INDEX of HANDEL's WORKS Vocal Music
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November 15, 1959 776Th Concert
NATIONAL GALLERY ORCHESTRA Richard Bales, Conductor Violins: Cellos: Mark Ellsworth Ana Drittelle Helmut Braunlich Helen Coffman Henri Sokolov Basses: Raul Da Costa Charles Hamer Dino Cortese Joseph Widens Michael Serber Oboes: THE A. W. MELLON CONCERTS Joel Berman Beth Sears Elinore Tramontana Donald Hefner Eugene Dreyer Bassoon: Isadore Glazer Dorothy Erler Maurice Myers Collin Layton Trumpets: National Gallery of Art Samuel Feldman Richard Smith George Gaul Charles Gallagher, Jr. Washington, D. C. Carmen Parlante Violas: Frank Perricone Leon Feldman T ympani: Barbara Grzesnikowski Walter Howe 776th Concert CHURCH OF THE REFORMATION CANTATA CHOIR Jule Zabawa, Minister of Music Sopranos Altos Tenors Basses Marilyn Krummel Mary Lou Alexander Otto Kundert Harald Strand Eleanor Pressly Mary Forsythe Stephen Beaudry Gerard Siems Handel Bicentennial Program Julia Fromm Blosson Athey Arleigh Green Gilbert Mitchell Julia Green Estella Hyssong Robert Ernst Donald Robinson Patricia Foote Virginia Jones Joseph Agee Richard Foote Dorothy Richardson Marion Kahlert Leslie Polk Glenn Dabbs Ruth Siems Betty Ann Dabbs John Nordberg Edward Bachschmid Sunday Evening Beatrice Shelton Marilyn Smith Charles Kalb Fred Bloch Virginia Mitchell Jane Bennett Donald Krummel Rudolf Michel November 15, 1959 Marion Bradley Barbara Bachschmid John Kjerland John Ramseth Dorothy Moser Jeanne Beaudry Hilman Lund Kay Sisson Mary Bentley Gerald Wolford Norma Grimes Lydia Bloch Austin Vicht Lydia Nordberg Phyllis Wilkes Marion Kalb Ruth Schallert Betty Schulz Lucy Grant AT EIGHT O’CLOCK Hazel Rust Beverly Isaacson Christine Agee Moreen Robinson Bertha Rothe Vivian Schrader Clara Rampendahl lone Holmes IN THE EAST GARDEN COURT Diane Diehl NATIONAL GALLERY ORCHESTRA GEORGE FREDERIC HANDEL CHURCH OF THE REFORMATION CANTATA CHOIR (1685-1759) Concerto Grosso in A Major, Opus 6, No. -
Barockkonzert FR 03.06.2016 SA 04.06.2016 Jan Willem De Vriend Dirigent Iestyn Davies Countertenor
B4 Barockkonzert FR 03.06.2016 SA 04.06.2016 Jan Willem de Vriend Dirigent Iestyn Davies Countertenor 14780_rph1516_b4_16s_PRO_K1.indd 1 10.05.16 15:54 RING BAROCK B4 PAUSE FR 03.06.2016 18 UHR Let Thy Hand Be Strengthened HWV 259 HERRENHAUSEN NDR Radiophilharmonie Coronation Anthem Nr. 2 GALERIEGEBÄUDE Knabenchor Hannover (Erstaufführung 11. Oktober 1727) (Jörg Breiding, Einstudierung) SA 04.06.2016 Jan Willem de Vriend Dirigent 16 UHR Iestyn Davies Countertenor „Cara sposa“ aus „Rinaldo“ HWV 7a ST.-GEORGEN-KIRCHE (Erstaufführung 24. Februar 1711) WISMAR Georg Friedrich Händel | 1685 – 1759 „Venti turbini“ aus „Rinaldo“ HWV 7a (Erstaufführung 24. Februar 1711) Zadok The Priest HWV 258 Coronation Anthem Nr. 1 The King Shall Rejoice HWV 260 (Erstaufführung 11. Oktober 1727) Coronation Anthem Nr. 3 (Erstaufführung 11. Oktober 1727) „Oh Lord, whose mercies numberless“ aus „Saul“ HWV 53 SPIELDAUER: CA. 40 MINUTEN (1738, Erstaufführung 16. Januar 1739) „Despair no more shall wound me“ aus „Semele“ HWV 58 (1743, Erstaufführung 10. Februar 1744) My Heart Is Inditing HWV 261 Coronation Anthem Nr. 4 (Erstaufführung 11. Oktober 1727) SPIELDAUER: CA. 30 MINUTEN Das Konzert wird aufgezeichnet und am 10. Juli 2016 um 11 Uhr auf NDR Kultur gesendet. (Hannover: 98,7 MHz) 14780_rph1516_b4_16s_PRO_K1.indd 2 10.05.16 15:54 14780_rph1516_b4_16s_PRO_K1.indd 3 10.05.16 15:54 Biografie In Kürze Die Dinge verliefen günstig für Georg Friedrich Händel im Jahre 1727. Seit 1712 in London lebend, war er 1723 zum „Composer of Musick for his Majesty’s Chappel Royal“ ernannt worden. Im Februar 1727 nun wurde seinem Antrag auf Einbürgerung stattgegeben, und so wurde aus dem ehemaligen „Caro Sassone“, dem italophilen Sachsen, ein wahrer englischer Komponist. -
Handel's Sacred Music
The Cambridge Companion to HANDEL Edited byD oNAtD BURROWS Professor of Music, The Open University, Milton Keynes CATvTNnIDGE UNTVERSITY PRESS 165 Ha; strings, a 1708 fbr 1l Handel's sacred music extended written to Graydon Beeks quake on sary of th; The m< Jesus rath Handel was involved in the composition of sacred music throughout his strings. Tl career, although it was rarely the focal point of his activities. Only during compositi the brief period in 1702-3 when he was organist for the Cathedral in Cardinal ( Halle did he hold a church job which required regular weekly duties and, one of FIi since the cathedral congregation was Calvinist, these duties did not Several m include composing much (if any) concerted music. Virtually all of his Esther (H\ sacred music was written for specific events and liturgies, and the choice moYemenr of Handel to compose these works was dictated by his connections with The Ror specific patrons. Handel's sacred music falls into groups of works which of Vespers were written for similar forces and occasions, and will be discussed in followed b terms of those groups in this chapter. or feast, ar During his period of study with Zachow in Halle Handel must have followed b written some music for services at the Marktkirche or the Cathedral, but porarl, Ro no examples survive.l His earliest extant work is the F major setting of chanted, br Psalm 113, Laudate pueri (H\41/ 236),2 for solo soprano and strings. The tradition o autograph is on a type of paper that was available in Hamburg, and he up-to-date may have -
What Handel Taught the Viennese About the Trombone
291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
74Th Baldwin-Wallace College Bach Festival
The 74th Annual BALDWIN-WALLACE Bach Festival Annotated Program April 21-22, 2006 Save the date! 2007 75th B-W BACH FESTIVAL Friday, Saturday, and Sunday April 20–22, 2007 Including a combined concert with the Bethlehem Bach Choir, celebrating its 100th Festival, in Severance Hall. The Mass in B Minor will be featured. Check our Web site for details www.bw.edu/bachfest Featured Soloists presented with support from the E. Nakamichi Foundation and The Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil BALDWIN-WALLACE COLLEGE SEVENTY-FOURTH ANNUAL BACH FESTIVAL THE OLDEST COLLEGIATE BACH FESTIVAL IN THE NATION ANNOTATED PROGRAM APRIL 21–22, 2006 DEDICATION THE SEVENTY-FOURTH ANNUAL BACH FESTIVAL IS RESPECTFULLY DEDICATED TO RUTH PICKERING (1918–2005), WHO SO LOVED MUSIC, THE BALDWIN-WALLACE COLLEGE BACH FESTIVAL AND CONSERVATORY CONCERTS, THAT SHE AND HER LATE HUSBAND, DON, HAD THEIR NAMES ENGRAVED ON BRASS PLAQUES AND AFFIXED TO THEIR FAVORITE SEATS, DD 24 AND DD 25, IN THE BALCONY OF GAMBLE HALL, KULAS MUSICAL ARTS BUILDING. SHE WILL BE REMEMBERED WITH MUCH LOVE BY MANY FROM THIS COMMUNITY, IN WHICH SHE WAS SO ACTIVE. Third Sunday Chapel Series at Baldwin-Wallace College Lindsay-Crossman A concert series under the direction of Warren Scharf, Margaret Scharf, and Nicole Keller 2006-2007 Concert Schedule Third Sundays at 7:45 p.m. Our Sixth Season October 15, 2006 March 18, 2007 November 19, 2006 April 15, 2007 December 17, 2006 The public is warmly invited to attend these free concerts. The Chapel is handicapped accessible. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
Suffering and Social Conscience in the Passion Genre from JS Bach's
Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Johann Jacob Van Niekerk A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Giselle Wyers, Chair Geoffrey Boers Shannon Dudley Program Authorized to Offer Degree: School of Music ©Copyright 2014 Johann Jacob Van Niekerk University of Washington Abstract Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Chair of the Supervisory Committee: Giselle Wyers Associate Professor of Choral Music and Voice The themes of suffering and social conscience permeate the history of the sung passion genre: composers have strived for centuries to depict Christ’s suffering and the injustice of his final days. During the past eighty years, the definition of the genre has expanded to include secular protagonists, veiled and not-so-veiled socio- political commentary and increased discussion of suffering and social conscience as socially relevant themes. This dissertation primarily investigates David Lang’s Pulitzer award winning the little match girl passion, premiered in 2007. David Lang’s setting of Danish author and poet Hans Christian Andersen’s “The Little Match Girl” interspersed with text from the chorales of Johann Sebastian Bach’s St. Matthew Passion (1727) has since been performed by several ensembles in the United States and abroad, where it has evoked emotionally visceral reactions from audiences and critics alike. -
Handel-House-Talent-2017-Booklet.Pdf
ABOUT THE PROGRAMME The programme will run from 30 September 2017 to 31 October 2018 with an end of year concert in December 2018. Over the course of the year the group of successful candidates will be offered: • At least two opportunities for each participant to perform at a Handel House concert, including working with Handel House staff on planning these concerts • An individual open masterclass for each participant, with a leading professional of their instrument, including feedback and tuition. Other participants of the scheme and members of the public will be invited to observe • A group tutorial by baroque specialist Laurence Cummings focusing on interpreting baroque pieces for performance • Two specialist workshops at Handel House on practical topics associated with becoming a successful professional musician (devising concert programmes, communicating with audiences, promotion, dealing with agents, managing finances etc). External experts will be invited to lead these • Opportunities to practise and rehearse at Handel House in their own time – HANDEL HOUSE whenever rehearsal space is available • A final showcase concert at the end of the year for the six participants, to an invited audience including people with interest and influence in the world of classical music performance. This concert is to be devised, talent organised and created by the participants as a group, with back-up from Handel House staff where needed • Promotion as ‘alumni’ of the HH Talent Programme on our website, on Handel House will select singers and programme notes provided at Handel House concerts and other marketing instrumentalists with a particular interest in material produced by Handel House performing music from the baroque period to benefit from this free, year-long programme. -
Handel Arias
ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry. -
Heracles in Greek Epic from Homer to Nonnus the Norwegian Institute At
A Gluttonous Strongman and Irascible Stoic: Heracles in Greek Epic from Homer to Nonnus The Norwegian Institute at Athens, 01.11.2018 Introduction Heracles – ladies and gentlemen! – was the perhaps most prominent, most popular, and most prevalent figure in ancient mythology. He was present in as good as all aspects of ancient Greek (and Roman) culture, religion, literature, iconography, etc., but also in many facets of daily life. The focus of my lecture today will be on Heracles as a character in ancient Greek epic. We know from various sources that Heracles was used as an eponymous hero in numerous Greek epics from the Archaic Period onward. However, unfortunately, most of these Heracles epics do not survive (the only exception being the pseudo-Hesiodic Aspis). On the other hand, existing Greek epic from Homer to Nonnus is not concerned with the life and deeds of Heracles. However, these epics nonetheless all include references to Heracles, be it on a diegetic or on a metadiegetic level. In what follows, I will offer a selective tour de fource through existing Greek epic with a focus on the appearance and function of Heracles in the Homeric epics, in Apollonius of Rhodes’ Argonautica, and in Nonnus of Panopolis’ Dionysiaca. For reasons of limited time (and with a bleeding heart!) I will exclude Hesiod and Quintus of Smyrna. As a first step, I need to lay out some of my methodological premises, the main of which is narratological character analysis. The main tenet of narratological character analysis is the insight, as Mieke Bal puts it (see n.