Contrasto Armonico, Marco Vitale, Klaartje van Veldhoven, Stefanie True - Handel: Complete Cantatas Vol. 1-4 (2013)
BAND/ARTIST: Contrasto Armonico, Marco Vitale, Klaartje van Veldhoven, Stefanie True
- Title: Handel: Complete Cantatas Vol. 1-4
- Year Of Release: 2013
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 03:35:31
- Total Size: 1.01 gb
- WebSite: Album Preview
Tracklist
Handel: Complete Cantatas Vol. 1
01. Da quel giorno fatale, HWV 99: I. Introduzione
02. Da quel giorno fatale, HWV 99: II. Recitativo. "Da quel giorno fatale"
03. Da quel giorno fatale, HWV 99: III. Aria. "Un pensiero voli in ciel"
04. Da quel giorno fatale, HWV 99: IV. Recitativo. "Ma fermati pensier"
05. Da quel giorno fatale, HWV 99: V. Aria. "Per te lasciai la luce"
06. Da quel giorno fatale, HWV 99: VI. Recitativo. "Non ti bastava ingrato"
07. Da quel giorno fatale, HWV 99: VII. Aria. "Lascia omai le brune vele"
08. Da quel giorno fatale, HWV 99: VIII. Recitativo. "Ma siamo giunti in Lete"
09. Da quel giorno fatale, HWV 99: IX. Entrée
10. Da quel giorno fatale, HWV 99: X. Minuet e arietta. "In queste amene piagge serene"
11. Da quel giorno fatale, HWV 99: XI. Recitativo. "Sì disse clori"
12. Da quel giorno fatale, HWV 99: XII. Minuet
13. Ditemi, o piante, HWV 107: I. Recitativo. "Ditemi, o piante"
14. Ditemi, o piante, HWV 107: II. Aria. "Il candore tolse al giglio"
15. Ditemi, o piante, HWV 107: III. Recitativo. "Ma la beltà del volto"
16. Ditemi, o piante, HWV 107: IV. Aria. "Per formar sì vaga e bella pastorella"
17. Care selve, aure grate, HWV 88: I. Recitativo. "Care selve, aure grate"
18. Care selve, aure grate, HWV 88: II. Aria. "Ridite a clori"
19. Care selve, aure grate, HWV 88: III. Recitativo. "Se cangiarsi potesse"
20. Care selve, aure grate, HWV 88: IV. Aria. "Non ha forza nel mio petto"
21. Allor ch'io dissi addio, HWV 80: I. Recitativo. "Allor ch'io dissi addio"
22. Allor ch'io dissi addio, HWV 80: II. Aria. "Son qual cerva ferita che fugge"
23. Allor ch'io dissi addio, HWV 80: III. Recitativo. "Anzi se nacque il mio amoroso desio"
24. Allor ch'io dissi addio, HWV 80: IV. Aria. "Il dolce foco mio"
Handel’s cantatas represent an important but until recently little-known area of his work. Even now newly discovered works are found and performed to much excitement in the media and among lovers of Handel’s music. They were written during his time in Rome from 1707–8, and were intended for private use. They range from miniatures consisting of two arias, recitative and a basso continuo, to large-scale works with all the drama of his operas, complete with named characters, a plot and large orchestral forces. Marco Vitale will record the first ever complete cycle of these cantatas. He has returned both to Handel’s manuscripts, where they are extant, and to many of the intervening manuscripts. He has also taken decisions on the pitch of these recordings as a result of his research into the different tunings that were standard in Rome and Venice at the time of the works’ composition. This was showcased in his successful recording of Handel’s early Roman oratorio, La Resurrezione, which received a glowing review in Gramophone and many other specialist musical publications. Many of the cantatas have never been recorded before and this release is sure to generate considerable interest both in itself and as the first volume of a groundbreaking project.
Handel: Complete Cantatas Vol. 2
01. Un' alma innamorata, HWV 173: Recitativo. Un'alma innamorata
02. Un' alma innamorata, HWV 173: Aria. Quel povero core
03. Un' alma innamorata, HWV 173: Recitativo. E pur benché egli veda
04. Un' alma innamorata, HWV 173: Aria. Io godo, rido e spero
05. Un' alma innamorata, HWV 173: Recitativo. In quanto a me
06. Un' alma innamorata, HWV 173: Aria. Ben impari Come s'ama
07. O lucenti, o sereni occhi, HWV 144: Recitativo. O lucenti, o sereni occhi
08. O lucenti, o sereni occhi, HWV 144: Aria. Per voi languisco e moro
09. O lucenti, o sereni occhi, HWV 144: Recitativo. Messaggiero verace
10. O lucenti, o sereni occhi, HWV 144: Aria. In voi, pupille ardenti
11. O lucenti, o sereni occhi, HWV 144: Recitativo. Del bell'idolo mio
12. O lucenti, o sereni occhi, HWV 144: Aria. Formidabil gondoliero
13. O lucenti, o sereni occhi, HWV 144: Recitativo. Ma se Non la rinvengo
14. O lucenti, o sereni occhi, HWV 144: Aria. Piangerò
15. O lucenti, o sereni occhi, HWV 144: Recitativo. Fra quell'orride soglie
16. O lucenti, o sereni occhi, HWV 144: Aria. Su rendetemi colei
17. Aure soavi e liete, HWV 84: Recitativo. Aure soavi e liete
18. Aure soavi e liete, HWV 84: Aria. Care luci
19. Aure soavi e liete, HWV 84: Recitativo. Pietà, clori, pietà
20. Aure soavi e liete, HWV 84: Aria. Un'aura flebile
21. Tra le fiamme, HWV 170: Aria. Tra le fiamme
22. Tra le fiamme, HWV 170: Recitativo. Dedalo già
23. Tra le fiamme, HWV 170: Aria. Pien di nuovo e bel diletto
24. Tra le fiamme, HWV 170: Recitativo. Sì, sì, purtroppo è vero
25. Tra le fiamme, HWV 170: Aria. Voli per l'Aria
26. Tra le fiamme, HWV 170: Recitativo. L'uomo che nacque per salire al cielo
27. Tra le fiamme, HWV 170: Aria. Tra le fiamme
Handel’s cantatas represent an important but until recently little-known area of his work. Even now newly discovered works are found and performed to much excitement in the media and among lovers of Handel’s music. They were written during his time in Rome from 1707/8, and were intended for private use. They range from miniatures consisting of two arias, recitative and a basso continuo, to large scale works with all the drama of his operas, complete with named characters, a plot, and large orchestral forces. This CD contains the remarkable ‘Tra le fiamme’, written for Cardinal Pamphilj, who provided the text. The story concerns a young man who’s heart is playing for amusement and affection ‘in the flames’, but is being deceived by ‘charm and beauty’. He considers the fact that very few people escape the flames of love safely, and without being hurt. The story then turns to the example of Daedalus and his son Icarus, and how man seldom learns from history.
Handel: Complete Cantatas Vol. 3
01. Aminta e Fillide, HWV 83: Ouverture & Recitativo. Arresta il passo (Aminta)
02. Aminta e Fillide, HWV 83: Aria. Fermati, Non fuggir! (Aminta)
03. Aminta e Fillide, HWV 83: Recitativo. Questa sol volta almeno (Aminta, Fillide)
04. Aminta e Fillide, HWV 83: Aria. Fiamma bella (Fillide)
05. Aminta e Fillide, HWV 83: Recitativo. Credi a miei detti (Fillide, Aminta)
06. Aminta e Fillide, HWV 83: Aria. Forse che un giorno (Aminta)
07. Aminta e Fillide, HWV 83: Recitativo. Invano, in van presumi (Fillide, Aminta)
08. Aminta e Fillide, HWV 83: Aria. Fu Scherzo, fu gioco (Fillide)
09. Aminta e Fillide, HWV 83: Recitativo. Libero piè fugga dal laccio (Fillide, Aminta)
10. Aminta e Fillide, HWV 83: Aria. Se vago rio (Aminta)
11. Aminta e Fillide, HWV 83: Recitativo. D'un incognito foco (Fillide)
12. Aminta e Fillide, HWV 83: Aria. Sento che il Dio bambin (Fillide)
13. Aminta e Fillide, HWV 83: Recitativo. Felicissimo punto (Aminta)
14. Aminta e Fillide, HWV 83: Aria. Al dispetto di sorte crudele (Aminta)
15. Aminta e Fillide, HWV 83: Recitativo. Vincesti Aminta (Fillide)
16. Aminta e Fillide, HWV 83: Aria. È un foco, quel d'amore (Fillide)
17. Aminta e Fillide, HWV 83: Recitativo. Gloria bella di Aminta (Aminta, Fillide)
18. Aminta e Fillide, HWV 83: Duo. Per abbatter il rigore (Aminta, Fillide)
This dramatic cantata is one of the earliest works composed for Handel’s Italian patron Marquis Francesco Maria Ruspoli. It is thought that the first performance took place in 1707, around the same time as his La Resurrezione. Handel met Corelli, and had heard the music of Alessandro Scarlatti, and his compositional skills had broadened considerably as a result. In addition, his ability at realising in his music the emotion behind the words, and of creating fully rounded characters (that would later distinguish him as one of the greatest opera composers) blossomed.
Although Handel had huge orchestral forces at his disposal in Italy, the scoring for this tender tale of a shepherd who eventually wins the love of a nymph playing hard to get, is small and ideal for the drama that unfolds.
This recording uses Handel’s original version of the score, considered by Marco Vitale to be stronger than his revision.
Handel: Complete Cantatas Vol. 4
01. Clori, mia bella Clori, HWV 92: Recitativo. Clori, mia bella Clori
02. Clori, mia bella Clori, HWV 92: Aria. Chiari lumi
03. Clori, mia bella Clori, HWV 92: Recitativo. Temo ma pure io spero
04. Clori, mia bella Clori, HWV 92: Aria. Ne' gigli e nelle Rose
05. Clori, mia bella Clori, HWV 92: Recitativo. Non è però che non molesta e Grave
06. Clori, mia bella Clori, HWV 92: Aria. Mie Pupille
07. Clori, mia bella Clori, HWV 92: Recitativo. Tu nobil alma
08. Clori, mia bella Clori, HWV 92: Aria. di Gelosia il timore
09. Sans y penser (Cantate française), HWV 155: Chanson. Sans y penser (Silvie)
10. Sans y penser (Cantate française), HWV 155: Récitatif. S'il ne falloit que bien aimer pour attendrir (Tirsis)
11. Sans y penser (Cantate française), HWV 155: Air. Petite Fleur brunette (Tirsis)
12. Sans y penser (Cantate française), HWV 155: Récitatif. Vous, qui m'aviez procuré une Amour éternelle (Tirsis)
13. Sans y penser (Cantate française), HWV 155: Air. Nos Plaisirs seront peudurables (Silvie)
14. Sans y penser (Cantate française), HWV 155: Récitatif. Vous ne sauriez flatter ma Peine (Silvie)
15. Sans y penser (Cantate française), HWV 155: Air. Non, non, je ne puis plus souffrir (Tirsis)
16. Clori, vezzosa Clori, HWV 95: Recitativo. Clori, vezzosa Clori
17. Clori, vezzosa Clori, HWV 95: Aria. Il bosco, il prato, il rio
18. Clori, vezzosa Clori, HWV 95: Recitativo. Se l'Usignol canoro
19. Clori, vezzosa Clori, HWV 95: Aria. Non è possibile o Clori amabile
20. Pensieri notturni di Filli (Nel Dolce dell'oblio) HWV 134: Recitativo. Nel Dolce dell'oblio
21. Pensieri notturni di Filli (Nel Dolce dell'oblio) HWV 134: Aria. Giacché il sonno a lei dipinge
22. Pensieri notturni di Filli (Nel Dolce dell'oblio) HWV 134: Recitativo. Così fida ella Vive
23. Pensieri notturni di Filli (Nel Dolce dell'oblio) HWV 134: Aria. Ha l'Inganno il suo diletto
24. Lungi n'andò Fileno, HWV 128: Recitativo. Lungi, lungi n'andò Fileno
25. Lungi n'andò Fileno, HWV 128: Aria. Si piangete, o mie Pupille
26. Lungi n'andò Fileno, HWV 128: Recitativo. Ahi! M'Inganno, infelice
27. Lungi n'andò Fileno, HWV 128: Aria. Dunque se il Tanto piangere
The 4th volume of Brilliant Classics’ recordings of Handel’s complete cantatas, performed by Contrasto Armonico and directed by Marco Vitale, gathers together five works that vividly illustrate the composer’s skill at setting the words of his texts, creating hitherto unknown emotional depth and nuance from modest orchestral forces.
The musical setting of Clori, mia bella Clori amply displays the genius that would establish Handel as the leading operatic composer of his day, using a range of different combinations of instruments to respond to the subject of each section of the text, from grief and weeping to passionate jealousy. Similarly, in both Pensieri notturni di Filli (Nel dolce dell’oblio) and Lungi n’andò Fileno Handel employs striking dissonance to create a musical counterpart to the despair and suffering of the texts. By contrast, Sans y penser, Handel’s only French cantata, is a comic work, closing with a humorous musical illustration of the singer’s tribute to drinking.
Handel composed over 100 secular cantatas during his stay in Italy in the early 1700s. He had several patrons; among the most generous and supportive was the Marquis Francesco Maria Ruspoli, and most of the information on the works included on this disc comes from his records.
These cantatas reveal the richness of the young composer’s compositional palette, and his ability to depict the content of his texts in such a way that the listener both hears and experiences the emotions of each work. As such, they are an important foreshadowing of his later career as a celebrated operatic composer.
Handel: Complete Cantatas Vol. 1
01. Da quel giorno fatale, HWV 99: I. Introduzione
02. Da quel giorno fatale, HWV 99: II. Recitativo. "Da quel giorno fatale"
03. Da quel giorno fatale, HWV 99: III. Aria. "Un pensiero voli in ciel"
04. Da quel giorno fatale, HWV 99: IV. Recitativo. "Ma fermati pensier"
05. Da quel giorno fatale, HWV 99: V. Aria. "Per te lasciai la luce"
06. Da quel giorno fatale, HWV 99: VI. Recitativo. "Non ti bastava ingrato"
07. Da quel giorno fatale, HWV 99: VII. Aria. "Lascia omai le brune vele"
08. Da quel giorno fatale, HWV 99: VIII. Recitativo. "Ma siamo giunti in Lete"
09. Da quel giorno fatale, HWV 99: IX. Entrée
10. Da quel giorno fatale, HWV 99: X. Minuet e arietta. "In queste amene piagge serene"
11. Da quel giorno fatale, HWV 99: XI. Recitativo. "Sì disse clori"
12. Da quel giorno fatale, HWV 99: XII. Minuet
13. Ditemi, o piante, HWV 107: I. Recitativo. "Ditemi, o piante"
14. Ditemi, o piante, HWV 107: II. Aria. "Il candore tolse al giglio"
15. Ditemi, o piante, HWV 107: III. Recitativo. "Ma la beltà del volto"
16. Ditemi, o piante, HWV 107: IV. Aria. "Per formar sì vaga e bella pastorella"
17. Care selve, aure grate, HWV 88: I. Recitativo. "Care selve, aure grate"
18. Care selve, aure grate, HWV 88: II. Aria. "Ridite a clori"
19. Care selve, aure grate, HWV 88: III. Recitativo. "Se cangiarsi potesse"
20. Care selve, aure grate, HWV 88: IV. Aria. "Non ha forza nel mio petto"
21. Allor ch'io dissi addio, HWV 80: I. Recitativo. "Allor ch'io dissi addio"
22. Allor ch'io dissi addio, HWV 80: II. Aria. "Son qual cerva ferita che fugge"
23. Allor ch'io dissi addio, HWV 80: III. Recitativo. "Anzi se nacque il mio amoroso desio"
24. Allor ch'io dissi addio, HWV 80: IV. Aria. "Il dolce foco mio"
Handel’s cantatas represent an important but until recently little-known area of his work. Even now newly discovered works are found and performed to much excitement in the media and among lovers of Handel’s music. They were written during his time in Rome from 1707–8, and were intended for private use. They range from miniatures consisting of two arias, recitative and a basso continuo, to large-scale works with all the drama of his operas, complete with named characters, a plot and large orchestral forces. Marco Vitale will record the first ever complete cycle of these cantatas. He has returned both to Handel’s manuscripts, where they are extant, and to many of the intervening manuscripts. He has also taken decisions on the pitch of these recordings as a result of his research into the different tunings that were standard in Rome and Venice at the time of the works’ composition. This was showcased in his successful recording of Handel’s early Roman oratorio, La Resurrezione, which received a glowing review in Gramophone and many other specialist musical publications. Many of the cantatas have never been recorded before and this release is sure to generate considerable interest both in itself and as the first volume of a groundbreaking project.
Handel: Complete Cantatas Vol. 2
01. Un' alma innamorata, HWV 173: Recitativo. Un'alma innamorata
02. Un' alma innamorata, HWV 173: Aria. Quel povero core
03. Un' alma innamorata, HWV 173: Recitativo. E pur benché egli veda
04. Un' alma innamorata, HWV 173: Aria. Io godo, rido e spero
05. Un' alma innamorata, HWV 173: Recitativo. In quanto a me
06. Un' alma innamorata, HWV 173: Aria. Ben impari Come s'ama
07. O lucenti, o sereni occhi, HWV 144: Recitativo. O lucenti, o sereni occhi
08. O lucenti, o sereni occhi, HWV 144: Aria. Per voi languisco e moro
09. O lucenti, o sereni occhi, HWV 144: Recitativo. Messaggiero verace
10. O lucenti, o sereni occhi, HWV 144: Aria. In voi, pupille ardenti
11. O lucenti, o sereni occhi, HWV 144: Recitativo. Del bell'idolo mio
12. O lucenti, o sereni occhi, HWV 144: Aria. Formidabil gondoliero
13. O lucenti, o sereni occhi, HWV 144: Recitativo. Ma se Non la rinvengo
14. O lucenti, o sereni occhi, HWV 144: Aria. Piangerò
15. O lucenti, o sereni occhi, HWV 144: Recitativo. Fra quell'orride soglie
16. O lucenti, o sereni occhi, HWV 144: Aria. Su rendetemi colei
17. Aure soavi e liete, HWV 84: Recitativo. Aure soavi e liete
18. Aure soavi e liete, HWV 84: Aria. Care luci
19. Aure soavi e liete, HWV 84: Recitativo. Pietà, clori, pietà
20. Aure soavi e liete, HWV 84: Aria. Un'aura flebile
21. Tra le fiamme, HWV 170: Aria. Tra le fiamme
22. Tra le fiamme, HWV 170: Recitativo. Dedalo già
23. Tra le fiamme, HWV 170: Aria. Pien di nuovo e bel diletto
24. Tra le fiamme, HWV 170: Recitativo. Sì, sì, purtroppo è vero
25. Tra le fiamme, HWV 170: Aria. Voli per l'Aria
26. Tra le fiamme, HWV 170: Recitativo. L'uomo che nacque per salire al cielo
27. Tra le fiamme, HWV 170: Aria. Tra le fiamme
Handel’s cantatas represent an important but until recently little-known area of his work. Even now newly discovered works are found and performed to much excitement in the media and among lovers of Handel’s music. They were written during his time in Rome from 1707/8, and were intended for private use. They range from miniatures consisting of two arias, recitative and a basso continuo, to large scale works with all the drama of his operas, complete with named characters, a plot, and large orchestral forces. This CD contains the remarkable ‘Tra le fiamme’, written for Cardinal Pamphilj, who provided the text. The story concerns a young man who’s heart is playing for amusement and affection ‘in the flames’, but is being deceived by ‘charm and beauty’. He considers the fact that very few people escape the flames of love safely, and without being hurt. The story then turns to the example of Daedalus and his son Icarus, and how man seldom learns from history.
Handel: Complete Cantatas Vol. 3
01. Aminta e Fillide, HWV 83: Ouverture & Recitativo. Arresta il passo (Aminta)
02. Aminta e Fillide, HWV 83: Aria. Fermati, Non fuggir! (Aminta)
03. Aminta e Fillide, HWV 83: Recitativo. Questa sol volta almeno (Aminta, Fillide)
04. Aminta e Fillide, HWV 83: Aria. Fiamma bella (Fillide)
05. Aminta e Fillide, HWV 83: Recitativo. Credi a miei detti (Fillide, Aminta)
06. Aminta e Fillide, HWV 83: Aria. Forse che un giorno (Aminta)
07. Aminta e Fillide, HWV 83: Recitativo. Invano, in van presumi (Fillide, Aminta)
08. Aminta e Fillide, HWV 83: Aria. Fu Scherzo, fu gioco (Fillide)
09. Aminta e Fillide, HWV 83: Recitativo. Libero piè fugga dal laccio (Fillide, Aminta)
10. Aminta e Fillide, HWV 83: Aria. Se vago rio (Aminta)
11. Aminta e Fillide, HWV 83: Recitativo. D'un incognito foco (Fillide)
12. Aminta e Fillide, HWV 83: Aria. Sento che il Dio bambin (Fillide)
13. Aminta e Fillide, HWV 83: Recitativo. Felicissimo punto (Aminta)
14. Aminta e Fillide, HWV 83: Aria. Al dispetto di sorte crudele (Aminta)
15. Aminta e Fillide, HWV 83: Recitativo. Vincesti Aminta (Fillide)
16. Aminta e Fillide, HWV 83: Aria. È un foco, quel d'amore (Fillide)
17. Aminta e Fillide, HWV 83: Recitativo. Gloria bella di Aminta (Aminta, Fillide)
18. Aminta e Fillide, HWV 83: Duo. Per abbatter il rigore (Aminta, Fillide)
This dramatic cantata is one of the earliest works composed for Handel’s Italian patron Marquis Francesco Maria Ruspoli. It is thought that the first performance took place in 1707, around the same time as his La Resurrezione. Handel met Corelli, and had heard the music of Alessandro Scarlatti, and his compositional skills had broadened considerably as a result. In addition, his ability at realising in his music the emotion behind the words, and of creating fully rounded characters (that would later distinguish him as one of the greatest opera composers) blossomed.
Although Handel had huge orchestral forces at his disposal in Italy, the scoring for this tender tale of a shepherd who eventually wins the love of a nymph playing hard to get, is small and ideal for the drama that unfolds.
This recording uses Handel’s original version of the score, considered by Marco Vitale to be stronger than his revision.
Handel: Complete Cantatas Vol. 4
01. Clori, mia bella Clori, HWV 92: Recitativo. Clori, mia bella Clori
02. Clori, mia bella Clori, HWV 92: Aria. Chiari lumi
03. Clori, mia bella Clori, HWV 92: Recitativo. Temo ma pure io spero
04. Clori, mia bella Clori, HWV 92: Aria. Ne' gigli e nelle Rose
05. Clori, mia bella Clori, HWV 92: Recitativo. Non è però che non molesta e Grave
06. Clori, mia bella Clori, HWV 92: Aria. Mie Pupille
07. Clori, mia bella Clori, HWV 92: Recitativo. Tu nobil alma
08. Clori, mia bella Clori, HWV 92: Aria. di Gelosia il timore
09. Sans y penser (Cantate française), HWV 155: Chanson. Sans y penser (Silvie)
10. Sans y penser (Cantate française), HWV 155: Récitatif. S'il ne falloit que bien aimer pour attendrir (Tirsis)
11. Sans y penser (Cantate française), HWV 155: Air. Petite Fleur brunette (Tirsis)
12. Sans y penser (Cantate française), HWV 155: Récitatif. Vous, qui m'aviez procuré une Amour éternelle (Tirsis)
13. Sans y penser (Cantate française), HWV 155: Air. Nos Plaisirs seront peudurables (Silvie)
14. Sans y penser (Cantate française), HWV 155: Récitatif. Vous ne sauriez flatter ma Peine (Silvie)
15. Sans y penser (Cantate française), HWV 155: Air. Non, non, je ne puis plus souffrir (Tirsis)
16. Clori, vezzosa Clori, HWV 95: Recitativo. Clori, vezzosa Clori
17. Clori, vezzosa Clori, HWV 95: Aria. Il bosco, il prato, il rio
18. Clori, vezzosa Clori, HWV 95: Recitativo. Se l'Usignol canoro
19. Clori, vezzosa Clori, HWV 95: Aria. Non è possibile o Clori amabile
20. Pensieri notturni di Filli (Nel Dolce dell'oblio) HWV 134: Recitativo. Nel Dolce dell'oblio
21. Pensieri notturni di Filli (Nel Dolce dell'oblio) HWV 134: Aria. Giacché il sonno a lei dipinge
22. Pensieri notturni di Filli (Nel Dolce dell'oblio) HWV 134: Recitativo. Così fida ella Vive
23. Pensieri notturni di Filli (Nel Dolce dell'oblio) HWV 134: Aria. Ha l'Inganno il suo diletto
24. Lungi n'andò Fileno, HWV 128: Recitativo. Lungi, lungi n'andò Fileno
25. Lungi n'andò Fileno, HWV 128: Aria. Si piangete, o mie Pupille
26. Lungi n'andò Fileno, HWV 128: Recitativo. Ahi! M'Inganno, infelice
27. Lungi n'andò Fileno, HWV 128: Aria. Dunque se il Tanto piangere
The 4th volume of Brilliant Classics’ recordings of Handel’s complete cantatas, performed by Contrasto Armonico and directed by Marco Vitale, gathers together five works that vividly illustrate the composer’s skill at setting the words of his texts, creating hitherto unknown emotional depth and nuance from modest orchestral forces.
The musical setting of Clori, mia bella Clori amply displays the genius that would establish Handel as the leading operatic composer of his day, using a range of different combinations of instruments to respond to the subject of each section of the text, from grief and weeping to passionate jealousy. Similarly, in both Pensieri notturni di Filli (Nel dolce dell’oblio) and Lungi n’andò Fileno Handel employs striking dissonance to create a musical counterpart to the despair and suffering of the texts. By contrast, Sans y penser, Handel’s only French cantata, is a comic work, closing with a humorous musical illustration of the singer’s tribute to drinking.
Handel composed over 100 secular cantatas during his stay in Italy in the early 1700s. He had several patrons; among the most generous and supportive was the Marquis Francesco Maria Ruspoli, and most of the information on the works included on this disc comes from his records.
These cantatas reveal the richness of the young composer’s compositional palette, and his ability to depict the content of his texts in such a way that the listener both hears and experiences the emotions of each work. As such, they are an important foreshadowing of his later career as a celebrated operatic composer.
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