HANDEL IN ITALY, VOL.2 t La bellezza è come un fiore [2.19] y Fuggite, sì fuggite, a che serve d’amor. [1.10] 1 Overture to Agrippina, HWV 6 [3.55] Benjamin Bevan baritone

2 Sicut Sagittae from Nisi Dominus, HWV 238 [1.20] u Precipitoso nel mar che freme from Aci, Galatea e Polifemo, HWV 72 [3.02] Benjamin Bevan baritone Benjamin Bevan baritone

3 Recitative: Pure del Cielo. [1.01] Trio Quel fior che all’ alba ride, HWV 200 4 Aria: Tu del Ciel ministro eletto. [6.22] i Quel fior che all’ alba ride [5.06] from Il Trionfo del Tempo e del Disinganno, HWV 46a o È’un fior la vita [2.40] Sophie Bevan soprano Mary Bevan, Sophie Bevan & Benjamin Bevan sopranos and baritone

Cantata Poichè giuraro Amore, HWV 148 Trio Se tu non lasci amore, HWV 201a 5 Recitative: Poichè giuraro Amore [1.20] p Se tu non lasci amore [3.46] 6 Aria: Figli di rupe alpestra [6.11] a Ma con chi parlo [3.55] 7 Recitative: Io senza speme [1.02] Mary Bevan, Sophie Bevan & Benjamin Bevan sopranos and baritone 8 Aria: Basterebbe a tor di vita [2.13] Mary Bevan soprano Total timings: [55.12] 9 Larghetto from Sonata in G minor, HWV 580 [2.25] 0 Concerto (Allegro) in G Major, HWV 487 [1.26] q Andante in G major, HWV 487 [1.31] Bridget Cunningham harpsichord

Cantata Dalla guerra amorosa, HWV 102a BENJAMIN BEVAN • MARY BEVAN • SOPHIE BEVAN w Dalla guerra amorosa. [0.28] LONDON EARLY OPERA e Non v’alletti un occhio nero. [3.22] BRIDGET CUNNINGHAM CONDUCTOR r Fuggite, sì fuggite! [0.38] www.signumrecords.com HANDEL IN ITALY an audience and encouraged the young inspiration which modern audiences recognise whilst in Florence, Handel collected libretti Volume 2 composer to explore the very latest Italian from later incarnations in operatic arias or which were sold at opera performances such music. Handel needed convincing at first as the grand melodic lines of now-familiar as Ariodante, Radamisto and Scipione which This series is designed to capture an image according to Mainwaring he “plainly confessed oratorio favourites. he himself used later on. Ferdinando himself of significant moments in Handel’s life that he could see nothing in the Music”. was an accomplished musician who had through his travels and to look at Handel the However, despite this and the fact he refused The composer Johann Mattheson, a colleague daily concerts and kept a large library of man, placing him in his historical context the Prince’s offer of travel with his entourage, of Handel’s from Hamburg, wrote that Handel music which would have been a source of through this CD booklet, with music of the he did embark upon a three- year sojourn to travelled to Italy with a companion called Herr inspiration for the young Handel. time including a premiere recording of a Italy in 1706, age 21 after saving 200 ducats Von Benitz and if so, maybe he introduced cantata which sets the scene and provides a for the adventure so that he could make his Handel to society or acted as a patron. Although Handel had arrived in Rome by 1707 and his fuller picture for the appreciation of the listener. own way independently “on his own bottom, the Ruspoli accounts in Rome indicate that keyboard playing and spectacular compositions as soon as he could make a purse for that the extravagant food bills were for Handel and impressed his first patrons and supporters At the turn of the seventeenth century, any occasion”. The trip was a period of intense and an unnamed companion, we hear nothing more including Cardinal Carlo Colonna, Cardinal young composer with a keen interest in the rich musical activity, throughout which Handel’s of Von Benitz. The intrigue does not end Benedetto Pamphili and the most wealthy theatre is likely to have considered Northern music underwent fundamental changes. Indeed, there: once in Italy, Handel was no servant and active Cardinal Pietro Ottoboni. Despite Italian cities to be at the forefront of cultural by the end of his long life, these changes to aristocratic households supporting musical Handel’s Lutheran faith and staunch Protestant developments. Italy was, after all, the country had fuelled a career of unrivalled fluidity and activities; rather, he was a house guest of upbringing, the most important compositions in which opera, oratorio and the chamber longevity in both the operatic and oratorio genres. several well-connected patrons who put him of his early months in Rome were intriguingly cantata were born. Certainly in Handel’s case, up in luxury and commissioned new works for the Roman Catholic Church and they the young composer showed a keen interest in Key to understanding Handel’s later successes, and presented him as their protégé to local signify a determination to display a full range touring Italy shortly after writing his first opera therefore, is the consideration of these fertile society. We know little about Handel’s first of compositional skills despite going against in Hamburg, Almira. One of his first anecdotal Italian years that comprised not only of opera port of call, Florence (or perhaps Venice as much of his own beliefs and the teachings biographers, John Mainwaring, reported that and instrumental works, but also, importantly, Mainwaring suggests) but it made a convenient of his Church. It was probably Cardinal Handel’s interest in Italian opera was secular cantatas which were complete works break in the journey to Rome. Such an invitation Colonna who commissioned the large-scale significantly enhanced by a meeting with the in themselves and often bore the seeds for to Florence may have come directly from setting of the psalm Dixit Dominus, completed ‘Prince of Tuscany’—Prince Gian Gastone his later compositions. This recording further Prince Ferdinando de’ Medici and it is worth early in April 1707, as well as settings of two de’ Medici, the younger brother of the Grand explores key works from Handel’s Italian years noting that Handel returned to that city the other Vesper psalms Laudate Pueri in D major Prince Ferdinando—who was so captivated by (see Handel in Italy Vol.1 Signum Records), following summer to write an opera, a genre and Nisi Dominus during July. Since the papal Handel’s youthful compositions he demanded including works that contain musical forbidden in Rome by Papal edict. Possibly ban did not extend to oratorio, by May 1707

- 4 - - 5 - Cardinal Pamphilli commissioned and wrote and met many wonderful musicians such as and literary protégés, like a ‘Freemasonry’ of as well, which was a very long journey. The Handel’s first major libretto, the allegorical Alessandro and Domenico Scarlatti who showed the Arts. Handel was also invited to follow presence of conflicting marching armies in oratorio Il Trionfo del tempo e del Disinganno. mutual admiration for his work and he was Ruspoli to his country palace at Vignanello Italy in response to the lingering War of This opportunity, more than most, possibly captivated by the music of Gasparini and where he continued composing and performing Spanish Succession and the very recent victory persuaded the composer to stay in Rome Lotti and several other fine Italian composers. whilst enjoying country festivities. Perhaps of Turin and surrender of Milan may have despite there being no opera house as such. He met the soprano Margherita Durastanti also in Rome, Handel heard the travelling made travelling more than usually arduous. Again, it is interesting that a young Lutheran for whom Handel wrote many of his solo Pifferari which later inspired the drone and Many small Italian states were hedging their composer should receive such hospitality and cantatas and they had a lasting partnership, style of the pastoral Pifa in his Messiah. bets by active involvement or by simply high profile commissions of key Latin texts as they continued to work together throughout attempting to preserve neutrality, as was the from Catholic clergy and not be converted to their careers, notably in London. Many questions still surround Handel’s time in case with Venice. Negotiating these political Catholicism himself. Also worthy of note is Italy including why he changed his mind sensitivities, enforced levies and imperial how Handel set secular love poetry to music Interestingly, Handel was treated as a and decided to go there in the first place as fiefdoms would have preoccupied most for his circle of Italian patrons and in doing so distinguished house guest by his most Mainwaring says “he was much at a loss to travellers and may have also influenced Handel’s created wonderful material to which he returned influential secular patron, the music loving conceive how such great culture should be movements within Italy. many decades later. dignitary, Marchese Francesco Maria Ruspoli followed by so little fruit”. Also we are not who commissioned Handel to write La sure how he got there, whether it was an More information is also needed surrounding It was through these Roman Cardinals that Resurrezione the following Easter of 1708. In overland route south from Hamburg, possibly the remarkable work, the Gloria, still marked Handel also developed a network extending the same year, Ruspoli was made the first via his home town of Halle via Nuremburg, as HWV deest (See recording Handel in beyond the city limits. In particular, in Cardinal Prince of Cerveteri by Pope Clement XI in Munich, Innsbruck and onwards via the Brenner Italy Vol.1 Signum Records) as despite its Ottoboni’s Palazzo della Cancelleria, Handel gratitude for funding mercenaries to defend the Pass to Northern Italy - or whether he travelled Catholic basis, exquisitely high calibre of had access to a significant music library and Papal States during the Spanish war. Ruspoli the longer traditional route up the Rhine to composition and several similarities to other an opportunity to perform with the house band came from a Florentine banking family who Basel, descending the Rhone Valley, passing Handel masterpieces from this time, very little led by esteemed violinist and towering figure of settled in Rome and it is possible that a Lyon and Marseille then perhaps sailing is known about the origin. Also a few rumours Arcangelo Corelli. He later met the influential Florentine link enabled this particular contact. onwards to Italy. were spread, unfounded or not, of a youthful Cardinal Vincenzo Grimani and Marchese Ruspoli held a weekly conversazioni of fling that Handel apparently had with the Francesco Maria Ruspoli who also supported the ‘Accademia degli Arcadi’ a circle of During his tour, Handel stayed largely in Rome soprano Vittoria Tarquini, a favourite (and him. The rewards of such circles were not noble dilettantes augmented by guests of with excursions to Florence, Naples and Venice lover) of Prince Ferdinando de’ Medici which only financial, Handel enjoyed access to the highest ranks of church or state from as well as in the country at Vignanello and may possibly explain why Handel did not seem several of the finest harpsichords and organs both Italy and abroad, and their musical Cerveteri and possibly returned to Hamburg to have secured any commissions directly

- 6 - - 7 - from the Medicis unless they just preferred the Following on from Handel in Italy Vol.1, work of other artists. Finally another mystery London Early Opera’s second volume continues shrouding this event is why Handel decided Handel’s Italian journey and gives a sample to leave Italy when he did, especially in view of some of Handel’s finest music for voice of his increasing popularity, financial support, during his time in Italy and gathers together and his immersion in a wealth of inspirational again the internationally acclaimed soloists, decadent music and art in Italy. the sopranos Sophie Bevan and Mary Bevan with their uncle, baritone Benjamin Bevan, In seeking to understand the network of conceived, researched and conducted by influences in operation at this time one is drawn Bridget Cunningham. into a web of social, political and possibly sexual narratives that underpin Handel’s The Music musical watershed. These two recordings, Handel in Italy explore the young composer’s Overture from Agrippina. Italian years through an appreciation of his Venice (late 1709), HWV 6 wide variety of musical styles: cantatas, sacred pieces, operatic works and instrumental In 1709 Handel travelled north to Venice as compositions. Handel wrote prolifically during he had received a commission from the his stay in Italy, his output includes oratorios, leading Italian opera house, Teatro San operas, sonatas, instrumental works and sacred Giovanni Crisostomo theatre in Venice owned vocal masterpieces including over 100 cantatas. by the Grimani family. Handel was asked to Handel was hugely inspired by the enormous write an opera and set Cardinal Vincenzo reserve of talent in Italy and the high calibre Grimani’s sensational libretto Agrippina to The Palazzo dell Cancelleria in Rome, by Giuseppe Vasi, 1754. This was a previous residence of Cardinal Pietro Ottoboni, one of the greatest of the star singers urged him to develop his music. It is unknown where exactly Handel patrons of the arts in eighteenth century Italy where he had constructed a theatre and held regular concerts where Handel, Corelli and other aria style. It was a wonderful opportunity for stayed in Venice and despite a frustrating musicians met and performed music. Handel to write for voices of this quality lack of evidence, it is possible that he met and to encourage them to thrive and flourish fellow composer Vivaldi there. as vocal personalities whilst sensitively supporting the individuality of his singers.

- 8 - - 9 - Agrippina, Handel’s second Italian opera is a munificence of nobles, clergy or princes. in Venice would have heard this music 126) and it is thought to have been Cardinal satirical comedy about sex, intrigue, treachery, Agrippina was timed to open the most popular before and as a whole, Agrippina shows an Carlo Colonna, one of Handel’s earliest jealousy, revenge and the lust for power. Set carnival season and generated enormous success assured mastery of the Italian idiom, and patrons, who commissioned this vesper psalm. in ancient Rome during the time of the running for an unprecedented 27 performances. musically it reflects character and dramatic Cardinal Colonna was the patron of this Emperor Nero, both libretto and opera are According to Mainwaring, enthusiastic audiences context more than in Rodrigo. This overture, Marian Festival and had financed the music notable for their complex character portrayals: greeted every pause in the music with therefore, sets the scene splendidly for this for a while as he held traditional family ties amorality, frailties and idiosyncrasies which cries of ‘Viva il caro Sassone!’ (Long live the second album of music from Handel’s Italy. with the Carmelites. are explored and developed while Handel’s dear Saxon!), establishing Handel’s triumphant music often employs irony to distinguish worldwide reputation before the international Sicut Sagittae in manu potentis from Handel’s writing was particularly prolific between sincerity and scheming. To the audience. Venice, which had attempted to Nisi Dominus during the first part of 1707 and he made huge informed observer, the opera could be seen preserve neutrality during the Spanish war, Rome (1707), HWV 238 advances in his compositional style and to use Emperor Claudius as a metaphor to boasted a large number of diplomats who choral writing especially for Latin sacred comment on the character of Pope Clement XI, frequented the opera. Among them, Prince Soon after Handel completed his setting of music. A survey of his compositions at this the pontiff who frequently clashed politically Ernst Georg of Hanover, brother of the Psalm 109, Dixit Dominus (HWV 232) in Rome, time highlights a formative period as Handel with Grimani. With such a libretto, Handel Elector (the future George I of England), and he produced two stylistically similar psalm masters the melodic Italian manner. His was able to develop his presentation of the English ambassador, Charles Montagu, compositions: Laudate Pueri Dominum in D style becomes more fluent and melody-driven characters with wonderfully humorous settings the Duke of Manchester. It is thought that major (HWV 237) and a double choir setting than previously in Germany and he had and a quasi-Shakespearian ability to understand one of these men may have invited Handel of Nisi Dominus (HWV 238). The autograph become a fully armed and accomplished and sympathize with his characters, revealing to visit their respective countries and helped was probably destroyed in a fire but the composer of concert music for choir and subtleties of their human nature. The recitatives pave his way for future work. auction catalogue shows Handel’s signature orchestra, despite not yet having had the are fast-paced with frequent use of asides and it is dated the 13th July, 1707. Both chance to hear English church music. His where characters voice their true motivations Despite its uncanny freshness, the music of psalm settings were probably intended for music contains traces of more supple, polished to the audience, and the arias are generally Agrippina was not entirely new, some ideas the annual feast of Our Lady of Mount Carmel and energetic string writing and influences short enough to keep up a sense of the were borrowed from other composers and some solemnly celebrated on the 16th July 1707 of Corelli as well as the flexibility, eloquence dramatic narrative. were self-borrowed, adapted and developed in the Carmelite church of Santa Maria in and vocal finesse of Alessandro Scarlatti. from earlier Italian works such as La Montesanto, located on the Piazza del Popolo. Venice was the first place in Italy to run operas Resurrezione and chamber cantatas written As Handel was a Lutheran and wrote for the on a commercial basis for a public audience in Florence and Rome. There are also a few Nisi Dominus is a large-scale setting of the Catholic Church, his works naturally reflected rather than being solely supported by the musical quotes from Rodrigo. Few people Latin text for the Catholic Psalm 127 (Vulgate the views of others such as his patrons and

- 10 - - 11 - Tu del Ciel ministro eletto from in his own music, so he would have actually Il Trionfo del Tempo e del Disinganno known what Handel was doing, but despite Rome (1707), HWV 46a this, Handel apparently seized Corelli’s violin and played these spirited passages as he Il Trionfo del Tempo e del Disinganno composed thought they should be performed. As Corelli in the spring 1707 was Handel’s very first was one of the most influential composers allegorical oratorio and uses extended Italian of the time and also a virtuoso player, his text set to a libretto by Cardinal Benedetto musical impact was huge. Handel was Pamphili with a title that translates as “The deeply sensitive to his performers when writing Triumph of Time and Disillusionment”. This instrumental Italian works and here he took musically adventurous work is related to the Corellian style on board and penned a the Italian tradition of moral cantatas and replacement overture. Il Trionfo, a set of poems by Francesco Petrarca was still circulating in 18th century Handel returned to this work 30 years later in Roman literary circles. England with a revised and expanded three- section version Il Trionfo del tempo e della It was premiered that summer in Rome by verità (HWV 46b) marking a centre point in his virtuosi musicians and singers but without career. Completing the cycle and linking the acting, due to the Papal ban on operas caused beginning of his career to the end, he made Canaletto, Venice 1709. by a previous scandal at the Carnival. Handel a final revision of his very last oratorio (in sometimes had difficulties working with his English) when he was blind and in extremely librettists. Nisi Dominus is based on Roman In the concluding doxology, Handel writes for singers, but during rehearsals for Il Trionfo in poor health during 1757 (HWV 71) The Triumph ideals and is baroque in form and idiom. It eight voices ending antiphonally in a double Rome he apparently struggled with the violinist of Time and Truth. has a sequence of coups-de-theatre and chorus (concertato and ripieno) and (uniquely Arcangelo Corelli, the celebrated leader of his poetical lines of text and word painting. In in his output) a double string orchestra orchestra and Ottoboni’s house band. According In the libretto, Bellezza (Beauty) is tempted Sicut Sagittae, arrows are depicted by scalic scored for strings and continuo. This work to Mainwaring, Corelli told Handel he could to become a disciple of Piacere (Pleasure) but flourishes with the strong bass voice depicting also includes ideas later revisited and not play the introduction or overture as it was eventually takes heed of the compassionate the mighty one, ‘As arrows in the hands of developed in his English works such as Zadok written in the French style which he did not warnings of Tempo (Time) and Disinganno the mighty: thus are the children of outcasts’. the Priest. understand. Corelli does have French touches (Disillusionment) that it is better to avoid sin

- 12 - - 13 - and instead dedicate oneself to virtue and music of Alessandro Scarlatti, the greatest and structure: two recitatives and two da capo The cantatas most often were based on godliness. Piacere entrances Bellezza with most prolific exponent of this genre, Handel’s arias beginning and ending in G minor. It pastoral poetry and mythological stories music and art which would have put Handel in Italian cantatas were almost continuously in originates from Ruspoli’s household copied reflecting the Arcadians. Poichè giuraro Amore a tricky position as his own music was included production throughout his travels in that country. 16th May 1707 (Rome) and again in 1709. is typical in its depiction of an unrequited as a luxury to be relinquished in order to Ruspoli himself did not write poetry so one lover in an idyllic pastoral setting and the gain spiritual salvation. Handel cleverly solves Curiously Handel never published any of his of his house poets, houseguests or fellow imagery of wind, rocks and hard stones this by ending the oratorio with this heart cantatas, unlike his other genres, although Arcadians possibly wrote the text. Nearly half abounds. The opening sorrowful recitative wrenching, wafting and beautiful aria, Tu del cantatas by other composers were being published of Handel’s cantatas were composed for speaks of a sad heart caused by the unfaithful Ciel ministro eletto (O thou, chosen minister and the large amount of borrowings from them Ruspoli for whom Handel served between Clori and sets the scene depicting the harsh of heaven) inviting the listener to head for a suggest Handel valued the cantata form highly. 1707 – 1709, whilst others were written for cruelty of treacherous love and resulting higher plane rather than have it rejected for Perhaps this was due to the more personal Roman patrons including Benedetto Pamphilli heartache. The first lyrical aria suggests being a mere luxurious and brilliant show off nature of patronage and the private or secular and Pietro Ottoboni. perhaps one day fate will change and Clori movement. This is Bellezza’s final lamentation performance of the cantatas as covert political will become stronger and be released from this of reformation when she chooses a righteous and social messages and references to patrons The majority of Handel’s cantatas were written fury of time and death. path and is pleading with the angels for and other figures are rife throughout the for solo voice and continuo (unlike a lot of repentance, resembling qualities of the cantata texts. Furthermore Handel’s cantatas his contemporaries) with soprano being the The second recitative brings us back to the image of Mary Magdalene. Her angelic guide are neatly contained in the period 1706 - 1723 most popular. These cantatas offered Handel suffering and loneliness of the weary heart is depicted by an ethereal solo violin part, when he lived and worked in the houses of a preliminary stage and way to learn to caused by infidelity leading to a more active presumably played by Corelli, floating above Aristocratic patrons. Before 1706 he lived in write for the female voice pertaining to the final aria which begins with the madrigalian softly treading chords in the orchestral strings Germany and in 1723 he moved into his own complexity of psychology and emotions use of a rest linked to a form of word painting. creating a heavenly end to this masterpiece. house on Brook Street, in London. The two associated with his characters, who often This dramatic silence depicts the catching continuo cantatas contained in this recording included the various Cloris, Amarilis, Fillis, of a breath or a sigh as an act of respiration Cantatas: Poichè giuraro amore are fine examples of his self-contained, Armidas, Lidias, Licoris and Dianas. These as indicated in Basterebbe a tor di vita mille and Dalla guerra amorosa independent mini-dramas in which characters female roles were later developed in his cori, il duol ch’io sento which paints the HWV 148 and HWV 102a and emotions are vividly brought to life. operas often speaking with impassioned powerful phrase ‘it would suffice to take from voices and a feminine viewpoint. life a thousand hearts’. The more active nature The cantata form was the most important and Poichè giuraro Amore (HWV 148) is the of this aria which contains dotted movement ubiquitous vocal music of the Baroque era premiere recording of this solo cantata for in the bass line displays a strength of outside of opera and oratorio. Inspired by the soprano and continuo with a standard character Né sì fiero aspro tormento al mio cor

- 14 - - 15 - morte non dà (‘such fierce and bitter torment The theme of this cantata employs the familiar more urgent and active tone as the dramatic heard some saying that holding on to his does not cause my heart to die’) before its metaphor of fleeing from the war of love, cry of the soloist advises one to fly away from hat had something to do with it.’ (Translations final conclusion in G minor. This is rounded which formerly inspired Monteverdi in several the war of love, because whoever serves Professor Donald Burrows). At the advice of off with strength after such bitter torment as madrigals. This poignant cantata depicts a Amor will always be captured by love and Nolhac, Handel released his hat and played neither Handel nor his anonymous librettist lover coming to the realization that it is better remain his prisoner and therefore endure a even better than before just to dispel this rumour. would have wanted to send the Roman public to flee from the war of love than to be joyless and painful life. home with complete melancholic thoughts of defeated by the revengeful Amor, as the God of Handel’s mastery of the organ also brought memento mori. love armed with his arrows lurks behind every Keyboard Works: Sonata (Larghetto) in G minor him attention in Rome and Nolhac gave an pair of bewitching beautiful black eyes. and Concerto (Allegro) and Andante in G major account of Handel’s organ playing in the Dalla guerra amorosa, (HWV 102a) is a HWV 580 and HWV 487 basilica of San Giovanni in Laterano. A dramatic secular continuo cantata which was The first aria depicts the treacherous effect of contemporary diarist Francesco Valesio wrote very popular in Handel’s day. This version of the ‘occhio nero’ (black eyes) in a disarming According to the linen and silk-merchant on 14 January 1707 that ‘There is lately the cantata for bass voice is in its original and fiery melody which Handel brought with from Hanau, Denis Nolhac, (‘Voiage Historique arrived in this city a Saxon who is a most form although it is not clear who sang this him from Hamburg to Italy, based on the et politique de Suisse, d’Italie et d’Allemagne excellent player upon the harpsichord and work in Rome or when it was composed chorus from his Hamburg opera Die verwandelte 1737) Handel was already well acquainted composer of music and who today made exactly. Despite initial evidence suggesting Daphne. In both cases, this charming melody with musicians of great reputation in Rome great pomp of his virtue in playing upon the 1709, it was also feasible that it was composed warns of the intrigues of the god of love. After even early on in 1707. organ in the church of San Giovanni to the the previous year for the bass singer a second recitative urging one to flee from amazement of all’. Reputed to be the largest Cristofano who had been employed by the treacherous love, La bellezza è come un fiore Nolhac was invited to hear Handel play and most magnificent organ in Rome this Marquis Francesco Ruspoli for the role of Lucifer descends to gloomy minor regions and its the harpsichord and suggested that many instrument still survives to this day. in La Resurrezione for the Easter of 1708. impassioned melody suffused with chromatic Italians, especially Romans had ‘strange ideas It was later included in a collection of Roman steps depicts the transience of all that about the power of the Devil and musicians’ Mainwaring’s anecdotes relate that Handel cantatas in Hanover; the newly appointed is beautiful on earth through the image of the and were deeply suspicious that Handel’s and Scarlatti entered a musical contest with court music director of the Duke of Brunswick- wilting flower. highly powered musical skills were somehow each other at the palace of Cardinal Ottoboni Luneburg apparently gave this cantata to linked to the hat that he was holding rather in Rome and who himself was an exquisite the same bass singer who also undertook the An extra section is added in at the end awkwardly under his arm. Rather bemused, harpsichord player. Despite a common consensus role of the God of the Muses in his large-scale which concludes this cantata in F major, the Nolhac continues ‘Handel was a Saxon, and that they shared the victor’s palms on the cantata Apollo e Dafne. dominant from the opening in B flat major. therefore a Lutheran, that made them suspect harpsichord, Scarlatti generously acknowledged This rhythmically powerful arioso has a that his skill was supernatural. I even the Saxon’s superiority on the organ and

- 16 - - 17 - was so struck by Handel’s method of playing The Concerto itself may be an original keyboard Precipitoso nel mar che freme from Aci, The synopsis tells the tale of a tragic love that he followed him throughout Italy. composition and is often linked to his Italian Galatea e Polifemo story between the shepherd Aci and nymph period through stylistic evidence, although Naples (1708), HWV 72 Galatea. The monstrous one eyed cyclops, It is not known what music Handel performed little is known about the circumstances of Polifemo woos Galatea but she remains on any of these historic occasions. No body its composition. The title Concerto and the In 1708 Handel travelled to Naples, one of faithful to her lover, Aci. Even after Polifemo’s of organ music by Handel - apart from the oboe-like passages, perhaps suggests that Europe’s grand metropolises, both politically jealous actions lead him to killing Aci, he concertos composed later in England - survives this work is an arrangement of an orchestral and culturally, where he was looked after still persistently continues his pursuit of in a recognizable form. If a competition with piece, or an early working using the style of well and received invitations to meet several Galatea who calls upon her father a water Scarlatti took place, it is possible that pieces a concerto. It has piano and forte markings distinguished members of society. It was God, to turn Aci into a stream so that he will were improvised and that Handel constructed which may reflect the concerto style or the here he wrote Aci, Galatea e Polifemo (HWV 72) flow into Neptune’s ocean where she will those improvisations based upon his own use of the upper and lower manual of a a dramatic cantata or large scale serenata finally plunge in to meet him. compositions using themes from sinfonias, double manual harpsichord like in the piece which was first performed on the 19th July overtures, arias or indeed themes from other Sonata for a harpsichord with Double Keys 1708; the completed score is dated to 16 Although the ending of this serenata is not a composers rather than performing bespoke in G major (HWV 579) (See Handel in Italy June 1708. happy one, as Aci and Galatea were never keyboard works. Vol.1 Signum Records). Several copies omit married and Aci is murdered, it is based on the inner part of the right hand as 18th This serenata was possibly commissioned by transformation as it delivers a final moral The Sonata in G minor displays features of century copyists often did when transcribing the highly cultured Duchess Donna Aurora explanation of hope and that the constancy the Italian style and possibly originated as a orchestral works for keyboard. A reworking Sanseverino and was likely composed for of those who have known true love will never violin solo with accompaniment. The beautiful of this material occurs in the Sinfonia in the wedding festivities of her niece, Beatrice change. So despite this being an odd choice opening theme appears in modified forms Act III of Scipione (HWV 20). The 2nd movement, Tocco di Montemiletto, Princess of Acaja and of a wedding gift from the Duchess to the in the Violin Concerto, Sonata a 5 in B flat the Andante, is the same as the second in marriage to the Duke of Alvito, Tolomeo Duke of Alvito and later on, to her own son, (HWV 288) and in I will magnify thee, Chandos movement of the Concerto Grosso Op 3 no 4 Saverio Gallo in 1708. The Italian libretto (both bridegrooms of whom died tragically Anthem Number 5 (HWV 250c). It appears in (HWV 315) and only occasionally has inner was written by Nicola Giuvo, the private secretary early), perhaps the message of constancy a source preceding the Concerto in G major parts in the right hand and was reworked for and literary adviser of Duchess Sanseverino in love and hope was intended or the which is the following piece on this recording, the famous Braamcamp Handel- Clay clock. and is based on Book XIII of Ovid’s Christian message that although the body so they may well be played together. Metamorphoses which is a mythological work dies, the soul is transformed (represented by that replicates a typical pastoral scenario the transformation of Aci and Galatea after and the settings show humans and Gods both death into the ocean). at the mercy of cruel and arbitrary forces.

- 18 - - 19 - This mythological story gave Handel the Italian Trios: Quel fior che all’alba ride and Se tu both written for two high voices and bass the other voices rather than being treated opportunity to portray a rich spectrum of non lasci amore with continuo only without obbligato and imitated successively as a fugal subject. emotions ranging from idyllic to comical HWV 200 and HWV 201a instruments. Influenced by the monody of The second soprano enters with a descending which demanded a greater sense of drama the stile nuova and the polyphonic madrigal, scale in crotchet values closely followed by to depict more action. On the basis of the Whilst in Italy, one of the most important they do not use the da capo form but a new brisk and rhythmic figure based on three title roles, Handel developed a dramatic features of this period was the refining of rather are through-composed to convey a quaver and two semiquaver groups in context full of musical inventiveness as it Handel’s vocal style. Handel wrote seven closely the nature and expression of their the bass. These three sequences are then was fresh and modern and which led to an chamber duets and two trios whilst there, texts in open-ended sequences. Within skilfully used in ever-changing combinations operatic setting of the libretto. Ten years later possibly after the influence from his Handel’s oeuvre, these trios are particularly demonstrating an extraordinary mastery of in 1718, Handel created an English-language predecessor in Hanover, Agostino Steffani, fascinating as they mix his native style writing on the part of Handel, whilst at the exquisite pastoral opera Acis and Galatea, who had established the chamber duet as a with newly acquired skills together in some same time absorbing the tri-dimensional (See Handel at Vauxhall Vol.1 Signum Records). genre as well as Giovanni Maria Clari and of his most sensual writing. All three voices and sensual expression of the vocal line. The Although the plot is virtually the same, Handel Pietro Torri. In Italy during the seventeenth sing the same Italian text as one persona framework of the counterpoint allows the same drew little on the original music of this and first half of the eighteenth centuries, the rather than as individual characters, with images to be represented with ever different serenata when he returned to the storyline chamber duet was a favourite form of vocal very skillful counterpoint from Handel’s nuances, colours and textures ending up in and made later adaptations. Earlier settings music alongside the solo cantata and was native Germany, interweaving beautifully with the relative minor key of D minor. The musical of this popular story had been made by often used for compositional experimentation, a new style of expression which transforms discourse created here encompasses light Lully, Eccles and Bononcini and Handel’s innovation and for study and teaching purposes. throughout and shows off the final flowering and shade, joy as well as omens of death own version of Acis and Galatea was later They were performed at social occasions for and heights of this style of writing. Within a advancing the same reminder of the transience arranged by W.A. Mozart. The bass da capo smaller circles of connoisseurs and enthusiasts controlled framework, the phrases exude pure of nature conveyed in the text that in the aria, Precipitoso nel mar che freme depicts of the prosperous bourgeoisie and aristocracy. pleasure from the consonant and dissonant dawn the sunset is already present, in spring Polifemo’s rage, size and strength and is a juxtapositions of the intertwining voices, the and in birth, death is already around the corner. musical version of monstrosity depicted by Although Se tu non lasci amore is dated vivid mix of sound colours and vocal registers Ovid. The more focused he is, the faster he July 12, 1708 Naples, which locates it very and by the exquisite harmonies revealing As another work of skilfully crafted polyphonic gets and if he is stopped he will become even close to the serenata, Aci, Galatea e Polifemo, sophisticated chromatic effects. elaboration, Se tu non lasci amore also more enraged. The role of Polifemo, was these trios or solely Quel fior che all’alba displays an outstanding quality on account of particularly notable for the vast range and ride, may well be assumed to belong to The lively opening phrase of Quel fior che its sublime opening section. Like the other singular vocal agility required. the circles of the Roman Arcadia and later all’alba ride, sung by the first soprano, is trio, it comprises of three sections alternating revised for Handel’s visit to Naples. They are followed by completely different themes from between common and triple time ending up

- 20 - - 21 - in different key to the one it set out with. Italy from the North of Europe, both artists TEXTS After much chromaticism, a short homophonic being in their early twenties. The Italian section, solo entries and more intricate countryside, towns, architecture, literature, 2 Nisi Dominus, HWV 238 polyphonic writing in this earlier version, it is paintings and the people exerted an led away from G minor to its final conclusion influence on them both providing a harmonious Sicut sagittae in manu potentis: As arrows in the hands of the mighty: in C minor. The chromatic tensions and agreement of texture, colour and vision. ita filii excussorum. thus are the children of outcasts abrupt manner of the leaps are a reminder Handel spent three and a half years in Italy of the great Neapolitan tradition inherited composing with a unique creative intensity 3 - 4 Il Trionfo del Tempo e del Disinganno, from Gesualdo and reflect the sharp warnings which provided him with a bank of compositions HWV 46a of being in love. that he could then draw upon for many future occasions. This visit deeply influenced 3 Pure del Cielo intelligenze eterne, Pure and immortal beings of heaven During Handel’s time in Italy, he experimented and affected his legacy of experiences which Che vera scuola a ben amare aprite, Who reveal true teachings of pure love, rapidly with his compositional style as he became fundamental and formative to his Udite, angeli, udite il pianto mio, Hear me, you angels, hear my lamentation, looked back at Renaissance Italy, possibly lifetime of compositions and his everlasting E se la Verità dal Sole eterno And even as Truth, from the eternal Sun to understand and successfully master the place in our affections and history as one of Tragge luce immortale, e a me lo scopre, Draws immortal light, revealing it to me, style of writing. At the same time these trios the world’s favourite composers - a man of Fate che al gran desio rispondan l’opre. Let my deeds respond to my great desire. are fore-bearers of the oratorio choruses which extraordinary genius. he wrote later on, especially in the 1740s after 4 Tu del Ciel ministro eletto, You, high minister of Heaven, © Bridget Cunningham, 2016 the demise of Italian opera. Interestingly, at Non vedrai più nel mio petto Shall see no more in my heart this same point in time later on in London, Voglia infida, o vano ardor. A treacherous wish or empty craving. Handel renewed his interest in duets and E se vissi ingrata a Dio, And though I lived unmindful of God, trios and uses some of the same techniques Tu custode del cor mio May you, as guardian of my heart, of vocal composition and expression in his A lui porta il nuovo cor. Bring to Him a new heart. new style to write more accomplished oratorio choruses. 5 - 8 Poiché giuraro amore, HWV 148

All the more astonishing is that like the artist 5 Poiché giuraro amore Since Love, Sir Peter Paul Rubens a century beforehand, E Clori infida, And unfaithful Clori, Handel was very young when he arrived in Di farmi eterna guerra, Swore to make such eternal war on me,

- 22 - - 23 - Tale, e tanta si serra, So much that tightened Per me solo la morte, è pigra e lenta. Death, for me alone, is lazy and slow. Intorno al mesto core, Around my sad heart is Densa importuna nebbia di dolore A thick, festering fog of pain 8 Basterebbe a tor di vita The sorrow that I feel Che dissipa e disperde That fragments and disperses Mille cori il duol ch’io sento Would suffice to take from life a thousand hearts. D’ogni mia speme il verde, The beginning of my every hope, Né sì fiero aspro tormento Such fierce, bitter torment, D’alte, confuse, dolorose strida I make high, confused, sad cries Al mio cor morte non dà. Does not give death to my heart. Fo risuonar la più reposta selva, That resound in the most remote forest, Che la morte, in lega unita For death, in league united Sì che ne teme e fugge So that in fear flees Co’ nemici del mio cuore, With the enemies of my heart, Ogni augello, ogni belva; Every bird, every beast; Vuol di Clori, vuol d’amore Wants to emulate Ed io, smarrito e solo, And I, lost, and alone, Adular la crudeltà. The cruelty of Clori and of Love. All’aure, a’ tronchi, a’ sassi To the winds, the trees and rocks, Così narro piangendo il mio gran duolo. Thus, weeping, narrate my great sorrow. w - y Dalla guerra amorosa, HWV 102a

6 Figli di rupe alpestra, Offspring of the rugged cliff, w Dalla guerra amorosa, From the war of love, Duri sassi, Hard stones, Or che ragion mi chiama, Now that reason calls me, Cangerassi, Your fate will change O miei pensieri, O my thoughts, Forse un dì la vostra sorte. Perhaps one day. Fuggite pur, fuggite, Fly indeed, fly, Vì darà mano maestra, A divine hand will give you Vergognosa non è Flight is not inglorious Forza spirto e valore Strength, spirit and valour, In amor la fuga, In love, Ch’al furore That will release you from Che sol fuggendo un’alma For only by fleeing Vi torranno del tempo e della morte. The fury of time and death. Del crudo amor può riporta la palma. Is a soul able to win the palm (of victory) from cruel love. 7 Io senza speme di cangiar mai tempre I, without hope of ever changing the nature Nel mio dolor sarò l’istesso sempre. Of my sadness, will always be the same, e Non v’alletti un occhio nero, Do not be charmed by any dark eye(s) Sol nel mesto mio cuore Alone in the sadness of my heart. Con suoi sguardi lusinghiero, Alluring with their glances, Col tempo il duol diverrà maggiore. With time the sadness will only become greater. Che da voi chieda pietà. That may beg pity from you. Ahi, che a sì dura sorte Ah, from such a hard fate Che per far le sue vendette, For in order to take revenge, Non può sottrarmi altro che morte. Nothing but death can save me. E con arco e con saette, With both bow and arrow, Ahi che a miei danni intenta, Ah, but intent on my suffering, Ivi amor nascoso sta. Love stands hidden there.

- 24 - - 25 - r Fuggite, sì fuggite! Fly, yes, fly! i - o Quel fior che all’ alba ride, HWV 200 Ahi! di quanto veleno, Ah! how much poison Amore asperge i suoi piaceri, Love sprinkles over his pleasures, i Quel fior che all’alba ride The flower that smiles at dawn Ah! quanto ministra duol, e pianto, Ah! how much sadness and crying he gives Il sole poi l’uccide is then killed by the sun A chi lo segue e le sue leggi adora. The one who follows him and worships his laws. E tomba ha bella sera. and is buried by the evening. Se un volto v’innamora, If a (beautiful) face makes you fall in love, Sappiate, O pensieri miei, Know, O my thoughts o È un fior la vita ancora: Life is like a flower: Che ciò che piace That which pleases L’occaso ha nell’aurora Its setting is already in its dawn, In brev’ora svanisce, e poi dispiace. In a short while vanishes, and then brings sorrow. E perde in un sol dì la primavera. and it loses its springtime in a single day. t La bellezza è com’un fiore, Beauty is like a flower, p - a Se tu non lasci amore, HWV 201a Sul matin vivace e bello, In the morning lively and lovely, p If you do not abandon love, Sul matin di primavera. In the morning of springtime. Se tu non lasci amore, o my heart, I know well that you will regret it. Che la sera langue e more, Which in the evening languishes and dies, Mio cor, ti pentirai, lo ben io. Far from your beloved Si scolora e non par quello. It fades and no longer seems what is was. Lontano dal tuo bene Tu non avrai che pene. You shalt have only pain. y Fuggite, sì fuggite! Fly, yes fly! a A chi servo d’amor vive in catena, To one who, a servant of love, lives in chains, Ma con chi parlo, oh Dio! But who am I talking to, oh God! È dubbioso il gioir, certa la pena. Joy is doubtful, pain is certain. Quando non ho più core, when I no longer have a heart, O il core che pur ho non è più mio? or the heart I still have is no longer mine? u Aci, Galatea e Polifemo, HWV 72 Translations © Bridget Cunningham 2016 Precipitoso Hastily Nel mar che freme to the stormy sea Più corre il fiume the river runs faster Che stretto fu. the closer it is. Ho per costume And it is my nature Privo di speme that without hope Anch’io sdegnoso I too become Rendermi più. more enraged

- 26 - - 27 - BENJAMIN BEVAN MARY BEVAN

Benjamin Bevan won a scholarship to study Mary Bevan is one of Britain’s top emerging at the Guildhall School, London and made artists, receiving acclaim from critics and his international début at Lausanne Opera in audiences for her stand out performances. She La Cenerentola. is currently a Harewood Artist at ENO and an Associate of the Royal Academy of Music. In He made his UK operatic début at Scottish 2014 she was awarded the UK Critics’ Circle Opera as Marcello La Bohème followed by return Award for Exceptional Young Talent in music. invitations to sing Fleville and Fouquier-Tinville Recent operatic engagements include the title in Andrea Chenier under Sir Richard Armstrong role in Rossi Orpheus for the Royal Opera at and Riccardo I Puritani, Lescaut in Massenet’s Shakespeare’s Globe; Yum-Yum The Mikado, Manon and Marcello in the revival of La Bohème Susanna The Marriage of Figaro and Rebecca in © Victoria Cadisch under Francesco Corti. He made his debut at © Jason Dodd Nico Muhly’s Two Boys, all for English National The Royal Opera House, Covent Garden singing Suzuki and with the Royal Northern Sinfonia Opera; Elvira in Rossini L’italiana in Algeri Orchestra, Maxwell Davies Caroline Mathilde Henry Cuffe in Gloriana by Benjamin Britten under Paul McCreesh, Bach’s St John Passion at Garsington Opera, Music & Euridice in Suite at the BBC Proms, Mendelssohn Symphony and made his debut at Welsh National Opera with the Hanover Band, Bach’s Christmas Oratorio Monteverdi L’Orfeo with ROH at the Roundhouse, No.2 with the CBSO, Stravinsky Pulcinella with in two new productions: singing Lescaut with the Stavanger Symphony Orchestra under Barbarina Le nozze di Figaro at the ROH, and the Prague Philharmonia and Handel Messiah in Boulevard Solitude by Henze followed by John Butt, Bach’s B Minor Mass at The Three David Bruce’s The Firework Maker’s Daughter with the English Concert. A dedicated recitalist, Roderick Usher in Usher House by Getty. Choir’s Festival, and Handel’s Messiah with the with The Opera Group, Opera North and ROH2. she has appeared at the Oxford Lieder Festival English Concert under Harry Bicket, as well as and Wigmore Hall. Other operatic highlights include Lescaut for with the Wrocław Baroque Orchestra under In concert Mary recently performed Silandra the Royal Danish Opera, Ferryman Curlew River Christian Curnyn as part of the Göttingen in Cesti Orontea with La Nuova Musica, Bach Mary’s recordings include Handel in Italy Vol 1 for for Opéra de Dijon, and Count Almaviva Le Nozze International Handel Festival, and on tour with cantatas with the Dunedin Consort, baroque Signum Classics, Ludwig Thuille and Mendelssohn di Figaro for Longborough Opera. Bach Collegium Japan and Suzuki. programmes with the Academy of Ancient Music songs for Champs Hill Records, Handel The and Orchestra of the Age of Enlightenment, and Triumph of Time and Truth with Ludus Baroque, On the concert platform Benjamin’s highlights Benjamin features on Handel in Italy Vol.1 and Faure Requiem with Orquestra Sinfonica de Vaughan Williams Symphony No.3 and Schubert include performances of Bach’s St Matthew Handel at Vauxhall Vol.1, also available on Sevilla and Philharmonia. She has previously Rosamunde with the BBC Philharmonic, and Hadley Passion with Bach Collegium Japan under Masaaki Signum Classics. sung Mozart Requiem with the English Chamber Fen and Flood with the Bournemouth Symphony.

- 28 - - 29 - nentoa Oea col hr se received the QueenMotherRoseBowlAward. she where School Britten Opera Benjamin International the at studied Bevan Sophie SOPHIE BEVAN n Tnlwo fsias Se a given has with Concertgebouw She Amsterdam the at festivals. recitals Tanglewood Edinburgh Aldeburgh, and the and at Proms appeared BBC the has the and with Society debut Haydn & States Handel United the Birmingham. her of made and City She the Orchestra and Radio, Chamber Swedish Scottish Sixteen, The the Sinfonia, Britten the Orchestra, include Hallé that orchestras Nelsons with Pappano Elder, and Harding, include with Cummings, worked Gardner, has she conductors The the at debut her and Teatro Real,MadridasPamina. Saul Michal as Festival debut Glyndebourne her made She Figaro. di Zauber Die Pamina Waldvogel Rosenkavalier, Der Idomeneo, SophieSiegfried, Ilia ladra, Cunning gazza La The Ninetta role Telair Vixen, title Little the Radamisto, Pollux, and Polissena Castor roles included operatic her have where Opera Frankfurt and Opera National Welsh and English Garden, House Covent Opera Royal the at appeared has Sophie fl t ad uan L nozze Le Susanna and öte

- 30 h Gada, 05 Hne i Iay Vol.1, Italy in (Handel Signum Classics) Bevan” 2015 Sophie Guardian, by The sung dazzlingly ... “Gloria International inaugural 2013 Opera Awards. the Singer Young at the and award Awards Arts South Sky 2012 Bank the at Award Breakthrough The Times Talent, Young Critics’ Exceptional 2010 for the award Circle of recipient the was Sophie to Wybrew Sebastian Wigmore critical acclaim. with her debut recital made Hall and Martineau Malcolm

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- 31 n Vvlis lra o oceta including orchestras for Gloria Vivaldi’s Semele Fairy and Handel’s Purcell’s Flute, Magic as Mozart’s such operas, Queen, works several Festival, and conducted oratorios has Innsbruck She and Austria. Europe France throughout Classique, Festi London, Fields, festivals The Martin-in St at including and regularly performs venues and conducts Bridget Royal the at trained College ofMusic,London. who musicologist and presenter opera harpsichordist, prizewinning conductor, international an is Cunningham Bridget BRIDGET CUNNINGHAM Music of Academy and theRoyalCollegeofMusic,London Royal the at who training Dominic in are and Harry Edward, tenors young three this the the including on legacy of musical continuing phenomenal musical Many are Schiemann. family Bevan Juliet soprano married Bevan, to Benjamin internationally baritone the and acclaimed to Sophie brother and sopranos Bevan winning Mary award father the the Thomas is to He St Bevan. and David Redeemer Chelsea: More, Holy Most Our of Church the at Music of Director serving long and composer and organist the is brother Her Sixteen.

London Early Opera, Music of the Spheres LONDON EARLY OPERA Ensemble and the Schola Pietatis Antonio Vivaldi. She has a wide musical background as Violin I Viola Double Bass Bassoon well as Early Music from performing Piazolla Adrian Butterfield (Leader) Nichola Blakey Kate Aldridge Zoe Shevlin with the RTE Irish Chamber Orchestra live Kirra Thomas Alexis Bennett Eleanor Harrison Theorbo Archlute on Lyric Radio, to conducting recordings of Cello Alex McCartney Andrew Maginley early 20th Century English music composed by Violin II Jennifer Bullock George Butterworth. Nicolette Moonen Emily Ashton Oboe Organ Philip Yeeles Kate Conway Belinda Paul Richard Vendome Ann Allen As a solo harpsichordist, Bridget has broadcast Felicity Broome-Skelton Harpsichord/Conductor on Austria’s National Radio Stephansdom and Bridget Cunningham was invited to perform for Prince Charles at Buckingham Palace. She regularly gives lecture London Early Opera (LEO) have been established the background of the music and coaches recitals and concerts at Art Galleries and and performing since 2008 and registered as and directs the instrumentalists and singers. opened; ‘Watteau: The Drawings Exhibition’ recordings from the harpsichord. Handel in a UK charity in 2011 at the forefront of Baroque at the Royal Academy of Arts in London. She Italy Vol.1 and Handel at Vauxhall Vol.1 research and performance. LEO work with leading This new series of recordings sets the scene has performed and presented on several have been released from Signum Records and historians and specialists and record recently of Handel’s colourful life, influences and Radio and TV programmes for BBC, SkyArts, been reviewed with international acclaim. discovered and unusual programmes in a thorough experiences which inspire and nuance his RTE, Radio Stephansdom and Radio France historical context. magnificent output and musical legacy. including Front Row BBC Radio 4, In Tune and “The quality of the musicianship is high” The King James Bible BBC Radio 3 and for BBC Music Magazine, 2015. All members are leading exponents of early music Future releases in this series from Signum TV, Messiah BBC2, Vivaldi’s Women BBC4 and offer concerts, operas, oratorios, lecture Records include Handel at Vauxhall Vol.2 and has filmed for the Handel Hendrix House, “The playing is so beautifully focused … Splendid recitals, educational workshops and recordings. and a harpsichord solo CD Handel in Ireland Brook Street London. in every respect” BBC Radio 3 CD Review, 2015 LEO is always keen to collaborate with other early and again will have extended CD booklet notes music supporters and sponsors promoting music to give the historical context to the music Bridget conceived this new Handel series - “Bridget Cunningham’s London Early Opera with future recordings and live music. enhancing pleasure for the listener. from researching each recording, choosing the go from strength to strength with their second repertoire, performers, the colour, shape and release” Presto Classical, 2016 LEO are conducted from the harpsichord by www.londonearlyopera.org detail of the music as well as conducting the Bridget Cunningham who researches and explores

- 32 - - 33 - These high quality performances and recordings [EASYFUNDRAISING.ORG.UK], recycling of mobile with many hours of detailed research all require phones and or our crowd funding schemes to ongoing funding. further the production and benefit of future projects which we hope you will enjoy. With special thanks to the Trustees of London Early Opera, Jennifer Hassell, Jane Gibson, Andrew Carver, Roger Sydenham, We ask you to visit the Charity website to see Elizabeth Tompkins, Richard and Jane Lawson, David E Coke, The Foundling Museum, Colin Coleman, Katharine Hogg, Handel & Hendrix In London, ways of financially supporting future performances Donations may be sent to: The Royal College of Music Library, Robert Woolley, Terence Best, Andrew V Jones, Konstanze Musketa, Händel Haus Halle. and recordings for your pleasure and education. LONDON EARLY OPERA, 6 FRINTON ROAD, Recorded at Saint Jude-on-the-Hill, Hampstead, London, from 14-16 January 2013. THORPE LE SOKEN, ESSEX, CO16 0HS We are able as a charity to recover Gift Aid www.londonearlyopera.org Series Producer and Conception – Bridget Cunningham on donations made and also ask our supporters Producers – Christopher Alder and Mark Brown to use our web portal for online purchases London Early Opera UK CHARITY NUMBER: 1143989 Recording Engineers – Neil Hutchinson, Classic Sound Mike Hatch, Floating Earth

Mastering Engineers – George Collins and Neil Hutchinson Orchestra Administrator – James Brookmyre

Keyboard instruments supplied by Malcolm Greenhaulgh, Keith McGowan and Andrew Wooderson Organ – Collins 3 stop chamber organ. Harpsichord – Wooderson double manual Blanchet copy of a Ruckers. 415 Hz pitch – due to the differing low Roman pitch and the high Venetian pitch used in Italy in the 18th century.

Cover Image – Shutterstock COMING SOON Design and Artwork – Woven Design www.wovendesign.co.uk

Handel in Ireland, Vol. 1 P 2016 The copyright in this sound recording is owned by Signum Records Ltd Bridget Cunningham solo harpsichord © 2016 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com

- 34 - - 35 - ALSO AVAILABLE on signumclassics

Handel in Italy, Vol. 1 Handel at Vauxhall, Vol. 1 Mary Bevan, Sophie Bevan, Benjamin Bevan London Early Opera London Early Opera Bridget Cunningham conductor Bridget Cunningham conductor SIGCD428 SIGCD423

“The playing is so beautifully focused...Splendid in every respect” ... “deliciously played by Daniel Moult and springily accompanied BBC Radio 3 CD Review by London Early Opera’s fine band, under the expert baton of Bridget Cunningham” “This is as polished an account as any on account of Early Music Review Sophie Bevan’s unerring sense of decorum for what each movement requires” “An attractive potpourri.... bright lively accounts of music” Editors Choice, Gramophone Magazine The Guardian

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 20 -