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Coronation Anthems and Characterise All the Works on This Disc

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CORO The Sixteen Edition CORO The Sixteen Edition Messiah “... rare vividness and expressive force… sheep can seldom CORONATION Handel have strayed so gleefully or bonds broken asunder with Harry Christophers such exuberant relish as ANTHEMS The Sixteen here..."Hallelujah" and "Amen" thrill anew…this inspiriting Carolyn Sampson new performance becomes a Catherine Wyn-Rogers first choice.” G. F. Handel Mark Padmore Christopher Purves the sunday times cor16062 3 CDs (Special Edition) The King shall rejoice My heart is inditing Samson Alexander's Feast “Powerful choral Zadok the Priest Handel singing from The Handel Sixteen and alert “The music is Let thy hand be playing by the period superb, and it’s strengthened instrument band given a superb make this the most performance here… pleasurable Samson superbly stylish yet recorded.” Handel singing.” the sunday times The Sixteen gramophone harry christophers cor16008 3 CDs cor16028 2 CDs The Voices of To find out more about The Sixteen, concert tours, and to buy CDs visit www.thesixteen.com cor16066 Not only did the 1727 Coronation have great music specifically written for it, CORONATION but also an organ was constructed for the occasion. I thought therefore that it would be appropriate to include in this recording a rather interesting version of ANTHEMS his F major Opus 4 organ concerto. It was first performed as part of his oratorio Athalia and here it ended with an Alleluia chorus, replete with horns. Handel was George Frideric Handel an exceptional organist and possessed an "amazing command of the instrument" along with a "copiousness of imagination". With all his years of experience as one of our country's finest continuo players, I asked Alastair Ross to don Handel's andel is one of only a handful mantle. Alastair's style and imagination is second to none; unfortunately we could Hof composers who was truly not have an organ constructed specially for the occasion so we did the next best multi-faceted - a master of orchestral thing and hired Mander's aptly named "Aquarium" chamber organ (vibrant blue and vocal textures, both triumphant in colour)! and profound. Simply compare the bustling, joyous activity of the Arrival The great historian Charles Burney wrote in 1785 that "Handel's general look of the Queen of Sheba with the dark, was somewhat heavy and sour; but when he did smile, it was his sire the sun, anxious apprehension of the Overture bursting out of a black cloud." There is nothing in Handel's music that could ever to Jephtha, and you will know exactly be called "heavy and sour", but I am sure Handel would have joined with us in what I mean. smiling at the glorious sounds that emanate from his uplifting music. However, it is majestic grandeur, alongside moments of exquisite tenderness, which overridingly pervade the Coronation Anthems and characterise all the works on this disc. Handel's choice of texts is quite frankly inspired. My heart is inditing would have been heard at the coronation of Queen Caroline and its second movement is full of feminine eloquence. It is Handel at his best as he gently With thanks to The Anson Charitable Trust, John Bickley & Hilary Perrott, caresses us with sumptuous phrases and sensual harmonies. And then later you Harry & Veronica Christophers, Simon Gulliver, Simon Haslam, will experience pure theatre - the opening to Zadok the Priest has to be one of the Robert Kirk, Claire Long, Richard Price, Francis Quinlan, greatest moments of suspense and sheer anticipation in music. Anthony Smith CBE, David & Stella Weatherall. 2 3 CORONATION ANTHEMS THE SIXTEEN George Frideric Handel (1685 - 1759) soprano Julie Cooper, Sally Dunkley, Rebecca Hickey, Alison Hill, Elin Manahan Thomas , Charlotte Mobbs, Rebecca Outram alto Ian Aitkenhead, David Clegg, William Missin, Christopher Royall 1 Arrival of the Queen of Sheba 3.06 Coronation Anthem tenor Simon Berridge, Jeremy Budd, Mark Dobell, David Roy the king shall rejoice hwv 260 Bass Jonathan Arnold, Ben Davies, Eamonn Dougan, Robert Evans Coronation Anthem bm The King shall rejoice 2.50 hwv 261 my heart is inditing bn Exceeding glad shall he be 2.50 VIOLIN I Walter Reiter (leader), Jean Paterson, Simon Jones, 2 My heart is inditing 2.47 bo Glory and worship 2.52 Andrea Morris, Claire Duff, Sarah Moffatt 3 King’s daughters 3.25 bp Alleluia 2.44 VIOLIN II Miles Golding, Theresa Caudle, 4 Upon thy right hand 2.52 bq Hannah Tibell, Ellen O'Dell, Claire Mera-Nelson 5 Kings shall be thy nursing fathers 3.01 Overture to Jephtha 5.51 VIOLA Stefanie Heichelheim, Emma Alter Organ Concerto in F Major Coronation Anthem VIOLONCELLO Joseph Crouch, Imogen Seth-Smith Opus 4 Number 4 (original version) let thy hand be strengthened DOUBLE BASS Jan Spencer hwv 259 6 Allegro 4.09 OBOE Anthony Robson, Hilary Stock br Let thy hand be strengthened 3.05 7 Andante 5.29 BASSOON Sally Jackson, Siona Spillett bs Let justice and judgment 3.42 8 Adagio 1.07 HORN Anneke Scott, Clare Penkey bt Alleluia 2.01 9 Allegro 5.09 TRUMPET Robert Farley, Christopher Pigram, John Hutchins bu TIMPANI Charles Fullbrook bl Worthy is the Lamb (Messiah) 3.29 Coronation Anthem THEORBO Eligio Quinteiro zadok the priest hwv 258 5.46 cl Amen (Messiah) 3.43 HARPSICHORD Benjamin Bayl Total Running Time 70.06 ORGAN Alastair Ross (solo) 4 5 GLORY & GREAT WORSHIP Book’ of the Chapel Royal choir, so the according to a rather sour memorandum 1727. When the Archbishop’s official Order performers may have received conflicting written in later years by George III, in 1727 of Service was delivered to him, he would ‘ he First Grand Musical Performance instructions. They may have even begun the King himself insisted that Handel and have found that some of the anthems were in the Abbey was at the Coronation two different pieces simultaneously for the not Greene should provide the anthems. distributed differently, and the texts were of King George the Second’. first anthem, necessitating a pause while The coronation ritual was a historical also different in various details. According to TThus William Boyce, at the time of the the situation was sorted out and the anthem one, with a liturgy deriving from mediaeval a later anecdote, Handel had had the words coronation of King George III in 1761, was recommenced. times, but each of the previous coronations sent to him by the Bishops, for the anthems; described the music at the previous The uncertainty about the order of the had been different in some way. That of at which he murmured, and took offence, comparable event, the coronation of anthems in 1727 may be traced to the George I in 1714 was the first coronation of as he thought it implied his ignorance of King George II and Queen Caroline in circumstances that led up to the coronation, a King of Great Britain, following the Act the Holy Scriptures: ‘I have read my Bible Westminster Abbey on 11 October 1727, following the death of King George I in of Union, and there was no queen; Queen very well, and shall chuse for myself’. More in which he may have participated as a June 1727. The senior regular Chapel Royal Anne in 1702 had a consort (Prince George likely, he had already ‘chosen’, by taking or young singer. He continued: ‘Mr Handel, composer, William Croft, also died a couple of Denmark) who did not qualify for a adapting the texts from the 1685 liturgy, and who composed the music, often lamented of months later and Maurice Greene was coronation in his own right; in 1689 Mary composing accordingly. his not having part of the altar taken away, appointed as his successor at the beginning II had been crowned as joint monarch with The differences in the placing of the four as he, and all the musicians concerned, of September. Croft had composed the William III, not as Queen Consort. For the anthems that received Handel’s attention experienced the bad effect it had by that orchestrally-accompanied anthem The combination of King and Queen Consort were not very great, because two of them obstruction’. With performers distributed Lord is a sun and a shield for the coronation you had to return to James II and Mary were specific to particular moments in around the coronation area in different of George I in 1714. This had been during of Modena in 1685, but on that occasion the coronation service: Zadok the Priest galleries, and without the benefit of Handel’s early years in London, but since the traditional liturgy had been curtailed accompanied the anointing ceremony, and modern communication technology, it is then Handel’s status had changed in two because the King, although constitutionally My heart is inditing was the anthem for the perhaps not surprising that the Archbishop relevant ways: he had been given a court head of the Anglican church, regarded coronation of the Queen, which followed of Canterbury wrote in his Order of Service title as Composer for the Chapel Royal himself as a Roman Catholic. Few people that of the King. Assuming that the Chapel against the words of the first of Handel’s in 1723, and he had become a British in 1727 would have remembered the 1685 Royal manuscript is an authoritative record anthems, ‘The Anthem in Confusion: All subject by naturalisation in February 1727. coronation, but its ceremonial had been of what was sung, The King shall rejoice irregular in the Music’. However, there He probably began work on the anthems the subject of a book that went through came at the Crowning of the King, and Let may have been a particular reason for the while plans for the coronation ceremony several subsequent published versions.
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  • Handel: Heaven and Harmony the Brandenburg Choir

    Handel: Heaven and Harmony the Brandenburg Choir

    THE BRANDENBURG HANDEL: HEAVEN CHOIR AND HARMONY GEORGE FRIDERIC HANDEL (1685–1759) When we think of Handel, most of us probably think first of the oratorios, especially Messiah, and then perhaps of instrumental pieces such as the Water Music, but instrumental compositions formed only a relatively small portion of Handel’s total output of some six hundred works. He saw himself primarily as a vocal composer, and to his contemporaries he was one of the finest opera composers of the age, writing forty two operas in all. His first opera was produced in Hamburg in 1705, when he was only twenty, but his career as both composer and impresario really took off when he moved to London in 1711, where he mounted a series of phenomenally successful Italian opera seasons which included masterpieces such as Giulio Cesare (Julius Caesar) and Alcina. In 1733 a rival opera company was set up, the Opera of the Nobility, which poached Handel’s best singers and drew the support of wealthy patrons away from Handel’s The Brandenburg Choir is renowned for its Noël! Noël! has proven to be so popular, the own company. Handel managed to keep his company afloat, seeing out the rival astonishing vocal blend and technical virtuosity. Brandenburg have released their second live company which collapsed in 1737, but he sustained heavy financial losses and the Established by Artistic Director Paul Dyer in 1999 recording of the concert at City Recital Hall Angel stress took its toll on his health. to perform in the first-ever Noël! Noël! Brandenburg Place.