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A Son Très-Humble Service Duets for Sophie Charlotte of Hanover Agostino Steffani (1654-1728) a Son Très-Humble Service Duets for Sophie Charlotte of Hanover

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A Son Très-Humble Service Duets for Sophie Charlotte of Hanover Agostino Steffani (1654-1728) a Son Très-Humble Service Duets for Sophie Charlotte of Hanover Andréanne Brisson Paquin Sherezade Panthaki Reginald Mobley Scott Brunscheen Mischa Bouvier Alexa Haynes-Pilon, cello Deborah Fox, theorbo and guitar Jory Vinikour, harpsichord and direction Agostino Steffani A son très-humble service Duets for Sophie Charlotte of Hanover Agostino Steffani (1654-1728) A son très-humble service Duets for Sophie Charlotte of Hanover Andréanne Brisson Paquin, soprano Sherezade Panthaki , soprano Reginald Mobley , countertenor Scott Brunscheen , tenor Mischa Bouvier , bass Alexa Haynes-Pilon, cello Deborah Fox, theorbo and guitar Jory Vinikour, harpsichord and direction 2 CD 1 1 Pria ch’io faccia altrui palese (ABP, SP) ...........................................................................................6’57 2 Inquieto mio cor, lasciami in pace (ABP, RM) .............................................................................8’19 3 Ah! che l’ho sempre detto* (ABP, SB) ..................................................................................................9’22 4 Che volete, o crude pene (SP, RM) .......................................................................................................6’11 5 Aure, voi che volate* (RM, MB) ...........................................................................................................8’15 6 Cangia pensier, mio cor* (SP, ABP) ....................................................................................................7’14 Total Time: 46’23 CD 2 1 Crudo Amor, morir mi sento (ABP, RM) .........................................................................................8’58 2 Non ve ne state a ridere* (SP, SB) ........................................................................................................7’36 3 Ravvediti, mio core* (SP, ABP) .............................................................................................................8’27 4 Sia maledetto Amor (RM, MB) .............................................................................................................8’55 5 Io mi parto, o cara vita (SP, SB) ...........................................................................................................8’59 Total Time: 42’59 * World Premiere Recordings 3 Tokens of friendship: Steffani’s duets for Sophie Charlotte ‘…lors qu’on aura le bonnheur de servir V[otre] M[ajesté] icy, elle y trouvera une bonne recreüe de duetti, puisqu’il y en a deja un couple de douzaines à son tres-humble service.’ ‘…when one has the pleasure of serving Your Majesty here, she will find here a good crop of duets, since there are already a couple of dozen at her most humble service.’ hus wrote Steffani in Hanover to Sophie Charlotte in Berlin on 7 December 1702. His letter is the last in a short correspondence that documents both a remarkably open and Thuman relationship between composer and patron and the creation of an important pair of manuscript volumes of his chamber duets for two voices and basso continuo. Steffani had known Sophie Charlotte since at least 1682, when he was the 27-year-old Director of Chamber Music at the Catholic court of Munich and she a thirteen-year-old princess at the Protestant court of Hanover. He served Munich for twenty-one years (1667– 88), primarily as a musician but also as an unofficial diplomat, and enjoyed a good relationship with the elector’s son Maximilian Emanuel, an amateur musician who sang tenor and played the bass viol. Having succeeded his father and, in 1680, reached the age of eighteen, Max Emanuel needed to make a suitable marriage. Sophie Charlotte was one of the young ladies to be considered, Steffani the person charged with sounding out her parents. Sophie Charlotte was an exceptional individual. Her mother, Sophie of the Palatinate, a grand-daughter of James I of England, was one of the best-known female intellectuals in Germany, with active interests in the arts. Her father, Ernst August, duke of Hanover and tit - ular bishop of Osnabrück, nurtured the ambition of uniting the house of Brunswick-Lüneburg and securing the elevation of Hanover to an electorate (which he did). He was also besotted with Italian music and theatre, making numerous visits to Venice before establishing opera in a new theatre at Hanover. Sophie and Ernst August had seven children, of whom Sophie Charlotte was the fourth and the only girl; her oldest brother, Georg Ludwig, became King George I of Great Britain. Born on 30 October 1668, Sophie Charlotte was blessed with her mother’s intelligence, curiosity and wit, and with talents for languages and music. For her general education she was placed in the care of a court governess, Katharina von Harling, but for music lessons she went 4 to the organist, Johann Anton Coberg. At the age of fifteen she visited the French court in Paris and made an impression with her harpsichord-playing. In addition to German she learnt to speak and write French, the language of courtly society, and studied Italian and English. Like other members of the Hanover court she benefited from the influence of the great philosopher and mathematician Gottfried Wilhelm Leibniz, excelling as one of his pupils. It was in 1682 that Steffani went to Hanover to explore the possibility of Sophie Charlotte marrying Max Emanuel. He hoped for success, enjoyed friendly discussions with her mother and father and their advisers, but did not secure an agreement. Nevertheless, he returned to Munich with the affection and respect of those whom he had met, including Leibniz and the secretary and poet Ortensio Mauro. Sophie Charlotte married Friedrich, prince of Brandenburg, in 1684, bore a daughter in the following year and a son in 1688. That year, also, her husband succeeded his father as elector of Brandenburg; three years later he was granted the title King in Prussia and she became queen. One of her grandsons became Frederick the Great. In 1688 Steffani returned to Hanover as Kapellmeister – effectively, director of opera. There he composed a new three-act work for every carnival from 1689 to 1695 (and a couple of one-act works); from 1695 he was too busy as a diplomat to write further operas for the court. During the 1690s Sophie Charlotte visited Hanover often, not least because she had entrusted her young son to her own childhood governess. Sometimes she went back for the summer retreat to the palace and gardens of Herrenhausen (just outside Hanover), sometimes for carnival. In July 1697 there was a production of Luigi Mancia’s pastoral opera La costanza nelle selve , attended by Tsar Peter the Great. According to Mauro, Steffani’s regular librettist, ‘it was a lady at court, endowed with singular talent, who selected the subject and laid it out and …prepared me to have it performed on the stage in nothing other (I can say) than my rhymes’. The identity of the ‘lady at court’ is suggested by a letter written at Herrenhausen in mid-August, in which Electress Sophie stated that Ernst August had been to Hanover ‘to please my daughter, to see her pastorale ’. Sophie Charlotte’s interest in music also found expression in Berlin. Even before mid-1699, when the first phase of her new palace, Charlottenburg, was opened, she created a small ensemble for the performance of Italian chamber music, vocal and instrumental. The mainstays of her establishment were Attilio Ariosti and Giovanni Bononcini, but other composers and performers were employed for short periods, among them Ferdinando 5 Alexa, Jory, Deborah, Sherezade, & Andréanne Chiaravalle, Ruggiero Fedeli, Francesco Antonio Pistocchi and Giuseppe Torelli. Sophie Charlotte was the dedicatee of Pistocchi’s pastorale Il Narciso (1697, Ansbach), Torelli’s Concerti musicali , op. 6 (Augsburg, 1698) and, most notably, Corelli’s Sonate , op. 5 (Rome, 1700); in 1700–1702 she put on seven modest dramatic works – five by Ariosti and two by Bononcini. 6 During the 1690s, also, she presumably renewed her acquaintance with Steffani, and he must have written many of his chamber duets. As John Hawkins observed in his Memoirs of the composer [1750]: It was about this time, when a taste for music prevailed so greatly at Hanover , that Steffani composed his duets, which have acquired him such an universal reputation. It is probable that he might apply his studies so much to this species of composition, in compliance with the taste of the ladies of that court; for it is observable that the poetry of them is altogether of the amatory kind, and it appears by little memorandums, in several copies, that many of his duets were composed at the request of divers ladies of distinction, and that some were made for their own private practice, and amusement …two duets, beginning Inquieto mio cor and Che volete , these appearing to have been made for, and sung by her highness the electress of Brandenburg. Sophie Charlotte was more involved than Hawkins thought. Che volete and Inquieto mio cor are two of three duets that Steffani composed for her and sent to her from Brussels in 1699 . In the previous year she had written the text of Crudo Amor , one of his finest duets. In 1700 she visited Max Emanuel in Brussels, where he had been resident since 1692 (as governor of the Spanish Netherlands) and had set up court in style. The visit brought together two admir - ers of Steffani’s music, for whom the composer, nearly twenty years earlier, had attempted to broker a marriage. Towards the end of what was probably their only meeting, they bade each other farewell by singing the chamber duet Io mi parto , which he had written for the occasion. he correspondence
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