così consola poiché per mio dolore chi fa Cupido 9. POLIFEMO sopra le nude arene estinto giacque, per te penar. Or poiché sordi sono lo goderò, lo stringerò fra l’acque. del cielo e dell’abisso 7. POLIFEMO i paventati Numi, POLIFEMO Qui, sull’alto del monte perché non mi consumi, Né fia che a tuoi pensieri attenderò l’empio rivale al varco. precipiti e ruini passi a regnar la pace. sopra il capo del reo sasso sì grave. ACI Dal tenero e soave amplesso, GALATEA Cara, poiché dall’arco che il mio cor colmò di sdegno, Invan lo speri. disciolse Amore alla saetta il volo: sia pena così ria premio condegno. poiché, ferito, io solo, Già va di balza in balza, 14. Aria son degl’affetti tuoi l’unico erede; già la gravezza aggiunge l’ali al corso, GALATEA come, oh Dio, come mai già, già l’atterra. Del mar fra l’onde con esempio di fede, per non mirarti, vagheggiando i tuoi rai, ACI fiero tiranno, lieto posso gioire, Oh Dio, mio ben, soccorso! mi spinge il duol. quando solo per me dei tu languire? Ma in queste sponde 10. Aria torno all’affanno POLIFEMO ACI nel vagheggiarti, Stelle! Numi! Che ascolto? Verso già l’alma col sangue, spento mio sol. lento palpita il mio cor. GALATEA Già la vita manca e langue 15. POLIFEMO Dove più spesso e folt per trofeo d’empio rigor. Ferma, ma già nel mare oil numero sarà de’ miei tormenti, con l’algose sue braccia mi sembrerà pur poco 11. GALATEA Nettun l’accoglie, passar, mio ben, per te. Misera, e dove sono? e nel suo sen l’allaccia. In successo sì rio Stupido, ma che veggio? ACI la ragion m’abbandona, Aci, disciolto in fiume, Sì molli accenti non ha lume la mente: siegue l'amato bene, di costanza, e d’amor pegni veraci, e quel sangue innocente, e mormorando lascia, bocca gradita, sangue dell’idol mio così si va lagnando: che riscuotano omai premio di baci. mentre beve la terra, torpida e semiviva 16. Accompagnato POLIFEMO io spargo intanto POLIFEMO Ah! prima il fil reciderò di vita. caldi rivi di pianto; “Vissi fedel mia vita, soffogano i sospiri e morto ancor t’adoro, 8. Terzetto la tremante mia voce, e de’ miei chiari argenti ACI e in tormento sì atroce col mormorio sonoro Dolce amico amplesso con fievoli respi non lascio di spiegare al mio seno rimanca la lena, i miei tormenti. tu dai vita e l’alma, quasi giuntas Or, dolce mio tesoro, e fai goder. ui labbri, afflitta esclama: con labbro inargentato, Tuo mi rendo, idol mio, così misero more forse più fortunato, fedel ti sono, cuor che fedel ti bacerò del tuo Nereo fra l’onde: teco voglio e vita e morte, non sa cangiar mai brama. e l’arenose sponde, spera, o bella, e non temer. che imporporai col sangue, 12. Aria mentre d’empio destin solo mi lagno, GALATEA POLIFEMO co’ miei puri cristalli e lavo e bagno”. Caro amico amplesso,a Impara, ingrata, impara, l core oppresso che fa l’esser tiranna 17. POLIFEMO tu dai vitae fai goder. con chi ti chiede amor. Ed io, che tanto ascolto, A te mi dono, Il tuo rigor condanna, cieli, come non moro? son per te costante e forte, e in pena così amara Ah, la costanza spera, o caro, e non temer. lagnati del tuo cor. di chi ben ama un giorno non sa né può POLIFEMO 13. GALATEA mai variar sembianza. In seno dell’infida Ah, tiranno inumano! e chi un fulmine m’offre Da quel sangue adorato 18. Terzetto acciò l’uccida? apprendi almen rossore ACI, GALATEA, POLIFEMO Né a far le mie vendette del cieco tuo rigore, Chi ben ama ha per gli oggetti tuona Giove immortal? ch’io con barbare tempre, fido cor, pura costanza. Né dal profondo del mio bene in vendetta Ché se mancano i diletti si sconvolge l’abisso? ti abborirò, ti fuggirò per sempre. poi non manca la speranza.

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and maybe today ENGLISH TRANSLATION 5. Aria I will call on the , sphinxes, 1. Duet ACIS chimeras and ACIS Of what is jealousy incapable, to avenge me, Day is breaking, and the bright sky when a heart and the angry heavens will rain down looks calmer than ever. burns with love, lightning and thunder. and takes his love too seriously! GALATEA This I feel in my heart, 10. Aria Dawn is here, and the bright sky which does not know GALATEA looks more tranquil than ever. when it will be able to enjoy Thunder and fulminate as you wish, a moment of happiness. but don’t disturb the sacred laurel ACIS grove The breezes blow playfully in the arms 6. Accompagnato with your lightning rages. of Flora, GALATEA And do not think I am the kind of and only the faithful heart grieves. What fearful sound person pierces my ears? who would yield GALATEA to the fear of cruel suffering. The flowers smile on the meadow’s ACIS brow, A fearful growling 11. POLYPHEMUS and only the faithful heart feels pain. surrounds me with dread, Cast down, vanquished, and I hear all around me you will fall down at my dreaded feet; 2. ACIS the trembling and the mercy you deny me, Admire, my dear, this stream, of the dark, huge mountain caves. cruel and proud one, how it sputters and gurgles, in great sorrow, weeping and sighing, impeded by branches and rocks, 7. GALATEA penitent, until, murmuring, Ah, see him emerging as if from you will be begging from me. with silvery gait eternal shades it embraces at last the sandy seashore; into the daylight, GALATEA for I too, my love, the cruel giant! Just when do you think this will when I am far from you, Already the monstrous suitor, happen? am sad, and my faithful heart stung with jealousy, feels a pain that is more bitter. noisily shakes the dark cave POLYPHEMUS to its very foundations, When in despair, GALATEA and, listening to his fearful cries, pulling your hair, My darling, you may think that my heart, already shaken you will no longer be able to enjoy my the treasure of pearls by the cruel encounter with two fair rival. Flora sheds to adorn her mantle eyes, is dew; but it is my tears. seems to hear Scilla’s hungry howls. GALATEA Just how do you think this will 3. Aria ACIS happen? GALATEA Look, here he comes. I am compelled to weep 12. Aria in great sorrow GALATEA POLYPHEMUS by the stars that smiled Ye Gods! Flee Cruel one, on your suffering; from his cruel wrath, and take you will not always be able to talk to and I feel my heart breaking comfort. me like this. within me, Tyrant, you are mocking, ridiculing because you will be forced 8. Aria my faithful heart; to languish in great misery. POLYPHEMUS I hope one day to find ’s hissing snakes that you have gradually repented. 4. ACIS and Scilla’s hungry howls And what new misfortune surround me on every side. 13. GALATEA forces you to weep Cruel poison writhes in my breast, Madman, how I laugh with such bitter intensity? because my heart burns pitilessly at your vain hope. at the sight of two fair eyes. Polyphemus GALATEA So, shall I My love, angry Polyphemus 9. GALATEA roll my eye in anger forces me to put up with his cruel fury; Ah, Polyphemus, cease to make you even more terrified aggressive, relentless, this languid sighing, of your grave danger? scorned, he saves up for me you wretched trophy of the blind God. Don’t you realise you are defenceless? his foul, venom-infected lips; That I can use force, and, bent on revenge, POLYPHEMUS ignoring your entreaties? his eyes flicker like lightning bolts, If I am scorned O who is there to defend you his fearful voice thunders, while I tremble with rage, from the rabid ravings of a jealous and everywhere I will be able to deprive the avenging heart? with utter pitilessness furies she lays traps to undermine my virtue. of their vicious scourge, ACIS and make I, though powerless, ACIS my cruel rival’s life wretched, I, who consider it no great thing Ah, this blow and I will give that fateful, deadly girl for the sake of my love is more grievous than all the others. a good shaking, to shed all the blood in my veins.

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from your charming lover POLYPHEMUS 14. Aria you can hope to have in the midst of Let me clutch you to my breast. ACIS the storm, If a snake is not affrighted when a cruel giant can steer a course GALATEA by the eagle’s talons, through it. Ah, Nereus, my father, with your the eagle will make a bloodbath fearful of his wretched offspring’s nest. ACIS come quickly to smite this tyrant, this But if he returns, Listen! If you desire traitor. he will feel his anger, to take revenge, and will seek vengeance make Jove the Thunderer ACIS for the blood of his offspring. hurl his bolts down at me from Don’t be dismayed, my love. heaven, 15. POLYPHEMUS cause my faithful breast GALATEA Explain yourself more clearly. to fall torn and bloodied; At last, turn my wretched entrails I am free! ACIS into bait for the birds, In vain, in vain you think if you wish; POLYPHEMUS you can vanquish her faithfulness, and then show the shepherd Ah, cruel fate! Cruel one, you fly from which, generous and free, my unburied bones me! withers and weakens your hope; strewn upon these solitary slopes; for if, tired and worn down, take my hand; ACIS she were to vacillate in her feelings for but do not trouble the peace of my I breathe again. me for one beloved. moment, I alone, unafraid, GALATEA like the unvanquished eagle, 20. Terzetto Goodbye; will defend that heart, POLYPHEMUS I will plunge into the sea, my love! that faithful heart which is mine, My anger will befall from the vile asp of your lascivious whoever does not seek my love. 2. Aria love. POLYPHEMUS GALATEA When the torch is extinguished 16. Aria Cruel one, why, ye gods, the confused butterfly, POLYPHEMUS are you so harsh with me? wandering in shades and darkness The narrower the river, is no longer happy. the more it ACIS Thus, wandering dismayed, rushes head My love, do not be afraid. my disappointed soul longinto the foaming sea. will never find peace The more I am POLYPHEMUS nor can it hope to find love. deprived of hope, If you despise my faithful heart, the more I am in the habit I will rejoice in your suffering. 3. POLYPHEMUS of becoming enraged. But wait! My scorned ardour GALATEA will not go unavenged. Reviled, 17. GALATEA Pitiless, barbaric, cruel, incensed with cruel anger, Yes, I understand you, inhuman I will always laugh you to scorn. I will avenge myself, and cruel one, you intend to stain and bleed the affection the sublime candour of my innocence. ACIS that Galatea has for the rival she holds To your pitiable groaning Be patient, hope for happiness, in her arms. the faithful heart grows deaf; my love, and do not be afraid. but in vain this thought ACIS arouses in your mind 1. POLYPHEMUS If my beloved were not delivered to baseless hopes, Ungrateful one, if you refuse me, cruel torment for I blaze with love for another I who am scorned for my sake, and, stronger and braver, will obtain through violence I would be happy if a knife was I would rather meet my death than what I would like to receive from you plunged into my heart. love you. as a gift. But the graceless monster departs, and I remain here, 18. Aria GALATEA alone and in despair. Ah, stars GALATEA Since heaven has decreed that who treat me so cruelly, Amid the waves, I must leave you, my love, since my heart loves so much, far from shore, I will rush into the arms of Nereus. grant that I may see my love my ship is tossed about one more time, then let me die. in the stormy sea. POLYPHEMUS The treacherous winds To you these arms will be 4. Aria blow capriciously hither and thither, like sweet chains. ACIS but my ship is not wrecked Here the bird flies happily thanks to a star. ACIS from plant to plant, happily singing Cruel one, desist! to the languishing heart. 19. POLYPHEMUS But he grieves I know that the guiding stars GALATEA only for me, who am alone and grief- that beckon you into port I’d rather be carried off struck, are the two eyes of your beloved; by the tormented and hideous Parca! and peace, ye gods, I cannot find. but I do not know what comfort

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5. GALATEA with you I wish to live, to die; with feverous sighing, My love, I descended to the depths hope, my fair one, and do not fear. my energy ebbs away, of the dark, deep and my soul, as if stormy vortex of the sea: GALATEA joined to my lips, cries: I thought, my sweet one, Dear intimate embrace, Thus my heart, to end my suffering you give life which stays faithful to what it longs by delivering myself up to my oppressed heart and make me for, to the orcs and the whales, happy. perishes miserably. avengers of my grave affliction; I give myself to you, but harsh destiny for you I am strong, unwavering; 12. Aria does not allow me to hope for mercy. hope, my love, and do not fear. POLYPHEMUS That’ll teach you a lesson, ungrateful ACIS POLYPHEMUS one, Ah, how your cruel pain Who will offer me a thunderbolt, that’ll teach you to play the tyrant makes my suffering even more that I might strike the breast of the with the one who seeks your love. dreadful. faithless one Your rigour condemns you, and kill her? and in bitter pain 6. Aria And why does Jove not come with his you weep for your loved one. GALATEA thunder I you love me, my dear, to avenge me? 13. GALATEA if you are faithful to me, Why does the abyss Ah, inhuman tyrant! leave me alone not heave in its very depths? May the blood of him whom I love to sigh. Why does the world not teach you at least to blush In my bitter pain shake to its foundations? in shame at your blind rage, this is the only way I can be comforted Why does the poisonous and gloomy for, to avenge my loved one, for the pain that Cupid causes me river , with ferocious cruelty, to feel for you. choke the faithless wretch? I will loathe you, shun you for ever. Why has he not been turned to stone And you, my father, 7. POLYPHEMUS by the Gordon? turn this unhappy body, Here, on the top of the mountain, the fruit of cruel death, I will lie in wait for my cruel rival. 9. POLYPHEMUS into a fresh stream; The fearful gods so that, when it merges with the sea, ACIS of the abyss and the sky which trembles with the sweet desire My dear, since Cupid are deaf. of tender love, loosed from his bow his flying bolt, Therefore, so that I may not be since, grieving, I beheld him since, wounded, I alone consumed, lying extinguished on the desolate am the recipient of your affections, let the heavy rock come crashing down shore, ye gods, how can I possibly on the head of that vile wretch! I will joyfully embrace him in the be happy, And let that cruel blow water. looking fondly into your fair eyes be the well-deserved prize of that with the utmost faithfulness, tender sweet embrace POLYPHEMUS when you alone must suffer for my that chokes my heart with rage. Don’t ever think peace sake? Now it goes bouncing down, will reign in your now its weight lends wings to its POLYPHEMUS motion, GALATEA Ye stars! Ye fates! What do I hear? now, now it knocks him down. You hope in vain.

GALATEA ACIS 14. Aria I will think nothing, my love, O god, help me, my love! GALATEA of suffering torments t Grief forces me hick and fast, 10. Aria to go among the waves of the sea, if it is for your sake. ACIS so that I don’t have to look at you, With my blood I shed my soul, cruel tyrant. ACIS my heart beats slowly. But on this shore, Such soft accents Now my life slowly ebbs away, when I behold you, of faith and pledges of true love the fruit of cruel anger. my extinguished sun, your sweet mouth utters, I grieve anew. that they earn kisses as a reward. 11. GALATEA Wretched one, where am I? 15. POLYPHEMUS POLYPHEMUS After this cruel blow Stop! But already Neptune Ah! I would rather cut the thread of my reason has left me, welcomes her into the sea my life. my mind’s light is extinguished: with his algoid arms, and, while the earth drinks and clutches her to his breast. 8. Terzetto that innocent blood, What a fool I am! What a sight! ACIS the blood of my darling one, Acis, dissolved into a river, Sweet intimate embrace, I, torpid and half alive, follows his beloved, you give life shed hot streams and murmuring to my breast of tears; utters this lament: and make me happy. my sighs drown I give myself to you, my beloved, my trembling voice, I am faithful to you, and in bitter torment,

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16. Accompagnato (Such is the pow'r of mighty Love). With not a friend to close his eyes. POLYPHEMUS A dragon's fiery form belied the god; “Alive I was faithful, my love, Sublime on radiant spires he rode, 13. ACCOMPANIED RECITATIVE - and dead I still adore you, While he to fair Olympia press'd; Soprano and with the murmuring sounds And while he sought her snowy breast, With downcast looks the joyless victor of my bright ripples Then round her slender waist he curl'd, sate, I do not cease to express And stamp'd an image of himself, Revolving in his alter'd soul my torments. a Sov'reign of the world. The various turns of chance below, Now, sweet treasure, And, now and then, a sigh he stole, with lips turned to silver, 6. CHORUS And tears began to flow. perhaps I will be more fortunate, The list'ning crowd admire the lofty and kiss you amid the waves of your sound: 14. CHORUS Nereus: "A present !" they shout around: Behold Darius great and good, and the sandy shores, "A present Deity!" the vaulted roofs By too severe a fate which I stained with my purple blood, rebound. Fall'n from his high estate, though I lament the cruelty of our And welt'ring in his blood; destiny, 7. AIR - Soprano On the bare earth expos'd he lies, I will wash and bathe with my pure With ravish'd ears With not a friend to close his eyes. crystals.” The monarch hears, Assumes the God, 15. RECITATIVE - Tenor 17. POLYPHEMUS Affects the nod, The mighty master smil'd to see, And I, who have to listen to all this, And seems to shake the spheres. That love was in the next degree: ye heavens, why can’t I die? 'Twas but a kindred sound to move, Ah, the constancy 8. RECITATIVE - Tenor For pity melts the mind to Love. of one who loves well The praise of Bacchus then the sweet is unable and unwilling musician sung, 16. AIR - Soprano to change its object. Of Bacchus ever fair and ever young. Softly sweet in Lydian measures The jolly God in triumph comes: Soon he sooth'd the soul to pleasures. 18. Terzetto Sound the Trumpets, beat the Drums! ACIS, GALATEA, POLYPHEMUS Flush'd with a purple grace, 17. AIR - Tenor The one who loves well has as goal He shows his honest face; War, he sung, is toil and trouble, a faithful heart and pure constancy. Now give the Hautboys breath! he Honour but an empty bubble, Then, even if pleasure is lacking, comes, Never ending, still beginning hope will not be lacking as well. he comes! Fighting still, and still destroying. Translation: James Chater If the world be worth thy winning, 9. AIR AND CHORUS - Bass, followed Think, oh think it worth enjoying. by Chorus Lovely Thais sits beside thee; CD39-40 Bacchus, ever fair and young, Take the good the gods provide thee! ALEXANDER’S FEAST Drinking joys did first ordain. War, he sung ... (Da capo) 1. OVERTURE Bacchus' blessings are a treasure, Drinking is the soldier's pleasure; 18. CHORUS 2. RECITATIVE - Tenor Rich the treasure, The many rend the skies with loud 'Twas at the royal feast, for Persia won Sweet the pleasure, applause: By Philip's warlike son; Sweet is pleasure after pain. So love was crown'd, but Music won Aloft in awful state the cause! The godlike hero sate 10. RECITATIVE - Tenor On his imperial throne; Sooth'd with the sound, the king grew 19. AIR – Soprano and CHORUS His valiant Peers were plac'd around, vain, The Prince, unable to conceal his pain Their brows with roses and with Fought all his battles o'er again, Gaz'd on the Fair myrtles bound: And thrice he routed all his foes, Who caus'd his care, So should desert in arms be crown'd. And thrice he slew the slain. And sigh'd and look'd, sigh'd and The lovely Thais, by his side The master saw the madness rise, look'd, Sate like a blooming Eastern bride, His glowing cheeks, his ardent eyes: Sigh'd and look'd, and sigh'd again. In flow'r of youth and beauty's pride. And while he heav'n and earth defy'd, At length, with wine and love at once Chang'd his hand, and check'd his oppress'd, 3. AIR AND CHORUS - Tenor, followed pride. The vanquish'd victor sunk upon her by Chorus and Soloists breast. Happy, happy, happy pair 11. ACCOMPANIED RECITATIVE - None but the brave deserves the fair. Soprano CHORUS He chose a mournful Muse, The many rend the skies with loud 4. RECITATIVE - Tenor Soft pity to infuse. applause: Timotheus, plac'd on high So love was crown'd, but Music won Amid the tuneful quire, 12. AIR - Soprano the cause! With flying fingers touch'd the lyre; He sung Darius, great and good, The trembling notes ascend the sky, By too severe a fate 1. 20. ACCOMPANIED RECITATIVE – And heav'nly joys inspire. Fall'n, fall'n, fall'n, fall'n, Tenor and CHORUS Fall'n from his high estate, Now strike the golden Lyre again! 5. ACCOMPANIED RECITATIVE - And welt'ring in his blood. A louder yet, and yet a louder strain! Soprano Deserted at his utmost need Break his bands of sleep asunder The song began from Jove, By those his former bounty fed, And rouze him, like a rattling peal of Who left his blissful seats above On the bare earth expos'd he lies, thunder.

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Enlarg'd the former narrow bounds The day that gave great Anna birth, CHORUS And added length to solemn sounds, Who fix'd a lasting peace on earth. Break his bands of sleep asunder, With nature's mother-wit, Rouze him, like a peal of thunder. and arts unknown before. 14. 6. BASS Let envy then conceal her head RECITATIVE 7. 26. RECITATIVE - Tenor and Bass And blasted faction glide away. Hark, Hark the horrid sound Let old Timotheus yield the prize No more her hissing tongues we'll Has rais'd up his head: Or both divide the crown: dread, As awak'd from the dead, He rais'd a mortal to the skies Secure in this auspicious day. And amaz'd he stares around. She drew an Angel down. CHORUS 2. 21. AIR - Bass 8. 27. CHORUS and SOLOISTS - The day that gave great Anna birth, Revenge, revenge, Timotheus cries: Who fix'd a lasting peace on earth. See the Furies arise! Let old Timotheus yield the prize, See the snakes that they rear, Or both divide the crown: 15. 7. COUNTERTENOR AND DOUBLE How they hiss in their hair, He rais'd a mortal to the skies, CHORUS And the sparkles that flash from their She drew an Angel down. United nations shall combine, eyes! To distant climes the sound convey, Behold, a ghastly band, Ode for the Birthday of Queen Anne That Anna's actions are divine, Each a torch in his hand! 9. 1. COUNTERTENOR And this the most important day! Those are Grecian ghosts, that in Eternal source of light divine! The day that gave great Anna birth, battle were slain, With double warmth thy beams Who fix'd a lasting peace on earth. And unburied remain display, Inglorious on the plain: And with distinguish'd glory shine CD41 Revenge, revenge: (Da capo) To add a lustre to this day. CORONATION ANTHEMS Zadok the Priest 3. 22. ACCOMPANIED RECITATIVE – COUNTERTENOR AND CHORUS 1. Zadok the Priest and Nathan the Tenor The day that gave great Anna birth, Prophet, Give the vengeance due Who fix'd a lasting peace on earth. anointed Solomon King. To the valiant crew. And all people the rejoic’d, and said: Behold, how they toss their torches on 10. 2. SOPRANO God save the King, long live the King, high, Let all the winged race with joy may the How they point to the Persian abodes, Their wonted homage sweetly pay King live forever! Amen, Alleluia! And glitt'ring temples of their hostile Whils't tow'ring in the azure sky (after Kings 1:39-40) Gods! They celebrate this happy day. My heart is inditing HWV261 4. 23. AIR - Tenor CHORUS 2. My heart is inditing of a good The princes applaud with a furious joy, The day that gave great Anna birth, matter; I speak And the king seiz'd a flambeau with Who fix'd a lasting peace on earth. of the things which I have made unto zeal to destroy. the King. 11. 3. COUNTERTENOR 3. Kings’ daughters were among the 5. 24. AIR - Soprano Let flocks and herds their fear forget, honourable Thais led the way, Lions and wolves refuse their prey, women. To light him to his prey, And all in friendly consort meet, 4. Upon thy right hand did stand the And, like another Helen, she fir'd Made glad by this propitious day. Queen in vesture of gold, and the King another Troy. shall COUNTERTENOR AND SOPRANO, WITH have pleasure in thy beauty. CHORUS CHORUS 5. Kings shall be thy nursing fathers The princes applaud with a furious joy, The day that gave great Anna birth, and Queens thy nursing mothers. And the king seiz'd a flambeau with Who fix'd a lasting peace on earth. (after Psalm 45:1, 10, 12; Isaiah 49:23) zeal to destroy. Thais led the way, 12. 4. COUNTERTENOR AND BASS Let thy hand be strengthened To light him to his prey, Let rolling streams their gladness HWV259 And, like another Helen, she fir'd show, 6. Let thy hand be strengthened and another Troy. With gentle murmur whils't they play, thy right And in their wild meanders flow hand be exalted. 6. 25. ACCOMPANIED RECITATIVE – Rejoicing in this blessed day. 7. Let justice and judgement be the Tenor and CHORUS preparation of Thus, long ago, CHORUS thy seat! Let mercy and truth go Ere heaving Bellows learn'd to blow, The day that gave great Anna birth, before thy face. While Organs yet were mute, Who fix'd a lasting peace on earth. 8. Alleluia! Timotheus, to his breathing flute (Psalm 89: 14-15) And sounding lyre, 13. 5. SOPRANOS Could swell the soul to rage, or kindle Kind health descends on downy wings, The King shall rejoice HWV260 soft desire. Angels conduct her on the way; 9. The King shall rejoice in thy To our glorious Queen new life she strength, oh Lord! CHORUS brings, 10. Exceeding glad shall he be of thy At last divine Cecilia came, And swells our joys upon this day. salvation. Inventress of the vocal frame; 11. Glory and worship hast thou laid The sweet enthusiast, from her sacred SOPRANO AND COUNTERTENOR, upon him. store, WITH CHORUS

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Thou hast prevented him with the herab zum Gericht! What passion cannot Music raise and blessing of quell! goodness, and hast set a crown of pure Und darum fleh'n wir: gold hilf den Deinen, hilf, 5. AIR AND CHORUS (TENOR) upon his head. hilf den Deinen, die du hast erlöset The Trumpet's loud clangor Alleluia! durch dein teuer Blut. Excites us to arms (Psalm 21: 1, 5 & 3) With shrill notes of anger, 10. CHORUS And mortal alarms. CD42 Nimm uns auf in deiner Heil'gen Zahl The double, double, double beat Dettingen Te Deum zur Herrlichkeit auf ewig. Of the thund'ring Drum 1. CHORUS O Herr, tue wohl, Herr, Cries, hark! the foes come Herr, Gott! Dir sei Lob! und hilf den Deinen. Charge, charge! 'tis too late to retreat. O Gott, wir Leite uns, leite uns, Wir preisen dich, Gott; heb' uns empor zur Ewigkeit. 6. MARCH wir bekennen dich, du bist der Herr! 11. CHORUS 7. AIR (SOPRANO) 2. CHORUS Tag für Tag sei Dank und Lob dir, The soft complaining Flute Alle Welt verehret dich, und wir preisen deinen Namen In dying notes discovers den Vater ewig allgewaltig, auf ewig ohn' End. The woes of hopeless lovers, den Vater ewig und allmächtig. Whose dirge is whisper'd by the 12. ARIOSO (BASS) warbling Lute. 3. CHORUS Bewahr, O Herr, du treuer Gott, Dir singt der Engel reiner Chor, uns heut vor Schmach und aller Sünd. 8. AIR (TENOR) der Himmel und sein mächtig Heer. O Herr, erbarm dich, erbarm dich, sei Sharp Violins proclaim gnädig, Their jealous pangs and desperation, 4. CHORUS O Herr, sei uns gnädig, Fury, frantic indignation, Vor dir Cherubim und Seraphim, laß, Herr, deine Gnade leuchten auf Depth of pains, and height of passion, von Ewigkeit zu Ewigkeit lobsingen sie uns, For the fair disdainful dame. vor dir, wie unsre Hoffnung zu dir steht. heilig, heilig, heilig, Herr Gott Zebaoth. 9. AIR (SOPRANO) Himmel und Erde sind voll deiner 13. CHORUS But oh! What art can teach, Majestät O Herr, auf dich steht mein Hoffen, What human voice can reach deiner Ehre und deiner ewigen laß mich nicht zu Schanden werden. The sacred Organs praise? Majestät. Notes inspiring holy love, CD44 Notes that wing their heav'nly ways 5. CHORUS ODE FOR ST. CECILIA’S DAY To join the choirs above. Der hochgelobte Chor der Apostel 1. OVERTURE preiset dich, 2. ACCOMPAGNATO (TENOR) 10. AIR (SOPRANO) die hochgepriesene Schar der From Harmony, from heav'nly Orpheus could lead the savage race; Propheten preiset dich. Harmony, And trees unprooted left their place, Die heil 'ge Kirche durch die ganze This universal frame began. Sequacious of the Lyre. Welt, When nature underneath a heap sie bekennet dich, den Vater Of jarring atoms lay, 11. ACCOMPAGNATO (SOPRANO) unermeßlicher Herrlichkeit, And could not heave her head: But bright Cecilia rais'd the wonder und deinen hehren, wahren, einz'gen The tuneful voice was heard from high, high'r: Sohn, "Arise! ye more than dead": When to her Organ vocal breath was wie auch den heil 'gen Geist, den Then cold and hot, and moist and dry, giv'n, Tröster. In order to their stations leap, An Angel heard, and straight appear'd, And Music's now'r obey. Mistaking earth for heaven. 6. BASS SOLO AND CHORUS Du bist der Ehren König, O Christ, 3. CHORUS 12. CHORUS WITH SOPRANO SOLO du bist der ew'ge Sohn des Gottes im From Harmony, from heav'nly And from the pow'r of scared lays Himmel. Harmony, The spheres began to move; This universal frame began: And sung the great Creator's praise 7. ARIA (BASS) From Harmony to Harmony, To all the Bless'd above; Als du auf dich genommen Through all the compass of the notes it So when the last and dreadful hour, die Erlösung der Welt, ran, This crumbling pageant shall devour; hast du nicht verschmäht The diapason closing full in Man. The Trumpet shall be heard on high, - der Menschheit Los. The dead shall live, the living die, 4. AIR ( SOPRANO) And Music shall untune the sky. 8. CHORUS What passion cannot Music raise and Als du siegreich zerbrachst den Stachel quell! - des Todes, When Jubal struck the chorded shell, tat'st du auf das Himmelreich His list'ning brethren stood around, für alle Frommen. And, wond'ring, on their faces fell, To worship that celestial sound. 9. CHORUS (TRIO) Less than a God they thought there Du sitzest zu Hechten des Herrn could nor in der Herrlichkeit des Vaters. Within the hollow of that shell [dwell That spoke so sweetly and so well. Dann kommst du, so glauben wir,

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CD45-46 RECITATIVE (ALTO) RECITATIVE (ACCOMPANIED – MESSIAH HWV56 8. Behold, a virgin shall conceive and SOPRANO) A Sacred Oratorio bear a son, And lo, the angel of the Lord came Text: Charles Jennens and shall call His name Emmanuel, upon them, God with us. and the glory of the Lord shone round PART 1 (Isaiah 7: 14; Matthew 1: 23) about them, 1. SINFONIA (OUVERTURE) and they were sore afraid. AIR (ALTO & CHORUS) (Luke 2: 9) RECITATIVE (ACCOMPANIED – TENOR) 9. O thou that tellest good tidings to 2. Comfort ye, comfort ye my people, Zion, RECITATIVE (SOPRANO) saith your God. get thee up into the high mountain. 15. And the angel said unto them: Speak ye comfortably to Jerusalem, O thou that tellest good tidings to "Fear not, and cry unto her, that her warfare is Jerusalem, for behold, I bring you good tidings of accomplished, that her iniquity is lift up thy voice with strength; great joy, pardoned. lift it up, be not afraid; which shall be to all people. The voice of him that crieth in the say unto the cities of Judah, behold For unto you is born this day in the city wilderness; your God! of David prepare ye the way of the Lord; make (Isaiah 40: 9) a Saviour, which is Christ the Lord." straight (Luke 2: 10-11) in the desert a highway for our God. Arise, shine, for thy light is come, (Isaiah 40: 1-3) and the glory of the Lord is risen upon RECITATIVE (ACCOMPANIED – thee. SOPRANO) AIR (TENOR) (Isaiah 60: 1) 16. And suddenly there was with the 3. Ev'ry valley shall be exalted, angel, and ev'ry mountain and hill made low; CHORUS a multitude of the heavenly host, the crooked straight and the rough O thou that tellest . . . etc. praising God, and saying: places plain. (Luke 2: 13) (Isaiah 40: 4) RECITATIVE (ACCOMPANIED – BASS) 10. For behold, darkness shall cover CHORUS CHORUS the earth, 17. "Glory to God in the highest, 4. And the glory of the Lord shall be and gross darkness the people; and peace on earth, good will towards revealed, but the Lord shall arise upon thee, men." and all flesh shall see it together: and His glory shall be seen upon thee. (Luke 2: 14) for the mouth of the Lord hath spoken And the Gentiles shall come to thy it. light, AIR (SOPRANO) (Isaiah 40: 5) and kings to the brightness of thy 18. Rejoice greatly, O daughter of Zion, rising. shout, O daughter of Jerusalem! RECITATIVE (ACCOMPANIED – BASS) (Isaiah 60: 2-3) Behold, thy King cometh unto thee; 5. Thus saith the Lord, the Lord of He is the righteous Saviour, hosts: AIR (BASS) and He shall speak peace unto the Yet once a little while and I will shake 11. The people that walked in darkness heathen. the heavens and the earth, have seen a great light; and they that Rejoice greatly. . . da capo the sea and the dry land. dwell (Zecharaiah 9: 9-10) And I will shake all nations; in the land of the shadow of death, and the desire of all nations shall upon them hath the light shined. RECITATIVE (ALTO) come. (Isaiah 9: 2) 19. Then shall the eyes of the blind be (Haggai 2: 6-7) opened, CHORUS and the ears of the deaf unstopped. The Lord, whom ye seek, 12. For unto us a child is born, Then shall the lame man leap as an shall suddenly come to His temple, unto us a son is given, and the hart, even the messenger of the Covenant, government shall be upon His and the tongue of the dumb shall sing. whom you delight in; behold, shoulder; (Isaiah 35: 5-6) He shall come, saith the Lord of hosts. and His name shall be called Wonderful, DUET (ALTO & SOPRANO) (Malachi 3: 1) Counsellor, the mighty God, 20. He shall feed His flock like a the Everlasting Father, shepherd, AIR (ALTO) the Prince of Peace. and He shall gather the lambs with His 6. But who may abide the day of His (Isaiah 9: 6) arm, coming, and carry them in His bosom, and who shall stand when He 13. Pifa (‘Pastoral Symphony’) and gently lead those that are with appeareth? young. For He is like a refiner's fire. RECITATIVE (SOPRANO) (Isaiah 40: 11) (Malachi 3: 2) 14. There were shepherds abiding in the field, Chorus keeping watch over their flocks by 7. And He shall purify the sons of Levi, night. that they may offer unto the Lord (Luke 2: 8) an offering in righteousness. (Malachi 3: 3)

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AIR (ALTO) CHORUS Come unto Him, all ye that labour, RECITATIVE (ACCOMPANIED – TENOR) 14. The Lord gave the word, come unto Him that are heavy laden, 6. Thy rebuke hath broken His heart: great was the company of the and He will give you rest. He is full of heaviness. preachers. Take his yoke upon you, and learn of He looked for some to have pity on (Psalm 68: 11) Him, Him, for He is meek and lowly of heart, but there was no man, AIR (SOPRANO) and ye shall find rest unto your souls. neither found He any to comfort Him. 15. How beautiful are the feet (Matthew 11: 28-29) (Psalm 69: 20) of them that preach the gospel of peace, CHORUS AIR (TENOR) and bring glad tidings of good things. 21. His yoke is easy, and His burden is 7. Behold, and see if there be any (Isaiah 52: 7; Romans 10: 15) light. sorrow (Matthew 11: 30) like unto His sorrow. CHORUS (Lamentations 1: 12) 16. Their sound is gone out into all PART 2 lands, CHORUS RECITATIVE (ACCOMPANIED – TENOR) and their words unto 22. Behold the Lamb of God, 8. He was cut off out of the land of the the ends of the world. that taketh away the sin of the world. living: (Romans 10: 18; : 4) (John 1: 29) for the transgressions of Thy people was AIR (BASS) AIR (TENOR) He stricken. 17. Why do the nations so furiously 23. He was despised and rejected of (: 8) rage together, men; and why do the people imagine a man of sorrows and acquainted with AIR (SOPRANO) a vain thing? grief. 9. But Thou didst not leave His soul in The kings of the earth rise up, (Isaiah 53: 3) hell, and the rulers take counsel together nor didst Thou suffer Thy Holy One against the Lord, He gave His back to the smiters, to see corruption. and against His anointed. and His cheeks to them that plucked (Psalm 16: 10) (: 1-2) off His hair: He hid not His face from shame and CHORUS CHORUS spitting. 10. Lift up your heads, O ye gates, 18. Let us break their bonds asunder, He was despised. . . da capo and be ye lift up, ye everlasting doors, and cast away their yokes from us. (Isaiah 53: 6) and the King of Glory shall come in. (Psalm 2: 3) Who is this King of Glory? CHORUS The Lord strong and mighty, RECITATIVE (TENOR) 1. Surely He hath borne our griefs, The Lord mighty in battle. 19. He that dwelleth in Heav'n shall and carried our sorrows! Lift up your heads, O ye gates, laugh He was wounded for our and be ye lift up, ye everlasting doors, them to scorn, transgressions, and the King of Glory shall come in. The Lord shall have them in derision. He was bruised for our iniquities; Who is this King of Glory? (Psalm 2: 4) the chastisement of our peace was The Lord of Hosts, upon Him. He is the King of Glory. AIR (TENOR) (Isaiah 53: 4-5) (: 7-10) 20. Thou shalt break them with a rod of iron, CHORUS RECITATIVE (TENOR) thou shalt dash them in pieces 2. And with His stripes we are healed. 11. Unto which of the angels said like a potter's vessel. (Isaiah 53: 5) He at any time: (Psalm 2: 9) "Thou art My Son, this day have I CHORUS begotten Thee?" Chorus 3. All we like sheep have gone astray; (Hebrews 1: 5) 21. Hallelujah: for the Lord God we have turned everyone to his own Omnipotent reigneth. way. CHORUS (Revelation 19: 6) And the Lord hath laid on 12. Let all the angels of God worship Him the iniquity of us all. Him. The kingdom of this world is become (Isaiah 53: 6) (Hebrews 1: 6) the kingdom of our Lord, and of His Christ; RECITATIVE (ACCOMPANIED – TENOR) AIR (BASS) and He shall reign for ever and ever. 4. All they that see Him laugh Him to 13. Thou art gone up on high, (Revelation 11: 15) scorn; Thou hast led captivity captive, they shoot out their lips, and received gifts for men King of Kings, and Lord of Lords. and shake their heads, saying: yea, even from Thine enemies, (Revelation 19: 16) (: 7) that the Lord God might dwell Hallelujah! among them. CHORUS (Psalm 68: 18) 5. "He trusted in God that He would deliver Him: let Him deliver Him, if He delight in Him." (Psalm 22: 8)

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PART 3 who is he that condemneth? e dell’eterno Re le leggi udite. It is Christ that died, yea rather, AIR (SOPRANO) that is risen again, 6. Recitativo 22. I know that my Redeemer liveth, who is at the right hand of God, LUCIFERO and that He shall stand at the latter who makes intercession for us. Chi sei? Chi è questo Re day (Romans 8: 33-34) che dov’io regno a penetrar s’avvanza? upon the earth. And though worms destroy this body, CHORUS ANGELO yet in my flesh shall I see God. 30. Worthy is the Lamb that was slain, È Re di gloria, è Re possente e forte, (Job 19: 25-26) and hath redeemed us to God by His cui resister non può la tua possanza. For now is Christ risen from the dead, blood, the first fruits of them that sleep. to receive power, and riches, and LUCIFERO (I Corinthians 15: 20) wisdom, Se parli di chi penso, and strength, and honour, and glory, pur oggi a morte spinto CHORUS and blessing. negar non può, ch’il mio poter l’ha 23. Since by man came death, Blessing and honour, glory and power, vinto. by man came also the resurrection be unto Him that sitteth upon the of the dead. throne, ANGELO For as in Adam all die, and unto the Lamb, for ever and ever. Come cieco t’inganni, e non t’avedi even so in Christ shall all be made Amen. che, se morì chi è della vita autore, alive. (Revelation 5: 12-14) non fù per opra tua, mà sol d’amore. (I Corinthians 15: 21-22) CD47-48 7. Aria RECITATIVE (ACCOMPANIED – BASS) LA RESURREZIONE HWV47 ANGELO 24. Behold, I tell you a mystery, PART 1 D’amor fù consiglio we shall not all sleep, 1. Sonata che al Padre nel Figlio but we shall all be changed in a l’offesa pagò; moment, 2. Aria per render all’huomo in the twinkling of an eye, at the last ANGELO la vita che un pomo trumpet. Disserratevi, oh porte d’Averno! gustato involò. (I Corinthians 15: 51-52) e al bel lume d’un lume ch’è eterno tutto in lampi si sciolga l’orror. 8. Recitativo AIR (BASS) Cedete, horride porte, LUCIFERO 25. The trumpet shall sound, cedete al Re di gloria, E ben, questo tuo Nume and the dead shall be raised che della sua vittoria dell’huomo innamorato incorruptible, Voi siete il primo onor. e che per lui svenato and we shall be changed. oggi volle morir, che più presume? For this corruptible must put on 3. Accompagnato L’omaggio a me dovuto incorruption, LUCIFERO se a rendermi quà giù move le piante, and this mortal must put on Qual’insolita luce venga; mà se pretende… immortality. squarcia le bende alla tartarea notte? The trumpet. . . da capo Qual eco non più udita ANGELO (I Corinthians 15: 52-53) con armonia gradita Taci, che or lo vedrai, mostro fa intorno risonar le stigie grotte? arrogante, RECITATIVE (ALTO) Se son del mio valore vedrai come delusa 26. Then shall be brought to pass the gli applausi giusti sono! da lui fugge la morte, saying Hoggi che vincitore, vedrai come confusa that is written: cittadini d’abisso, a voi ritorno; lo rimira la colpa, "Death is swallowed up in victory." e già mi vendicai con fiero sdegno vedrai come atterrito (I Corinthians 15: 54) chi perder già mi fè de’cieli il Regno. si nasconde la pena, vedrai come tu stesso DUET (ALTO & TENOR) 4. Aria tremerai genuflesso 27. O death, where is thy sting? LUCIFERO al suo gran nome. O grave! where is thy victory? Caddi, è ver, ma nel cadere The sting of death is sin, non perdei forza nè ardire. LUCIFERO and the strength of sin is the law. Per scacciarmi dalle sfere Io tremante! Io si vile! E quando? E (I Corinthians 15: 55-56) se più forte allor fù Dio, come? or fatt’huomo, al furor mio Sconvolgerò gli abissi, CHORUS pur ceduto ha con morire. dal suo centro commossa 28. But thanks be to God, dissiperò la terra, who giveth us the victory 5. Accompagnato all’aria coi respiri, through our Lord Jesus Christ. LUCIFERO al fuoco coi sospiri, (I Corinthians 15: 57) Mà, che veggio? Di spirti a me nemici con gli aneliti al ciel muoverò guerra. come in sì folto stuolo AIR (SOPRANO) per quest’aure annegrite 9. Aria 29. If God be for us, who can be da’ miei respiri, osa portare il volo? LUCIFERO against us? O voi dell’Erebo (Romans 8: 31) ANGELO potenze orribili, De’ tenebrosi chiostri sù, meco armatevi Who shall lay anything to the charge tacete horridi mostri! d’ira e valor! of God's elect? It is God that justifieth, dileguatevi, o’ larve, ombre, sparite E dell’Eumenidi

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gli angui terribili MADDALENA con fieri sibili CLEOFE Giovanni, tu che fosti ai cieli mostrano, Ahi popolo crudel, popolo ingrato! del mio Giesù discepolo diletto, ch’ hanno i suoi fulmini Chi per te già disciolse e degli arcani suoi gli abissi ancor. duri macigni in liquidi torrenti secretario fedel, solo tu puoi di purissimi argenti, di speme più tranquilla 10. Accompagnato poche stille ti chiede; ravivar nel mio sen qualche scintilla. MADDALENA tu gli dai mercede Notte, notte funesta, un si amaro liquore: S. GIOVANNI che del divino sole e in rammentarlo non si sprezza il Già la seconda notte, con tenebre a duol piangi l’occaso, core? da ch’egli estinto giacque, lascia che pianga anch’io, col carro suo di tenebroso gelo e con sopor tiranno MADDALENA tutta varcò la sommita del cielo, al giusto dolor mio Oh crude rimembranze! e del Gange su l’acque deh non turbar l’affanno! attende gia la risvegliata aurora CLEOFE del nuovo sole il lucido ritorno: 11. Aria Oh funeste memorie! mà il nostro Sole ancora MADDALENA a noi tornar promise il terzo giorno. Ferma l’ali, e su’ miei lumi MADDALENA Consoli dunque il vostro cor, che non volar, o sonno ingrato! Tormentatemi pur, geme, Se presumi una si bella e si vicina speme. asciugarne il mesto pianto, CLEOFE lascia pria che piangan tanto Sì, sì, seguite 17. Aria quanto sangue ha sparso in fiumi ad accrescermi il duol, S. GIOVANNI il mio Dio per me svenato. Quando è parto dell’affetto, MADDALENA il dolor in nobil petto 12. Recitativo Che nel tormento non estingue la costanza; CLEOFE quando è figlia della fede, Concedi, o Maddalena, CLEOFE mai non cede qualche tregua al martire, Che nell’angoscia ria al timore la speranza. che un continuo languire può con la vita anche scemar la pena, MADDALENA 18. Recitativo e per un Dio ch’ è morto Io godo ancor, CLEOFE così giusto è’l dolore, Ma dinne, e sarà vero che non convien di renderlo più corto. CLEOFE che risorga Giesù? Sollievo ancor io sento. MADDALENA S. GIOVANNI Cleofe, in vano al riposo MADDALENA S’egli l’ha detto, tu mi consigli, ed al mio core amante Se col pensiero afflitto chi mai di menzognero sarebbe più penoso ogni momento. và lusingando almeno oserà d’arguire labbro divino! Che potesse restar senza tormento. il mio desire, e parmi aver nel seno qualche martir del mio Giesù trafitto. MADDALENA CLEOFE Sù! dunque andiamo, e pria ch’il Se il tuo giusto cordoglio CLEOFE matutino sol di pene ha desio, Se nell’afflitta mente raggio dell’orizonte il lembo indori, trattenerlo non voglio hò il mio Giesù presente, andiam ad osservare al sacro avello, mà sol unire al tuo l’affanno mio. e benchè esangue ed impiagato, parmi che almen potremmo in quello che basti il volto suo per consolarmi. con balsami ed odori 13. Aria unger la fredda esanimata salma CLEOFE 15. Duetto di chi fù già di noi la vita e l’alma. Piangete, sì, piangete, MADDALENA dolenti mie pupille, Dolci chiodi, amate spine, CLEOFE e con amare stille da quei piedi e da quel crine Pronta a seguirti io sono, al morto mio Signor deh, passate nel mio sen! mà speranza miglior mi rende ardita, tributo di dolor e di Giovanni ai detti meste rendete! CLEOFE spero viva trovar la nostra vita. Che mentre egli spargea Cara effigie addolorata, tutt’ il suo sangue in croce, benché pallida e piagata, 19. Aria morendo sol dicea sei mia vita, sei mio ben. CLEOFE di pianto: hò sete. Naufragando và per l’onde 16. Recitativo debol legno, e si confonde 14. Recitativo S. GIOVANNI nel periglio anch’il nocchier. MADDALENA O Cleofe, o Maddalena, Mà se vede poi le sponde, Ahi dolce mio Signore, del mio divin maestro amanti amate, lo conforta nuova speme, le tue vene già vuote o quant’invidio, quanto, e del vento più non teme chiedan di poco umore quelle che hora versate nè del mar l’impeto fier. momentaneo ristoro, stille di puro amor più che di pianto. e il barbaro Israele Spero presto vederle, 20. Recitativo bevanda sol di fiele per coronar il mio Signor risorto, S. GIOVANNI ti porse: io lo rammento, e pur non da rugiade di duol cangiarsi in perle. Itene pure, oh fide amiche donne, moro? al destinato loco,

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ch’ivi forse potrete questo giorno attendeste, anime belle! lieto e giocondo, del vostro bel desio trovar le mete, Uscite pur, uscite, col suo Signor. mentre io torno a colei, che già per a vagheggiare, a posseder le stelle! Il ciel festeggi, madre Di quel Signor, che ha vinto il suol verdeggi, mi diè nell’ultim’hore per voi la morte e’l contumace averno, scherzino, ridano del suo penoso agone il mio Signore. il trionfo seguite: l’aure con l’onde, e voi primi venite, l’erbe coi fior. MADDALENA o primi padri delle humane genti; A lei ben opportuno nè s’odan più lamenti 6. Accompagnato il tuo soccorso fia, del vostro antico errore, ANGELO che in così duro scempio or ch’ebbe insorto un tanto redentore; Di rabbia indarno freme qual sia la pena sua, sò per la mia. seguano gli altri poi, coi mostri suoi l’incatenato averno; e per l’orme di luce, l’odio che oppresso geme, S. GIOVANNI che del divino duce la crudeltà che piange, Ben d’ogn’ altro più grande il glorioso piè stampa nell’ombre, l’invidia che sospira, fù il dolor di tal madre da questo centro squallido e profondo l’empietà che delira, di tal figlio alla morte, sorgan con lui sovra l’aperto mondo. l’iniquità tremante, mà d’ogn’ altro più forte Mà con eco festiva il furor vacillante, hebbe in soffrirlo il petto, ed hor replichi prima il lor devoto labro: sbigottita la frode, costante deriso il tradimento, che ferma più d’ogn’ altra ha la 25. Choro vilipeso l’orgolio: speranza Il Nume vincitor del mio Signor risorto di vederlo risorto, e se l’ottiene trionfi, regni e viva. saran carro al trionfo e base al soglio. la gioia allor compenserà le pene. Viva e trionfi il Dio così grande che i cieli spande, 7. Recitativo 21. Aria che al sol da splendor. LUCIFERO S. GIOVANNI Per cui Cocito Misero! hò pure udito? Così la tortorella geme atterrito, E in van per vendicarmi talor piange e si lagna, da qui fu vinta contro forza maggior impugno l’armi? perchè la sua compagna la morte ancor. vede ch’augel feroce Viva e trionfi il Dio così grande ANGELO dal nido gli rubò. che da luce al sol. Si, si, contrasti in van; torna a Cocito! Mà poi, libera e bella se ritornarla sente, PART 2 LUCIFERO compensa in lieta voce 1. Sinfonia Perchè al ciel pria non torna quel gemito dolente il tuo risorto Nume? che mesta già formò. 2. Recitativo S. GIOVANNI ANGELO 22. Recitativo Di quai nuovi portenti Perchè pria vuole in terra MADDALENA ha la terra oggi ancora il sen fecondo? far delle glorie sue noto il mistero. Se Maria dunque spera, Piansero gli elementi e spera ancor Giovanni, del lor fabbro immortal la morte fiera, LUCIFERO anch’io dar voglio con si giusta speme e d’un giorno che spera Noti gli oltraggi miei? Nò, non fia vero! qualche tregua agli affanni; di vederlo risorto ma pure chi ben ama sempre teme, con gl’istessi tremori 8. Aria e nell’amante mio misero core par che il suolo paventi i primi albori. LUCIFERO benché speranza regni, Mà forse dell’inferno, Per celare il nuovo scorno bandir non può il timore. che dal Dio vincitor l’hasta percosse, le tue faci ancor al giorno Or degli opposti affetti gli ultimi sforzi son, l’ultime scosse. con un soffio io smorzerò; a chi debba dar fede, e con tenebre nocenti vedrò volgendo il piede 3. Aria delle infirme humane menti all’adorato speco, S. GIOVANNI ogni idea confonderò. tomba del mio Giesù. Vada Giovanni Ecco il sol ch’esce dal mare a consolar Maria; Cleofe sia meco. e più chiaro che non suole 9. Recitativo smalta i prati, i colli indora. ANGELO 23. Aria Mà chi sa, che di quel Sole Oh come cieco il tuo furor delira! MADDALENA ch’oggi in vita ha da tornare Mira, folle, deh mira Hò un non sò che nel cor, questo sol non sia l’aurora. le donne pie che all’incauto sasso, che in vece di dolor sepolcro già delle divine membra, gioia mi chiede. 4. Recitativo movon veloce il passo! Mà il core, uso a temer, S. GIOVANNI A loro il Ciel comanda le voci del piacer Mà dove Maria dimora ch’io l’arcano riveli, o non intende ancor, se ho già vicino il piede, ond’esse in publicarlo o innganno del pensier spero veder ben presto agli altri poi ne sian trombe fedeli. forse le crede. cangiata la speranza in certa fede, e senz’alcun periglio 10. Duetto 24. Recitativo lieta la madre e glorioso il figlio. LUCIFERO ANGELO Impedirlo saprò. Uscite pur, uscite 5. Aria dall’oscura prigione, ANGELO ANGELO ove si lunga ed horrida stagione Risorga il mondo Duro è il cimento.

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LUCIFERO MADDALENA insegnatemi dov’è! Hò ardir che basta. Oh, quale spira Fiori ed herbe, grazia dal’ volto suo, che mi consola! già superbe ANGELO Appressiamoci a lui, che già ne mira. di lambir le sacre piante, Lo dirà l’evento! deh mostrate a un cor amante ANGELO le bell’orme del suo pie! 11. Recitativo Donne, voi ricercate MADDALENA di Giesù Nazareno, 21. Recitativo Amica, troppo tardo ove giacque già morto; S. GIOVANNI fù il nostro piè; già il sol sull’ etra ora non è più qui, mà è già risorto. Dove si frettolosi, ascende. Al vostro puro affetto Cleofe, rivolgi i passi? giusto è che diano i cieli CLEOFE così bella mercede, CLEOFE Fù il cor troppo codardo, e un tal mistero a voi prima si sveli, In traccia di Giesù ch’è già risorto, che della terra a gl’improvisi moti per far araldi poi della sua fede. Come ancor Maddalena. fè i nostri passi rimanere immoti. Itene dunque a publicarlo, e sia premio del vostro pianto S. GIOVANNI MADDALENA della gioia comune il primo vanto. Onde il sapeste? Or chi sa se potremo ricercar in tomba il mio tesoro. 16. Aria CLEOFE ANGELO Sovra l’aperto avello CLEOFE Se per colpa di donna infelice così a noi rivelò labro celeste. Se son desti i custodi, io ben ne temo. all’ huomo nel seno la morte il crudo veleno sgorgò, S. GIOVANNI MADDALENA dian le donne la nuova felice, Così la madre a me poc’anzi ha detto, Io temo ancor, ma più il mio Nume che chi vinse la morte già morto a cui prima d’ogni altra adoro. poi risorto la vita avvivò. del figlio apparve il glorioso aspetto.

12. Aria 17. Recitativo CLEOFE MADDALENA MADDALENA Oh, come lieta avrà quel figlio accolto! Per me già di morire Mio Giesù, mio Signore, non paventò Giesù. già che risorto sei, S. GIOVANNI Egli mi dà l’ardire; perchè, perchè ti ascondi a gli occhi Parve ch’il suo bel volto, per lui nulla pavento, miei? di stille lacrimose humido ancora, nè morte, nè tormento; Può ben la fede, è vero, del sol divino all’improviso raggio quando ho Giesù nel cor non temo più. far che l’amore adori il gran mistero: fosse traviso e pinto, un altra aurora. mà come può l’amore Poi la gioia veloce 13. Recitativo esser contento a pieno, corse dal seno al labro in questa voce: LUCIFERO se non manda il suo ben per gli occhi al Ahi, abborrito nome, core? 22. Aria ahi, come rendi, come, Vo’ cercarti per tutto; S. GIOVANNI ogni mio sforzo imbelle! nè sarà forse in vano, Caro figlio, amato Dio, Ahi, che vinto e confuso, che da chi ben ti cerca, già il cor mio atterrito e deluso mai, dolce mio tesor, tu sei lontano. nel vederti esce dal petto! fuggo il ciel, fuggo il suolo, fuggo il E se lento mondo, 18. Aria fù in rapirmelo il tormento, e del più cupo abisso MADDALENA me lo toglie ora il diletto. torno a precipitar nel sen profondo. Del cielo dolente l’ondosa procella 23. Recitativo 14. Aria in Iride bella MADDALENA CLEOFE cangiando sen và. Cleofe, Giovanni, udite, Vedo il ciel, che più sereno E il cor che già sente udite la mia nuova alta ventura! si fà intorno e più risplende. vicino il suo Sole Hò veduto il quell’horto il mio Signore, E di speme nel mio seno da mesto a languente che havea d’un suo guardian preso più bel raggio ancor s’accende. sereno si fà. figura Mà dalle rozze spoglie 15. Recitativo 19. Recitativo uscia luce si pura e così ardente, MADDALENA CLEOFE che pria degl’occhi il ravvisò la mente. Cleofe, siam giunte al luogo, Sì, sì, cerchiamo pure Poi conobbi quel viso, ove ombra funesta l’orme del nostro amor; che fortunata in cui, per farsi bello, dell’amato Signor coprì la salma. sarà ben chi lo trovi! si specchi il paradiso; Verso il bosco io me vado, vidi le mani ancor, vidi le piante, CLEOFE mentre tu verso gli orti i passi movi. ed in esse mirai, lucide e vaghe, Parmi veder, sì, sì, vedo ben certo sfavillar come stelle ch’è già l’avello aperto, 20. Aria quelle che furon pria funeste piaghe. e su la destra sponda CLEOFE A baciarle il labro allor s’accinse, siede con bianca stuola Augelletti, mà Giesù mi respinse, e dirmi parve: un giovane vestito. ruscelletti “Tu non mi puoi toccar! Poscia che cantando, mormorando disparve.” date lodi al mio Signore,

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S. GIOVANNI 4. Aria let him come. But if he claims… Non si dubiti più! LUCIFER I fell, it’s true, but in falling ANGEL CLEOFE I lost neither strength nor boldness. Be silent, for now you will see him, Cessi ogni rio timore! Though God was then stronger arrogant monster! to chase me away from the spheres, You will see how disappointed death, MADDALENA now, as a man, in dying flies away from him; è risorto Giesù. he has yielded to my fury. you will see how confounded guilt, stares terrified at him; S. GIOVANNI 5. Accompagnato you will see how pain Viva e la nostra vita. LUCIFER hides in terror; But what do I see? How does so thick a you will see how you yourself CLEOFE crowd will tremble, Il nostro amore. of spirits, hostile to me, kneeling at his great name. Dare wring its way 24. Aria through these black vapours of my LUCIFER MADDALENA exhalations? Me trembling! Me so cowardly! Se impassibile, immortale When? How? sei risorto, oh Sole amato, ANGEL I will upturn the abyss, deh fà ancor ch’ogni mortale Be silent, grim monsters from its very centre teco sorga dal peccato! of the dark caverns! I will dissipate the earth; vanish, you spectres, disappear, you to the air with my breath, 25. Recitativo shades, to the fire with my sighs, S. GIOVANNI and hear the laws of the eternal King. with ambition for heaven I’ll wage war. Sì, sì, col Redentore sorga il mondo redento! 6. Recitative 9. Aria Lucifer LUCIFER CLEOFE Who are you? Who is this King O you dread powers Sorga dalle sue colpe il peccatore! who advances and penetrates where I of , reign? rise, be armed with me MADDALENA with anger and courage. Ed al suo fabro eterno Angel And let the fearful snakes ogni creatura dia lodi ed honore. He is a King of glory, a King of power of the Eumenides, and might, with their fierce hissings, 26. Choro against whom your power cannot show to the heaven Diasi lode in cielo, in terra resist. that hell still has a chi regna in terra, in ciel! its thunderbolts. Che risorto hoggi alla terra Lucifer per portar la terra al ciel. If you speak of whom I am thinking, 10. Accompagnato FINE put to death this very day, MARY MAGDALENE he cannot deny that my power has Night, sorrowful night, ENGLISH TRANSLATION prevailed against you that mourn with grief-filled PART 1 him. darkness 1. Sonata the setting of the divine Sun; Angel let me weep also, 2. Aria How blindly you deceive yourself! Do do not with tyrant drowsiness ANGEL you not see disturb the trouble Be open, oh gates of Avernus, that if he died, he who is the source of of my justified grief. and in the radiant light of the eternal love, let all the horror be dispelled. it was not by act of yours, but only for 11. Aria Yield, dreadful gates, love. MARY MAGDALENE yield to the King of glory, Stop your wings, and over my eyes for you shall be the first honour 7. Aria do not fly, ungrateful sleep. of his victory. ANGEL if you presume It was the advice of love to dry my sad tears, 3. Accompagnato in the Son that paid the Father first let them cry LUCIFER the price of sin; as much as the rivers of blood What unusual light to give back to man shed by my God in dying for me. sunders the bonds of Tartarean night? that life which the tasting What long-forgotten echo of an apple took away. 12. Recitative with pleasant harmonies MARY CLEOPHAS makes the Stygian caves resonate? 8. Recitative Allow, oh Magdalene, If it is applause for my valour, LUCIFER some respite to your suffering, it is most fitting! And so, this God of yours, for to languish without ceasing Today as victor, enamoured with man, can shorten both your life and your citizens of the abyss, I return to you; and who today wanted to die pain; and now I am avenged, with proud for him, what more would he but so justified is sorrow disdain, presume? for a God who has died, on him who made me lose Heaven’s If to pay me due homage that it is not proper to shorten it. kingdom. he makes his way down to these depths,

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MARY MAGDALENE MARY CLEOPHAS hope never yields Cleophas, in vain you advise rest, I yet find relief. to fear. when in my loving heart the greater agony lies in every MARY MAGDALENE 18. Recitative moment As I with anguished thoughts MARY CLEOPHAS that could be free of torment. seek at least to calm But tell us, is it true my desire, I seem to feel in my heart that Jesus will rise again? MARY CLEOPHAS some of the suffering of my pierced If your true grief Jesus. ST JOHN desires only pain, He said so himself; I would not restrain it MARY CLEOPHAS who will dare accuse but would only unite my sorrow with As in my afflicted mind divine lips of uttering lies? yours. I keep my Jesus present, his face, though deathly pale and MARY MAGDALENE 13. Aria wounded, Come then, let us go: and before the MARY CLEOPHAS Seems enough to comfort me. rays Weep, yes, weep, of morning gild the rim of the horizon, my doleful eyes, 15. Duet let us go to watch the holy tomb, and with bitter drops MARY MAGDALENE for there we can at least sadly offer Sweet nails, beloved thorns, anoint with balms and perfumes a tribute of grief ah! Come from those feet and that the cold and lifeless body to my dead Lord. hair, of him who was once our life and soul. For as he shed and penetrate my heart. all his blood on the cross, MARY CLEOPHAS in dying his only words MARY CLEOPHAS I am ready to follow you; of complaint were: I thirst. Dear image of sorrow, but a greater hope gives me courage, though pale and wounded, and hearing the words of John 14. Recitative you are my life and my beloved. I hope to find alive he who is our life. MARY MAGDALENE Ah, my sweet Lord, 16. Recitative 19. Aria your emptied veins ST JOHN MARY CLEOPHAS asked sadly Oh Cleophas, oh Magdalene, The weak wood ploughs the waves for a brief refreshment lovers and beloved of my divine and the steersman and cruel Israel master, is also confused by the danger. offered you only a drink of gall: oh how much I envy But if he then sees the shore I remember it, and yet I do not die? those drops you now shed, new hope comforts him, drops of pure love rather than tears; and he no longer fears the wind MARY CLEOPHAS I hope to see them very soon, nor the fierce raging of the sea. Ah, cruel and ungrateful people! to crown my risen Lord, He who for you once dissolved changing from the dew of anguish into 20. Recitative hard rocks into running torrents pearls. ST JOHN of purest silver, Go forth, then, faithful asks but a few drops from you; MARY MAGDALENE and devoted women, to the appointed you give him in recompense John, you who were place, such a bitter liquid; the favourite disciple of my Jesus, for there you may find and in remembering it does not and faithful recorder the goal of your noble desire; disdain the heart? of his mysteries, you alone meanwhile I shall return to her whom can revive in my heart my Lord MARY MAGDALENE some spark of calmer hope. entrusted as a mother to me Oh, cruel remembrance! in the last hours of his painful agony. ST JOHN MARY CLEOPHAS Already, the second night, MARY MAGDALENE Oh saddest memories! since he laid down his life Most favourable to her has in its chariot of chill darkness will be your support, MARY MAGDALENE now fully crossed heaven’s height, for I know from my own sufferings Torture me still and above the waters of the Ganges what will be her pain in so harsh the reawakening dawn now awaits destruction. MARY CLEOPHAS the radiant return of the new sun: Yes, yes, go on but our Sun also ST. JOHN increasing my grief promised to return to us on the third Far greater than any other’s day. was the grief of such a mother MARY MAGDALENE Let your grieving heart be consoled at the death of such a son; So that in torment by such a beautiful and imminent but she had a heart stronger than any hope. other’s MARY CLEOPHAS to endure it; and now more constant So that in bigger agony 17. Aria and firm than any other’s is her hope ST JOHN of seeing him risen; if it is obtained, MARY MAGDALENE When it is born of love her joy will then compensate for her I yet find delight. grief in a noble heart grief. does not extinguish constancy. When it is the child of faith

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21. Aria trembling iniquity, ST JOHN 25. Chorus hesitant anger, So the turtle dove Let the victorious God astonished fraud, sometimes cries and laments triumph, live and reign! derided treachery, because she believes that May so great a God live and triumph, despised pride: a ferocious bird had torn who spreads forth the heavens, to my risen Lord those will be her mate from the nest. who gives the sun its splendour. triumphal chariot and base for his But when, free and graceful, Because of him Cocytus throne. she hears him returning, moans in terror, with joyful voice, by him death too 7. Recitative compensates her painful moan is conquered. LUCIFER she once uttered in her sadness. May so great a God live and triumph, Woe is me! Have I heard aright? who gives the light to the sun. Do I take up arms against superior 22. Recitative power MARY MAGDALENE PART 2 and attempt revenge in vain? If Mary then hopes, 1. Sinfonia and John still hopes, I too, ANGEL with such well-founded hope, would 2. Recitative Yes, yes, you strive in vain; go back to allow ST JOHN Cocytus! some respite to my distress; What new marvels does the earth but those who truly love always fear, bear today within its fertile womb? LUCIFER and from my poor but loving heart, The elements have wept Why does your risen God though hope now rules, a t the cruel death of their smith, Not first return to Heaven? fear cannot be banned. and a day that hopes Now which of these opposing feelings to see him risen ANGEL I should trust with the same tremors Because he wants to make known on I shall discover as I turn my steps it seems the earth fears the first earth to the beloved cave, dawns. the mystery of his glory. the tomb of my Jesus; let John go But perhaps these are the final to comfort Mary; Cleophas, stay with struggles, LUCIFER me. the final convulsions of hell, Do you see my outrage? No, it shall shattered by the spear of the not be! 23. Aria victorious God. MARY MAGDALENE 8. Aria I have something in my heart, 3. Aria LUCIFER that instead of pain, ST JOHN To hide this new insult asks me for joy. Here is the sun that rises from the sea I shall this very day But my heart, so used to fear, and shining with unwonted brightness blow out his torches with one breath. either cannot understand enamels the fields, and gilds the hills. And with poisonous darkness the voices of pleasure But who knows if this sun, I shall confuse every notion or perhaps believes them to be who today returns to life. in weak human minds. an illusion of thought. may be the dawn of that Sun. 9. Recitative 24. Recitative 4. Recitative ANGEL ANGEL ST JOHN Oh how blindly your fury raves! Come forth, indeed come forth But as my steps now draw near Look, fool, look from the dark prison, to where Mary dwells, at the pious women who hasten where for so long and dreadful a time I hope very soon to see to the hollowed rock, once the tomb you have awaited this day, blessed her hope transformed to sure faith, of the divine body. souls; and, without any peril, Heaven commands that I come forth, indeed come forth the mother joyful and the Son in glory. reveal to them the mystery; to gaze upon, to gain the stars! so that in proclaiming it to others Follow the triumph of that Lord 5. Aria they shall be trumpeters of the truth. who for you has conquered death ANGEL and unruly hell. Let the world rise again, 10. Duet And be you the first to come, happy and joyful LUCIFER oh first fathers of the human race; with its Lord. I know how to prevent that! let lamentation for your ancient sin The heavens be jubilant, no more be heard, now that the earth be verdant, ANGEL such a Redeemer is arisen. play and laugh It is a hard trial! then let the others follow, the breezes with the waves, and in the footprints of light and the grass with the flowers. LUCIFER that the glorious foot of the divine I have courage enough! Leader 6. Accompagnato marks in the shadows, ANGEL ANGEL from this deep and desolate place In vain does hell rage in its chains The outcome will prove it! let them rise with him to the open with all its monsters: world above. hatred, who moans in defeat, 11. Recitative But with sounds of joy cruelty, who sobs, MARY MAGDALENE first let your devout lips repeat: envy, who sighs, My friend, our steps were too slow: impiety, who raves;

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already the sun ascends into the Jesus of Nazareth Flowers and grasses, heavens. where he once lay in death; now proud he is no longer here, but already he to caress the holy feet, MARY CLEOPHAS has risen! ah! show my loving heart The heart was too cowardly, It is in justice to your pure love the beautiful imprints of his steps. for the unexpected tremors of the that Heaven grants earth so rich a reward, 21. Recitative rooted our feet to the ground. and so great a miracle is first revealed ST JOHN to you, Where are you going, MARY MAGDALENE so that you may become heralds of his Cleophas, in such haste? Now who knows if we shall be able truth. to look in the tomb for my beloved? Therefore go forth and make it known, MARY CLEOPHAS and let In search of Jesus, who is risen; MARY CLEOPHAS the reward for your tears As Magdalene is searching too. If the guards are awake, I fear we may be the first proclamation of universal not. glory. ST JOHN How do you know this? MARY MAGDALENE 16. Aria I fear too, but more greatly I love my ANGEL MARY CLEOPHAS God. As it was by the sin of sad woman Upon the open tomb that death seeped its cruel poison the heavenly lip revealed it to us. 12. Aria into the heart of man: MARY MAGDALENE so women are given the happy news ST JOHN Jesus did not fear that he who conquered death, once So too his mother has just told me, to die for me. dead to whom, before all others, He gives me courage; and now risen, has revived life itself. the glorious sight of her Son appeared. because of him I fear nothing, neither death not torment; 17. Recitative MARY CLEOPHAS when Jesus is in my heart I am no MARY MAGDALENE Oh, how happy the welcome that Son longer afraid. My Jesus, my Lord, must have had! now that you are risen, 13. Recitative why, oh why are you hiding from my ST JOHN LUCIFER eyes? It seemed that her lovely face, Ah, abhorred name! It is indeed true that faith can still wet with tears, Ah, how you weaken, bring the heart to revere great displayed at the unexpected rays of all my strength! mystery; the divine Sun Ah, conquered and confounded, but how can love a second dawn between smiling and terrified and outwitted, be fully satisfied if it does not send weeping. I escape from Heaven, from earth and its beloved from the eyes to the heart? Then joy ran rapidly the world; I will seek you everywhere, from her heart to her lips in these and into the lowest depths and perhaps not in vain; words: I fall once more in the deep abyss. for from one who truly seeks you, never, my sweet beloved, are you far. 22. Aria 14. Aria ST JOHN MARY CLEOPHAS 18. Aria Dear son, beloved God, I see the sky, becoming MARY MAGDALENE already my heart leaps serene and more radiant. From a mournful sky from my breast at seeing you. And ever brighter in my heart the wavy tempest And though torment burn hope’s lovely rays. changes was slow to rob me of that heart into a lovely rainbow. delight now takes it from me. 15. Recitative And the heart which already MARY MAGDALENE feels its Sun to be near 23. Recitative Cleophas, we have reached the place becomes serene MARY MAGDALENE where the dark shadow after sad languishing. Cleophas, John, listen, Enclosed the body of our dear Lord. listen to my marvellous news! 19. Recitative I have seen in that garden my Lord, MARY CLEOPHAS MARY CLEOPHAS who had taken the appearance of one I think I see, yes, truly I do see Yes, yes, indeed let us seek of the guardians. that tomb is already open, the footprints of our Beloved; But from his rough garments and on the right-hand side how happy will be she who finds him! there shone a light so pure and radiant there sits a young man I shall go towards the wood, that my mind recognized him before wearing a white robe. while you make your way to the my eyes did. gardens. Then I recognized that face, MARY MAGDALENE the mirror into which Paradise gazes Oh what grace shines 20. Aria to beautify itself. from his face and brings me comfort! MARY CLEOPHAS I also saw the hands and the feet, Let us approach him, for already he is Little birds, and in them I noticed, shining and looking at us. and placid streams beautiful, who in singing and murmuring sparkling little stars, ANGEL give praise to my Lord, that once were deadly wounds. You women seek show me where he is. Then my lips made ready to kiss him,

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but Jesus forbade me, and seemed to MARY CLEOPHAS MARY CLEOPHAS say: ‘You may not touch me; I may And our love! Let each sinner rise from his sins! vanish.’ 24. Aria MARY MAGDALENE ST JOHN MARY MAGDALENE And to its eternal Creator We can doubt no longer! If immovable and immortal let all creation give praise and honour! you are risen, oh beloved Sun, MARY CLEOPHAS ah, let all mortals rise with you 26. Choir All tormenting fears are ended! out of their sinful state. Praise is said in Heaven and Earth to him who reigns in Earth and MARY MAGDALENE 25. Recitative Heaven! Jesus is risen! ST JOHN For he has risen on Earth today Yes, yes, with the Redeemer, to lift Earth to Heaven. ST JOHN let the redeemed world rise! He lives, who is our life.

GERMAN TRANSLATION ERSTER TEIL Weicht, o Trugbilder, Schatten, Engel Sonata verschwindet Schweige! bald wirst du’s schau’n, Arie und gehorcht der Anordnung des hoffärth’ger Wüthrich, Engel ewigen Königs. Wirst schau’n, wie mit Beschämung Öffnet weit euch, ihr Pforten der Hölle! Vor ihm der Tod sich flüchtet, Vor dem Leuchten des göttlichen Rezitativ Wirst schau’n, wie in Verwirrung Strahles Lucifer Die Sünde zu ihm aufblickt, wird zum Glanze die schreckliche Wer bist du? Und wer ist Wirst schauen, wie voll Schrecken Nacht. dein Herr, den hier sich einzudrängen Die Rächer sich verbergen; Empfangt, ihr grausigen Thore, lüstet? Dich selbst wirst du noch schauen empfangt den Herrn der Herrlichkeit, Erzitternd auf den Knieen der König ist von Ewigkeit Engel Vor seinem Namen. in unbesiegter Macht. Der Herr der Herrlichkeit, ein mächt’ger König, Lucifer Accompagnato dem nie du widerstehst mit deinen Ich zittern! Ich im Staube! Wann und Lucifer Waffen. wie denn? Doch welch ein heller Lichtschein Im Aufruhr sprengt die Hölle bricht in die Nacht der Unterwelt Lucifer den Erdenball in Trümmer, hernieder? Ich glaub’ ihn zu erraten; die sie den Himmel schleudert; Welch prächtiges Getöne doch heut, geführt zum Tode, die Luft beherrscht mein Odem, mit ungewohnten Klängen Weiß Jener wohl, wie meine Macht ihn mein Hauch gebeut dem Feuer; erweckt das Echo hier in diesen beugte. aus aller Welt beruf ’ ich meine Höhlen? Streiter. Wenn er meiner Tüchtigkeit gilt, Engel ist der Applaus berechtigt! In Blindheit irrst du dich. So magst du Arie Als Sieger kehre ich heute, wissen: Lucifer Bürger der Unterwelt, zu euch zurück; Gieng er zum Tod, er, der des Lebens Auf, ihr gewaltigen ich habe mich gerächt mit stolzer Quelle, - Mächte der Unterwelt, Verachtung Nicht du hast ihn gebeugt; er starb aus furchtbar im Waffenglanz an jenem, der mich das Himmelreich Liebe. stürmet hervor! verlieren ließ. Schreckliche Furien Arie reizt eure Schlangen auf! Arie Engel Lasset dem Himmel sie Lucifer Die Liebe in Gnaden zischend verkündigen, Fiel ich auch, so hab’ im Falle hat auf sich geladen dass unser Flammenblitz kühne Kraft ich nicht verloren. die Sünde der Welt, bald zuckt empor. Nach dem Kampf, der mich gestürzet, damit neues Leben, fühlte Gott sich übermächtig; nachdem Gott vergeben, Accompagnato jetzt als Mensch muss er erliegen die Menschheit erhält. Magdalena meinem Grimme und dem Tode. Trauer, o Nacht, bedeutet Rezitativ dein tiefes Dunkel, –- Trauer, Accompagnato Lucifer da nun des Himmels Licht Lucifer Nun wohl, mag denn dein König untergegangen. Was seh’ ich? Es sind beschwingte die Menschen zärtlich lieben, Vergönn’ auch mir die Trauer! Feinde, hat er, für sie verblutend, Entsende nicht den Schlummer, sie wagen mir zu nahen, erlitten heut den Tod, – was sucht er der grausam stillt das Weinen; sie scheu’n nicht diese Lüfte, nicht mehr noch? ach, störe nicht den Kummer! Höllenqualm; keck regt die Schar die Flügel. Gedenkt er mir zu huld’gen, Arie Engel will darum er herab, wie’s ihm Magdalena Der finsteren Höhlen geziemet, Schweb’, o Schlaf, an mir vorüber, grausige Monster, schweigt! er komme! Doch verlangt er… nicht herab auf meine Augen! Musst du endlich

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einmal trocknen meine Zähren, Magdalena was er geheim gedacht; nur du lass’ zuvor soviel mich weinen O schmerzliches Erinnern! vermagst als des Blutes schon in Strömen den Funken stiller Hoffnung er, mein Gott, für mich vergossen. Kleophe mir in der bangen Brust neu zu Entsetzliches Gedenken! beleben. Rezitativ Kleophe Magdalena Johannes Nicht immer, Magdalena, Doch ich vermeid’ es nicht; Schon kam zum zweiten Male, gib hin dich solchem Schmerze! seit er im Tod erstarrte, Unausgesetztes Grämen Kleophe die Nacht heran, und seht, ihr nagt an dem Leben, kürzt mit ihm sich Nein, nein, ich heg’ es, schwarzer Wagen selber; den Gram noch zu vertiefen; hat schon erreicht den Höhepunkt des und doch soll unser Trauern Himmels, um ihn, der uns zum Heile Magdalena lenkt abwärts schon; es harret als Gottmensch starb, zu kurze Zeit Denn der Kummer das Morgenrot am Horizont des Tages; nicht dauern. bald kehrt zurück die Sonn’ in vollem Kleophe Glanze. Magdalena Denn diese herbe Trauer Auch Jesus, uns’re Sonne, Vergebens ist dein Mahnen, verhieß, zurück zu sein am dritten mein Leid kennt keine Ruh’, ich kann Magdalena Tage. nicht anders. Ist Wonne mir; So sei von euch, die schwer der nur bitt’rer noch und schwerer wär’ Schmerz getroffen, die Stunde, Kleophe als Trost erfasst dies nahe schöne wo ich nicht fühlte in der Brust die Ist mir zugleich ein Labsal. Hoffen. Wunde. Magdalena Arie Kleophe Mit meinem Herrn zu leiden Johannes Kannst einzig du nach Wehmuth war ja mein einzig Wünschen und Ist ein Kummer Frucht der Liebe, Und nach dem Schmerz dich sehnen, Verlangen; so vermag die starke Seele So will ich nimmer mahnen; Mir ist, als hätt’ ich selber festen Mut sich zu erhalten. Es fliessen im Verein auch meine Teil an der Pein, die er am Kreutz Treue Liebe lässt den Glauben Thränen. erduldet. sich nicht rauben, lässt statt Sorge Hoffnung walten. Arie Kleophe Kleophe Wenn ich, gebeugten Herzens, Rezitativ So weinet denn, o weinet, sein Bild vor Augen habe, Kleophe ihr meine Augensterne! den wunden Leib, die schlaffen Doch sage, ist’s Gewissheit, Ihr brächtet ja so gerne Glieder, ist mir dass Jesus aufersteht? dem Herrn, der Pein und Not als ob sein Angesicht mir tröstend erlitten bis zum Tod. lächle. Johannes Den Zoll des Dankes! Er hat’s verkündet; Ihr sah’t am Kreutz ihn hangen, Duett wer dürfte sich vermessen von Sterbensqual verzehret, Magdalena zu zweifeln an dem Wort, das er in lechzendem Verlangen Süsse Dornen seiner Krone. gesprochen? des Labetrankes. Tief in meine Seele bohre euer Stachel nun sich ein! Magdalena Rezitativ So lass’ uns eilen! Und bevor die Magdalena Kleophe Strahlen Ach Jesus, teurer Jesus! Jesu Bild, das schmerzenreiche, des neuen Tags den Himmel goldig Die Lippen, im Verschmachten, blutgefärbte, todesbleiche, säumen, begehren nach Erquickung soll mein Gut und Leben sein. sind wir zur Stelle schon, am heil’gen und rufen aus: mich dürstet! Grabe, Doch Israels Barbaren Rezitativ dass wir, eh’ er’s verlassen, entbieten dir zu trinken Johannes die noch entseelten Glieder nur Galle. Schaudernd seh’ ich’s, und O Kleophe, o Magdalena, mit Balsam salben und mit duft’gem kann leben? ihr, die der Meister selbst so wert Öle gehalten, – dem Herren, der uns Leben war und Kleophe wie rühren mich die Tränen, Seele! O grausames Geschlecht, o Volk voll Tautropfen süßer Schmerzen, Undank! die ihr geweint um ihn aus treuer Kleophe Dein Gott, der in der Wüste Liebe! Gern werd’ ich dich begleiten, aus Felsen einst dir rauschen ließ die Doch schon seh’ ich sie glänzen doch will mein Hoffen schon sich Bäche im Diadem des Wiederauferstand’nen, höher heben; des silberklaren Wassers, verwandelt seh’ ich sie in reine Perlen. des Freundes Wort lässt ahnen verlangt nur wenige Tropfen; es sei bereits lebendig unser Leben. du reichest ihm zum Lohne Magdalena so bitteres Getränk! Und bei dem Johannes, du warst immer Arie Anblick dem Herren lieb, der liebste seiner Kleophe ist nicht mein Herz gebrochen? Jünger, Wellen toben um den Nachen, und du hast stets erfahren seine schwachen Planken krachen, und der Schiffer zagt in Not.

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Doch der Anblick nahen Landes Johannes da der Unsterbliche, der euch lässt die Hoffnung neu erwachen; die Mutter trösten; wir geh’n nach geschaffen, starb! mutig trotzt er den Gefahren, dem Grabe. Schon aber dürft ihr hoffen denkt nicht mehr was ihm gedroht. erstanden ihn zu sehen. Arie Den Morgen der Entscheidung Rezitativ Magdalena erharrt das Erdreich bang mit solchem Johannes Ein Etwas in der Brust Zittern. Ja, geht zum Grab, ihr Frau’n, ihr ermuntert mich zur Lust Doch ist’s vielleicht die Hölle, treuen Herzen, nach langem Klagen. die zuckend ringt in ihrem letzen ja, tut wie ihr beschlossen! Gar süß die Stimme tönt; Krampfe, Ihr könnt am heil’gen Orte doch ich, an Furcht gewöhnt, denn des Besiegers Speer traf sie vielleicht das fromme Liebeswerk noch verstehe kaum sie noch; vernichtend. üben, vielleicht will sie mir doch indess ich mich zu ihr zurück begebe, von Lust nicht sagen. Arie die in der Todesstunde Johannes er mir als meine Mutter anbefohlen. Rezitativ Aus dem Meer hebt sich die Sonne. Engel Klarer Goldschein ihrer Strahlen Magdalena Vernehmt im Schoß der Erde glänzt im Tal und auf den Höhen. Ach ja, sei du die Stütze, die Kunde der Befreiung, Diese Sonne kommt als Bote, der sie bedarf vor Allen! die ihr so lang in schauerlichem Dunkel uns den Aufgang zu verkünden Den wie der Schmerz beschaffen, geharret dieses Tags, ihr frommen jener andern, größern Sonne. der ihr das Herz durchbohrt, sagt mir Seelen! der meine. Erhebet euch zum Lichte, Rezitativ blickt auf zum Himmel, der für euch Johannes Johannes sich öffnet! Dort, wo Maria weilet Ein Schmerz war’s ohne gleichen, Ihr alle sollt den Herren, und sicher mich erwartet, als solche Mutter schaute der für euch überwunden Tod und werd’ ich alsbald erfahren das Sterben solchen Sohnes; Hölle, wie Hoffung sich verwandelt in doch war auch ihre Seele geleiten im Triumph; Gewissheit; die größte im Ertragen. Bald erfüllt sich und ihr zieht an der Spitze die Mutter schau’ ich dort in sel’ger die Hoffnung, die in ihr nichts kann ehrwürd’ge Eltern aller Erdenvölker! Freude, erschüttern, Verstummen darf die Klage den Sohn in Siegesprangen. dass der Gestorb’ne wieder und jene erste Sünde, auferstehe; denn euch erstand der Heiland als Arie dann ist ihr Glück so groß wie jetzt ihr Erlöser. Engel Wehe. Dann folgt ihr Andern nach Erde, erwache! und steigt auf lichten Spuren, Jauchze in Wonne: Arie die der erhab’ne Führer er ist erwacht! Johannes mit siegbewusstem Tritt prägt in die Himmelszelt, leuchte! Die Turteltaube härmt sich Schatten, Wiesenthal, grüne! und klagt um den Gefährten, aus diesen engen, nachtumhüllten Blume und Schmetterling, da ihn, den unbewehrten, Tiefen Lufthauch und Welle grausam des Geiers Fänge empor in Freuden auf die off ’ne Erde. scherzet und lacht! hinweggeraubt vom Nest. Doch soll zuvor ertönen Doch horch, – das ist sein Rufen! Lob, Preis und Dank in festlich hohem Accompagnato Befreit kehrt er zurücke. Chore. Engel Nun jubelt sie im Glücke; Vor Wut und Scham erzittern verwandelt sind die Klänge Chor gefesselt nun der Hölle Ungeheuer. die ihr der Gram erpresst. Der göttlich starke Held Der Hass sich stöhnend windet, er herrsche nun für immer! der wilde Blutdurst weinet, Rezitativ Es lebe und siege der Gott, der so groß die Missgunst seufzet leise, Magdalena ist, die Gottesläst’rung raset; Wenn fest sie beide hoffen, dass er die Himmel ausweitet, die Bosheit sieht man beben, Maria und Johannes, dass er der Sonne Glanz verleiht. den Zorn wie taumelnd wanken darf wohl ich selber mit so froher Durch ihn stöhnt Kokytos und den Betrug in Ängsten; Hoffnung vor Entsetzen, Gelächter höhnt den Hochmut, die Leiden mir erleichtern. er besiegte den Treubruch straft Verachtung; Doch muss ja wer da liebet immer sogar den Tod. sie alle liegen knirschend fürchten; Es lebe und siege der Gott, der so groß zu Füßen meines Herrn an seinem und will ich auch nunmehr zu hoffen ist, Throne. wagen, dass er der Sonne Licht verleiht. kann doch mein Herz voll Liebe Rezitativ die Furcht noch nicht verbannen. ZWEITER TEIL Lucifer Ach, dieses bange Schwanken, Sinfonia Weh’ mir! Was musst’ ich hören! dies Streiten der Gefühle Rezitativ Umsonst hätt’ ich gerüstet? kann sich allein entscheiden Johannes Die Hoffung, mich zu rächen, müsste dort bei der teuren Grotte, Will heut’ die bebende Erde schwinden? an meines Jesu Gruft. Mag denn gebären neue Wunder, neue Schrecken? Engel Klagt nur, ihr Elemente, Ja, ja, es war umsonst; hinab zur Hölle!

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Lucifer Magdalena Dem Schmerze folgt die Freude, Warum kehrt der Erstand’ne Mir selber bangt, doch stärker ist die die ihr genießen sollt vor allen Andern. noch nicht zurück zum Himmel? Liebe. Aria Engel Arie Engel Weil er zuvor der Erde Magdalena Wenn in Eden durch Schuld eines will Kunde geben von des Siegs Für mich ist er gestorben, Weibes Bedeutung. kein Zagen kannte er. der Tod das unselige Giftkorn Das hat mir Mut erworben, dem Menschen ins Herze gestreut, Lucifer für ihn mich ohne Zagen bringen Frauen die selige Botschaft, Kunde von meiner Schmach? Nein, in Tod und Qual zu wagen; dass, der sterbend den Tod nimmer, nimmer! hab’ ich im Herzen ihn, nichts fürcht’ überwunden, ich mehr. nun erstanden das Leben erneut. Arie Lucifer Rezitativ Rezitativ Nie an’s Licht darf meine Schande; Lucifer Magdalena heut’ noch wird vor meinem Hauche Ach, dieser tief Gehasste! O Jesus, o mein Teurer! deine Leuchte erloschen sein. Ach, hör’ ich nur ihn nennen, Da schon du auferstanden, In den schwachen Menschenseelen will schon die Kraft mir schwinden. warum verbirgst du dich vor meinen alles Denken zu verwirren, Vergeblich war mein Ringen, Blicken? breche Finsternis herein! nichts soll mir mehr gelingen, Zwar weiß die Lieb’ in Demut verspottet und voll Scham muss ich das große Wunder gläubig anzubeten; Rezitativ entfliehen; doch kann das Herz voll Liebe Engel zurück muss ich zum Abgrund, – wohl ganz beglückt sich fühlen, O wie dein Wüten dir den Sinn so stürz’ ich mich hinab wo er am wenn nicht die Augen schau’n den verblendet! tiefsten! Heißersehnten? Blick’ auf, du Thor, und sieh’ dort Zu suchen will ich gehen die frommen Frau’n, die zu der Arie und hoffe auch zu finden; Felsengrotte, Kleophe denn wer dich treulich suchet, zum leeren Grab, von dem die Rein und klar vor meinem Augen dem wirst du, teurer Herr, dich nicht Wächter flohen, wölbt der Himmel sich im Glanze; entziehen. die eil’gen Schritte lenken! und so leuchten auch im Herzen Ihnem – so will’s der Himmel – mir der Hoffnung hellste Strahlen. Arie verkünd’ ich das Geheimnis; Magdalena und schnell es zu verbreiten Rezitativ Die Wolke, der kaum noch sind sie gewiss die allerbesten Boten. Magdalena entströmten die Wogen, Nunmehr sind wir zur Stelle, in farbigen Bogen Duett allwo des Grabes Dunkel verwandelt sie sich. Lucifer den heil’gen Leichnam uns’res Herrn Sagt Ahnung dem Herzen, Ich hind’re sie. bedeckte. dass nah’ seine Sonne, vergisst es der Schmerzen Engel Kleophe und pocht wonniglich. Das wird dir nicht gelingen. Ist denn nicht schon – , ja, ja, nun seh’ ich deutlich: Rezitativ Lucifer Das Grab ist schon geöffnet, Kleophe Es ist mein Wille! und an der rechten Seite Ja, ja, wir wollen suchen sitzt dort im weißen Kleide nach uns’res Herren Spur; o wie so Engel ein wunderbarer Jüngling. glücklich Bald wirst du es sehen. wird die sein, die ihn findet! Magdalena Ich spähe im Gehölze, Rezitativ Welche Anmut du wendest dorthin dich nach jenem Magdalena in seinem holden Blick, so sanft und Garten. O Freundin, viel zu langsam tröstend! war unser Schritt; schon steht die Er hat uns schon geseh’n; so geh’n wir Arie Sonn’ am Himmel. näher! Kleophe Munt’re Vöglein, Kleophe Engel klare Bäche, Der Schreck hat es verschuldet, Kommt nur, ihr guten Frauen! die ihr singend, die ihr rieselnd der unsern Fuß so unversehens Ihr sucht Jesum von Nazareth, euren Herrn und Schöpfer lobet, lähmte, der hier geruht in Tode? sagt mir doch, wo weilet er? als unter ihm die Erde plötzlich bebte. Jesus ist nicht mehr hier, er ist Und ihr Blumen, erstanden. sehnlich wünschend Magdalena Für eure treue Liebe, nur die Sohlen ihm zu küssen, Doch ist’s vielleicht noch möglich, für gläubiges Vertrauen, ach verratet meiner Liebe zu kommen in das Grab und dort zu will euch der Himmel lohnen: wo zuletzt er schritt einher! suchen. Zu erst erfahret ihr ein solches Wunder, Rezitativ Kleophe auf dass ihr aller Welt könnt Zeugnis Johannes Sind schon die Hüter munter, würd’ ich geben. Siehe, da kommt die Freundin! fürchten. So gehet denn nun hin, es zu Kleophe, wohin so eilig? verkünden!

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Kleophe so zerfließt es jetzt vor Wonne. Magdalena Ich suche unsern Herrn, er ist Erstanden ist der Herr! erstanden! Rezitativ Ihn sucht auch Magdalena. Magdalena Johannes Kleophe, Johannes! Höret, Er lebt und atmet neu. Johannes hört, welches Glück soeben ich Kleophe Woher wisst ihr’s? erlebte! Ist wieder unser! Im Garten drüben sah’ ich unsern Kleophe Herrn, Arie Dort an dem off ’nen Grabe in niedriger Gestalt, gleich einem Magdalena hat es uns kund getan ein Wärter; Bist du nun zum ew’gen Leben, Himmelsbote. doch von dem schlichten Kleide o mein Heiland, auferstanden, gingaus ein Glanz und Schimmer, solch so erlösest du uns Alle Johannes ein Leuchten, von der Sünde schweren Banden. Und ich erfuhr es vorhin durch Maria, dass schon von fern das Herz ihn der Jesus sich am ersten konnt’ erraten. Rezitativ als treuer Sohn in seiner Glorie zeigte. Die Züge dann erkannt’ ich, Johannes in denen sich die Schönheit Ja, ja, mit dem Erlöser Kleophe des Paradieses spiegelt; soll neu die Welt erwachen. O welche Lust empfand wohl da die auch sah’ ich seine Hand, sah’ seine Mutter! Füße, Kleophe an denen sich noch frisch die Male Für seine Schuld empfängt der Sünder Johannes zeigten Gnade. Im Anfang schien ihr Antlitz, von jenen Schmerzenswunden, auf dem die Tränen noch nicht ganz nur in verklärtem Schein, wie reine Magdalena getrocknet, Sterne. Drum soll dem ew’gen Schöpfer im jähen Strahl der hohen zu küssen sie, bracht’ ich die Lippen alles Erschaff ’ne danken und Gottessonne nahe; lobsingen. verwandelt ganz, wie Morgenröte doch er wies mich zurück, als wollt’ er glühend; sagen: Chor dann strömte rasch die Freude „O rühre mich nicht an! Ich mag Preis im Himmel, Preis auf Erden, vom Herzen auf die Lippen in den verschwinden.“ ihm, der Erd’ und Himmel lenkt, Worten: dessen Wandel auf der Erde Johannes ihr den Himmel hat geschenkt! Teurer Sohn, geliebter Heiland! Nun seid ihr überzeugt. ENDE Wie das Herz mir in der Brust will schier vergehen! Kleophe Wenn zuvor es Fort ist nun jeder Zweifel. fast gebrochen war im Schmerze,

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CD49-51 and these the terms: There act the hero, and let rival deeds JEPHTHA If I command in war, the like command proclaim thee worthy to be call’d his (should Heaven vouchsafe us a son: 1. Ouverture victorious And Hamor shall not want his due 2. Menuet peace) reward. shall still be mine. ACT ONE ZEBUL 13. 7. Air Agreed; be witness, Heaven. IPHIS Scene 1: Zebul with his brethren. Take the heart you fondly gave, 7. 4. Air lodg'd in your breast with mine. 3. 1. Accompagnato JEPHTHA Thus with double ardour brave, ZEBUL Virtue my soul shall still embrace, sure conquest shall be thine. It must be so - or these vile goodness shall make me great. Take the heart you fondly gave, Ammonites, Who builds upon this steady base, lodg'd in your breast with mine. our lordly tyrants, now these eighteen dreads no event of fate. years, Virtue my Soul... da capo 14. Recitative will crush the race of Israel.- 8. Recitative HAMOR Since Heaven vouchsafes not, STORGÈ I go; - my soul, inspir'd by thy with immediate choice, "Twill be a painful separation. Jephtha, command, to point us out a leader, as before, to see thee harness'd for the bloody thirsts for the battIe. - I'm already ourselves must choose field. crown'd and who so fit a man, But ah! how trivial arc a wife's with the victorious wreath; and thou, us Gilead's son, our brother, valiant concerns, fair Jephtha? when a whole nation bleeds, prize, – and groveling lies, more worth than fame or conquest, True, we have slighted, scorn'd, panting for liberty and life. thou art mine. expell'd him hence, 9. 5. Air 15. 8. Duet as of a stranger born: STORGÈ IPHIS, HAMOR but well I know him; In gentle murmurs will I mourn, These labours past, how happy we! his gen'rous soul disdains a mean as mourns the mate-forsaken dove: How glorious will they prove! revenge, And sighing wish thy dear return When gath'ring fruit from conquest's when his distressful country calls his to liberty and lasting love. tree, aid. Exeunt. we deck the feast of love. And, perhaps, Heaven may favour our These labours... da capo request, Scene 3: Enter Hamor and Iphis Exeunt if with repentant hearts we sue for Scene 4: Jephtha alone. mercy. 10. Recitative HAMOR 16. Recitative 4. 2. Air Happy this embassy, my charming JEPHTHA ZEBUL Iphis, What menu these doubtful fancies of Pour forth no more unheeded pray'rs which once more gives thee to my the to Idols deaf and vain. longing brain? No more with vile unhallow'd airs eyes. Visions of joy rise in my raptur'd soul, the sacred rites profane. As Cynthia, breaking from th’involving there play a while, and set in darksome clouds night. 5. 3. Chorus on the benighted traveller; Strange ardour fires my breast; No more to Ammon's god and king, the sight of thee, my love, my arms seem strung fierce Moloch, shall our cymbals ring, drives darkness and despair. with tenfold vigour, and my crested in dismal dance around the furnace Again I live; in thy sweet smiles I live, helm . as in thy father’s ever-watchful care to reach the skies. - Be humble still, my Chemosh no more our wretched nation feels new life, soul. will we adore new joy. It is the Spirit of God, in whose great with timbrell’d anthems to Jehovah O haste, and make my happiness name due. complete! I offer up my vow.

Scene 2: Enter Jephtha and Storgè. 11. 6. Air 17. 9. Accompagnato HAMOR JEPHTHA 6. Recitative Dull delay, in piercing anguish, If, Lord, sustain'd by thy almighty ZEBUL bids thy faithful lover languish. pow'r, But Jephtha comes. - While he pants for bliss in vain. Ammon I drive, and his insulting Kind Heaven, assist our plea. - Oh! With gentle smiles relieve me; bands, O Jephtha, with an eye of pity look let no more false hope deceive me, from these our long-uncultivated on thy repentant brethren in distress. nor vain fears inflict a pain. lands, Forgetful of thy wrongs, redress thy and safe return a glorious conqueror; - sire, 12. Recitative what, or who ever shall first salute thy friends, thy country, in extreme IPHIS mine eyes, despair. Ill suits the voice of love shall be for ever thine, or fall a when glory calls, sacrifice. JEPHTHA and bids thee follow Jephtha to the Enter Israelites. I will: so please it Heav'n; field. Recitative

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JEPHTHA ZEBUL they ride on whirlwinds, directing the 'Tis said.- Such, Jephtha, was the haughty king’s storms. Attend, ye Chiefs, and with united reply: voice No terms, but ruin, slavery, and death. 3. 15. Air invoke the holy name of Israel's God. JEPHTHA HAMOR Sound then the last alarm; Up the dreadful steep ascending. 18. 10. Chorus and to the field, While for fame and love contending, O God, behold our sore distress, ye sons of Israel, with intrepid hearts; sought I thee, my glorious prize. omnipotent to plague, or bless! dependent on the might of Israel's And now happy in the blessing, But turn thy wrath, and bless once God. Thee, my sweetest joy, possessing, more other honours I despise. thy servants, who thy name adore. 24. 13. Chorus Up the dreadful... da capo Exeunt. When his loud voice in thunder spoke, 4. Recitative with conscious fear the billows broke, IPHIS Scene 5: Storgè alone. observant of his dread command. 'Tis well. Haste, haste, ye maidens, In vain they roll their foaming tide; and in richest robes 19. Recitative confin'd by that great pow'r. adorn me, like a stately bride, STORGÈ that gave them strength to roar, to meet my father in triumphant Some dire event hangs o'er our heads, they now contract their boist'rous pomp. some woeful song we have to sing pride, And while around the dancing banners in misery extreme. - O, never, never and lash with idle rage the laughing play, - was my foreboding mind disturb'd strand. before 5. 16. Air with such incessant pangs. ACT TWO IPHIS Tune the soft melodious lute, 20. 11. Air Scene 1: Enter Hamor and Iphis. pleasant harp and warbling flute, STORGÈ to sounds of rapt'rous joy. Scenes of horror, scenes of woe, 1. Recitative Such as on our solemn days, rising from the shades below, HAMOR singing great Jehovah's praise, add new terror to the night. Glad tidings of great joy to thee, dear the holy choir employ. While in never-ceasing pain, Iphis, Tune the soft... da capo that attends the senile chain, and to the house of Israel I bring. Exeunt. joyless flow the hours of light. Thus then, in brief. - Scenes of horror... da capo Both armies in array of battle rang'd, Scene 2: Enter Jephtha, Hamor and Scene 6: Enter Iphis. our general stept forth, Zebul. and offer'd haughty Ammon terms of 21. Recitative peace, 6. Recitative IPHIS most just and righteous; JEPHTHA Say, my dear mother, these with scorn refus'd, Heav'n smiles once more whence these piercing cries he bade the trumpet sound: on his repentant people, that force me, like a frighted bird, but scarce a sword and Victory spreads wide her silver to fly my place of rest? - was ting'd in hostile blood, ere all wings, STORGÈ around to soothe our sorrows with a peaceful For thee I fear, my child; the thund'ring heavens open'd, and calm. such ghastly dreams last night pour'd ZebuI, thy deeds were valiant; surpris'd my soul. forth nor less thine, my Hamor; IPHIS thousands of armed Cherubim: when but the glory is the Lord's. Heed not these black illusions of the straight night, our general cried: »This is thy signal, 7. 18. Air the mocking of unquiet slumbers, heed Lord, JEPHTHA them I follow thee, and thy bright heav'nly His mighty arm, with sudden blow, 'not. host.« dispers'd and quell'd the haughty foe. My father, touch'd with a diviner fire, Then rushing on proud Ammon, all They fell before him, as when through already seems to triumph in success, - aghast, the sky, nor doubt I but Jehovah hears our he made a bloody slaughter, and he bids the sweeping wind in pray'rs. pursued vengeance fly. the flying foe, till night bade sheathe His mighty arm... da capo 22. 12. Air the IPHIS sword, 8. 19. Chorus The smiling dawn of happy days and taste the joys of victory and peace. In glory high, in might serene, presents a prospect clear, 94668 Handel: Jephtha he sees, moves all, unmov'd, unseen. and pleasing hope's all-bright'ning rays His mighty arm, with sudden blow, dispel each gloomy fear. dispers'd and quell'd the haughty foe. While ev'ry charm that peace displays makes spring-time all the year. 2. 14. Chorus The smiling dawn... da capo Cherub and Seraphim, unbodied Exeunt. forms, the messengers of fate, Scene 7: Enter Zebul and Jephtha. his dread command await: of swifter flight, and subtler frame, 23. Recitative than lightning's winged flame,

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Scene 3 15. 23. Accomagnato and Arioso 21. 27. Air STORGÈ IPHIS 9. 20. Symphony First perish thou; and perish all the Happy they! this vital breath Enter lphis and Storgè. world! with content I shall resign, Hath Heaven then bless'd us and not murmur or repine, 10. Recitative with this only pledge sinking in the arms or death. IPHIS of all our love, this one dear child, for Happy they... da capo Hail, glorious conqueror! thee Much-lov'd father, hail! to be her murderer? No, cruel man. 22. 28. Accompagnato Behold, thy daughter, and her virgin Let other creatures die; JEPHTHA train, or heav'n, earth, seas, and sky Deeper and deeper still, thy goodness, come to salute thee with all duteous in one confusion lie, child, love. ere in a daughter's blood, pierceth a father's bleeding heart, and so fair, so chaste, so good, checks 11. 21. Air and Chorus a father's hand's embrued. the cruel sentence on my falt'ring IPHIS tongue. Welcome, as the cheerful light, 16. Recitative Oh! let me whisper it to the raging driving darkest shades of night: HAMOR winds, welcome, as the spring that rains If such thy cruel purpose; lo! Your or howling deserts; for the ears of men peace and plenty o'er the plains! friend it is too shocking. - Yet - have I not Not cheerful day, offers himself a willing sacrifice, vow'd? nor spring so gay, to save the innocent and beauteous And can I think the great Jehovah such mighty blessings brings, maid. sleeps, as peace on her triumphant wings. like Chemosh, and such fabled ? (Chorus) 17. 24. Air Ah no; Heav'n heard my thoughts, Welcome thou, whose deeds conspire HAMOR and wrote them down. to provoke the warbling lyre; On me let blind mistaken zeal It must be so. 'Tis this that racks my welcome thou, whom God ordain'd her utmost rage employ! brain, guardian angel of our land! "Twill be a mercy there to Kill, and pours into my breast n thousand Thou wert born, his glorious name "where life can taste no joy. pangs, and great wonders to proclaim. that lash me into madness. Horrid 18. 25. Quartet thought! 12. Recitative ZEBUL My only daughter! - So dear a child, JEPHTHA O spare your daughter! doomb'd by a father! - Yes, the vow is Horror! confusion! Harsh this music STORGÈ past, grates Spare my child! and Gilead hath triumph'd o'er his upon my tasteless ears. - Begone, my HAMOR foes. child, My Iove! Therefore, tomorrow's dawn, thou hast undone thy father. Fly, JEPHTHA tomorrow's dawn ... I can no more. begone, Recorded stands my vow in Heav’n and leave me to the rack of wild above. 23. 29. Chorus despair. STORGÈ How dark, O Lord, are thy decrees! Exit Iphis. Recall the impious vow, ere 'tis too All hid from mortal sight! late. All our joys to sorrow turning, 13. 22. Air JEPHTHA and our triumphs into mourning, JEPHTHA I'II hear no more; as the night succeeds the day; Open thy marble jaws, O tomb, her doom is fix'd as fate. no certain bliss, no solid peace, and hide me, earth, in thy dark womb! HAMOR, ZEBUL, STORGÈ we mortals know on earth below. Ere I the name of father stain, And think not Heav'n delights Yet on this maxim still obey: and deepest woe from conquest gain. in Moloch's horrid rites. whatever is, is right. Open thy marble jaws... da capo Scene 4: Enter lphis. 19.Recitative 14. Recitative IPHIS ZEBUL Such news flies swift; - Why is my brother thus afflicted? I've heard the mournful cause Say, why didst thou spurn of all your sorrows. thy daughter's gratulations, Of my father's vow, and fling her from thee with unkind Heaven spoke its approbation by disdain? success: JEPHTHA Jephtha hath triumph'd. O Zebul. Hamor, and my dearest wife, Israel is free. behold a wretched mall; thrown from the summit of 20. 26. Accompagnato presumptuous joy, IPHIS down to the lowest depth of misery. - For joys so vast Know then, - I vow'd, too little is the price of one poor life – the first I saw should fall but oh! Accept it, Heav'n, a victim to the living God - my a grateful victim, and thy blessings still daughter, pour on my country, alas! it was my daughter, and she dies. friends, and dearest rather!

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ACT THREE 9. 37. Air still with the name of son. ANGEL Scene 1: Jephtha, Iphis and Priests. Happy, Iphis, shalt thou live, 17. Recitative while to thee the virgin choir IPHIS 1. 30. Arioso tune their harps of golden wire, My faithful Hamor, may that JEPHTHA and their yearly tribute give. Providence Hide thou thy hated beams, O sun, Happy, Iphis, all thy days, which gently claims or forces our in clouds and darkness, pure, angelic, virgin-state. submission, deep as is a father's woe: Shall thou live: and ages late direct thee to some happier choice. crown thee with immortal praise. 2. 31. Accompagnato 18. 45. JEPHTHA 10. 38. Arioso IPHIS, HAMOR A father, off'ring up his only child JEPHTHA All that is in Hamor (Iphis) mine, In vow'd return for victory and peace. For ever blessed be thy holy name, freely I to Heaven resign. Lord God of Israel! IPHIS 3. 32. Air Duteous to the Will Supreme, JEPHTHA 11. 39. Chorus still my Hamor I'll esteem. Waft her, angels, through the skies, Theme sublime of endless praise, HAMOR far above yon azure plain - just and righteous are thy ways; Duteous to Almighty Pow'r, glorious there, like you, to rise, and thy mercies still endure, still my Iphis I'll adore. there, like you, for ever reign. ever faithful, ever sure. IPHIS, HAMOR, STORGÈ, JEPHTHA, Waft her, angels... da capo ZEBUL Scene 2: Enter Zebul, Storgè and Joys triumphant crown thy days, 4. 35. Accompagnato Hamor. and thy name eternal praise. IPHIS Ye sacred priests, whose hands ne’er 12. Recitative 19. 44. Chorus yet ZEBUL Ye house of Gilead, with one voice, were stain'd with human blood, Let me congratulate this happy turn, in blessings manifold rejoice! why are ye thus afraid my honour'd brother, judge of Israel! Freed from war's destructive sword, to execute my father's will? Thy faith, thy courage, constancy and peace her plenty round shall spread, The call of Haev'n truth, while in virtue's path you tread. with humble resignation I obey. nations shall sing; So are they blest who fear the Lord. and in their just applause, Hallelujah. Amen 5. 34. Air all join to celebrate thy daughter's IPHIS name. Farewell, ye limpid springs and floods, ye flow'ry meads and leafy woods; 13. 40. Air farewell, thou busy world, where reign ZEBUL short hours or joy, and years of pain. Laud her, all ye virgin train, Brighter scenes I seek above, in glad songs of choicest strain! in the realms or peace and love. Ye blest angels all around, laud her in melodious sound: 6. 35. Chorus of priests Virtues that to you belong, Doubtful fear and reverend awe love and truth demand the song. strike us, Lord, while here we bow: Check'd by thy all-sacred law, 14. Recitative yet commanded by the vow. STORGÈ Hear our pray'r in this distress, O let me fold thee in a mother's arms, and thy determin'd wiII declare. and with submissive joy, my child, receive 7. 36. Symphony Thy designation to the life of Heaven.

8. Recitative 15. 41. Air ANGEL STORGÈ Rise, Jephtha. And ye reverend priests, Sweet as sight to the blind, withhold or freedom to the slave, the slaught'rous hand. No vow can such joy in thee I find, disannul safe from the grave. the law of God; nor such was its intent, Still I'm of thee possess'd, when rightly scann'd: yet still shall be such is kind Heaven's decree, fulfill'd. that hath thy parents bless'd, Thy daughter, Jephtha, thou must in blessing thee. dedicate to God, in pure and virgin-state for 16. Recitative ever, HAMOR as not an object meet for sacrifice, With transport, Iphis, else had she faIl'n an holocaust to God. I behold thy safely, – but must for ever mourn The Holy Spirit, that dictated thy vow, so dear a loss: bade thus explain it, and approves thy Dear! though great Jephtha faith. were to honour me

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18. Chorus CD52-53 10. Chorus Solo He smote all the first-born of Egypt, ISRAEL IN EGYPT They shall receive a glorious kingdom The chief of all their strength. PART 1 And a beautiful crown from the Lord's The Lamentation of the Israelites for hand. 19. Chorus the Death of Joseph But as for His people, He led them 1. Symphony 11. Chorus forth like sheep. The merciful goodness of the Lord He brought them out with silver and 2. Chorus Endureth for ever on them that fear gold: The sons of Israel do mourn, him, There was not one feeble person And they are in bitterness; And his righterousness on children's among their tribes. All the people sigh children. And hang down their heads to the 20. Chorus ground. PART 2 He rebuked the Red Sea, and it was Exodus dried up. 3. Chorus 12. Solo and Chorus He led them through the deep as How is the mighty fall'n! Now there arose a new King over through a wilderness. He that was great among the princes, Egypt, But the waters overwhelmed their And ruler of the provinces! Which knew not Joseph; enemies, And he set over Israel task-masters There was not one of them left. 4. Chorus To afflict them with burdens; He put on righteousness, And they made them serve with rigour. 21. Chorus And it cloathed him; And Israel saw that great work His judgement was a robe and a Chorus That the Lord did upon th'Egyptians; diadem. And the children of Israel sighed by And the people feared the Lord. reason And believed the Lord and His servant 5. Chorus Solo of the bondage: And their cry came up Moses. When the ear heard him, unto God. Then it blessed him, They oppress'd them with burdens, PART 3 And when the eye saw him, And made them serve with rigour. Moses' Song It gave witness to him. 1. Chorus 13. Chorus Moses and the children of Israel 6. Chorus Then sent He Moses, His servant, Sung this song unto the Lord, and How is the mighty fall'n! And Aaron, whom He had chosen: spoke, He that was great among the princes, These shew'd His signs among them, saying: And ruler of the provinces! And wonders in the land of Ham. I will sing unto the Lord, He turned their waters into blood. for the hath triumphed gloriously, Chorus The horse and his rider hath he thrown He deliver'd the poor that cried, Chorus into the sea. And him that had non to help him. They loathed to drink of the river: Kindness, meeknes, and comfort were He turned their waters into blood. 2. Duet in The Lord is my strength and my song. his tongue; 14. Air He is become my salvation. If there was any virtue, Their land brought forth frogs, And if there was any praise, Yea, even in the King's chambers. 3. Chorus He thought on those things. He gave their cattle over to the He is my God, and I will prepare Him pestilence; an habitation: Chorus blotches and blains broke forth on My father's God. How is the mighty fall'n! man And I will exalt Him. He that was great among the princes, and beast. And ruler of the provinces! 4. Duet 15. Chorus The Lord is a man of war, 7. Chorus He spoke the word: Lord is His name; The righteous shall be had in And there came all manner of flies and Pharaoh's chariots, and his host, hath everlasting lice he cast remembrance, In all their quarters. into the sea. And the wise will shine as the He spoke: His chosen captains also brightness And the locusts came without number Are drowned in the Red Sea. of the firmament. And devour'd the fruits of the land. 5. Chorus 8. Chorus 16. Chorus The depths have covered them, Their bodies are buried in peace, He gave them hailstones for rain; They sank into the bottom as a stone. But their name liveth evermore. Fire, mingled with the hail, ran along upon 6. Chorus 9. Chorus the ground. Thy right hand, oh Lord, The people will tell of their wisdom, Is become glorious in power: And the congregation will shew forth 17. Chorus Thy right hand, oh Lord, their praise; He sent a thick darkness over all the hath dashed in pieces the enemy. Their reward also is with the Lord, land, And the care of them is with the Most Even darkness, which might be felt. High.

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7. Chorus The horse and his rider hath He throw 7. Chorus And with the blast of Thy nostrils into the sea. ISRAELITES The waters were gathered together, The Lord shall reign for ever and ever: O Father, whose almighty power The floods stood upright as an heap, I will sing unto the Lord, for He hath The heavens and earth and seas adore, The depths were congealed in the triumphed gloriously, The hearts of Judah, thy delight, heart The horse and his rider hath He In one defensive band unite. of the sea. thrown And grant a leader, bold and brave, into the sea. If not to conquer, born to save. 8. Air The enemy said: I will pursue, CD54-55 8. Recitative I will overtake, JUDAS MACCABAEUS SIMON I will divide the spoil: 1. Overture I feel, I feel the Deity within My lust shall be satisfied upon them: Who, the bright Cherubim between, I will draw my sword: ACT 1 His radiant glory erst displayed; my hand shall destroy them. Israelites mourn Mattathias, father of To Israel's distressful prayer Simon and Judas Masccabeus He has vouchsafed a gracious ear, 9. Air And points out Maccabeus to their aid. Thou didst blow with the wind: 2. Chorus Judas shall set the captive free, the sea cover'd them, ISRAELITES And lead us on to victory. They sank as lead the mighty waters. Mourn, ye afflicted children, the remains 9. Aria 10 Chorus Of captive Judah, mourn in solemn SIMON Who is like unto Thee, oh Lord, strains, Arm, arm, ye brave! a noble cause, among the Gods? Your sanguine hopes of liberty give The cause of Heaven your zeal Who is like Thee, glorious in holiness, o'er; demands. Fearfull in praises, doing wonders! Your hero, friend and father is no In defence of your nation, religion and more. laws, 11. Duet The almighty Jehovah will Thou in Thy mercy hast led forth Thy 3. Recitative strengthen your hands. people ISRAELITE MAN Which Thou hast redeemed. Well may your sorrows, brethren, flow 10. Chorus Thou hast guided them in Thy strength In all th' expressive signs of woe: ISRAELITES Unto Thy holy habitation. Your softer garments tear We come, we come, in bright array, And squalid sackcloth wear, Judah, thy sceptre to obey. 12. Chorus Your drooping head with ashes strew, The people shall hear and be afraid: And with the flowing tear your checks 11. Recitative Sorrow shall take hold on them; bedew JUDAS All th'inhabitants of shall melt 'Tis well, my friends; with transport I away ISRAELITE WOMAN behold By the greatness of Thy arm. Daughters, let your distressful cries The spirit of our fathers, famed of old They shall be as still as a stone, And loud lament ascend the skies; For their exploits in war. Oh, may their Till Thy people pass over, oh Lord, Your tender bosoms beat, and tear fire Till Thy people pass over, which With hands remorseless your With active courage you, their sons Thou hast purchased. dishevelled hair; inspire For pale and breathless Mattathias As when the mighty Joshua fought, 13. Air lies, And those amazing wonders wrought; Thou shalt bring them in, Sad emblem of his country's miseries! Stood still, obedient to his voice, the And plant them in the mountain of sun, Thine 4. Chorus Till kings he had destroyed, and inheritance, ISRAELITES kingdoms won. In the place, oh Lord, For Zion lamentation make Which Thou hast made for thee to With words that weep, and tears that 12. Aria dwell in, speak. JUDAS In the sanctuary, oh Lord, Call forth thy powers, my soul, and which Thy hands have established. 5. Recitative dare ISRAELITE MAN The conflict of unequal war. 14. Chorus Not in vain is all this storm of grief, Great is the glory of the conquering The Lord shall reign for ever and ever. To vent our sorrows gives relief. sword Wretched indeed; but let not Judah's That triumphs in sweet liberty Tenor recitative race restored. And Miriam the prophetess, the sister Their ruin, with desponding arms, of Aaron, embrace; 13. Duet Took a timbre! in her hand, Distractful doubt and desperation ISRAELITE WOMAN and MAN And all the women went out after her Ill become the Chosen Nation. Come, ever smiling liberty With timbrels and with dances, And with thee bring thy jocund train, And Miriam answered them: 6. Aria For thee we pant and sigh, for thee ISRAELITE WOMAN With whom eternal pleasures reign. 15. Solo and chorus Pious orgies, pious airs, Sing ye to the Lord, for He hath Decent sorrows, decent prayers triumphed gloriously! Will to the Lord ascend and move The Lord shall reign for ever and ever. His pity, and regain his love.

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14. Chorus 22. Duet and Chorus Every memorial of the sacred place. ISRAELITES ISRAELITE WOMAN, SOPRANO H, Lead on, lead on! Judah disdains CHORUS OF ISRAELITES 2. Aria and Chorus The galling load of hostile chains. Zion now her head shall raise ISRAELITE WOMAN and CHORUS Tune your harps to songs of praise. Ah! wretched, wretched Israel! fallen, 15. Recitative how low, JUDAS 23. Recitative From joyous transport to desponding So willed my father, now at rest ISRAELITE WOMAN woe. In the eternal mansions of the blest. Oh let eternal honours crown his 'Can ye behold,» said he, «the miseries name; 3. Recitative In which the long insulted Judah lies? Judas! first worthy in the rolls of fame. SIMON Can ye behold their dire distress Say, «He put on the breast plate as a Be comforted, nor think these plagues And not, at least, attempt redress?» giant, are sent Then faintly, with expiring breath, and girt his warlike harness about him; For your destruction, but for «Resolve, my sons, on liberty, or in chastisement. death!» his acts he was like a lion, and like a Heaven oft in mercy punisheth that sin We come! oh see, thy sons prepare lion's May feel its own demerits from within, The rough habiliments of war. whelp roaring for his prey.» And urge not utter ruin. With hearts intrepid, and revengeful Turn to God, hands 24. Aria And draw a blessing from To execute, oh sire, thy dread ISRAELITE WOMAN His iron rod. commands. From mighty kings he took the spoil, And with his acts made Judah smile. 4. Aria 16. Chorus Judah rejoiceth in his name, SIMON ISRAELITE MEN And triumphs in her hero's fame. The Lord worketh wonders Disdainful of danger, we'll rush on the His glory to raise; foe 25. Duet and Chorus And still, as he thunders That Thy power, oh Jehovah, ISRAELITE WOMAN and MAN, Is fearful in praise. All nations may know. CHORUS Hail, hail, Judea, happy land! 5. Recitative 17. Recitative Salvation prospers in his hand. JUDAS JUDAS My arms! against this Gorgias will I go. Ambition! If e'er honour was thine 26. Recitative The Idumean governor shall know aim, JUDAS How vain, how ineffective his design, challenge it here. Thanks to my brethren; but look up to While rage his leader, and Jehaovah The glorious cause gives sanction to Heaven; mine. thy claim To Heaven let glory and all praise be given; 6. Aria 18. Aria To Heaven give your applause, JUDAS JUDAS Nor add the second cause, Sound an alarm! Your silver trumpets No unhallowed desire As once your fathers did in Midian sound, Our breasts shall inspire. Saying, «The sword ofGod and And call the brave, and only Nor lust of unbounded power! .» brave;af9J.lnd. But peace to obtain, It was the Lord that for his Israel Who listeth follow: to the field again!'" Free peace let us gain, fought, Justice with courage is a thousand And conquest shall ask no more. And this our wonderful salvation men. wrought.» 19. Recitative 7. Chorus ISRAELITE MAN 27 Aria ISRAELITES Haste we, my brethren, haste we to JUDAS We hear, we hear the pleasing the field, How vain is man, who boasts in fight dreadful call, Dependent on the Lord, our strength The valor of gigantic might! And follow thee to conquest; if to fall, and shield. And dreams not that a hand unseen For laws, religion, liberty, we fall. Directs and guides the weak machine 20. Chorus 8. Recitative ISRAELITES 1. Recitative SIMON Hear us, oh Lord, on Thee we call, ISRAELITE MESSENGER Enough! To Heaven we leave the rest. Resolved on conquest, or a glorious Oh Judas, oh my brethren! Such generous ardour firing every fall. New scenes of bloody war breast, In all their horrors rise. We may divide our cares; ACT 2 Prepare, prepare, The field be thine, Oh Judas, Israelites celebrate Judas's victories Or soon we fall a sacrifice And the Sanctuary mine; To great Antiochus from the Egyptian For Zion, holy Zion, seat of God, 21. Chorus coast, In ruinous heaps, is by the heathen ISRAELITES Where Ptolemy hath Memphis and trod; Fallen is the foe; so fall Thy foes, oh Pelusium lost, Such profanation calls for swift Lord! He sends the valiant Gorgias and redress, Where warlike Judas wields his commands If e'er in battle Israel hopes success. righteous sword. His proud, victorious bands To root out Israel's strength, and to erase

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9. Aria FULL CHORUS SIMON 15. Recitative See, the conquering hero comes, etc. With pious hearts, and brave as pious, ISRAELITE MAN o Zion, we thy call attend, See, see yon flames that from the altar 20. March Nor dread the nations that defy us, broke God our defender, God our friend. In spiry streams pursue the trailing 21. Duet and Chorus smoke Sing unto God, and high affections 10. Recitative The fragrant incense mounts the raist ISRAELITE MAN yielding air, To crown this conquest with Ye worshippers of God, Sure presage that the Lord hath heard unmeasured praise. Down, down with the polluted altars, our prayer. down; 22. Recitative Hurl Jupiter Olympus from his throne, 16. Recitative ISRAELITE WOMAN JUDAS Nor reverence Bacchus, with his ivy Oh grant it, Heaven, that our long Sweet flow the strains that strike my crown woes may cease, feasted ear; And ivy wreathed rod. And Judah's daughters taste the calm Angels might stoop from Heaven to Our fathers never knew him, or his of peace; hear beastly crew, Sons, brothers, husbands to bewail no The comely song we sing Or knowing, scorned such idle vanities. more, To Israel's Lord and King. Tortured at home, or havocked in the But pause awhile; due obsequies ISRAELITE WOMAN war. prepare No more in Zion let the virgin throng, To those who bravely fell in war. Wild with delusion, pay their nightly 17. Aria To Eleazar special tribute pay; song ISRAELITE WOMAN Through slaughtered troops he cut his To Ashtoreth, ycleped the Queen of So shall the lute and harp awake, way Heaven. And sprightly voice sweet descant run, To the distinguished elephant, and, Hence to Phoenicia be the goddess Seraphic melody to make 'whelmed beneath driven, In the pure strains of Jesse's son. The stabbed monster, Or be she, with her priests and Enter Messenger Triumphed in a glorious death. pageants, hurled To the remotest corner of the world, 18. Recitative 23. Aria Ne'er to delude us more with pious ISRAELITE MESSENGER JUDAS lies. From Capharsalama on eagle wings I With honour let desert be crowned, fly The trumpet never in vain shall sound; 11. Aria With tidings of impetuous joy! But all attentive to alarms, ISRAELITE WOMAN Came Lysias with his host arrayed The willing nations fly to arms, Wise men, flattering, may deceive us In coats of mail; their massy shields And, conquering or conquered, claim With their vain, mysterious art; Of gold and brass, flashed lightning the prize Magic charms can ne'er relieve us, o'er the fields, Of happy earth, or far more happy Nor can heal the wounded heart. While the huge tower backed skies. But true wisdom can relieve us, elephants displayed Enter Eupolemus, the Jewish Godlike wisdom from above; A horrid front; but Judas undismayed Ambassador to Rome This alone can never deceive us, Met, fought and vanquished all the This alone all pains remove. rageful train! 24. Recitative Yet more, Nicanor lies with thousands EUPOLEMUS 12. Duet slain, Peace to my countrymen, peace and ISRAELITE WOMAN, MAN The blashpemous Nicanor, who defied liberty. Oh! never, never bow we down The living God, and in his wanton pride From the great Senate of Imperial To the rude stock or sculptured stone, A public monument ordained Rome, But ever worship Israel's God, Of victories yet ungained. With a firm league of amity, I come. Ever obedient to his awful nod. But Lo! the conqueror comes; and on Rome, whatever nation dare insult us his spear, more, 13. CHORUS To dissipate all fear Will rouse in our defence her veteran We never, never will bow down He bears the vaunter's head and hand, power, To the rude stock or sculptured stone. That threatened desolation to the And stretch her vengeful arm, by land We worship God, and God alone. land. or sea, Israelites greet returning Judas To curb the proud and set the injured ACT 3 free. Israelites reconsecrate the Sanctuary 19. Chorus YOUTHS 25. Chorus 14. Aria See the conquering hero comes! To our great God be all the honor ISRAELITE MAN Sound the trumpets, beat the drums; given Father of Heaven! from Thy eternal Sports prepare, the laurel bring, That grateful hearts can send from throne, Songs of triumph to him sing. earth to Look with an eye of blessing down, Heaven. While we prepare with holy rites VIRGINS To solemnize the Feast of Lights. See the godlike youth advaiice! 26. Recitative And thus our grateful hearts employ: Breathe the flutes, and lead the dance; ISRAELITE WOMAN And in Thy praise Myrtle wreaths, and roses twine, Again to Earth let gratitude descend, This altar raise, To deck the hero's brow divine. Praiseworthy is our hero and our With carols of triumphant joy. friend:

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Come my fair daughters, choicest art 5. Aria 8. Aria bestow, A PHILISTINE MAN SAMSON To weave a chaplet for the victor's Loud as the thunder's awful voice Total eclipse! no sun, no moon, brow; In notes of triumph, notes of praise All dark amidst the blaze of noon! And in your songs forever be So high great Dagon's name we'll raise, Oh glorious light no cheering ray, confessed That heaven and earth may hear how To glad my eyes with welcome day! The valour that preserved, the power we rejoice. Why thus depriv'd Thy prime decree? that bless'd. Sun, moon and stars are dark to me? Blessed you with hours, that scatter as 6. Recitative and Aria they fly SAMSON 9. Chorus Soft, quiet, gentle love, and boundless Why by an angel was my birth foretold CHORUS OF ISRAELITES joy. If I must die, Oh first created beam! betrayed and captivated thus and Thou great word: 27. Duet The scorn and gaze of foes? Let there be light! ISRAELITE WOMAN, MAN Oh cruel thought! and light was over all. Oh lovely peace, with plenty crowned, My griefs find no redress, One heav'nly blaze shone round this Come, spread thy blessings all around. they inward prey, earthly ball. Let fleecy flocks the hills adorn, Like gangrened wounds, To thy dark servant, life, And valleys smile with wavy corn. immedicable grown. by light afford! Let the shrill trumpet cease, nor other sound SAMSON 10. Recitative But nature's songsters wake the Torments, alas, are not confined MANOAH cheerful mom. To heart, or head, or breast! Brethren and men of Dan, But will a secret passage find say where is my son, 28. Aria Into the very inmost mind, Samson, fond Israel's boast? SIMON With pains intense oppressed, Inform my age! Rejoice, oh Judah! and, in songs divine, That rob the soul itself of rest. With Cherubim and Seraphim MICAH harmonious join. 7. Recitative As signal now in low MICAH dejected state 29. Chorus O change beyond report, thought, As in the height of pow'r, Hallelujah! Amen. or belief! see where he lies! O Judah, rejoice, and in songs divine, See how he lies with languished head, With Cherubim and Seraphim unpropped, MANOAH harmonious join. Abandoned, past all hope! o miserable change! Can this be he? Is this the man, CD56-57 Heroic Samson! Renowned afar, SAMSON Whom no strength of man the dread of Israel's foes. ACT 1 Nor fury of the fiercest beast could Who with an angel's strength their 1. Sinfonia quell! Who tore armies duelled, The lion as the lion tears the kid? Himself an army! Now unequal match 2. Recitative Ran weaponless on armies clad in iron, To guard his breast against the SAMSON Useless the tempered steel, coward's spear! This day, or coat of mail! a solemn feast to Dagon held, 11. Aria Relieves me from my task of SAMSON MANOAH service toil; Whom have I to complain of but Thy glorious deeds inspir'd my tongue, Unwillingly their superstition myself Whilst airs of joy from thence did flow, yields this rest, Who heaven's great trust could not in To sorrows now I tune my song To breathe heaven's air, fresh blowing, silence keep, And set my harp to notes of woe. pure pure and sweet. But weakly to a woman must reveal it! 12. Recitative and Aria CHORUS OF PHILISTINES MICAH SAMSON Awake the trumpet's lofty sound! Matchless in might! Justly these evils have befallen thy son. The joyful sacred festival comes round, Once Israel's glory, now her grief My griefs for this forbid mine eyes When Dagon king of all the earth is We come, thy friends well know, to close, crowned. to visit thee! Or thoughts of rest. But now the strife shall end: 3. Aria SAMSON Me overthrown, A PHILISTINE WOMAN Welcome, my friends! Dagon presumes to enter lists Ye men of Gaza, hither bring With God, who, thus provoked, The merry pipe and pleasing string, MICAH will not connive In solemn hymn and cheerful song, Which shall we first bewail, But rouse his fury soon, Be Dagon prais'd by every tongue! thy bondage or lost sight? and his great name assert; Dagon shall stoop, 4. Chorus SAMSON ere long be quite despoiled CHORUS OF PHILISTINES Oh loss of sight! Of all those boasted trophies won Awake the trumpet's lofty sound, Of thee I must complain! on me. The joyful sacred festival comes round, Oh worse than beggary, old age, When Dagon king of all the earth is or chains! crowned. My very soul in real darkness dwells!

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SAMSON MICAH 19. Aria Why does the God of Israel sleep? Relieve they , DELILAH Arise with dreadful sound, image of Thy strength, With plaintive notes and And clouds encompass'd round, And turn his labors to a peaceful end! amorous moan Then shall the heathen hear thy Thus coos the turtle left alone. thunder deep. 17. Chorus and Aria Like me, averse to each delight, The tempest of thy wrath now raise, MICAH AND CHORUS OF ISRAELITES She wears the tedious widowed night: In whirlwinds them pursue, Return, return, Oh God, of hosts! But when her absent mate returns. Full fraught with vengeance due, Behold, thy servant in his distress, With doubled raptures then she burns. Till shame and trouble all thy foes His mighty griefs redress shall seize! Nor by the heathen be it told. 20. Recitative To dust his glory they would tread, SAMSON 13. Recitative and Chorus And number him amongst the dead. Did love constrain thee? MICAH no! 'twas raging lust! There lies our hope! 18. Recitative Love seeks for love; true prophet may'st thou be MICAH thy treason sought my hate. That God may vindicate his But who is this that so In vain you strive to cover shame glorious name; bedecked and gay with shame: Nor let us doubt whether God is Lord, Comes this way sailing like Once joined to me, or Dagon a stately ship? though judged your country's foe, 'Tis Delilah, thy wife. Parents and all, CHORUS OF ISRAELITES were in the husband lost. Then shall they know that SAMSON He whose name My wife? My traitress! DELILAH Jehovah is alone, let her not come near me! Forgive what's done, o'er all the earth but one, nor think of what's past cure; Was ever the Most High MICAH From forth this prison house come and still the same. She stands and eyes thee fixed, with home tome, head declined, Where with redoubled love 14. Recitative Like a fair flower, and nursing care MANOAH surcharged with dew, she weeps; (To me glad office!) my virgins For thee, my dearest son, must thou Her words addressed to thee seem and myself meanwhile lie, tears dissolved, Shall tend about thee to extremest Thus neglected, in this loathsome Wetting the borders of her silken veil. age. plight? DELILAH 21. Duet SAMSON With doubtful feet, DELILAH It should be so Why and wavering resolution, My faith and truth, should 1live? I come, Oh Samson, Oh Samson, prove, Soon shall these orbs to double dreading thy displeasure, But hear me, hear the voice of love. darkness yield. But conjugal affection led me on With love no mortal can be cloyed, Prevailing over fear and timorous All happiness is love enjoyed. SAMSON doubt. My genial spirits droop, MAIDEN my hopes are fled; SAMSON Her faith and truth, Nature in me seems weary of herself; Out! thou hyena! Oh Samson, prove, My race of glory run, 'twas malice brought thee here! Hear her, hear the voice of love. and race of shame; These are the arts of women false like Death, invocated oft, thee, CHORUS shall end my pains, To break all vows, repent, Her faith and truth, And lay me gently down with deceive, submit, Oh Samson, prove them that rest. Then with instructed skill again Hear her, hear the voice of love. transgress. 15. Chorus 1. Aria CHORUS OF ISRAELITES DELILAH DELILAH Then round about the starry throne I would not lessen my offense To fleeting pleasures make your court, Of Him who ever rules alone, Yet beg to weigh it by itself. No moment lose, for life is short! Your heav'nly guided soul shall climb, A mutual weakness mutual pardon The present now's our only time, Of all this earthly grossness quit, claims. The missing that our only crime. With glory crown'd, forever sit, And triumph over Death, and thee, SAMSON 2. Recitative, Duet and Recitative oh Time! How cunningly SAMSON the sorceress displays Ne'er think of that! ACT 2 Her own transgressions I know thy warbling charms, 16. Recitative and Aria to upbraid me mine! Thy trains, thy wiles, SAMSON I to myself was false ere thou to me; and fair enchanted cup: My evils hopeless are! Bitter reproach! But true. Their force is nulled; One prayer remains: The pardon, then, where once I have been caught, A speedy death, to close my miseries. I to my folly give, take thou to thine! I shun the snare, these chains, this prison house, I count the house of liberty to thine.

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Much have I heard, incredible to me! 7. Recitative and Chorus DELILAH No less displeased that never in the MICAH Let me approach at least, field Here lies the proof: and touch thy hand. We met to try each other's if Dagon be thy God, deeds of strength. With high devotion invocate his aid: SAMSON I'd see if thy appearance His glory is concern'd. Not for thy life, answers loud report. Let him dissolve lest fierce remembrance wake Those magic spells My sudden rage to tear thee SAMSON that gave our hero strength: limb from limb. The way to know, Then know whose God is God; At distance I forgive, depart with that. were not to see but taste. Dagon, of mortal make, Now triumph in thy falsehood; Or that Great One so farewell. HARAPHA whom Abram's sons adore. Ha! dost thou then already single me. DELILAH I thought that labour and thy chains CHORUS OF ISRAELITES Thou art more deaf to prayers than had tamed thee. Hear, Jacob's God, Jehovah, winds or seas; Had fortune brought me Hear, Jehovah, Hear! Thy anger rages an eternal tempest. to that field of death Oh save us, prostrate at thy throne! Why should I humbly sue for peace, Where thou wrought'st wonders Israel depends on thee alone, thus scorned, with an asses jaw, Save us, and show that thou art near With infamy I'd left thy carcass upon my name denounced? where the ass lay thrown. 8. Recitative and Chorus HARAPHA DELILAH SAMSON Dragon arise! attend thy sacred feast! Traitor to love! Boast not of what thou would'st have Thy honour calls, I'll sue no more done, but do! this day admits no rest. For pardons scorned, your threats give o'er! HARAPHA CHORUS OF PHILISTINES The honour certain to have won from To song and dance, we give the day, SAMSON thee Which shows thy universal sway Traitress to love! I lose, prevented by thy eyes put out; Protect us by thy mighty hand, I'll hear no more To combat with a blind man I disdain. And sweep this race from out the land. The charmer's voice. Your arts give o'er! 5. Aria 9. CHORUS HARAPHA ALL MICAH Honour and arms scorn such a foe, Fixed in his everlasting seat She's gone! Though I could end thee at a blow, a serpent manifest; her sting Poor victory to conquer thee, ISRAELITES Discovered in the end. Or glory in thine overthrow! Jehovah rules the world Vanquish a slave that is half slain: in state 3. Recitative and Chorus So mean a triumph I disdain. SAMSON PHILISTINES So let her go! 6. Recitative Great Dagon rules the world in state God sent her here to aggravate my SAMSON folly. Cam'st thou for this, ALL Favoured of heaven is he, vain boaster? yet take heed! His thunder roars, heaven shakes, and who finds one true, My heels are fettered, earth's aghast; How rarely found! but my hands are free. The stars with deep amaze his way to peace is smooth. Thou bulk, of spirit void! I once again Remain in steadfast gaze: Blind and in chains, CHORUS provoke thee to the fight! ISRAELITES To man God's universal law Jehovah is of Gods Gave power to keep the wife in awe. HARAPHA the first and last, Thus shall his life be ne'er dismayed Oh Dagon! By female usurpation swayed. can I hear this insolence PHILISTINES To me unused, Great Dagon is of Gods 4. Recitative not rendering instant death? the first and last. MICAH No words of peace, no voice SAMSON ACT 3 enchanting fear, Go, baffled coward go, 10. Recitative and Aria A rougher tongue expect; Lest vengeance lay thee low, MICAH here's Harapha, In safety fly my wrath with speed! More trouble is behind; I know him by his stride for Harapha and haughty look. HARAPHA Comes on amain, Presume not an thy God, speed in his steps and look. HARAPHA Who under foot has trod, I come not, Samson, Thy strength and thee, SAMSON to condole thy chance; At greatest need. I fear him not; I am of Gath, men call me Harapha: nor all his giant brood. Thou know'st me now. Of thy prodigious might

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HARAPHA MICAH The Holy One of Israel is thy guide. Samson, to thee our lords thus bid me In time thou hast resolved: again he say: comes. 14. Recitative, Aria and Chorus This day to Dagon we do sacrifice MICAH With triumph, pomp and games; HARAPHA Old Manoah we know thy strength Samson, this second with youthful steps makes haste Surpasses human race: come then, summons send our lords: To find his son, and show Haste thee at once; or bring us some glad news. Some public proof or we shall engines find to grace this solemn feast. To move thee, MANOAH AND MICAH though thou wert a solid rock. I come, my brethren, SAMSON not to seek my son, I am an Hebrew, SAMSON Who at the feast and our law forbids Vain were their art if tried; does play before the lords; My presence at their vain I yield to go, But give you part with me, religious rites. Not through your streets what hopes I have be like a wild beast trailed. To work his liberty. HARAPHA This answer will offend; regard thyself. HARAPHA PHILISTINE WOMAN AND CHORUS You thus may win the lords to set you Great Dagon has subdued our foe, SAMSON free. And brought their boasted hero low, Myself! my conscience Sound out his pow'r in notes divine, and internal peace! SAMSON Praise him with mirth, Am I so broke with servitude to yield In nothing I'll comply high cheer and wine. To such absurd commands? that's scandalous to be their fool, Or sinful by our law. MANOAH And play before their God? Brethren, farewell! What noise of joy was that? I will not come. Your kind attendance It tore the sky now I pray forbear. HARAPHA MICAH My message, given with speed, brooks MICAH They shout and sing, no delay. So may'st thou act to see their dreaded foe as serves his glory best. Now captive, blind, HARAPHA delighting with his strength. Presuming slave, to move their wrath! SAMSON For mercy sue, or vengeance due Let but that spirit MANOAH Dooms in one fatal word thy death which first rushed at me Could my inheritance Presuming slave, In the camp of Dan, but ransom him, consider ere it be too late, inspire me at my need: Without my patrimony having him To ward th' unerring shaft of fate. Then shall I make The richest of my tribe. Jehovah's glory known! 11. Recitative and Chorus Their idol gods MICAH MICAH shall from his presence fly, Sons care to nurse their parents in old Reflect then, Samson, Scattered like sheep age, matters now are strained before the God of Hosts. But you - your son! Up to the height, whether to hold or break. SAMSON MANOAH He's gone, Thus when the sun How willing my paternal love whose malice may inflame the lords. from his watery bed, The weight to share of filial care All curtain'd with a cloudy red, And part of sorrow's burden prove! SAMSON Pillows his chin upon an orient wave, Though wandering Shall I abuse The wand'ring shadows ghastly pale, in the shades of night, this consecrated gift All troop to their infernal jail, Whilst I have eyes he wants no light. Of strength, Each fetter'd ghost again returning with my hair slips to his sev'ral grave. 15. Recitative and Aria By vaunting it in honour to their God MICAH And prostituting holy things to idols? 13. Recitative, Aria and Chorus Your hopes of his delivery MICAH seem not vain, CHORUS OF ISRAELITES With might endued In which all Israel's friends participate. With thunder arm'd great God, Arise! above the sons of men, Help Lord, or Israel's champion dies! Swift as the lightning's glance MANOAH To thy protection this thy servant take, His errand execute, I know your friendly minds, and - And save us for thy servant's sake! and spread his name Amongst the heathen round! SINFONIA 12. Recitative and Aria The noise of the destruction of the SAMSON MICAH AND CHORUS temple is heard. Be of good courage, The Holy One of Israel be thy guide, I begin to feel The Angel of thy birth MANOAH Some inward motions, stand by thy side. Heaven! what noise! horribly loud, which do bid me go. To fame immortal go, unlike the former shout, Heaven bids thee strike the blow.

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CHORUS OF PHILISTINES Your spear is broke, with golden wires. Hear us, our God! Oh, hear our cry! your bows unbent, Death! Ruin! Fallen! No help is nigh, Your glory fled! 22. Chorus Oh mercy, Heaven, we sink, we die! Amongst the dead great Samson lies, CHORUS OF ISRAELITES Forever, forever, ever dos'd his eyes! Let their celestial concerts all unite, 17. Recitative Ever to sound his praise MICAH CHORUS OF ISRAELITES in endless blaze of light. Noise call you this? Weep, Israel, weep a louder strain, An universal groan, Samson, your strength, CD58-59 As if the world's inhabitation perished. your hero is slain. THEODORA Blood, death and ruin, ACT 1 at their utmost point! 19. Funeral March 1. Overture

MANOAH 20. Recitative and Chorus Scene 1: The Roman Court in Antioch Ruin indeed! MICAH Oh! they have slain my son The body comes; 2. Recitative, Aria and Chorus we'll meet it on the way VALENS MICAH With laurels, evergreen, 'Tis Dioclesian’s natal day: Thy son is rather slaying them; that and branching palm; Proclaim throughout the bounds of cry, Then lay it in his monument, Antioch, From slaughter of one foe hung round A feast, and solemn sacrifice to Jove; could not ascend. With all his trophies, Who so disdains to join the sacred But see, my friends, one hither speeds, and great acts enrolled rites. an Hebrew of our tribe. In verse heroic, or sweetly lyric song. Shall feel our wrath in chastisement or death, MESSENGER MANOAH And this, Septimius, take you in Where shall I run, There shall all Israel's valiant youth charge. or which way fly the thoughts resort, Go, my faithful soldier, go: Of this most horrid sight? And from his memory Let the fragrant incense rise Oh countrymen, inflame their breasts To Jove, great ruler of the skies. You're in this sad event To matchless valour, too much concerned. whilst they sing his praise. CHORUS OF HEATHENS And draw a blessing down, MICAH ISRAELITES, MANOAH ISRAELITE On his imperial crown, The accident was loud, WOMAN AND MAIDENS Who rules the world below. we long to know Glorious hero, may thy grave From whence. Peace and honour ever have; 3. Recitative and Aria After all thy pains and woes, DIDIMUS MESSENGER Rest eternal, sweet repose! Vouchsafe, dread lord, a gracious ear Let me recover breath; The virgins too shall To my request. Let not thy sentence it will burst forth. on their feastful days doom, Visit his tomb with flow'rs, -To racks and flames all whose MANOAH and there bewail scrupulous minds Suspense in news is torture: speak His lot unfortunate in nuptial choice. Will not permit them to bend the them out! Bring the laurels, bring the bays, knee, Strew his hearse, and strew the ways! To gods they know not, or, in wanton MESSENGER May ev'ry hero fall like thee, mood, Then take the worst in brief - Samson Through sorrow to felicity. To celebrate the day with Roman rites. is dead. Bring the laurels, bring the bays, Strew the hearse, and strew the ways! VALENS MANOAH Glorious hero, may thy grave Art thou a Roman, and yet dar’st The worst indeed! Peace and honour ever have; defend After all thy pains and woes, A sect rebellious to the gods and MESSENGER Rest eternal, sweet repose. Rome? Unwounded of his enemies he fell, At once he did destroy, 21. Recitative and Aria DIDIMUS and was destroyed. MANOAH Many there are in Antioch who disdain The edifice, where all were met to see, Come, come, An idol offering, yet are friends to upon their heads no time for lamentation now, Caesar. And on his own, he pulled. No cause for grief: Samson like Samson fell; VALENS MANOAH In life and death heroic; to his foes It cannot be: they are not Caesar’s Oh lastly overstrong Ruin is left; to him eternal fame. friends against thyself! Who own not Caesar’s gods: I'll hear A dreadful way ISRAELITE WOMAN no more. thou took'st to thy revenge: Let the bright Seraphim Racks, gibbets, sword, and fire, Glorious, yet dearly bought. in burning row, Shall speak my vengeful ire Their loud, Against the stubborn knee. 18. Aria and Chorus uplifted angel trumpets blow, MICAH Let the cherubic host in tuneful choirs, Ye sons, of Israel, now lament; Touch their immortal harps

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4. CHORUS And feed the holy fire. Angels, ever bright and fair, For ever thus stands fixed the doom, Take, oh take me to your care! Of rebels to the gods and Rome; 10. Recitative and Aria Speed to your own courts my flight While sweeter than the trumpet's MESSENGER Clad in robes of virgin white! sound, Fly, fly, my brethren, Septimius leaves, taking Theodora. Their groans and cries are heard heathen rage pursues us swift, around. Armed with the terrors of insulting 14. Recitative death. DIDIMUS 5. Recitative and Aria entering DIDIMUS IRENE Unhappy, happy crew!- Why stand you Most cruel decree; sure thy noble soul, Ah! Whither should we fly, thus, Septimius, abhors the dreadful task Or fly from whom? Wild with amazement? Say, where is Of persecution. Ought we not to leave The Lord is still the same, today, for my love, The free-born mind of man still ever ever; My life, my Theodora? free? And His protection here, and Since vain is the attempt to force belief everywhere. IRENE With the severest instrument of death. Though gathering round our destin'd Alas! She’s gone; The raptured soul defies the sword, heads, Too late thou mean’st to save Secure of virtue's claim; The storm now thickens, and looks big The fairest, noblest, best of women. And trusting Heaven's unerring word, with fate: A Roman soldier led her trembling Enjoys the circling flame. Still shall Thy servants wait on Thee, oh hence Lord, To the vile place where Venus keeps 6. Recitative and Aria And in Thy saving mercy put their her court. SEPTIMIUS trust. I know thy virtues, and ask not thy As with rosy steps the mom, 15. Aria faith: Advancing drives the shades of night; DIDIMUS Enjoy it as you will. my Didimus. So from virtuous toil well-borne, Kind Heaven, if virtue be Thy care; Though not a Christian, yet l own Raise Thou our hopes of endless light. With courage fire me, Something within declares for acts of Or art inspire me. mercy 11. CHORUS OF CHRISTIANS To free the captive fair! But Antioch’s President must be All pow'r in Heaven above, or earth obeyed; beneath 16. Recitative and Chorus Such is the Roman discipline, while we Belongs to thee alone, Thou IRENE Can only pity whom we dare not spare. everlasting One, Oh Love, how great thy power! but Descend, kind pity, heavenly guest, Mighty to save in peril, storm, and greater still Descend and fill each human breast death. When virtue prompts the steady mind, With sympathising woe. to prove 12. Recitative Its native strength in deeds of highest Scene 2: The Christians SEPTIMIUS honour. Entering. 7. Recitative and Aria Oh mistaken wretches, why thus blind CHORUS OF CHRISTIANS THEODORA to fate, Go, gen'rous, pious youth! Though hard, my friends, Do ye in private oratories dare May all the powers above yet wholesome are the truths Rebel against the President’s decree, Reward thy virtuous love, Taught in affliction’s school, and scorn Thy constancy and truth whence the pure soul With native rites to celebrate the day With Theodora's charms, Rises refined and soars above the Sacred to Caesar and protecting Jove? Free from these dire alarms; world. Or crown you with the blest Fond, flattering world, adieu! THEODORA In glory, peace and rest! Thy gaily smiling power, Deluded mortal, call it not rebellion Empty treasures, fleeting pleasures, To worship God: it is His dread ACT 2 Ne'er shall tempt or charm me more. command, Faith inviting, hope delighting, His whom we cannot, dare not, Scene 1: The Romans Nobler joys we now pursue. disobey, Though death be our reward. 17. Recitative and Chorus 8. Recitative VALENS IRENE SEPTIMIUS Ye men of Antioch, with solemn pomp Oh bright example of all goodness, Death is not yet thy doom, Renew the grateful sacrifice to Jove! How easy seems affliction’s heavy But worse than death to such a And while your songs ascend the load, virtuous mind; vaulted skies, While thus instructed and Lady, these guards are ordered Pour on the smoking altar floods of companioned thus, to convey you to the vile place, wine, As 'twere with Heaven conversing, we As a prostitute to devote your charms. in honour of the smiling deities, look down Fair Flora, and the Cyprian Queen. On the vain pomp of proud prosperity. 13. Recitative and Aria THEODORA CHORUS OF HEATHENS 9. CHORUS OF CHRISTIANS Oh worse than death indeed! Queen of Summer, Queen of Love, Come, mighty Father, mighty Lord, Lead me, ye guards, lead me or to the And thou cloud-compelling love: With love our souls inspire; rack, Grant a long and happy reign While grace and truth flow from Thy or to the flames; I'll thank your To great Caesar, king of men! Word, gracious mercy.

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18. Aria Septimius, oft experienced in the camp 4. Recitative and Aria VALENS And perilous scenes of war when side Or lulled with grief or rapt her soul to Wide spread his name, by side heaven, And make his glory We fought, and braved the dangers of In innocence of thought, entranced Of endless fame, The lasting Story! the field, she lies. Dependent on each other’s arm. Sweet rose and lily, flow'ry form, 19. Recitative and Chorus With freedom then I'll disclose my Take me your faithful guard, VALENS mind, To shield you from bleak wind and Return, Septimius, to the stubborn -I am a Christian storm maid, And she, who by Heaven’s influential A smile be my reward. And learn her final resolution. grace, If, ere the sun with prone career has With pure religious sentiments 5. Recitative reached inspired THEODORA The western isles, she makes an My soul, with virtuous love inflamed waking offering my heart O save me, Heaven, in this my perilous To the great gods, she shall be free; if Even she, who, shame to all humanity! hour. not, Is now condemned to public lust. The meanest of my guards DIDIMUS Shall triumph o'er her boasted SEPTIMUS Start not, much injured princess. I chastity. No more! The shame reflects come not too much upon thy Fiend, As one this place might give you cause CHORUS OF HEATHENS The mean though duteous instrument to dread, Venus, laughing from the skies, of power; But your deliverer, Will applaud her votaries, Knowing her virtues only not thy love. And that dear ornament to Theodora, While seizing the treasure, Though the honours that Flora and Her angel purity. If you vouchsafe We revel in pleasure, Venus receive But to change habit with your Didimus. Revenge sweet love supplies! From the Romans, this Christian refuses to give, THEODORA Scene 2. A Prison Cell Yet nor Venus nor Flora delight in the Excellent youth! Woe, I know thy courage, virtue, and thy 20. Symphony That disfigures their fairest love! resemblance below. This becomes not Theodora, 21. Recitative and Aria But the blind enemies of truth -Oh no, THEODORA 2. Recitative It must not be! yet Didimus can give Oh thou bright Sun! how sweet thy DIDIMUS A boon will make me happy! rays O save her, then, or give me power to To health and liberty! but here, alas! save DIDIMUS They swell the agonising thought of By free admission to the imprisoned How? or what? my soul with transport shame, maid. Listens to the request. And pierce my soul with sorrows yet unknown. SEPTIMUS 6. Air With darkness deep, as is my woe My guards not less ashamed of their THEODORA Hide me, ye shades of night! sad office, The pilgrim's home, Your thickest veil around me throw, Will second your intent and pleasure the sick man's health, Concealed from human sight! me. The captive's ransom, poor man's Or come, thou death, thy victim save, wealth, Kindly embosomed in the grave. DIDIMUS From thee I would receive! I will reward them with a bounteous These, and a thousand treasures more, 22. Symphony heart, That gentle death has now in store, And you, my Friend, with all that Thy hand and sword can give. 23. Recitative and Aria heaven can give THEODORA To the sincerity of prayer. 7. Accompagnato But why art thou disquieted, my soul? DIDIMUS Hark! heaven invites thee Scene 4: The Christians Forbid it, Heaven! in sweet rapturous strains, Shall I destroy the live I came to save? To join the ever-singing, ever-loving 3. Recitative and Aria Shall I in Theodora’s blood embrue choir IRENE My guilty hand, and give her death, Of saints and angels in the courts The clouds begin to veil the who taught me first to live. above. hemisphere Oh that I on wings could rise, And heavily bring on the night; the last THEODORA Swiftly sailing, through the skies, Perhaps to us. Oh that it were the last Ah! what is liberty or life to me, As skims the silver dove! To Theodora, ere she fall a prey That Didimus must purchase with his That I might rest forever blest, To unexampled lust and cruelty. own! With harmony and love. Defend her, Heaven, let angels spread Their viewless tents around her bed! DIDIMUS Scene 3: The Romans Keep her from rude assaults secure, Fear not for me. Still ever calm and ever pure. The power that led me hither 1. Recitative and Aria Will guard me hence, if not, His will be DIDIMUS Scene 5 : Prison Cell done. Long have I known thy friendly social Theodora is asleep, Didimus entering They exchange clothes. soul,

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THEODORA But let this habit speak the rest. Scene 2: The Roman Court Yes, kind deliverer, I will trust that power 13. CHORUS OF CHRISTIANS 17. Recitative Farewell, thou generous youth. Blest be the hand, and blest the VALENS power, It is a Christian virtue then, DIDIMUS That in this dark and dangerous hour To rescue from Justice one Farewell, thou mirror of the virgin Saved thee from cruel strife. condemned? state. Lord, favour still the kind intent, And bless Thy gracious instrument DIDIMUS 8. Duet With liberty and life. Had your sentence doomed her but to THEODORA death To thee, thou glorious son of worth, 14. Recitative I then might have deplored your Be life and safety given. MESSENGER cruelty, entering And should not have opposed it. DIDIMUS Undaunted in the court stands To thee whose virtues suit thy birth Didimus, VALENS Be every blessing given. Virtuously proud of rescued Take him hence, innocence. And lead him to repentance or to BOTH But vain to save the generous hero’s death. I hope again to meet on earth, life But sure shall meet in heaven. Are all entreaties, even from Romans THEODORA vain; entering Scene 6: The Christians And high in rage the President Be that my doom. You may inflict it protests, here 9. Recitative Should he regain the fugitive, no more With legal justice: there 'tis cruelty. IRENE To try her with the fear of infamy, 'Tis night; but night’s sweet blessing But with the terrors of a cruel death. SEPTIMUS is denied To grief like ours. Dwells there such virtuous courage in Be prayer our refuge, prayer to Him IRENE the sex? who raised Ah, Theodora! whence this sudden Preserve them, O ye gods, preserve And still can raise the dead to life and change them both. joy. From griefs pale looks to looks of From virtue springs each generous reddening joy. deed, 10. CHORUS OF CHRISTIANS That claims our grateful prayer He saw the lovely youth, death's early THEODORA Let justice for the hero plead, prey, Oh my Irene, Heaven is kind, And pity save the fair. Alas! too early snatched away; And Valens, too, is kind to give me He heard his mother's funeral cries: power 18. Aria Rise, youth, he said; the youth begins To execute in turn my gratitude, dear VALENS to rise Fiend, Cease, ye slaves, your fruitless prayer, Lowly the matron bowed, and bore Only assist me with a proper dress, The powers below, No pity know, away the That I may ransom the generous For the brave, or for the fair. prize. youth. 19. Recitative ACT 3 15. Duet DIDIMUS IRENE Tis kind, my friends, but kinder still Scene 1: The Christians Whither, Princess, do you fly? If for this daughter of Antiochus, Sure to suffer, sure to die. In mind as noble as her birth, your 11. Aria prayers IRENE THEODORA Prevail that Didimus alone shall die. Lord, to Thee, each night and day, No, no, Irene, no, To life and joy I go. Turns to Theodora Strong in hope we sing and pray, Had I as many lives as virtues thou, Though convulsive rocks the ground, IRENE Freely for thee I would resign them all. And thy thunders roll around, Vain attempt, o stay, o stay! Still to Thee we sing and pray. THEODORA Theodora enters, dressed in Didimus's THEODORA Oppose not, Didimus, my just desires; clothes. Duty calls, I must obey. For know that 'twas dishonour I declined, 12. Recitative 16. Recitative Not death; most welcome now, if IRENE She’s gone, disdaining liberty and life, Didimus But see, the good, the virtuous And every honour this frail life can Were safe, whose only crime was my Didimus, give. escape. He comes to join with us in prayer for Devotion bids aspire to nobler things, Theodora. To boundless love and joys ineffable: 20. CHORUS OF HEATHENS And such her expectation from kind How strange their ends THEODORA heaven. And yet how glorious, No, Heaven has heard Where each contends, To fall your prayers for Theodora. victorious. Behold her safe- Oh that as free and Where virtue its own innocence safe denies, Were Didimus, my kind deliverer,

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And for the vanquish'd the glad victor 24. CHORUS OF CHRISTIANS If I deny, my father's wrath I fear. dies. Oh love divine, thou source of fame, o Jove! in pity teach me which to Of glory and all joy! choose, 21. Recitative Let equal fire our souls inflame, Incline me to comply, or help me to DIDIMUS And equal zeal employ: refuse! On me your frowns your utmost rage That we the glorious spring may know, Teach me which to choose, exert, Whose streams appear'd so bright Or help me to refuse! On me, your prisoner in chains. below! 6. Recitative and Quartet THEODORA CD64-65 INO Those chains SEMELE Alas! she yields, Are due to me, and death to me alone. ACT I And has undone me! I cannot longer hide my passion; VALENS Scene 1 It must have vent, Are ye then judges for yourselves? The scene is the temple of Juno. Or inward burning Not so our laws are to be trifled with Near the altar is a golden image of the Will consume me. If both plead guilty, 'tis but equity Goddess. Priest are in their Oh Athamas- That both should suffer. solemnities, I cannot utter it! Ye ministers of justice, lead them as after a sacrifice newly offer’d; hence, flames arise from the altar; and the ATHAMAS I cannot, will not bear such insolence. statue On me fair Ino calls of Juno is seen to bow. With mournful accent, DIDIMUS Her colour fading, And must such beauty suffer? 1. Overture And her eyes o'erflowing!

THEODORA 2. Recitative INO Such useful valour be destroyed? PRIEST Oh Semele! Behold! Suspicious flashes rise, SEPTIMUS Juno accepts our sacrifice; SEMELE Destroyed Alas! by an unhappy The grateful odour swift ascends, On me she calls, constancy! And see, the golden image bends! Yet seems to shun me! What would my sister? DIDIMUS 3. CHORUS OF PRIESTS Speak! Yet deem us not unhappy, gentle Lucky omens bless our rites, friend, And sure success shall crwon your INO Nor rash; for life we neither hate nor loves; Thou hast undone me! scorn: Peaceful days and fruitful nights But think it a cheap purchase for the Attent the pair that she approves. Quartett prize Reserv'd in heaven for purity and faith. 4. Recitative and Duet Scene 2 CADMUS CADMUS 22. Duet Daughter, obey, Why dost thou thus untimely grieve, DIDIMUS Hear and obey! And all our solemn rites profane Streams of pleasure ever flowing, With kind consenting Can he, or she thy woes relieve? Fruits ambrosial ever growing: Golden Ease a parent's care; Or I? - of whom dost thou complain? thrones, Invent no new delay! Starry crowns, Are the triumphs of the INO blest: ATHAMAS Of all; but all, I fear, in vain! When from life's dull labour free, O hear a faithful lover's prayer! Clad with immortality, They enjoy a On this auspicious day ATHAMAS lasting rest. Invent no new delay! Can I thy woes relieve? O hear- THEODORA SEMELE Thither let our hearts aspire! CADMUS Can I assuage thy pain? And obey -. BOTH CADMUS, ATHAMAS, SEMELE Objects pure of pure desire: BOTH Of whom dost thou complain? Still increasing, Ever pleasing, Invent no new delay Wake the song and tune the lyre On this suspicious day! INO Of the blissful holy choir! Of all; but all, I fear, in vain! 5. Recitative and Aria Thunder is heard at a distance, and Scene 3: The Christians SEMELE (apart) the fire is extinguished on the altar Ah me! 23. Recitative What refuge now is left me? 7. CHORUS OF PRIESTS IRENE How various, how tormenting Avert these omens, all ye pow’rs! Ere this their doom is past, Are my miseries! Somegod averse our holy rites and they are gone, Oh Jove, assist me! controls; To prove, that love is stronger far than Can Semele forget thy love, O’erwhelm’d with sudden night the death. And to a mortal's passion yield? day expires; Thy vengeance will o'ertake such Ill-boding thunder on the right hand perfidy. rolls;

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And Jove himself descends in show’rs, Sudden he snatch'd the trembling IRIS To quench our late propitious fires. maid, Hear, mighty queen, while I recount Avert these omens, all ye pow’rs! And soaring from our sight convey'd, What obstacles you must surmount. Flames are rekindled on the altar Diffusing ever as he less'ning flew With adamant the gates are barr'd, Celestial odour and ambrosial dew. Whose entrance two fierce dragons 8. Recitative guard CADMUS ATHAMAS At each approach they lash their forky Again auspicious flashes rise, O prodigy, to me of dire portent! strings Juno accepts our sacrifice. And clap their brazen wings; The fire is again extinguished INO And as their scaly horrors rise, Again the sickly flame decaying dies: To me, I hope, of fortunate event! They all at once disclose Juno assents, but angry Jove denies. A thousand fiery eyes Scene 4 Which never know repose. ATHAMAS Enter to them Chorus of Priests and Thy aid, pronubial Juno, Athamas Augurs. JUNO implores! Hence, Iris, hence away! 10. Recitative Far from the realms of day, SEMELE (apart) CADMUS O'er Scythian hills to the Maeotian lake Thee, Jove, and thee alone, Thy See, see! Jove's Priests and holy A speedy flight we'll take! Semele Augurs come. There Somnus I'll compel adores! Speak, speak of Semele, and me His downy bed to leave, and silent cell; A loud clap of thunder; the altar sinks declare With noise and light I will his peace the doom! molest, CHORUS OF PRIESTS Nor shall he sink again to pleasing rest, Cease, cease your vow's, 'tis impious CHORUS OF PRIESTS AND AUGURS Till to my vow'd revenge he grants to proceed; Hail Cadmus, hail! supplies, Begone, and fly this holy place with Jove salutes the Theban king! And seals with sleep the wakeful speed! Cease your mourning, hail! dragons eyes. This dreadful conflict is of dire Joys returning! Hence: Da Capo. presage; Songs of mirth and triumph sing! Exeunt Begone, and fly from Jove's impending Hail Cadmus, hail! rage! Scene 2 Begone, and fly! 11. Aria An apartment in the palace of Semele; Exeunt SEMELE she is sleeping, Loves and Zephyrs Endless pleasure, endless love waiting. Semele awakes and rises. Scene 3 Semele enjoys above! To them enter Cadmus, attended. On her bosom Jove reclining, 14. Recitative Useless now his thunder lies; SEMELE 9. Recitative and Aria To her arms his bolts resigning, Oh sleep, why dost thou leave me? CADMUS And his lightning to her eyes. Why thy visionary joys remove? Ah, wretched prince, doom'd to Endless pleasure, endless love Oh sleep, again deceive me, disastrous love! Semele enjoys above! To my arms restore my wand'ring love! Ah me, of parents most forlorn! Prepare, oh Athamas! to prove CHORUS Scene 3 The sharpest pangs that e'er were Endless pleasure, endless love To them enter Jupiter. borne; Semele enjoys above! Prepare with me our common loss to 15. Aria mourn! ACT II SEMELE Let me not another moment ATHAMAS Scene 1 Bear the pangs of absence; Can fate, or Semele, invent A pleasant country Since you have form'd my soul for Another, yet another punishment? loving, 12. Sinfonia No more afflict me CADMUS With doubts and fears and cruel Wing'd with our fears and pious haste, 13. Recitative and Aria jealousy! From Juno's fane we fled. JUNO Scarce we the brazen gates had pass'd, No more! I'll hear no more! JUPITER When Semele around her head Awake, Saturnia, from thy lethargy! Lay your doubts and fears aside, With azure flames was grac'd, Seize, destroy the cursed Semele! And for joys alone provide! Whose lambent glories in her tresses Scale proud Cithaeron's top: Though this human form I wear, play'd. Snatch her, tear her in thy fury, Think not I man's falsehood bear. While this we saw with dread surprize, And down to the flood of Acheron Lay your doubts. Da Capo. Swifter than lightning downward Let her fall, let her fall! fall! fall! tending, Rolling down the depths of night! 16. Recitative and Aria An eagle stoop'd, of mighty size, Never-more to behold the light! JUPITER On purple wings descending; If I th'imperial scepter sway, I swear You are mortal and require Like gold his beak, like stars shone By hell- Time to rest and to repose. forth his eyes, Tremble, thou universe, this oath to I was not absent; His silver plumy breast with snow hear! While Love was with thee, contending: Not one of curst Agenor's race to I was present: spare! Love and I are one.

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Of my tender years! That all appear divine! SEMELE With fond desiring, JUPITER ACT III With bliss expiring, See, she appears, Panting, But sees not me; 3. Sinfonia Fainting: For I am visible If this be Love, not you alone, Alone to thee. Scene 1 But Love and I are one. While I retire, rise and meet her, Scene, the cave of sleep; the god of And with welcomes greet her. Sleep lying on his bed. CHORUS OF LOVES AND ZEPHYRS Now all this scene shall to Arcadia A soft Symphony is heard afterwards. How engaging, how endearing turn, Juno and Iris appear. Is a lover's pain and care! The seat of happy and swains; And what joy the nymph's appearing There without the rage of jealousy 4. Recitative and Aria After absence or despair! they burn, Somnus, awake! How engaging: Da Capo. And taste the sweets of love without Raise thy reclining head! its pains. SEMELE Where'er you walk, cool gales shall fan IRIS Ahme! the glade; Thyself forsake, Trees, where you sit, shall crowd into a And lift up thy heavy lids of lead! 17. Recitative and Aria shade. JUPITER Where'er you tread, the blushing SOMNUS Why sighs my Semele! flow'rs shall rise, waking What gentle sorrow And all things flourish where'er you Leave me, loathsome light! Swells thy soft bosom? turn your eyes. Receive me, silent night! Why tremble those fair eyes Where'er: Da Capo. Lethe, why does thy lingring current With interrupted light? Exit cease? Where hov'ring for a vent, Oh murmur, murmur me again to Amidst their humid fires, Scene 4 peace! Some new-form'd wish appears: Semele and Ino meet and embrace Sleeps again Speak, and obtain! 20. Recitative and Aria 5. Recitative and Aria SEMELE SEMELE IRIS At my own happiness Dear sister, how was your journey Dull God, canst thou attend the I sigh and tremble; hither? water's fall, For I am mortal, And not hear Saturnia call? Still a woman; INO And ever when you leave me, O'er many states and peopled towns JUNO Though compass'd round with deities we pass'd, Peace, Iris, peace! I know how to Of Loves and Graces, O'er hills and valleys, and o'er deserts charm him: A fear invades me; waste; Pasithea's name alone can warm him. And conscious of a nature O'er barren moors, and o'er to Somnus Far inferior, unwholesome fens, Somnus, arise! I seek for solitude, And woods where beasts inhabit Disclose thy tender eyes; And shun society. dreadful dens: For Pasithea's sight Through all which pathless way our Endure the light. JUPITER (apart) speed was such, Somnus, arise! Too well I read her meaning, We stopp'd not once the face of earth But must not understand her: to touch. 6. Aria Aiming at immortality Mean-time they told me, while SOMNUS With dangerous ambition. through air we fled, More sweet is that name I must with speed amuse her, That Jove did thus ordain. Than a soft purling stream. Lest she too much explain. But hark! the heav'nly sphere turns With pleasure repose I'll forsake, round, If you'll grant me but her to soothe me 18. CHORUS OF LOVES AND ZEPHYRS And silence now is drown'd awake. Now Love that everlasting boy invites, In ecstasy of sound! More sweet: Do Capo. To revel while you may in soft delights. How on a sudden the still air is chann'd, JUNO 19. Recitative and Aria As if all harmony were just alarm'd! My will obey, JUPITER And ev'ry soul with transport fill'd, She shall be thine. By my command Alternately is thaw'd and chill'd. Thou, with thy softer pow'rs, Now at this instant First Jove shalt captivate; Two winged Zephyrs 1. Duet To Morpheus then give order, From her downy bed SEMELE AND INO Thy various minister, Thy much lov'd Ino bear, Prepare then, ye immportal choir! That with a dream in shape of Semele, And both together Each sacred minstrel tune his lyre, But far more beautiful, Waft her hither, And all in chorus join! And more alluring, Through the balmy air. He may invade the sleeping deity; 2. CHORUS And more to agitate his kindling fire, SEMELE Bless the glad earth with heav’nly lays! Still let the seem to fly before Shall I my sister see! And to that pitch th’eternal accents him, The dear companion raise,

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That he may wake impetuous, furious Nor lose this opportunity: You always complain; in desire, When Jove appears, all ardent with I always am wanting, Unable to refuse whatever boon desire, Yet never obtain. Her coyness shall require. Refuse his proter'd flame I ever am granting, Till you obtain a boon without a name. You always complain! SOMNUS I tremble to comply. SEMELE 11. Recitatiave and Aria Can that avail me? but how shall I JUPITER JUNO attain Speak, speak your desire; To me thy leaden rod resign, To immortality? Say what you require: To charm the sentinels I'll grant it! On mount Cithaeron; JUNO Then cast a sleep on mortal Ino, Conjure him by his oath SEMELE That I may seem her form to wear, Not to approach your bed Swear by the Stygian lake! When I to Semele appear. In likeness of a mortal, But like himself, the mighty thunderer, JUPITER Scene 3 In pomp of majesty By that tremendous flood, I swear; To her enter Juno as Ino, with a mirror And heav'nly attire; Ye Stygian waters, hear! in her hand. As when he proud Saturnia charms, And thou, Olympus, shake, And with ineffable delights In witness to the oath I take! JUNO (apart) Fills her encircling arms Thunder is heard at a distance, and Thus shap'd like Ino, And pays the nuptial rites. underneath. With ease I shall deceive her; You shall partake then of immortality, And in this mirror she shall see And thenceforth leave this mortal SEMELE Herself as much transform'd as me. state, You'll grant what I require? to Semele To reign above. Do I some goddess see! Ador'd by Jove, JUPITER Or is it Semele? In spite of jealous Juno's hate. I'll grant what you require.

SEMELE SEMELE SEMELE Dear sister, speak, Thus let my thanks be pay'd, Then cast off this human shape which Whence this astonishment? Thus let my arms embrace thee! you wear, And when I'm a goddess made, And Jove since you are, like Jove too JUNO With charms like mine I'll grace thee. appear! Your charms improving To divine perfection, 9. Recitative and Aria JUPITER Shew you were late admitted. JUNO Ah, take heed what you press! Amongst celestial beauties. Rich odeurs fill the fragrant air For, beyond all redress, has Jove consented, And Jove's approach declare. Should I grant your request, I shall And are you made immortal? I must retire - harm you.

SEMELE SEMELE 12. Aria Ah no! I still am mortal; Adieu - your councel I'll pursue. SEMELE Nor am I sensible No, no, I'll take no less, Of any change or new perfection. JUNO (apart) than all in full excess! And sure destruction will ensue, Your oath it may alarm you. JUNO Vain wretched fool- adieu! Yet haste and prepare, giving her the glass Exit For I'll know what you are, Behold in this mirror, With all your powers arm you. Whence comes my surprise; Scene 4 No, no: Da Capo. Such lustre and terror Jupiter enters, offers to embrace Unite in your eyes, Semele; That mine cannot fix she looks kindly on him, but retires a On a radiance so bright, little from him. Tis unsafe for the sense And too slipp'ry for sight. 10. Aria JUPITER 7. Aria Come to my arms, SEMELE My lovely fair, O ecstasy of happiness! Soothe my uneasy care! Celestial graces In my dream late I woo'd thee, I discover in each feature! And in vain I pursued thee, Myself I shall adore, For you fled from my prayer, If I persist in gazing. And bid me despair. No object sure before Come to my arms, Was ever half so pleasing. My lovely fair! Myself: Do Capo. Oh Semele! Why art thou this insensible? 8. Recitative and Aria JUNO SEMELE Be wise, as you are beautiful, I ever am granting,

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Scene 5 Scene 8 16. Recitative 13. Aria INO JUPITER Of my ill-boding dream pensive and dejected Behold the dire event! Ah, whither is she gone! unhappy fair! Why did she wish! - why did I rashly CHORUS swear! - Oh terror and astonishment! ‘Tis past, 'tis past recall, Nature to each allots his proper She must a victim fall! sphere, Anon when I appear, But that forsaken we like meteors err: the mighty thunderer, Toss'd through the void, by some rude Arm'd with inevitable fire, shock we'ere broke, She needs must instantly expire. And all our boasted fire is lost in ‘Tis past, 'tis past recall, smoke. She must a victim fall! My softest lightning yet I'll try, Final Scene And mildest melting bolt apply; A bright cloud descends and rests In vain! for she was fram'd to prove upon None but the lambent flames of love. mount Cithaeron, which opening, ‘Tis past, 'tis past recall, discovers She must a victim fall! Apollo seated in it as the God of Prophecy. Scene 6 14. Aria 17. Sinfonia JUNO alone 18. Recitative and Aria Above measure APOLLO Is the pleasure, Apollo comes, to relieve your care, Which my revenge supplies! And future happiness declare. Love's a bubble, From Semele's ashes a phoenix shall Gain'd with trouble, rise, And in possessing dies. The joy of this earth, and delight of the With what joy shall I mount to my skies: heav'n again, A God he shall prove At once from my rival and jealousy More mighty than Love, freed! And sighing and sorrow for ever The sweets of revenge make it prevent. worthwhile to reign, And heav'n will hereafter be heav'n CHORUS indeed. Happy, happy shall we be, Above measure: Da Capo. Free, from care, from sorrow free; Guiltless pleasures we'll enjoy, Scene 7 Virtuous love will never cloy; The scene discovers Semele lying All that's good and just we'll prove, under a And Bacchus crown the joys of love! canopy, leaning pensively, while a mournful Symphony is playing. She looks up and sees Jupiter descending in a cloud; flashes of lightning issue from either side, and thunder is heard grumbling in the air.

15. Aria SEMELE Ah me! too late I now repent My pride and impious vanity. He comes! far off his lightning scorch me, Ah! I feel my life consuming: I burn, I burn, I faint, for pity I implore, - Oh help, o help! I can no more! - Dies. The cloud bursts, and Semele with the palace instantly disappear.

97 95050 Handel Edition

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