Narrator : Evelyn Tubb, soprano Fear : David Munderloh, tenor Anger : Lisandro Abadie, bass Despair : David Munderloh, tenor Hope : Ulrike Hofbauer, soprano Revenge : Lisandro Abadie, bass Jealousy : Sumihito Uesugi, countertenor Melancholy : Evelyn Tubb, soprano Cheerfulness : Evelyn Tubb, Ulrike Hofbauer, sopranos Joy : Sumihito Uesugi, countertenor Reason : Ulrike Hofbauer, soprano Chor der Schola Cantorum Basiliensis La Cetra Barockorchester Basel Vocal coaching (soloists): Evelyn Tubb Chorus master: Federico Sepúlveda Anthony Rooley, direction 5 A production of the Schola Cantorum Basiliensis - University of Early Music at the Musik-Akademie Basel Recorded in the Volkshaus Basel (Switzerland) in October 2008 Engineered by Tritonus Musikproduktion GmbH, Stuttgart (Germany) Recording producer: Andreas Neubronner Balance engineer: Christian Starke Editing: Markus Heiland, Andreas Neubronner Photographs: Susanna Drescher Executive producer & editorial director ( scb ): Thomas Drescher Executive producer (La Cetra): Meinrad Schweizer Recording co-ordination: Kirsten Hanson All texts and translations (except Spanish) © 2010 Schola Cantorum Basiliensis Design: Valentín Iglesias Executive producer & editorial director (Gloss a/ MusiContact): Carlos Céster Editorial assistance: María Díaz © 2010 MusiContact GmbH William Hayes (1708-1777) 16 Song (Melancholy) “With eyes upraised” 4:58 17 Recitativo “But Oh, how altered” 0:06 The Passions. An Ode for Music (1750) 18 Song (Cheerfulness & Chorus) “When Cheerfulness” (Andante) 7:35 Text by William Collins 19 Recitativo “Last came Joy” 0:10 20 Song ( Joy & Chorus) “He with viney crown advancing” (Vivace) 5:16 5 21 Recitativo accompagnato “But ah! Madness away” 0:31 22 Song (Reason) “In vain each seeks” (Larghetto) 6:45 First Part 23 Chorus “Thy wide extended power” (Andante Largo - Tempo ordinario) 5:07 1 Ouverture (Larghetto - Allegro) 4:38 2 Aria (Andante) 1:34 5 3 Aria (Allegro) 2:37 Edition and performing materials 4 Recitativo accompagnato “When music, heav’nly maid, was young” 2:45 © 2008 Musica Poetica Basel, Cosimo Stawiarski 5 Song (Fear) “First Fear his hand” (Andante) 3:32 www.cimbria.ch 6 Song (Anger) “Next Anger rushed” (Allegro) 3:14 7 Song (Despair) “With woeful measures” (Largo) 4:59 Schola Cantorum Basiliensis - University of Early Music at the Musik-Akademie Basel 8 Recitativo “But thou, O Hope” 0:19 Fachhochschule Nordwestschweiz ( fhnw ) www.scb-basel.ch 9 Song (Hope) “Still it whispered promised pleasure” (Andante moderato) 5:28 10 Recitativo “And longer had she sung” 0:14 11 Song (Revenge) “He threw his blood-stained sword” 5:36 For generous financial support we would like to thank: 12 Chorus “Revenge impatient rose” 4:11 Verein zur Förderung der Musik-Akademie der Stadt Basel, Irma Merk-Stiftung, Maja Sacher-Stiftung and L. & Th. La Roche-Stiftung Second Part 13 Symphony (Spiritoso - Allegro) 3:05 14 Recitativo “Thy numbers, Jealousy” 0:21 15 Song ( Jealousy) “Of differing themes” (Andante Largo - Allegro…) 2:29 4 5 La Cetra Barockorchester Basel Chor der Schola Cantorum Basiliensis violin i traverso soprano tenor Katharina Heutjer (concertmaster & solo) Jörg Fiedler Alice Borciani Dan Dunkelblum Petra Csaplárová Regina Dahlen Nicolas Savoy Plamena Nikitassova Steck oboe Susana García Doron Schleifer Christoph Rudolf Kerstin Kramp (solo) Penelope Monroe Andrés Silva Vitalyi Shestakov Dominik Melicharek Ilektra Platiopoulou Camila Toro bass violin ii bassoon Giovanna Urrutia Criales Jean-Christophe Groffe Jana Chytilová Yves Bertin Tiago Mota Markéta Knittlová alto William Wood Cecilie Valtrová-Vimrová natural horn Flavio Ferri Benedetti Federico Sepúlveda Clara Mühlethaler Václav Luks (solo) Hanna Järveläinen Miroslav Rovensk y´ Alexandra Rawohl viola Javier Robledano Joanna Bilger (solo) trumpet Sarah Giger Markus Würsch Hanspeter Wigger violoncello Jonathan Pesek (solo) timpani Amélie Chemin Matthias Würsch violone harp Ludek Bran y´ Marie Bournisien harpsichord & organ David Blunden 6 7 English English This exploration began when I embarked on Then follows a gorgeous gallery of gallant inventions, My first chance to perform this masterpiece was mapping out and collecting all I could of the “English in the form of dramatic arias for each passion: Fear in Bogota in 2003, the first in modern times. Then St Cecilia Tradition”, in 2001. Immediately people first, next Anger , then Wan Despair , and Hope , with followed two performances in 2005 – in Zurich and respond on hearing those words with “Ah! Yes! Henry eyes so fair. At length impatient Revenge arose; after then Basel, where it was designed to celebrate Dr. Purcell!”, or “Ooh! The lovely Handel!”. It is natural to him Jealousy, Pale Melancholy , and Cheerfulness – a Peter Reidemeister’s dynamic contribution to the recall the familiar, but in fact I was set on ignoring nymph of healthiest hue; so then Joy and finally Schola Cantorum, presented as his retirement con - those four well-known works, great though I think Reason , all crowned in a chorus of Musick ’s power. cert. With the new Schola Director, Dr. Regula Rapp, them to be, along with everyone else. No, I wanted to So much was lost, or covered over by the man - we were invited to perform The Passions for the William Hayes find their context, to see how much more material tle of adoration generated by Handel’s vast output, Weimar Festival in 2007. This recording is a natural there might be on the theme, for I had a feeling it was that all other composers of that era remain anony - next step to making this work recognized as the mas - The Passions a fair bit richer than was allowed by common under - mous, like country mice scratting for barely their terpiece it most certainly is. standing. When I first tumbled on William Hayes’ existence to be noted. And with such a bold text, setting of this extravagant conceit, in the British why hadn’t Handel set it? Yet you will perhaps be Anthony Rooley i. ‘when musick, heav’nly maid, was young’... Library, I could hardly believe what I was seeing on surprised to know that this work was performed on the page and hearing in my mind. I thought here is a at least one occasion by the composer’s generous 9 Imagine, if you can, an Ancient Time, when the whole chapter of English music that I have been igno - response to a need to praise the great Mr. Handel World was young and pristine beauty was all around. rant of – one full of vitality, colour, humour, philoso - (Three Choirs Festival, 1760, as a token of esteem ii. william hayes: the passions The setting is Greece, ancient Greece, before Homer phy, and summing up the restless exploratory energy for Handel, who had died the year before). Hayes’ even, and the ravishingly beautiful young maiden of the 18th century. creativity was often simply in service to a more Although he lived and worked outside London’s cos - called simply Musica , who was wont to entertain any Here’s the opening of Collins’ The Passions that highly esteemed genius (no matter the intrinsic mopolitan mainstream, William Hayes was an with ears to listen, always drawing rapt attention to so tickled my imagination: worth of these “gifts to the altar of Apollo”). And so exceptionally well-rounded musician: a composer, her every nuance. This is the scene envisioned by posterity has judged, not by fair aural trial, but by organist, singer, music director, writer and academic. William Collins in about 1745, when he penned his When Musick, heav’nly Maid, was young, silence, the dead silence hammered on the anvils of He was one of the most important English musi - extravagant The Passions: An Ode for Music . He must While yet in early Greece she sung, Ignorance and Inactivity. The first performance of cians of his age who, as a composer, contributed to have, from the outset, intended it for musical setting, The Passions oft, to hear her shell, The Passions was 10 years earlier, July 6th, 1750, in the virtually all the main genres of the time except for as you will see, it is a gift for any composer offer - Throng’d around her magic cell, Sheldonian Theatre, Oxford. It can be claimed, opera. Born in Gloucester in January 1708 and ing the widest conceivable variety of moods and Exulting, trembling, raging, fainting, therefore, that Hayes’ compositional techniques trained at the cathedral there, Hayes spent most of effects. It is so good that it is astonishing that we are Possess’d beyond the Muse’s painting; were really quite advanced for this early date, and his career at Oxford. Initially appointed organist of not familiar with it today, for it provides a ready cat - By turns they felt the glowing mind certainly were no mere slavish imitation of the Magdalen College in 1734, seven years later he was alogue of expressive devices to challenge any era with Disturb’d, delighted, rais’d, refin’d... Handelian style. When Handel is quoted, it is with elected Professor of Music. He presided over the appropriate musical responses. purpose and with humour too. city’s concert life for the next 30 years and was the 8 9 English English main moving force behind the building of the “studious and active professor; a great collector of Despite the obvious emotional drama and variety of where each poetic image was mirrored as closely as Holywell Music Room in 1748 – the oldest surviving curious and old compositions, and possessed of con - Collins’ verse, William Hayes found the end of the possible in the music. Hayes was a passionate believer purpose-built music room in Europe. siderable genius and abilities for producing new”. poem problematic, and asked the Chancellor of the in the power of such imitative writing – much favoured Hayes was a fervent Handelian and one of the Hayes’ ode The Passions was composed in 1750 University, the Earl of Lichfield, to rewrite the last 25 by Handel – and in his Remarks on... Musical Expression most active conductors of his oratorios and other for one of Oxford’s many ceremonial occasions: the lines since, he said, “the latter part of the original Ode” of 1753 Hayes claimed that without “ Imitation there large-scale works outside London.