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HANDEL L'allegro, Il Penseroso Ed Il Moderato

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HANDEL L'allegro, Il Penseroso Ed Il Moderato 557057-58 bk Handel US 21/03/2005 09:21am Page 12 HANDEL Also available: L’Allegro, il Penseroso ed il Moderato Linda Perillo, Soprano • Barbara Hannigan, Soprano Knut Schoch, Tenor • Stephan MacLeod, Bass Junge Kantorei • Frankfurt Baroque Orchestra Joachim Carlos Martini 8.554364-65 8.555276-77 2 CDs 8.557057-58 12 557057-58 bk Handel US 21/03/2005 09:21am Page 2 George Frideric Handel Knut Schoch (1685-1759) L’Allegro, il Penseroso ed il Moderato The German tenor Knut Schoch studied singing in Hamburg with Wilfried Jochens and Alan Speer, completing his studies by attending a series of master-classes. With a repertory that ranges from the medieval to the contemporary and includes oratorio, chamber music, Lieder and Baroque and Classical opera, he specialises particularly in the Oratorio in Three Parts historical performance practice of music written before 1800, notably the oratorios of Handel and Bach’s Passions. after John Milton, He is much in demand as a soloist both at home and abroad and regularly appears at leading festivals including the arranged and with a Third Part, Fête d’Automne in Paris, the Göttingen Händel Festival and the Schwetzingen, Schleswig-Holstein and Vienna Il Moderato, by Charles Jennens Festivals. Radio and television recordings as well as CDs reflect the breadth of his activities. He has worked with many well-known ensembles, including the Freiburg Baroque Orchestra, Musica Fiata of Cologne, the Dutch Bach This is a live recording of the concert at Kloster Eberbach on Whit Sunday, 19th May 2002. Society and the Drottningholm Baroque Ensemble, and has appeared with conductors of the highest distinction. Among the awards that Knut Schoch has received are the 1995 Masefield Grant from F.V.S. Society and first prize at the 1999 International Musica Antiqua Competition in Bruges. In 1993 he was appointed visiting professor of historical performance practice at the Hamburg Conservatory, and in 1999 became professor at the Hamburg Junge Kantorei Transverse Flute: Marion Moonen Musikhochschule. Director: Joachim Carlos Martini Oboe: Peter Frankenberg, Henriette Gröger Soloists: Linda Perillo, Soprano Bassoon: Trudy van der Wulp Barbara Hannigan, Soprano Stephan MacLeod Knut Schoch, Tenor Horn: John Stobart Stephan MacLeod, Bass The bass-baritone Stephan MacLeod was born in Geneva and studied piano and violin at the Geneva Trumpet: Will Wroth, Helen Barsby Conservatoire, subsequently training as a singer with Ursula Buckel and then at the Cologne Musikhochschule under Kurt Moll. In 1990 he embarked on a professional career, with an award of the Bourses Bonardel, giving Frankfurt Baroque Orchestra Timpani: Andreas Schumacher Lieder recitals in Geneva, Cologne, Bonn, Paris and Venice, and in 1994 received further awards from the Zurich Ernst Göhner Foundation and the Hamburg F.V.S. He has since then appeared in a wide repertoire of opera and Violin 1: Judith Freise, Elin Eriksson, Gabriele Theorbo: Yasunori Imamura oratorio under conductors of the greatest distinction, with performances throughout Europe, in the United States Steinfeld, Seija Teeuwen and in Japan and Israel, in addition to a number of recordings. Cembalo* / Carillons**: Christoph Anselm Noll Violin 2: Eva Scheytt, Jen Ping Chien, Lotta Suvanto, Chiharu Abe Cembalo*** / Orgel****: Rien Voskuilen Viola: Dymitr Olszewski, Claudia Steeb, Aimée Versloot Cello: Frank Wakelkamp * Italian Instrument, Matthias Griewisch (1996) ** Keyed Glockenspiel, Firma Schiedmayer, Stuttgart Viola da gamba: Freek Borstlap *** Italian Instrument, Bausatz Zuckermann, Joachim Martini (1982) Double Bass: Jacques van der Meer **** Portative Organ, Hans Elbertse (1991) 8.557057-58 2 11 8.557057-58 557057-58 bk Handel US 21/03/2005 09:21am Page 10 Linda Perillo CD 1 The Canadian soprano Linda Perillo studied in her native country and in England and France. She has appeared as Part 1 59:12 a soloist with many of the leading Canadian symphony orchestras, as well as with Tafelmusik and the San Francisco Philharmonia Baroque Orchestra. She has collaborated in concerts and recordings with ensembles such 2 as La Grande Ecurie, La Chapelle Royale and the English Concert, and has regularly appeared as a guest with the 1 No. 1: Ouverture (Concerto grosso, Op. 6 No. 1) @ No. 12: Air (Soprano ) Gabrieli Consort, the Israel Camerata and the Vienna Academy. Her recordings range from works by Mondonville A tempo giusto – Allegro – Adagio 6:09 Mirth, admit me of thy crew 3:56 and Rigatti to the contemporary Canadian. Her operatic rôles have included Galatea in Handel’s Acis and Galatea, 2 No. 2: Accompagnato (L’Allegro: Tenor) # No. 13: Accompagnato (Il Penseroso: Soprano 1 ) Cupid in Purcell’s King Arthur with The Sixteen in Lisbon and Seleuce in Handel’s Tolomeo. Hence, loathèd Melancholy 1:53 First and chief, on golden wing 0:51 3 No. 3: Accompagnato (Il Penseroso: Soprano 1 ) $ No. 14: Air (Soprano 1 ) Hence, vain deluding Joys 1:03 Sweet bird 10:41 4 No. 4: Air (L’Allegro: Soprano 2 ) % No. 15: Recitative (L’Allegro: Bass) Barbara Hannigan Come, thou goddess fair and free 1:36 If I give thee honour due 0:18 1 The soprano Barbara Hannigan took her Bachelor and Master of Music degrees at the University of Toronto, where 5 No. 5: Air (Il Penseroso: Soprano ) ^ No. 16: Air (Bass) she studied with Mary Morrison, and completed her training at the Royal Conservatory in The Hague, Orford Arts Come rather, Goddess, sage and holy 3:08 Mirth, admit me of thy crew 2:29 Centre, the Steans Institute Ravinia and the Banff Centre for the Arts. Her present operatic rôles include Lucia in 6 No. 6: Air (L’Allegro: Tenor) & Chorus & No. 17: Air (Il Penseroso: Soprano 1 ) Britten’s The Rape of Lucretia, Despina, the title rôle in The Cunning Little Vixen and Amore in Glucks’s Orfeo ed Haste thee, nymph 2:37 Oft, on a plat of rising ground 2:48 Euridice. She made her début at the Lincoln Center in Louis Andriessen and Peter Greenaway’s opera Writing to 1 Vermeer. Her performance repertoire has also included Ligeti’s Mysteries of the Macabre, and oratorio and Mass 7 No. 7: Air (Tenor) & Chorus * No. 18: Air (Soprano ) settings by Handel, Bach and Haydn. Come and trip it 2:30 Far from all resort of mirth 2:49 8 No. 8: Accompagnato (Il Penseroso: Soprano 1 ) ( No. 19: Recitative (L’Allegro: Tenor) Come, pensive Nun 1:03 If I give thee honour due 0:16 9 No. 9: Arioso (Soprano 1 ) ) No. 20: Air (Tenor) Come, but keep thy wonted state 1:19 Let me wander not unseen 1:24 0 No. 10: Accompagnato (Soprano 1 ) ¡ No. 21: Air (Soprano 2 ) There, held in holy passion still Straight mine eye 1:52 Arioso (Soprano 1 ) & Chorus ™ No. 22: Accompagnato (Bass) Join with thee 3:43 Mountains, on whose barren breast 1:53 ! No. 11: Recitative (L’Allegro: Tenor & Soprano 2 ) £ No. 23: Air (Soprano 2 ) Hence, loathèd Melancholy 0:41 Or let the merry bells ring round Chorus And young and old come forth to play 4:12 8.557057-58 10 3 8.557057-58 557057-58 bk Handel US 21/03/2005 09:21am Page 4 CD 2 The Junge Kantorei Part 2 46:41 Part 3 24:50 The Junge Kantorei was established in 1965 by Joachim Carlos Martini for the Evangelical Church of Hess and Nassau. The choir has since then won a reputation for its many performances of music from the Baroque to the 1 No. 24: Ouverture (Concerto grosso, Op. 6 No. 3) * No. 41: Ouverture contemporary and has enjoyed a happy collaboration with the Frankfurt Baroque Orchestra. The choir schedule has Larghetto – Polonaise 5:34 (Concerto for Organ and Orchestra, Op. 7 No. 1) brought regular participation in festivals of major regional importance, notably the Whit celebrations at Kloster Eberbach im Rheingau and in the church of St Peter in Heidelberg. For its work the choir has depended on the 2 No. 25: Accompagnato (Il Penseroso: Soprano 1 ) Larghetto – Fuga 5:44 support of friends, patrons and sponsors and the present recording is the result of the support of Lafarge Braas Hence, vain deluding Joys 1:18 ( No. 42: Accompagnato (Il Moderato: Bass) GmbH in Oberursel, to which the Junge Kantorei wishes to express its gratitude. 3 No. 26: Air (Soprano 1 ) Hence! Boast not, ye profane 0:39 Sometimes let gorgeous Tragedy 3:58 ) No. 43: Air (Bass) 4 No. 27: Air (Soprano 1 ) Come, with native lustre shine 2:43 But oh, sad virgin 5:46 ¡ No. 44: Accompagnato (Bass) 5 No. 28: Recitative (Soprano 1 ) Sweet Temp’rance Frankfurt Baroque Orchestra Thus, Night, oft see me 0:19 Chorus The Frankfurt Baroque Orchestra was established in 1986 by Joachim Martini and fellow musicians, in 6 No. 29: Bass solo (L’Allegro: Bass) & Chorus All this company serene 2:47 conjunction, in particular, with the work of the Junge Kantorei, and has joined in performances throughout 1 Populous cities please me then 3:49 ™ No. 45: Air (Soprano ) Germany and abroad, notably in Paris, London, Oxford and Amsterdam. At the heart of the repertoire are the 7 No. 30: Air (Soprano 2 ) Come, with gentle hand restrain 1:49 oratorios of Handel, although the orchestra also extends its activities to the classical and early romantic periods, in There let Hymen oft appear 2:32 £ No. 46: Recitative (Tenor) its special attention to the principles of early music performance practice. 8 No. 31: Accompagnato (Il Penseroso: Soprano 1 ) No more short life they then will Me, when the sun begins to fling 0:40 spend in straying 0:40 9 No. 32: Air (Soprano 1 ) ¢ No. 47: Air (Tenor) Hide me from Day’s garish eye 3:15 Each action will derive new grace 2:04 Joachim Carlos Martini 0 No.
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