- published: 24 Aug 2008
- views: 3156348
- author: ClassicalMusicOnly
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- Abolitionism
- Accompagnato
- Affekt
- Agrippina (opera)
- Alcina
- Alessandro Scarlatti
- Allegory
- Almira
- Amadigi di Gaula
- Amanuensis
- Anthem
- Anthems
- Antonio Lotti
- Antonio Salvi
- Arcangelo Corelli
- Aria
- Ariodante
- Arnold Schoenberg
- Athalia (oratorio)
- Authority control
- Balthasar Denner
- Barber surgeon
- Baroque music
- Baroque opera
- Bell chimes
- Benedetto Pamphili
- Brook Street
- Cannons (house)
- Cantata
- Caricature
- Carniola
- Castrato
- Cataract
- Chamber music
- Charles Jennens
- Christian Thomasius
- Christmas
- Christoph Graupner
- Clarinet
- Clavichord
- Colonna family
- Concerti
- Concerto
- Cornett
- Da capo aria
- Dal segno
- Damsel in distress
- David Schrader
- Deborah (Handel)
- Deidamia (opera)
- Domenico Scarlatti
- Double bassoon
- Duchy of Magdeburg
- Duet
- Düsseldorf
- Early Music Revival
- Esther (Handel)
- Farinelli
- Faustina Bordoni
- Feast day
- Fishamble Street
- Fitzwilliam Sonatas
- Florence
- Florindo
- Foundling Hospital
- Foundling Museum
- French horn
- Friedrich Chrysander
- Fugue
- Georg Händel
- Gioacchino Conti
- Giulio Cesare
- Granville Sharp
- Grenadier Guards
- Haarlem
- Halle, Saxony-Anhalt
- Hamburg
- Hamburg State Opera
- Handel at Cannons
- Handel Commemoration
- Handel House Museum
- Hanover
- Harmony
- Harp
- Harpsichord
- Haymarket (London)
- Heinrich Schütz
- Henry Purcell
- Händel-Gesellschaft
- Italian Baroque
- Ivan Ilić
- Jacobus Gallus
- Jephtha (oratorio)
- Jerusalem Delivered
- Johann Adolf Hasse
- Johann Mattheson
- Johannes Brahms
- John Beard (tenor)
- John Dryden
- John James Heidegger
- John Mainwaring
- John Rich (producer)
- John Vanbrugh
- Joseph Goupy
- Kapellmeister
- Kettledrum
- Kew Palace
- La Resurrezione
- Lascia ch'io pianga
- Librettist
- Libretto
- Lisle's Tennis Court
- Lord Chamberlain
- Louis Spohr
- Ludwig van Beethoven
- Lute
- Lutheran
- Lutheran Church
- Lyrichord
- Magician (fantasy)
- Marie Sallé
- Martha Goldstein
- Mauro Giuliani
- Messiah (Handel)
- Mozart
- Musical score
- Nero (opera)
- Nicolo Porpora
- Novello & Co
- Ode
- Ombra mai fù
- Oper am Gänsemarkt
- Opera house
- Opera seria
- Oratorio
- Order of St. Luke
- Organ concerto
- Otto Erich Deutsch
- Papal States
- Parnasso in Festa
- Pastoral
- Percy Grainger
- Percy Young
- Philip Mercier
- Philippe Gaubert
- Pipe organ
- Piracy
- Polyphony
- Positive organ
- Prince-elector
- Project Gutenberg
- Public domain
- Reinhard Keiser
- Richard Wagner
- Rinaldo (opera)
- River Thames
- Rodelinda (opera)
- Rodrigo (opera)
- Romain Rolland
- Ruspoli
- Samson (oratorio)
- Saul (Handel)
- Saxe-Weissenfels
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- Scipio (opera)
- Semele (oratorio)
- Senesino
- Serenata
- Serse
- Sheet music
- Siena
- South Sea Company
- Stroke
- Svegliatevi nel core
- Tamerlano
- Teatro Malibran
- Terpsichore
- Thames
- The Beggar's Opera
- The Hague
- The Wodehouse
- Theatres in Florence
- Theorbo
- Thomas Pelham-Holles
- Torquato Tasso
- Tower of London
- Trio (music)
- Trombone
- University of Halle
- Uveitis
- Valentine Snow
- Valet
- Vauxhall Gardens
- Vincenzo Grimani
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-
Brook Street
Brook Street is one of the principal streets on the Grosvenor Estate in the exclusive central London district of Mayfair. It was developed in the first half of the 18th century and runs from Hanover Square to Grosvenor Square. The continuation from Grosvenor Square to Park Lane is called Upper Brook Street. Both sections originally consisted of typical London terraced houses, mostly built to individual designs. Some of them are quite grand and were designed by well known architects for aristocratic clients, especially near Grosvenor Square, while others are more modest. Some of the original houses survive while others have been replaced by buildings from a variety of periods.
Features of the street include the grand hotel Claridge's, at the junction with Davies Street, and Le Gavroche, a famous restaurant. The United States Embassy, which abuts Upper Brook Street and Grosvenor Square, has necessitated security arrangements which impede free access to the former. The Handel House Museum is also in Brook Street. A curiosity is the placing of two blue plaques on adjoining houses, numbers 23 and 25, both for famous musicians.
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Duchy of Magdeburg
The Duchy of Magdeburg (German: Herzogtum Magdeburg) was a province of Brandenburg-Prussia from 1680 to 1701 and a province of the Kingdom of Prussia from 1701 to 1807. It replaced the Archbishopric of Magdeburg after its secularization by Brandenburg. The duchy's capitals were Magdeburg and Halle, while Burg was another important town. Dissolved during the Napoleonic Wars in 1807, its territory was made part of the Province of Saxony in 1815.
The Roman Catholic Archbishopric of Magdeburg began to be administered by secular princes, mostly Lutheran, in 1545 during the Protestant Reformation. In the 1648 Treaty of Westphalia, the archbishopric was promised to the House of Hohenzollern of the Margraviate of Brandenburg upon the death of its incumbent administrator, August, Duke of Saxe-Weissenfels. The city of Magdeburg was also required to pay homage to the prince-electors of Brandenbug. In 1666, Elector Frederick William used his developing army to install a permanent Brandenburger garrison in the city.
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Fishamble Street
Fishamble Street (Irish: Sráid Sheamlas an Éisc) is a street in Dublin, Ireland within the old city walls.
The street joins Wood Quay at the Fish Slip near Fyan's Castle. It is mentioned in the 14th century as Vicus Piscariorum and as Fish Street. In 1577, Stanihurst named it as St John's Street. In 1610, some editions of Speed's map call it Fish Shambles.
The street was known as the official fish market for Dublin until the end of the 17th century, when the city markets were moved to the north bank of the Liffey. ("Shambles" were meat markets and open-air slaughterhouse districts, and the word occurs in several British and Irish street names, such as The Shambles in York.)
From 1680, around about the time the fish market was moved, the General Post Office was located here and remained for 30 years.
In the 18th century, a tavern on the street, the Bull's Head, was one of the most popular and well known establishments in Dublin, and was in demand for anniversary and celebratory dinners by the various city guilds and bodies. It also provided accommodation for assemblies of the Grand Lodge of Irish Freemasons. The Bull's Head Musical Society was also well known and undertook the building of a Music Hall which was formally opened in 1741.
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Florence
Florence (Italian: Firenze [fiˈrɛntse] (
listen), alternate obsolete form: Fiorenza; Latin: Florentia) is the capital city of the Italian region of Tuscany and of the province of Florence. It is the most populous city in Tuscany, with approximately 370,000 inhabitants, expanding to over 1.5 million in the metropolitan area.
Florence is famous for its history. A centre of medieval European trade and finance and one of the wealthiest cities of the time, Florence is considered the birthplace of the Renaissance, and has been called the Athens of the Middle Ages. A turbulent political history includes periods of rule by the powerful Medici family, and numerous religious and republican revolutions. From 1865 to 1870 the city was also the capital of the recently established Kingdom of Italy.
The historic centre of Florence attracts millions of tourists each year, and Euromonitor International ranked the city as the world's 72nd most visited in 2009, with 1,685,000 visitors. It was declared a World Heritage Site by UNESCO in 1982. Due to Florence's artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world, and the city is noted for its history, culture, Renaissance art and architecture and monuments. The city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Pitti Palace, amongst others, and still exerts an influence in the fields of art, culture and politics.
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Foundling Museum
Coordinates: 51°31′31″N 0°07′18″W / 51.525278°N 0.121667°W / 51.525278; -0.121667
The Foundling Museum in London tells the story of the Foundling Hospital, Britain's first home for abandoned children. The museum houses the nationally important Foundling Hospital Art Collection as well as the Gerald Coke Handel Collection, the world's greatest privately amassed collection of Handel memorabilia.
The museum examines the work of the Foundling Hospital's founder Thomas Coram, as well as the artist William Hogarth and the composer George Frideric Handel, both major benefactors of the institution. It also illustrates how the Foundling Hospital's charity work for children still carries on today through the child care organisation Coram.
The Foundling Museum was set up as a separate charitable organisation in 1998. After a major building refurbishment it opened to the public as a state-of-the-art museum in June 2004.
The Foundling Hospital Collection includes works of art by Britain's most prominent eighteenth century artists: William Hogarth, Thomas Gainsborough, Joshua Reynolds, Louis-Francois Roubiliac and many others. These paintings and sculptures, often donated by the artists themselves, were given in order to support this Britain's first home for abandoned children. These works effectively made the Foundling Hospital the nation's first art gallery available to the public.
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Haarlem
Haarlem (Dutch pronunciation: [ˈɦaːr.lɛm] ( listen), formerly referred to as Harlem in the English language) is a municipality and a city in the Netherlands. It is the capital of the province of North Holland, the northern half of Holland, which at one time was the most powerful of the seven provinces of the Dutch Republic. Haarlem lies in the northern part of the Randstad, one of the largest metropolitan areas in Europe.
By the end of 2011 Haarlem had a total population of 151,853. The municipality of Haarlem also comprises part of the village of Spaarndam, a newer housing estate of this village forms part of the neighboring municipality of Haarlemmerliede en Spaarnwoude.
The city is located on the river Spaarne, about 20 km west of Amsterdam and near the coastal dunes. It has been the historical center of the tulip bulb-growing district for centuries and bears the nickname 'Bloemenstad' (flower city), for this reason.
Haarlem has a rich history dating back to pre-medieval times, as it lies on a thin strip of land above sea level known as the strandwal (beach ridge), which connects Leiden to Alkmaar. The people on this narrow strip of land struggled against the waters of the North Sea from the west, and the waters of the IJ and the Haarlem Lake from the east. Haarlem was able to become wealthy with toll revenues that it collected from ships and travellers moving on this busy North-South route. However, as shipping became increasingly important economically, the city of Amsterdam became the main Dutch city of North Holland during the Dutch Golden Age. The town of Halfweg became a suburb, and Haarlem became a quiet bedroom community, and for this reason, Haarlem still has many of its central medieval buildings intact. Today many of them are on the Dutch Heritage register known as Rijksmonuments. The list of Rijksmonuments in Haarlem gives an overview of these per neighborhood, with the majority in the old city center.
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Hamburg
Hamburg (
/ˈhæmbɜrɡ/; German pronunciation: [ˈhambʊɐ̯k], local pronunciation [ˈhambʊɪç]; Low German/Low Saxon: Hamborg [ˈhaˑmbɔːx]), officially Free and Hanseatic City of Hamburg, is the second-largest city in Germany, the thirteenth largest German state, and the sixth-largest city in the European Union. The city is home to over 1.8 million people, while the Hamburg Metropolitan Region (including parts of the neighbouring Federal States of Lower Saxony and Schleswig-Holstein) has more than 4.3 million inhabitants. Situated on the river Elbe, the port of Hamburg is the second largest port in Europe (after the Port of Rotterdam) and 11th-largest worldwide.
Hamburg's official name, Free and Hanseatic City of Hamburg (German: Freie und Hansestadt Hamburg), reflects Hamburg's history as a member of the medieval Hanseatic League, as a free imperial city of the Holy Roman Empire, and that Hamburg is a city-state and one of the sixteen States of Germany.
Hamburg is a major transport hub in Northern Germany and is one of the most affluent cities in Europe. It has become a media and industrial centre, with plants and facilities belonging to Airbus, Blohm + Voss and Aurubis. The radio and television broadcaster Norddeutscher Rundfunk and publishers such as Gruner + Jahr and Spiegel-Verlag are pillars of the important media industry in Hamburg. In total, there are more than 120,000 enterprises.
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Hamburg State Opera
The Hamburg State Opera (in German: Hamburgische Staatsoper) is one of the leading opera companies in Germany.
Opera in Hamburg dates back to 2 January 1678 when the Oper am Gänsemarkt was inaugurated with a performance of a biblical Singspiel by Johann Theile. It was not a court theatre but the first public opera house in Germany established by the art-loving citizens of Hamburg, a prosperous member of the Hanseatic League.
The Hamburg Bürgeroper resisted the dominance of the Italianate style and rapidly became the leading musical center of the German Baroque. In 1703, George Friedrich Handel was engaged as violinist and harpsichordist and performances of his operas were not long in appearing. In 1705, Hamburg gave the world première of his opera Nero.
In 1721, Georg Philipp Telemann, a central figure of the German Baroque, joined the Hamburg Opera, and in subsequent years Christoph Willibald Gluck, Johann Adolph Hasse and various Italian companies were among the guests.
To replace the aging wooden structure, the first stone was laid on 18 May 1826 for the Stadt-Theater on the present-day site of the Hamburg State Opera. The new theater, with seating for 2800, was inaugurated less than a year later with Beethoven's incidental music to Egmont.
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Handel House Museum
The Handel House Museum is a museum in Mayfair, London dedicated to the life and works of the German born baroque composer George Frideric Handel, who made his home in London in 1712 and eventually became a British citizen in 1727. Handel was the first occupant of 25 Brook Street, which he rented from 1723 until his death there in 1759. Almost all his works after 1723, amongst them many of his best-known operas, oratorios and ceremonial music, were composed and partially rehearsed in the house, which contained a variety of keyboard instruments, including harpsichords, a clavichord and a small chamber organ.
The museum was opened in 2001 by the Handel House Trust as the result of an initiative of the musicologist and Handelian Stanley Sadie in 1959. It comprises a carefully restored set of period rooms on the first and second floors of 25 Brook Street together with exhibition rooms in number 23, the adjacent house on the terrace.
The original idea for establishing a museum at 25 Brook Street to commemorate its original and most notable occupant first occurred to the musicologist Stanley Sadie in 1959, at a party held there by the fashion company Viyella to commemorate the bicentenary of Handel's death. After a further 30 years, in the early 1990s Sadie and his wife Julie Anne set up the Handel House Trust, the charity which oversaw the conversion of the house into a museum.
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Kew Palace
Kew Palace is a British Royal Palace in Kew Gardens on the banks of the Thames up river from London. There have been at least four Palaces at Kew, and three have been known as Kew Palace; the first building may not have been known as Kew as no records survive other than the words of another courtier. One survives and is open to visitors. It is cared for by an independent charity, Historic Royal Palaces, which receives no funding from the Government or the Crown.
Not much is known of this building except that Queen Elizabeth I gave this building to Robert Dudley, her childhood friend and court favourite. A letter from another of Elizabeth's courtiers suggests this to have been Dudley's main home near London, it's possible it might have also been called Leicester House.
The old palace was built in 1631 by Samuel Fortrey.
The building formerly belonged to the Smith family, and by marriage became the property of Samuel Molyneux, Esq., secretary to George II.
Frederick, Prince of Wales took a long lease of the house, which he made his frequent residence; and here, too, occasionally resided his favourite poet, James Thomson, author of "The Seasons." In 1738, another poet, Alexander Pope, gave Prince Frederick a dog, with the following verse inscribed on its collar:
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Oper am Gänsemarkt
The Oper am Gänsemarkt was a theatre in Hamburg, Germany, built in 1678. It was not a court opera, as in many other towns. Everybody could buy a ticket, like in Venice. Most works were in the German language or translated librettos (from Italian).
The building was torn down in 1756, but rebuilt in 1765.
Hamburg was a rich city and hardly effected by the Thirty Years War.
The founding of the Hamburg opera was an initiative of the well-traveled lawyer and alderman Gerhard Schott, who was impressed by Italian opera and Johann Adam Reincken, a local church organist.Johann Theile, Kapellmeister of Christian Albert, Duke of Holstein-Gottorp, who lived during the years 1675-1679 and 1684-1689 in exile in the city, organised its first performance. For the construction of the stage the Italian engineer and architect Girolamo Sartorio was attracted by the private company. Protests and accusations by some Hamburg ministers before and after the opening held on for several years, and is known as the first "Hamburger Theaterstreit".
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Papal States
The Papal State(s), the State(s) of the Church, the Pontifical States, the Ecclesiastical States, or the Roman States (Italian: Stato Pontificio, also Stato della Chiesa, Stati della Chiesa, Stati Pontifici, and Stato Ecclesiastico; Latin: Status Pontificius, also Dicio Pontificia) were among the major historical states of Italy from roughly the 6th century until the Italian peninsula was unified in 1861 by the Kingdom of Piedmont-Sardinia (after which the Papal States, in less territorially extensive form, continued to exist until 1870).
The Papal States comprised territories under direct sovereign rule of the papacy, and at its height it covered most of the modern Italian regions of Romagna, Marche, Umbria and Lazio. This governing power is commonly called the temporal power of the Pope, as opposed to his ecclesiastical primacy.
The plural Papal States is usually preferred; the singular Papal State (equally correct since it was not a mere personal union) tends to be used (normally with lower-case letters) for the modern State of Vatican City, an enclave within Italy's national capital, Rome. The Vatican City was founded in 1929, again allowing the Holy See the political benefits of territorial sovereignty.
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Siena
Siena (Italian pronunciation: [ˈsjɛːna] ( listen); in English also spelled Sienna, the historic exonym) is a city in Tuscany, Italy. It is the capital of the province of Siena.
The historic centre of Siena has been declared by UNESCO a World Heritage Site. It is one of the nation's most visited tourist attractions, with over 163,000 international arrivals in 2008. Siena is famous for its cuisine, art, museums, medieval cityscape and the Palio, a horse race held twice a year.
Siena, like other Tuscan hill towns, was first settled in the time of the Etruscans (c. 900–400 BC) when it was inhabited by a tribe called the Saina. The Etruscans were an advanced people who changed the face of central Italy through their use of irrigation to reclaim previously unfarmable land, and their custom of building their settlements in well-defended hill-forts. A Roman town called Saena Julia was founded at the site in the time of the Emperor Augustus. The first document mentioning it dates from AD 70. Some archaeologists assert that Siena was controlled for a period by a Gaulish tribe called the Saenones.
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Teatro Malibran
The Teatro Malibran, formerly known as the Teatro San Giovanni Grisostomo, is an opera house in Venice known for its operatic importance in the 17th and 18th centuries. Richly decorated, the theatre consists of five levels of thirty boxes and a large stalls area.
Designed by Thomas Bezzi for the Grimani family, the theatre was inaugurated during the 1678 carnival with Vespasiano by Carlo Pallavicino. It became the biggest, most luxurious and extravagant stage in Venice, known for its sumptuous productions and high quality singers such as Margherita Durastanti, prima donna between 1709 and 1712. During its golden age composers such as Carlo Francesco Pollarolo, Alessandro Scarlatti and Georg Friedrich Händel were active at the theatre.
During the 1730s, the San Giovanni Grisostomo began a slow and inexorable decline, although managing to keep its position at the head of Venetian theatres until the middle of the eighteenth century. In 1737, when Carlo Goldoni was placed in charge of the Venetian stage, prose works began to be performed (many of these his own comedies). Subsequently, because of its considerable size, the Grimani family decided to open a smaller theater in 1755, the San Benedetto. The opening of this new stage led to the end of the dominance of San Giovanni, which saw a slow decrease in performance.
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The Hague
The Hague (Dutch: Den Haag pronounced [dɛnˈɦaˑχ] ( listen), officially 's-Gravenhage pronounced [ˈsχraˑvə(n)ˌɦaˑɣə] ( listen)) is the capital city of the province of South Holland in the Netherlands. With a population of 500,000 inhabitants (as of 1 September 2011), and more than one million inhabitants including the suburbs, it is the third largest city of the Netherlands, after Amsterdam and Rotterdam. Located in the west of the Netherlands, The Hague is in the centre of the Haaglanden conurbation and lies at the southwest corner of the larger Randstad conurbation.
The Hague is the seat of the Dutch government and parliament, the Supreme Court, and the Council of State, but the city is not the capital of the Netherlands which constitutionally is Amsterdam. Queen Beatrix of the Netherlands lives at Huis ten Bosch and works at Noordeinde Palace in The Hague. Most foreign embassies in the Netherlands and 150 international organisations are located in the city, including the International Court of Justice and the International Criminal Court, which makes The Hague one of the major cities hosting the United Nations, along with New York, Vienna and Geneva.
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The Wodehouse
The Wodehouse (formerly also Woodhouse) is a grade II* listed country house near Wombourne, Staffordshire, notable as the seat of the Georgian landscape designer and musicologist Sir Samuel Hellier and, a century later, Colonel Thomas Bradney Shaw-Hellier, director of the Royal Military School of Music. For almost 200 years the family owned the Hellier Stradivarius. It is claimed that the Wodehouse has not been sold for over 900 years, though more than once the family has died out.
The Wodehouse is situated on the Wom Brook, to the east of the village, and the estate has existed since medieval times. The manor house itself was listed by English Heritage in 1953 as II*, as were the stable block and coach house in 1963. The early eighteenth century Wodehouse farmhouse and mill, across the road from the main house, were grade II* listed in 1973. In 1987, the barn, the dam over the mill pool, and the causeway over its other end all received grade II status.
In the middle of the 18th century, the Wodehouse was turned into a centre of culture. The 18 acres (73,000 m2) of grounds were laid out in fashionable style:
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Tower of London
Coordinates: 51°30′29″N 0°4′34″W / 51.50806°N 0.07611°W / 51.50806; -0.07611
Her Majesty's Royal Palace and Fortress, more commonly known as the Tower of London, is a historic castle on the north bank of the River Thames in central London, England. It lies within the London Borough of Tower Hamlets, separated from the eastern edge of the City of London by the open space known as Tower Hill. It was founded towards the end of 1066 as part of the Norman Conquest of England. The White Tower, which gives the entire castle its name, was built by William the Conqueror in 1078, and was a resented symbol of oppression, inflicted upon London by the new ruling elite. The castle was used as a prison since at least 1100, although that was not its primary purpose. A grand palace early in its history, it served as a royal residence. As a whole, the Tower is a complex of several buildings set within two concentric rings of defensive walls and a moat. There were several phases of expansion, mainly under Kings Richard the Lionheart, Henry III, and Edward I in the 12th and 13th centuries. The general layout established by the late 13th century remains despite later activity on the site.
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Vauxhall Gardens
Vauxhall Gardens was a pleasure garden, one of the leading venues for public entertainment in London, England from the mid 17th century to the mid 19th century.
Eminent 18th century scholar John Barrell, writing in Times Literary Supplement, brings out Vauxhall's significance. "Vauxhall pleasure gardens, on the south bank of the Thames, entertained Londoners and visitors to London for 200 years. From 1729, under the management of Jonathan Tyers, property developer, impresario, patron of the arts, the gardens grew into an extraordinary business, a cradle of modern painting and architecture, and... music.... A pioneer of mass entertainment, Tyers had to become also a pioneer of mass catering, of outdoor lighting, of advertising, and of all the logistics involved in running one of the most complex and profitable business ventures of the eighteenth century in Britain." http://www.the-tls.co.uk/tls/public/article862433.ece References to Vauxhall are, for 150 years, as ubiquitous as references to "Broadway" later would be.
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Alessandro Scarlatti
Alessandro Scarlatti (2 May 1660 – 24 October 1725) was an Italian Baroque composer especially famous for his operas and chamber cantatas. He is considered the founder of the Neapolitan school of opera. He was the father of two other composers, Domenico Scarlatti and Pietro Filippo Scarlatti.
Scarlatti was born in Palermo, then part of the Kingdom of Sicily. He is generally said to have been a pupil of Giacomo Carissimi in Rome, and some theorize that he had some connection with northern Italy because his early works seem to show the influence of Stradella and Legrenzi. The production at Rome of his opera Gli Equivoci nell sembiante (1679) gained him the support of Queen Christina of Sweden (who at the time was living in Rome), and he became her Maestro di Cappella. In February 1684 he became Maestro di Cappella to the viceroy of Naples, perhaps through the influence of his sister, an opera singer, who might have been the mistress of an influential Neapolitan noble. Here he produced a long series of operas, remarkable chiefly for their fluency and expressiveness, as well as other music for state occasions.
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Antonio Lotti
Antonio Lotti (ca. 1667 – 5 January 1740) was an Italian composer of classical music.
Lotti was born in Venice, although his father Matteo was Kapellmeister at Hanover at the time. In 1682, Lotti began studying with Lodovico Fuga and Giovanni Legrenzi, both of whom were employed at St Mark's Basilica, Venice's principal church. Lotti made his career at St Mark's, first as an alto singer (from 1689), then as assistant to the second organist, then as second organist (from 1692), then (from 1704) as first organist, and finally (from 1736) as maestro di cappella, a position he held until his death. He also wrote music for, and taught at, the Ospedale degli Incurabili. In 1717 he was given leave to go to Dresden, where a number of his operas were produced, including Giove in Argo, Teofane and Li quattro elementi (all with librettos by Antonio Maria Luchini). Other works written in Venice include Giustino; Trionfo dell'Innocenza; first act of Tirsi, Achille Placato, Teuzzone, Ama più che non si crede, Il comando inteso e tradito, Sidonio, Isaccio tiranno, La forze de sangue, Il Tradimento traditore di sè stesso, L'Infedeltà punita, Poresenna, Irene Augusta, Polidoro, Foca superbo, Alessandro Severo, Il Vincitore Generossi. In Dresden, he wrote Odii del Sangue delusi. He returned to Venice in 1719 and remained there until his death in 1740. He returned to Venice in 1719 and remained there until his death in 1740.
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Antonio Salvi
Antonio Salvi (17 January 1664, Lucignano – 21 May 1724, Florence) was an Italian physician, court poet and librettist. He was in the service of the ducal court in Florence and the favourite librettist of Prince Ferdinando de' Medici. Salvi was one of the developers of the opera seria.
Salvi was a court physician in Florence for the De' Medici family. From 1694 (?) he wrote libretti for the theatre in Livorno and Florence and adapted works by Jean Racine and Molière.; Salvi took many of his plots from French tragedy. Between 1701 and 1710 seven of his works were performed in the Villa di Pratolino. After the death of Ferdinando (III) de' Medici in 1713 he decided to work outside the Grand Duchy of Tuscany: in Rome, Reggio Emilia, Turin, Venice and Munich. His libretti were set to music by several famous composers including Scarlatti, Vivaldi and Handel.
Vivaldi wrote three operas for Florence to texts by Antonio Salvi. All were produced at the Teatro della Pergola.
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Arcangelo Corelli
Arcangelo Corelli (17 February 1653 – 8 January 1713) was an Italian violinist and composer of Baroque music.
Corelli was born at Fusignano, in the current-day province of Ravenna, although at the time it was in the province of Ferrara. Little is known about his early life. His master on the violin was Giovanni Battista Bassani, while Matteo Simonelli, the well-known singer of the pope's chapel, taught him composition.
He gained his first major success in Paris at the age of nineteen, and to this he owed his European reputation. From Paris, Corelli went to Germany. In 1681 he was in the service of the electoral prince of Bavaria; between 1680 and 1685 he spent a considerable time in the house of his friend and fellow violinist-composer Cristiano Farinelli.
In 1685 Corelli was in Rome, where he led the festival performances of music for Queen Christina of Sweden; he was also a favorite of Cardinal Pietro Ottoboni, grandnephew of another Cardinal Pietro Ottoboni, who in 1689 became Pope Alexander VIII. From 1689 to 1690 he was in Modena; the Duke of Modena was generous to him. In 1708 he returned to Rome, living in the palace of Cardinal Ottoboni. His visit to Naples, at the invitation of the king, took place in the same year.
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Arnold Schoenberg
Arnold Schoenberg (help·info) (pronounced [ˈaːɐ̯nɔlt ˈʃøːnbɛɐ̯k]; 13 September 1874 – 13 July 1951) was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. He used the spelling Schönberg until after his move to the United States in 1934 (Steinberg 1995, 463), whereupon he altered it to Schoenberg "in deference to American practice" (Foss 1951, 401), though one writer claims he made the change a year earlier (Ross 2007, 45).
Schoenberg's approach, both in terms of harmony and development, is among the major landmarks of 20th-century musical thought; at least three generations of composers in the European and American traditions have consciously extended his thinking or, in some cases, passionately reacted against it. During the rise of the Nazi Party in Austria, his music was labeled, alongside jazz, as degenerate art[citation needed].
Schoenberg was widely known early in his career for his success in simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify pioneering innovations in atonality (although Schoenberg himself detested the term "atonality" as inaccurate in describing his intentions) that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the twelve-tone technique, a widely influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation, and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.
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Balthasar Denner
Balthasar Denner (15 November 1685 in Altona – 14 April 1749 in Rostock) was a German painter, highly-regarded as a portraitist. He painted mostly half-length and head-and-shoulders portraits and a few group portraits of families in interiors. Usually Denner concentrated on the face; clothes and paraphernalia were done by other painters or later his daughter.
Denner was born in the city of Altona, now incorporated into Hamburg. At the time Altona was part of the Danish kingdom, its second largest city after Copenhagen and famous for its religious tolerance. His father Jacob Denner was a Mennonite minister and a dyer. Balthasar had seven sisters; he was the only son. When he was eight years old he had an accident and for the rest of his life he walked with a limp. His convalescence was slow and to cope with boredom Denner started to draw and copy paintings by Berchem and Bloemaert. His teacher was a Dutchman, Frans van Amama. In 1696 the family moved to Danzig, where Denner practiced oil painting between 1698 to 1700. In 1701 the family moved back to the Hanseatic town. Balthasar became a clerk for his uncle, who was a merchant. In 1707 he became a member of the Akademie der Künste in Berlin.
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Benedetto Pamphili
Benedetto Pamphili (often with the final long i orthography, Pamphilj) (born 25 April 1653, died 22 March 1730) was an Italian cardinal, patron of the arts, composer and librettist.
Pamphili was born in Rome on 25 April 1653 into the powerful Pamphili family. His father was Camillo Pamphili who had also been a cardinal but renounced his post to marry Olimpia Aldobrandini.
Pamphili was Grand Prior of the Order of St John of Jerusalem in Rome from 1678 until Pope Innocent XI made him cardinal-deacon of Santa Maria in Portico in the consistory of 1 September 1681.
He later opted for the tituli of Sant'Agata in Suburra, San Cesareo in Palatio, Santa Maria in Cosmedin and Santa Maria in Via Lata.
Innocent X made him Prefect of the Apostolic Signatura on 23 March 1685. He became Cardinal Legate of Bologna in 1690, cardinal protodeacon in 1693, as well as archpriest of the basilica of Santa Maria Maggiore and of San Giovanni in Laterano.
In 1704 he was made librarian of the Biblioteca Apostolica Vaticana and archivist of the Archivio Segreto Vaticano. He died in 1730 and is buried at Sant'Agnese in Agone.
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Charles Jennens
Charles Jennens (1700 – 20 November 1773) was an English landowner and patron of the arts, who assembled the text for five of Handel's oratorios: Saul, Israel in Egypt, L'Allegro, il Penseroso ed il Moderato, Messiah, and Belshazzar. Much of this served to promote his own views concerning kingship (he was a supporter of the deposed Stuart line).
Jennens was born in Leicestershire and educated at Balliol College, Oxford. He lived at Gopsall, till 1747 together with his father, unmarried, melancholic and extravagant. His neighbours called him Suleyman the Magnificent.Lord Guernsey was his second cousin.
Jennens was friendly with Edward Holdsworth, sending the poet and classical scholar letters. He became a non-juror, interested in "primitive Christianity" and John Chrysostom.[citation needed] Jennens was an anti-Deist, in those days very popular. Richard Kidder's book A Demonstration of the Messias influenced him.[citation needed]
Jennens owned scores of many operas, he already subscribed[clarification needed] in 1725, and added corrections, bass figures, rejected pieces and dates. In regards to the libretto of Messiah, some scholars attribute Messiah's emphasis on the Old Testament — and choice of the Old Testament title "Messiah" — to Jennens' theological choices.
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Christian Thomasius
Christian Thomasius (January 1, 1655 – September 23, 1728) was a German jurist and philosopher.
He was born at Leipzig and was educated by his father, Jakob Thomasius (1622–1684), at that time head master of Thomasschule zu Leipzig. Through his father's lectures, Christian came under the influence of the political philosophy of Hugo Grotius and Samuel Pufendorf, and continued the study of law at Frankfurt an der Oder in 1675, completing his doctorate in 1679. In 1680, he married Anna Christine Heyland and started a legal practice in Leipzig; the following year he began teaching at the university’s law school as well. In 1684 he became professor of natural law, soon attracting attention by his abilities, and particularly by his attack on traditional prejudices, in theology and jurisprudence. In 1685 he published a provocative dissertation, De crimine bigamiae (The crime of bigamy), in which he argued that bigamy is permissible under natural law.
In 1687 he made the daring innovation of lecturing in German instead of Latin and gave a lecture on the topic "How One Should Emulate the French Way of Life," referring to the French use of their native language not only in everyday life but in scholarship as well; according to scholar Klaus Luig, this event marks the real beginning of the Enlightenment in Germany. In the following year he began publishing a monthly periodical (Scherzhafte und ernsthafte, vernüftige und einfältige Gedanken über allerhand lustige und nutzliche Bücher und Fragen) in which he ridiculed the pedantic weaknesses of the learned, taking the side of the Pietists in their controversy with the orthodox, and defending mixed marriages of Lutherans and Calvinists; he also published a volume on natural law which emphasized natural reason and a paper defending marriage between Lutherans and members of the Reformed church.
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Christoph Graupner
Christoph Graupner (January 13, 1683 in Kirchberg – May 10, 1760 in Darmstadt) was a German harpsichordist and composer of high Baroque music who lived and worked at the same time as Johann Sebastian Bach, Georg Philipp Telemann and George Frideric Handel.
Born in Hartmannsdorf near Kirchberg in Saxony, Graupner received his first musical instruction from his uncle, an organist named Nicolaus Kuester. Graupner went to the University of Leipzig where he studied law (as did many composers of the time) and then completed his musical studies with Johann Kuhnau, the cantor of the Thomaskirche (St Thomas' Church).
In 1705 Graupner left Leipzig to play the harpsichord in the orchestra of the Hamburg Opera under the direction of Reinhard Keiser, alongside a young violinist named Handel. In addition to playing the harpsichord, Graupner composed six operas in Hamburg, some of them in collaboration with Keiser, a popular composer of operas in Germany.
In 1709 Graupner accepted a post at the court of Hesse-Darmstadt and in 1711 became the court orchestra’s Hofkapellmeister (court chapel master). Graupner spent the rest of his career at the court in Hesse-Darmstadt, where his primary responsibilities were to provide music for the court chapel. He wrote music for nearly half a century, from 1709 to 1754, when he became blind. He died six years later.
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David Schrader
David Schrader (born September 15, 1952, Chicago, Illinois) is an American harpsichordist, organist, and fortepianist. He is a professor at the Chicago College of Performing Arts at Roosevelt University in Chicago where he teaches music history and conducts chamber music ensembles. Mr. Schrader has been the organist at Church of the Ascension, Chicago since January, 1980.
Schrader has appeared with the Chicago Symphony Orchestra on several occasions, at national conventions of the American Guild of Organists, with the Dallas Symphony Orchestra, the San Francisco Symphony Orchestra and the Colorado Symphony Orchestra, the Canadian period instrument orchestra Tafelmusik, at Ravinia Festival, Staunton Music Festival The Gilmore International Keyboard Festival, and he can frequently be heard in a live performances on Chicago's classical music radio station WFMT. He performs and has recorded with Trio Settecento (with Rachel Barton Pine on violin, and John Mark Rozendaal on cello), Chicago's period instrument orchestra Baroque Band, and Rembrandt Chamber Players.
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Domenico Scarlatti
Giuseppe Domenico Scarlatti (26 October 1685 – 23 July 1757) was an Italian composer who spent much of his life in the service of the Portuguese and Spanish royal families. He is classified as a Baroque composer chronologically, although his music was influential in the development of the Classical style. Like his renowned father Alessandro Scarlatti he composed in a variety of musical forms, although today he is known mainly for his 555 keyboard sonatas.
Domenico Scarlatti was born in Naples, Kingdom of Naples, in 1685, the same year as Johann Sebastian Bach and George Frideric Handel. He was the sixth of ten children and a younger brother to Pietro Filippo Scarlatti, also a musician. He probably first studied under his father, the composer and teacher Alessandro Scarlatti; other composers who may have been his early teachers include Gaetano Greco, Francesco Gasparini, and Bernardo Pasquini, all of whom may have influenced his musical style.
He became a composer and organist at the royal chapel in Naples in 1701. In 1704, he revised Carlo Francesco Pollarolo's opera Irene for performance at Naples. Soon afterwards, his father sent him to Venice. After this, nothing is known of Scarlatti's life until 1709, when he went to Rome in the service of the exiled Polish queen Marie Casimire. He met Thomas Roseingrave there. Scarlatti was already an eminent harpsichordist: there is a story of a trial of skill with George Frideric Handel at the palace of Cardinal Ottoboni in Rome where he was judged possibly superior to Handel on that instrument, although inferior on the organ. Later in life, he was known to cross himself in veneration when speaking of Handel's skill. In Rome, Scarlatti composed several operas for Queen Casimira's private theatre. He was Maestro Di Cappella at St. Peter's from 1715 to 1719. In 1719 he travelled to London to direct his opera Narciso at the King's Theatre.
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Farinelli
Farinelli (Italian pronunciation: [fariˈnɛlːi]) (24 January 1705 – 16 September 1782), was the stage name of Carlo Maria Michelangelo Nicola Broschi (pronounced [ˈkarlo ˈbrɔski], celebrated Italian castrato singer of the 18th century and one of the greatest singers in the history of opera.
Broschi was born in Andria (in what is now Apulia) into a family of musicians. As recorded in the baptismal register of the church of S. Nicola in Andria, his father Salvatore was a composer and maestro di cappella of the city's cathedral, and his mother, Caterina Barrese, a citizen of Naples. The Duke of Andria, Fabrizio Carafa, a member of one of the most prestigious families of the Neapolitan nobility, honoured Maestro Broschi by taking a leading part in the baptism of his second son, who was christened Carlo Maria Michelangelo Nicola (in later life, Farinelli wrote: "Il Duca d'Andria mi tenne al fonte" - "the Duke of Andria held me at the font"). In 1706 Salvatore also took up the non-musical post of governor of the town of Maratea (on the western coast of what is now Basilicata), and in 1709 that of Terlizzi (some twenty miles south-east of Andria). Unlike many castrati, who came from poor families, Farinelli was well-to-do, and was related to minor nobility on both sides of the family.
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Faustina Bordoni
Faustina Bordoni (30 March 1697 – 4 November 1781) was an Italian mezzo-soprano.
She was born in Venice and brought up under the protection of the aristocratic brother composers Alessandro and Benedetto Marcello. Her singing teacher was another composer, Michelangelo Gasparini. For many years in the service of the Elector Palatine, she made her operatic debut at Venice in 1716 in Carlo Francesco Pollarolo’s Ariodante, singing in her home city until 1725 in operas by Albinoni, the Gasparini brothers, Giacomelli, Leo, Orlandini, the Pollarolos, father and son, and Leonardo Vinci, amongst others. In 1718 and 1719 in Venice she sang alongside Francesca Cuzzoni, later to become her great rival. During this period she also performed several times at Reggio nell’Emilia, Naples and Parma, and at least once in Milan, Modena and Florence. After her German début in 1723, singing in Torri’s Griselda at Munich, she was a great favourite north of the Alps during the 1720s, also enjoying great success in Vienna (1725-26). Her nickname was the "new siren", and she was commonly known simply as "Faustina".
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Friedrich Chrysander
Karl Franz Friedrich Chrysander (July 8, 1826 – September 3, 1901) was a German music historian and critic, whose edition of the works of George Frideric Handel and authoritative writings on many other composers established him as a pioneer of 19th-century musicology.
Born at Lübtheen, in Mecklenburg-Schwerin, Chrysander was the son of a miller. He earned a Doctorate in Philosophy from the University of Rostock in 1853. He then focused his studies on music, and in an obituary for Chrysander in October 1901, the Musical Times said of him that
Chrysander is also credited with rediscovering the autograph score of Johann Sebastian Bach's Mass in B Minor, which he then sold to the Royal Library in Berlin, generously doing so only for the same sum that he himself paid for it.
He also edited the music of many other composers, including (in collaboration with Johannes Brahms) the collected harpsichord music of François Couperin le Grand, published from 1871 to 1888.
Between 1858 and 1902, the Händel-Gesellschaft or "German Handel Society" edition of Handel's collected works was published, and this was almost entirely the work of Chrysander; however, Julius Rietz prepared the first volume (with results that were much to Chrysander's dissatisfaction), and Max Seiffert also assisted with some of the later editing. Early in the publication of the edition, the publisher dropped out of the project, after which Chrysander set up an engraving shop at his home and produced subsequent volumes himself. Additionally, he sold fruits and vegetables raised in his garden as a way of bringing in further income during the publication years.
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Georg Händel
Georg Händel pronounced [ˈhɛndəl] (Halle, Archbishopric of Magdeburg, 24 September 1622 – Halle, Duchy of Magdeburg, 11 February 1697) was a barber-surgeon and the father of Georg Frideric Handel. As a young man he had to stop attending grammar school when his father Valentin died (1636) and had to give up his aspirations to become a lawyer. It is very unlikely he ever succeeded in finishing a medical study and without a degree he was not allowed to call himself a physician.
In 1643, he married Anna Kathe, a widow 12 years his senior. They had 6 children: Dorothea Elisabet, Gottfried, Christoph, Anna Barbara, Karl, and Sophia Rosina. The couple lived in a village called Neumarkt, south of Saalkreis. Around 1657 he was appointed by August, Duke of Saxe-Weissenfels as his surgeon. In 1666 he bought a tavern The Yellow Deer. In 1672 he was given a license to serve wine, and also owned a vineyard outside the city walls. His wife died in 1682; the next year he married Dorothea Taust (1651–1730), the daughter of a Lutheran pastor in Giebichenstein. In 1685 George Friedrich Handel was born, followed by sisters Dorothea Sophia in 1687 and Johanna Christiana in 1690 (she died in 1709).
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Gioacchino Conti
Gioacchino Conti (28 February 1714 – 25 October 1761), best known as Gizziello, was an Italian soprano castrato opera singer.
Conti was born in Arpino. After studying in Naples with Domenico Gizzi, whom he would later be dubbed after, he made his debut in Rome at a young age, in Leonardo Vinci's Artaserse (1730).
His career led him throughout Europe and especially to London, where he was engaged by Händel, with whom he would build up profitable collaboration relations. Conti performed in many of his works, such as Atalanta, Giustino, Berenice and Arminio, as well as in a revival of Ariodante.
He executed later many first performances for the best famed musicians of his time, including Niccolò Jommelli (Manlio, 1746), Baldassare Galuppi (Artaserse, 1751) and Johann Adolf Hasse (Demetrio, 1747).
After 1759 Conti left the stage and settled in Rome, where he spent the last two years of his life.
Being a very sharp sopranist for his time (Händel got him to repeatedly reach up to C6), Conti was not quite well disposed towards abuse of coloratura and he chose rather to turn to better account his fluent and smooth style of rendering and expression: he has thus remained famous as a sentimental and gentle singer, but he also always kept, of course, a condition of absolute excellence at vocal virtuosity, even though not so acrobatic as, for instance, that of his contemporary (and friend) Farinelli.
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Granville Sharp
Granville Sharp (10 November 1735 – 6 July 1813) was one of the first English campaigners for the abolition of the slave trade. He also involved himself in trying to correct other social injustices. Sharp formulated the plan to settle blacks in Sierra Leone, and founded the St. George's Bay Company, a forerunner of the Sierra Leone Company. His efforts led to both the founding of the Province of Freedom, and later on Freetown, Sierra Leone, and so he is considered to be one of the founding fathers of Sierra Leone. He was also a biblical scholar and classicist, and a talented musician
Granville Sharp was the son of Thomas Sharp (1693–1758), Archdeacon of Northumberland, prolific theological writer and biographer of his father, John Sharp, Archbishop of York. Sharp was born in Durham in 1735. He had eight older brothers and five younger sisters. Five of his brothers survived their infancy and by the time Sharp had reached his midteens the family funds set aside for their education had been all but depleted, so Sharp was educated at Durham School but mainly at home.
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Heinrich Schütz
Heinrich Schütz (8 October (JC), 1585 – 6 November 1672) was a German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach and often considered to be one of the most important composers of the 17th century along with Claudio Monteverdi. He wrote what is traditionally considered to be the first German opera, Dafne (Opitz-Schütz), performed at Torgau in 1627, of which the music has since been lost. He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July with Johann Sebastian Bach and George Frideric Handel. He was buried in the Dresden Frauenkirche but his tomb has been destroyed.
He was born in Köstritz, the eldest son of Christoph Schütz and Euphrosyne Bieger. In 1590 the family moved to Weißenfels, where his father Christoph managed the inn "Zum Ring". When Schütz lived with his parents, his musical talents were discovered by Moritz von Hessen-Kassel in 1599. After being a choir-boy he went on to study law at Marburg before going to Venice from 1609–1612 to study music with Giovanni Gabrieli. Gabrieli is the only person Schütz ever referred to as being his teacher. He also inherited a ring from Gabrieli shortly before the latter's death. He subsequently had a short stint as organist at Kassel before moving to Dresden in 1615 to work as court composer to the Elector of Saxony. In 1619 Schütz married Magdalena Wildeck who had been born in 1601. She bore two daughters before her death in 1625: Anna Justina born in 1621 and Euphrosyne born in 1623.
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Henry Purcell
Henry Purcell ( /ˈpɜrsəl/; 10 September 1659 (?)– 21 November 1695), was an English composer. Although incorporating Italian and French stylistic elements into his compositions, Purcell's legacy was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers; no other native-born English composer approached his fame until Edward Elgar.
Purcell was born in St Ann's Lane Old Pye Street, Westminster. Henry Purcell Senior, whose older brother Thomas Purcell (d. 1682) was also a musician, was a gentleman of the Chapel Royal and sang at the coronation of King Charles II of England. Henry the elder had three sons: Edward, Henry and Daniel. Daniel Purcell (d. 1717), the youngest of the brothers, was also a prolific composer who wrote the music for much of the final act of The Indian Queen after Henry Purcell's death. Henry Purcell's family lived just a few hundred yards west of Westminster Abbey from the year 1659 and onward.
After his father's death in 1664, Purcell was placed under the guardianship of his uncle who showed him great affection and kindness. Thomas was himself a gentleman of His Majesty's chapel, and arranged for Henry to be admitted as a chorister. Henry studied first under Captain Henry Cooke (d. 1672),Master of the Children, and afterwards under Pelham Humfrey (d. 1674), Cooke's successor. Henry was a chorister in the Chapel Royal until his voice broke in 1673, when he became assistant to the organ-builder John Hingston, who held the post of keeper of wind instruments to the King.
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Ivan Ilić
Ivan Ilić (Serbian Cyrillic: Иван Илић) is a Serbian-American pianist. He is currently living in Paris.
Ilić was born on August 14, 1978, in Belgrade, Yugoslavia. Ilić attended the University of California, Berkeley where he took degrees in mathematics and music. He also briefly studied at the San Francisco Conservatory of Music before pursuing graduate studies at the Conservatoire de Paris, earning a Premier Prix, and finally at the École Normale de Musique de Paris. His teachers in France included François-René Duchâble, Christian Ivaldi, and Jacques Rouvier.
Performing primarily as a soloist, Ilić is known for his interpretations of French music, in particular the works of Claude Debussy. His recording of Debussy's 24 Préludes was released in October 2008 on the French record label Paraty and won Mezzo TV's Critics Choice Award in France. The disc was also singled out as a Top Five CD of the year by a critic at Fanfare Magazine and a Top Five CD by the French website Classique News. Ilić rearranged the order of the Préludes on the album, a controversial choice which he defended in several interviews.
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Jacobus Gallus
Jacobus Gallus Carniolus (a.k.a. Jacob(us) Handl, Jacob(us) Händl, Jacob(us) Gallus; Slovenian Jakob Petelin Kranjski) (July 3, 1550 – July 18, 1591) was a late Renaissance composer of Slovenian ethnicity. Born in Carniola, which at the time was one of the Habsburg lands in the Holy Roman Empire, he lived and worked in Moravia and Bohemia during the last decade of his life.
Gallus may have been named Jakob Petelin at birth.Petelin means "rooster"; handl and gallus mean the same in German and Latin, respectively. He was probably born in Reifnitz, (now Ribnica, Slovenia), although Slovenian folk tradition also claims his birthplace to be at Šentviška Gora in the Slovenian Littoral. He used the Latin form of his name, to which he often added the adjective Carniolus, thus giving credit to his homeland Carniola.
Gallus most likely was educated at the Cistercian monastery at Stična (German: Sittich) in Carniola. He left Carniola sometime between 1564 and 1566, traveling first to Austria, and later to Bohemia, Moravia, and Silesia. For some time he lived at the Benedictine Melk Abbey in Lower Austria. He was a member of the Viennese court chapel in 1574, and was choirmaster (Kapellmeister) to the bishop of Olmütz, Moravia between 1579 (or 1580) and 1585. From 1585 to his death he worked in Prague as organist to the Church of St. John on the Balustrade (Cz. Sv. Jan na Zábradlí). Gallus died on July 18, 1591 in Prague.
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Johann Mattheson
Johann Mattheson (28 September 1681 – 17 April 1764) was a German composer, writer, lexicographer, diplomat and music theorist.
Mattheson was born and died in Hamburg. He was a close friend of George Frideric Handel, although he nearly killed him in a sudden quarrel, during a performance of Mattheson's opera Cleopatra in 1704. Handel was saved only by a large button which turned aside Mattheson's sword. The two were afterwards reconciled.
The son of a well-to-do tax collector, Mattheson received a broad liberal education and, aside from general musical training, took lessons in keyboard instruments, violin, composition and singing. By age nine he was singing and playing organ in church and was a member of the chorus of the Hamburg opera. He made his solo debut with the Hamburg opera in 1696 in female roles and, after his voice changed, sang tenor at the opera, conducted rehearsals and composed operas himself. He was cantor at St. Mary's Cathedral from 1718 until increasing deafness led to his retirement from that post in 1728.
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Johannes Brahms
Johannes Brahms (pronounced [joːˈhanəs ˈbʁaːms]; 7 May 1833 – 3 April 1897) was a German composer and pianist, and one of the leading musicians of the Romantic period. Born in Hamburg, Brahms spent much of his professional life in Vienna, Austria, where he was a leader of the musical scene. In his lifetime, Brahms's popularity and influence were considerable; following a comment by the nineteenth-century conductor Hans von Bülow, he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the Three Bs.
Brahms composed for piano, chamber ensembles, symphony orchestra, and for voice and chorus. A virtuoso pianist, he premiered many of his own works; he also worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim. Many of his works have become staples of the modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed many of his works and left some of them unpublished.
Brahms is often considered both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Baroque and Classical masters. He was a master of counterpoint, the complex and highly disciplined art for which Johann Sebastian Bach is famous, and also of development, a compositional ethos pioneered by Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. Brahms aimed to honour the "purity" of these venerable "German" structures and advance them into a Romantic idiom, in the process creating bold new approaches to harmony and melody. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers.
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John Dryden
John Dryden (9 August 1631 – 1 May 1700) was an influential English poet, literary critic, translator, and playwright who dominated the literary life of Restoration England to such a point that the period came to be known in literary circles as the Age of Dryden. Walter Scott called him "Glorious John." He was made Poet Laureate in 1668.
Dryden was born in the village rectory of Aldwincle near Thrapston in Northamptonshire, where his maternal grandfather was Rector of All Saints. He was the eldest of fourteen children born to Erasmus Dryden and wife Mary Pickering, paternal grandson of Sir Erasmus Dryden, 1st Baronet (1553–1632) and wife Frances Wilkes, Puritan landowning gentry who supported the Puritan cause and Parliament. He was also a second cousin once removed of Jonathan Swift. As a boy Dryden lived in the nearby village of Titchmarsh, Northamptonshire where it is also likely that he received his first education. In 1644 he was sent to Westminster School as a King’s Scholar where his headmaster was Dr Richard Busby, a charismatic teacher and severe disciplinarian. Having recently been re-founded by Elizabeth I, Westminster during this period embraced a very different religious and political spirit encouraging royalism and high Anglicanism. Whatever Dryden’s response to this was, he clearly respected the Headmaster and would later send two of his own sons to school at Westminster. In the late twentieth century a house at Westminster was founded in his name.
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John James Heidegger
John James (Johann Jacob) Heidegger (19 June 1666 - 5 September 1749) was a Swiss count and leading impresario of masquerades in the early part of the 18th century.
The son of a Zürich clergyman, Johann Jacob Heidegger came to England in 1708 as a Swiss negotiator. He failed in his undertaking, and was involved in difficulties. So he entered as a private in the Guards, and afterwards became influential in the management of the opera. In 1709 he made five hundred guineas by furnishing the spectacle for Motteux's opera Tomyris, Queen of Scythia.
From 1710 on, as part of a new commercial public entertainment, he promoted masquerade balls at the Haymarket Theatre. The fashionable world of London was enthusiastic about it and called Heidegger 'the Swiss Count'. Though moralists protested and clergymen preached against such activities, the carnivalesque phenomenon became a trend throughout 18th-century London. In 1724, William Hogarth published a satire on Heidegger in his print, Masquerades and Operas. By that time, masquerades were equally reputed for their great popularity and immoral influences. Indeed, much of the occasion's popularity resulted from the aura of sexual danger and mystery, as women of pleasure were also constantly present.
wn.com/John_James_Heidegger -
John Mainwaring
John Mainwaring (1735–1807) was an English theologian and the first biographer of the composer Georg Friedrich Händel in any language. He was a Fellow of St. John's College, Cambridge, and became rector of the parish of Church Stretton, Shropshire, and, later professor of Divinity at Cambridge. In 1760, one year after Handel was buried in Westminster Abbey he published anonymously a biography.
More than half of this biography is focused on the years before 1712, when Handel moved to London. Therefore it is supposed he received information from Handel himself on his early life or from John Christopher Smith. The Catalogue and the Observations are additions to the Memoirs by other authors. Charles Jennens owned a copy of the Memoirs, and provided the book with critical remarks on Semele and Benedetto Pamphili.
In 1761 Johann Mattheson published an extended translation with sharp remarks on the biography of Mainwaring.
Facsimile reprints of the "Memoirs" were published in 1964 and 1975.
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John Vanbrugh
Sir John Vanbrugh ( /ˈvænbrə/; 24 January 1664 (baptised) – 26 March 1726) was an English architect and dramatist, perhaps best known as the designer of Blenheim Palace and Castle Howard. He wrote two argumentative and outspoken Restoration comedies, The Relapse (1696) and The Provoked Wife (1697), which have become enduring stage favourites but originally occasioned much controversy. He was knighted in 1714.
Vanbrugh was in many senses a radical throughout his life. As a young man and a committed Whig, he was part of the scheme to overthrow James II, put William III on the throne and protect English parliamentary democracy, and he was imprisoned by the French as a political prisoner. In his career as a playwright, he offended many sections of Restoration and 18th century society, not only by the sexual explicitness of his plays, but also by their messages in defence of women's rights in marriage. He was attacked on both counts, and was one of the prime targets of Jeremy Collier's Short View of the Immorality and Profaneness of the English Stage. In his architectural career, he created what came to be known as English Baroque. His architectural work was as bold and daring as his early political activism and marriage-themed plays, and jarred conservative opinions on the subject.
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Joseph Goupy
Joseph Goupy (1689–1769) was a French engraver, painter, set designer, and watercolourist. One of his patrons was Frederick, Prince of Wales, and with his brother Francis, he was a member of the St Martin's Lane Academy, studying under his uncle Louis Goupy. He was a friend of Handel, but Goupy's caricature of Handel (dated 1754, right) may have ended the friendship.
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Louis Spohr
Louis Spohr (5 April 1784 – 22 October 1859), born Ludwig Spohr, was a German composer, violinist and conductor. Highly regarded during his lifetime, Spohr published nine symphonies, ten operas, fifteen violin concerti, four clarinet concerti, and various works for small ensemble. Spohr was the inventor of both the violin chinrest and the orchestral rehearsal mark. His output occupies a pivotal position between Classicism and Romanticism, but fell into obscurity following his death. It is now rarely heard.
Spohr was born in Braunschweig in the duchy of Brunswick-Wolfenbüttel to Karl Heinrich Spohr and Juliane Ernestine Luise Henke. Spohr's first musical encouragement came from his parents: his mother was a gifted singer and pianist, and his father played the flute. A violinist named Dufour gave the lad his earliest violin teaching. The pupil's first attempts at composition date from the early 1790s. Dufour, recognizing the boy's musical talent, persuaded his parents to send him to Brunswick for further instruction.
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Ludwig van Beethoven
Ludwig van Beethoven (
i/ˈlʊdvɪɡ væn ˈbeɪt.hoʊvən/; German pronunciation: [ˈluːtvɪç fan ˈbeːt.hoːfən] ( listen); baptized 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers.
Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven moved to Vienna in his early 20s, studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist. His hearing began to deteriorate in his late twenties, yet he continued to compose, conduct, and perform, even after becoming completely deaf.
Beethoven was the grandson of a musician of Flemish origin named Lodewijk van Beethoven (1712–73) who moved at the age of twenty to Bonn. Lodewijk (Ludwig is the German cognate of Dutch Lodewijk) was employed as a bass singer at the court of the Elector of Cologne, eventually rising to become Kapellmeister (music director). Lodewijk had one son, Johann (1740–1792), who worked as a tenor in the same musical establishment, and gave lessons on piano and violin to supplement his income. Johann married Maria Magdalena Keverich in 1767; she was the daughter of Johann Heinrich Keverich, who had been the head chef at the court of the Archbishopric of Trier.
wn.com/Ludwig_van_Beethoven -
Marie Sallé
Marie Sallé (1707–1756) was a French dancer and choreographer known for her expressive, dramatic performances rather than a series of "leaps and frolics" typical of ballet of her time. As a choreographer she integrated music, costumes, and dance styles of her ballets with their themes, thereby anticipating the reforms made by choreographer Jean-Georges Noverre in the late 18th century. She argued that costumes should reflect and represent the character, a novel idea at the time. She changed the costume from heavy long dress to muslin flowing material which caused shock and delight. She often performed without a skirt or bodice, rebelling against the traditional costume of the time.
wn.com/Marie_Sallé -
Martha Goldstein
Martha Goldstein (née Martha Svendsen) is a player of the harpsichord and piano, who has given concerts in the United States, North Africa, the Middle East, and Europe. She has performed the works of George Frideric Handel, Frédéric Chopin, Georg Philipp Telemann, Franz Liszt and Ferruccio Busoni among others.
She was trained at the Peabody Conservatory and the Juilliard School and studied with Audrey Plitt, Eliza Woods, James Friskin and Mieczysław Munz. She taught at the Peabody Conservatory for 20 years and at the Cornish College of the Arts. She has also performed as a guest artist with the Soni Ventorum Wind Quintet, wind quintet-in-residence at the University of Washington School of Music since 1968.
Many of Martha Goldstein's recordings were first released on LP by Pandora Records, which was founded in 1973 and active for more than ten years. The company went out of business with the advent of the CD. The entire archive of recordings is now available for download without restriction and can be found at many download sites, including Wikipedia (see Commons:Martha Goldstein). Often her recordings reflect historically informed performance, employing original period instruments and tunings.
wn.com/Martha_Goldstein -
Mauro Giuliani
Mauro Giuseppe Sergio Pantaleo Giuliani (July 27, 1781 – May 8, 1829) was an Italian guitarist, cellist and composer, and is considered by many to be one of the leading guitar virtuosi of the early 19th century.
Although born in Bisceglie, Giuliani's center of study was in Barletta where he moved with his brother Nicola in the first years of his life. His first instrumental training was on the cello—an instrument which he never completely abandoned—and he probably also studied the violin. Subsequently he devoted himself to the guitar, becoming a very skilled performer on it in a short time. The names of his teachers are unknown, and we cannot be sure of his exact movements in Italy.
He married Maria Giuseppe del Monaco, and they had a child, Michael, born in Barletta in 1801. After that he was probably in Bologna and Trieste for a brief stay; by the summer of 1806, fresh from his studies of counterpoint, cello and guitar in Italy, he had moved to Vienna without his family. Here he began a relationship with a certain Fräulein Willmuth, with whom he had a daughter, Maria, in 1807.
wn.com/Mauro_Giuliani -
Otto Erich Deutsch
Otto Erich Deutsch (5 September 1883, Vienna – 23 November 1967, Vienna) was an Austrian musicologist. He is known for compiling the first comprehensive catalogue of the works of Franz Schubert, first published in 1951 in English, new edition in 1978 in German. It is from this that the D numbers used to identify Schubert's pieces are drawn.
Following his studies of art history and literature in Vienna and Graz, he worked as a lecturer at the Department of Art History of the University of Vienna. His specialization was the Biedermeier period, which led naturally to his interest in Schubert, whose life took place during this cultural era. His scholarly career was interrupted by the First World War, when he served in the Austrian army. Following the war Deutsch worked for a time as a bookseller. He also shifted his scholarly interests to historical musicology, eventually becoming music librarian, working in the archives of Anthony van Hoboken. In 1938, when Austrian was taken over by Nazi Germany in the Anschluss, Deutsch was forced to flee the country, as he was of Jewish origin. He lived in Cambridge, England, from 1939 to 1951, thereafter in Vienna again.
wn.com/Otto_Erich_Deutsch -
Percy Grainger
George Percy Aldridge Grainger (8 July 1882 – 20 February 1961), known as Percy Grainger, was an Australian-born composer, arranger and pianist. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. He also made many adaptations of other composers' works. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens".
Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters in explicitly racist and anti-Semitic terms.
wn.com/Percy_Grainger -
Philippe Gaubert
Philippe Gaubert (4 July 1879 – 8 July 1941) was a French musician who was a distinguished performer on the flute, a respected conductor, and a composer, primarily for the flute.
Gaubert was born in Cahors in Southwest France. He became one of the most prominent French musicians between the two World Wars. After a prominent career as a flautist with the Paris Opéra, he was appointed in 1919, at the age of forty, to three positions that placed him at the very center of French musical life:
In 1907 he participated in the first performance of Maurice Ravel's Introduction and Allegro for harp, flute, clarinet and string quartet. Among his recordings as conductor, one that he made of Franck's Symphony in D Minor (with the Conservatoire forces) is particularly notable.
Gaubert's compositions are by no means especially innovative, but his work benefited from the examples of Franck, Ravel, and Debussy. Naïla, his opera in three acts, premiered at the Paris Opéra on 7 April 1927. Three of his ballets had their first performances at that venue, as well.
wn.com/Philippe_Gaubert -
Reinhard Keiser
Reinhard Keiser (9 January 1674 – 12 September 1739) was a popular German opera composer based in Hamburg. He wrote over a hundred operas, and in 1745 Johann Adolph Scheibe considered him an equal to Johann Kuhnau, George Frideric Handel and Georg Philipp Telemann (also related to the Hamburg Opera), but his work was largely forgotten for many decades.
Keiser was born in Teuchern (in present Saxony-Anhalt), son of the organist and teacher Gottfried Keiser (born about 1650), and educated by other organists in the town and then from 11 at the Thomas School in Leipzig, where his teachers included Johann Schelle and Johann Kuhnau, direct predecessors of Johann Sebastian Bach.
In 1694, he became court-composer to the duke of Brunswick-Wolfenbüttel, though he had probably come to the court already as early as 1692 to study its renowned operas, which had been going on since 1691, when the city had built a 1200-seater opera-house. Keiser put on his first opera Procris und Cephalus there and, the same year, his opera Basilius was put on at Hamburg and, as the musicologist Johann Mattheson noted, "received with great success and applause."
wn.com/Reinhard_Keiser -
Richard Wagner
Wilhelm Richard Wagner ( /ˈvɑːɡnər/; German pronunciation: [ˈʁiçaʁt ˈvaːɡnɐ]; 22 May 1813 – 13 February 1883) was a German composer, conductor, theatre director and polemicist primarily known for his operas (or "music dramas", as he later called them). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Perhaps the two best-known extracts from his works are the Ride of the Valkyries from the opera Die Walküre, and the Wedding March (Bridal Chorus) from the opera Lohengrin.
Initially establishing his reputation as a composer of works such as The Flying Dutchman and Tannhäuser which were broadly in the romantic vein of Weber and Meyerbeer, Wagner transformed operatic thought through his concept of the Gesamtkunstwerk ("total work of art"). This would achieve the synthesis of all the poetic, visual, musical and dramatic arts and was announced in a series of essays between 1849 and 1852. Wagner realized this concept most fully in the first half of the monumental four-opera cycle Der Ring des Nibelungen. However, his thoughts on the relative importance of music and drama were to change again, and he reintroduced some traditional operatic forms into his last few stage works, including Die Meistersinger von Nürnberg.
wn.com/Richard_Wagner -
Romain Rolland
Romain Rolland (29 January 1866 – 30 December 1944) was a French dramatist, novelist, essayist, art historian and mystic who was awarded the Nobel Prize for Literature in 1915.
Rolland was born Clamecy, Nièvre into a family that had both wealthy townspeople and farmers in its lineage. Writing introspectively in his Voyage intérieur (1942), he sees himself as a representative of an "antique species." He would cast these ancestors in Colas Breugnon (1919).
Accepted to the École normale supérieure in 1886, he first studied philosophy, but his independence of spirit led him to abandon that so as not to submit to the dominant ideology. He received his degree in history in 1889 and spent two years in Rome, where his encounter with Malwida von Meysenbug–who had been a friend of Nietzsche and of Wagner–and his discovery of Italian masterpieces were decisive for the development of his thought. When he returned to France in 1895, he received his doctoral degree with his thesis The origins of modern lyric theatre and his doctoral dissertation, A History of Opera in Europe before Lully and Scarlatti.
wn.com/Romain_Rolland -
Senesino
Senesino (Francesco Bernardi) (31 October 1686 – 27 November 1758) was a celebrated Italian contralto castrato, particularly remembered today for his long collaboration with the composer George Frideric Handel.
Senesino was the son of a barber from Siena (hence his stage-name). He joined the cathedral choir there in 1695 and was castrated at the comparatively late age of thirteen. His debut was at Venice in 1707, and during the next decade he acquired a European reputation and, by the time he sang in Lotti's Giove in Argo in 1717 at Dresden, a commensurately enormous salary.
As with many castrati, reports of Senesino's acting were not always positive, to say the least. The impresario Count Francesco Zambeccari wrote of his performance in Naples in 1715: "Senesino continues to comport himself badly enough; he stands like a statue, and when occasionally he does make a gesture, he makes one directly the opposite of what is wanted". Of the singer's vocal abilities, however, there was no doubt. In 1719, the composer Quantz heard him in Lotti's Teofane at Dresden, and stated: "He had a powerful, clear, equal and sweet contralto voice, with a perfect intonation and an excellent shake. His manner of singing was masterly and his elocution unrivalled. … he sang allegros with great fire, and marked rapid divisions, from the chest, in an articulate and pleasing manner. His countenance was well adapted to the stage, and his action was natural and noble. To these qualities he joined a majestic figure; but his aspect and deportment were more suited to the part of a hero than of a lover."
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Torquato Tasso
Torquato Tasso (11 March 1544 – 25 April 1595) was an Italian poet of the 16th century, best known for his poem La Gerusalemme liberata (Jerusalem Delivered, 1580), in which he depicts a highly imaginative version of the combats between Christians and Muslims at the end of the First Crusade, during the siege of Jerusalem. He suffered from mental illness and died a few days before he was due to be crowned as the king of poets by the Pope. Until the beginning of the 19th century, Tasso remained one of the most widely read poets in Europe.
Born in Sorrento, he was the son of Bernardo Tasso, a nobleman of Bergamo and an epic and lyric poet of considerable fame in his day, and his wife Porzia de Rossi, a noblewoman from Tuscany. His father had for many years been secretary in the service of Ferrante Sanseverino, prince of Salerno, and his mother was closely connected with the most illustrious Neapolitan families. When the prince of Salerno came into collision with the Spanish government of Naples, was outlawed, and was deprived of his hereditary fiefs, Tasso's father shared in this his patron's fate. He was proclaimed a rebel to the state, together with his son Torquato, and his patrimony was sequestered. These things happened during the boy's childhood. In 1552 he was living with his mother and his only sister Cornelia at Naples, pursuing his education under the Jesuits, who had recently opened a school there. The precocity of intellect and the religious fervour of the boy attracted general admiration. At the age of eight he was already famous.
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Valentine Snow
Valentine Snow (1685–1759) was the trumpeter for George Frideric Handel. He succeeded John Shore as the primary trumpeter of England during the mid-to-late 18th century. Many of the trumpet parts in the music of Handel were written specifically for him.
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Vincenzo Grimani
Vincenzo Grimani (15 May 1652 or 26 May 1655 – 26 September 1710) was an Italian cardinal, diplomat, and opera librettist.
Grimani was born either in Venice or Mantua. He is best remembered for having supplied the libretto for George Frideric Handel's early operatic success Agrippina, though he also supplied libretti for Elmiro re di Corinto, by Carlo Pallavicino, and Orazio by G. F. Tosi. All the operas were produced at the Teatro S Giovanni Grisostomo, which he owned, while the remainder of his family owned several other Venetian opera houses.
Politically he was allied to the Habsburg cause, and this alliance and his importance diplomatically to the Habsburgs led to him being made a cardinal in 1697. In 1708, he further received the honour of viceroyalty at Naples, where he died.
His libretti are markedly different from the later moralizing tone of Metastasio and Apostolo Zeno, whose ideas came to dictate opera seria. His libretto for Agrippina is marked out by its amorality and the domination of aria over recitative. His portrayal of the Emperor Claudius has been perceived as an oblique attack on the character of Pope Clement XI. Grimani frequently clashed with Clement in the course of protecting the interests of the Habsburgs at the Vatican.
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Wikipedia Persondata
wn.com/Wikipedia_Persondata -
Winton Dean
Winton Dean (born 18 March 1916) is an English musicologist of the 20th century, most famous for his research concerning the life and works—in particular the operas and oratorios—of Handel, as detailed in his book Handel’s Dramatic Oratorios and Masques (1959).
Dean was born in Birkenhead. After an education at Harrow and Cambridge, Dean became notable was a writer on music, particularly after World War II, when he published several works concerning the compositions of Bizet. Handel, however, remained his main focus; and apart from the book already mentioned, he also published Handel and the Opera Seria (Berkeley, 1969), and a more general Essays on Opera (Oxford, 1990, 2/1993). His definitive two-volume work on Handel operas was published in 1987 and 2006.
Dean contributed heavily to a number of musicological publications, including Musical Times and Opera. His writings include studies of French Opera, and also Italian Opera before the dominance of Verdi. Nevertheless his reputation rests principally upon his analyses of Handel's output, and Handel’s Dramatic Oratorios and Masques is widely acknowledged as a seminal work not only in Handel scholarship but also in musicology as a whole, thanks to its detailed discussion of original documents and thorough approach to the topic.
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Handel - Sarabande
- Order: Reorder
- Duration: 3:31
- Updated: 29 Dec 2012
Title : George Frederic Handel , Sarabande Handel 's Sarabnande was played in the movie " Barry Lyndon "
http://wn.com/Handel_Sarabande
Title : George Frederic Handel , Sarabande Handel 's Sarabnande was played in the movie " Barry Lyndon "
Relaxation Piano Music I - Chopin, Schubert, Handel, Brahms & Others
- Order: Reorder
- Duration: 111:00
- Updated: 29 Dec 2012
A compilation of some of the more relaxing piano performances I've uploaded to YouTube. All pieces of music in this collection are played and recorded by myself. I've added in links/starting times for each piece in the collection, for those who wish to browse, or jump to a favourite spot. I will try to add links/times to my other compilation videos when time permits. :-) The pieces in this collection are: Moment Musicaux #6 (Schubert) Handel's Largo (9:58) Bethena Waltz (Scott Joplin) (16:14) Waltz in #15 A Flat (Brahms) (23:46) Ave Maria (Schubert) (26:11) Waltz #2 (Brahms) (28:58) Intermezzo in A Minor, Op. 116 #2 (Brahms) (31:44) Intermezzo Op. 76 #7 (Brahms) (35:31) Intermezzo In A Op. 118 #2 (Brahms) (39:38) Intermezzo Op. 119 #2 (Brahms) (46:46) Romanze (Brahms) (54:36) Nocturne #2 (Chopin; yes, that is a typo in the title!) (59:11) Nocturne #16 (Chopin) (1:04:38) Nocturne #18 (Chopin) (1:10:07) Prelude #17 (Chopin) (1:16:52) Prelude #23 (Chopin) (1:20:35) Waltz #3 (Chopin) (1:21:43) Waltz #9 '(Chopin) (1:28:56) Prelude #4 (Chopin) (1:33:39) Arabesque #1 (Debussy) (1:36:05) Deep River (Samuel Taylor Coleridge Arr.) (1:41:42)
http://wn.com/Relaxation_Piano_Music_I_Chopin,_Schubert,_Handel,_Brahms_Others
A compilation of some of the more relaxing piano performances I've uploaded to YouTube. All pieces of music in this collection are played and recorded by myself. I've added in links/starting times for each piece in the collection, for those who wish to browse, or jump to a favourite spot. I will try to add links/times to my other compilation videos when time permits. :-) The pieces in this collection are: Moment Musicaux #6 (Schubert) Handel's Largo (9:58) Bethena Waltz (Scott Joplin) (16:14) Waltz in #15 A Flat (Brahms) (23:46) Ave Maria (Schubert) (26:11) Waltz #2 (Brahms) (28:58) Intermezzo in A Minor, Op. 116 #2 (Brahms) (31:44) Intermezzo Op. 76 #7 (Brahms) (35:31) Intermezzo In A Op. 118 #2 (Brahms) (39:38) Intermezzo Op. 119 #2 (Brahms) (46:46) Romanze (Brahms) (54:36) Nocturne #2 (Chopin; yes, that is a typo in the title!) (59:11) Nocturne #16 (Chopin) (1:04:38) Nocturne #18 (Chopin) (1:10:07) Prelude #17 (Chopin) (1:16:52) Prelude #23 (Chopin) (1:20:35) Waltz #3 (Chopin) (1:21:43) Waltz #9 '(Chopin) (1:28:56) Prelude #4 (Chopin) (1:33:39) Arabesque #1 (Debussy) (1:36:05) Deep River (Samuel Taylor Coleridge Arr.) (1:41:42)
- published: 10 Oct 2011
- views: 4995736
- author: Kamibambiraptor
Handel : Zadok the Priest, coronation anthem No. 1(HQ)
- Order: Reorder
- Duration: 5:47
- Updated: 28 Dec 2012
Handel : Zadok the Priest, coronation anthem No. 1 Date: 1727 Main Performer: George Frideric Handel Genre: Choral Period: Baroque (1600-1749) The UEFA Champions League Anthem, which introduces worldwide television coverage of the event and is played during pre-game ceremonies at each match, is based on this composition. It is regularly (sometimes daily) played by request on 'popular classics' radio stations in the UK such as Classic FM.
http://wn.com/Handel_Zadok_the_Priest,_coronation_anthem_No_1HQ
Handel : Zadok the Priest, coronation anthem No. 1 Date: 1727 Main Performer: George Frideric Handel Genre: Choral Period: Baroque (1600-1749) The UEFA Champions League Anthem, which introduces worldwide television coverage of the event and is played during pre-game ceremonies at each match, is based on this composition. It is regularly (sometimes daily) played by request on 'popular classics' radio stations in the UK such as Classic FM.
- published: 31 May 2008
- views: 480722
- author: ClassicalMusicOnly
George Frideric Handel's - Water Music
- Order: Reorder
- Duration: 4:23
- Updated: 29 Dec 2012
Read Before Watching: Due to the unexpected success of my first "Best of Beethoven and Tchaikovsky" vid (see link below to watch) I have decided to make another classical style/ Baroque era music vid. Again, same warning as my last two vids. Link: www.youtube.com Thanks and, as always, leave your comments and ratings.
http://wn.com/George_Frideric_Handel's_Water_Music
Read Before Watching: Due to the unexpected success of my first "Best of Beethoven and Tchaikovsky" vid (see link below to watch) I have decided to make another classical style/ Baroque era music vid. Again, same warning as my last two vids. Link: www.youtube.com Thanks and, as always, leave your comments and ratings.
- published: 30 Jun 2008
- views: 746115
- author: Kasun Kulathunga
Handel Messiah, by London Symphony Orchestra & Sir Colin Davis 1966
- Order: Reorder
- Duration: 143:48
- Updated: 29 Dec 2012
George Frideric Handel (1685-1759) The Messiah Oratorio -- complete. Heather Harper (soprano) Helen Watts (contralto) John Wakefield (tenor) John Shirley-Quirk (bass) Ralph Downes (organ) Leslie Pearson (harpsichord) William Lang (trumpet)si London Symphony Orchestra and Chorus, conducted by Sir Colin Davis. Let me say at once, notwithstanding any qualifications, that I haven't enjoyed any performance of Messiah --live, radio, or record -- half as much as this one for 20 years or so, since the dawnings of my musical sophistication. I put this subjectively, because I don't think everyone will feel the same. This not a traditional Messiah. It is a modern one, by which I mean that it is one which sweeps away the late eighteenthand the nineteenth-century glosses and aims at a performing style as near to Handel's as can be (though occasionally the aim is, I think, a little off-centre -- but more of that below). Of course, we can never quite return to Messiah as Handel gave it in Dublin in 1742 or at the Foundling Hospital in the 1750s: first, it is impossible totally to recapture the performing conventions of those days; second, performances with 25 singers and an orchestra of 35 wouldn't be generally acceptable nowadays -- and in a sense rightly, for instruments and vocal techniques have changed, and merely to use the numbers Handel used (and evidently preferred) would not give us the sound he heard. This new version has an orchestra of 31 strings, two oboes, two bassoons ...
http://wn.com/Handel_Messiah,_by_London_Symphony_Orchestra_Sir_Colin_Davis_1966
George Frideric Handel (1685-1759) The Messiah Oratorio -- complete. Heather Harper (soprano) Helen Watts (contralto) John Wakefield (tenor) John Shirley-Quirk (bass) Ralph Downes (organ) Leslie Pearson (harpsichord) William Lang (trumpet)si London Symphony Orchestra and Chorus, conducted by Sir Colin Davis. Let me say at once, notwithstanding any qualifications, that I haven't enjoyed any performance of Messiah --live, radio, or record -- half as much as this one for 20 years or so, since the dawnings of my musical sophistication. I put this subjectively, because I don't think everyone will feel the same. This not a traditional Messiah. It is a modern one, by which I mean that it is one which sweeps away the late eighteenthand the nineteenth-century glosses and aims at a performing style as near to Handel's as can be (though occasionally the aim is, I think, a little off-centre -- but more of that below). Of course, we can never quite return to Messiah as Handel gave it in Dublin in 1742 or at the Foundling Hospital in the 1750s: first, it is impossible totally to recapture the performing conventions of those days; second, performances with 25 singers and an orchestra of 35 wouldn't be generally acceptable nowadays -- and in a sense rightly, for instruments and vocal techniques have changed, and merely to use the numbers Handel used (and evidently preferred) would not give us the sound he heard. This new version has an orchestra of 31 strings, two oboes, two bassoons ...
- published: 24 Jul 2012
- views: 85067
- author: josephfrederic1
Handel - Concerto Grosso Op. 6. No. 11
- Order: Reorder
- Duration: 17:50
- Updated: 29 Dec 2012
George Frideric Handel Concerto Grosso Op. 6, No. 11, in A major I. Andante larghetto, e staccato II. Allegro III. Largo, e staccato IV. Andante V. Allegro Raymond Leppard English Chamber Orchestra
http://wn.com/Handel_Concerto_Grosso_Op_6_No_11
George Frideric Handel Concerto Grosso Op. 6, No. 11, in A major I. Andante larghetto, e staccato II. Allegro III. Largo, e staccato IV. Andante V. Allegro Raymond Leppard English Chamber Orchestra
- published: 18 Nov 2011
- views: 25662
- author: robycheff
George Frideric Handel - The Arrival of the Queen of Sheba
- Order: Reorder
- Duration: 3:29
- Updated: 29 Dec 2012
George Frideric Handel - The Arrival of the Queen of Sheba from the oratorio Solomon (1749) Georg Friedrich Händel
http://wn.com/George_Frideric_Handel_The_Arrival_of_the_Queen_of_Sheba
George Frideric Handel - The Arrival of the Queen of Sheba from the oratorio Solomon (1749) Georg Friedrich Händel
- published: 13 Jul 2007
- views: 2527730
- author: schmobot
Handel: Messiah - Koopman/NYP(2008Live)
- Order: Reorder
- Duration: 113:55
- Updated: 27 Dec 2012
George Friderec Handel (1685-1759) The Messiah Soprano: Sunhae Im Counter Tenor: Andreas Scholl Tenor: Jörg Dürmüller Baritone: Detlef Roth Westminster Symphonic Choir Ton Koopman New York Philharmonic Avery Fisher Hall, New York, 18 12/2008
http://wn.com/Handel_Messiah_Koopman_NYP2008Live
George Friderec Handel (1685-1759) The Messiah Soprano: Sunhae Im Counter Tenor: Andreas Scholl Tenor: Jörg Dürmüller Baritone: Detlef Roth Westminster Symphonic Choir Ton Koopman New York Philharmonic Avery Fisher Hall, New York, 18 12/2008
- published: 02 Nov 2011
- views: 92594
- author: magischmeisjeorkest
Handel - Messiah - Hallelujah Chorus
- Order: Reorder
- Duration: 3:27
- Updated: 29 Dec 2012
From Andre Rieu's "Live From Radio City Music Hall" in New York City 2004, with the Johann Strauss Orchestra and the Harlem Gospel Choir. Though heavily romanticized, it is one of the best renditions of this magnificent piece, in this one's opinion. LYRICS: Hallelujah hallelujah...
http://wn.com/Handel_Messiah_Hallelujah_Chorus
From Andre Rieu's "Live From Radio City Music Hall" in New York City 2004, with the Johann Strauss Orchestra and the Harlem Gospel Choir. Though heavily romanticized, it is one of the best renditions of this magnificent piece, in this one's opinion. LYRICS: Hallelujah hallelujah...
- published: 28 Feb 2009
- views: 2908179
- author: killerecho
Handel: Music for the Royal Fireworks (1749 original version)
- Order: Reorder
- Duration: 20:05
- Updated: 28 Dec 2012
The King's Consort, Robert King
http://wn.com/Handel_Music_for_the_Royal_Fireworks_1749_original_version
Andreas Scholl: Va tacito (Handel)
- Order: Reorder
- Duration: 6:36
- Updated: 27 Dec 2012
An aria from the 2005 production of Giulio Cesare in Egitto at the Royal Danish Theatre in Copenhagen. Andreas Scholl, Lars Ulrik Mortensen (conductor) & Concerto Copenhagen.
http://wn.com/Andreas_Scholl_Va_tacito_Handel
An aria from the 2005 production of Giulio Cesare in Egitto at the Royal Danish Theatre in Copenhagen. Andreas Scholl, Lars Ulrik Mortensen (conductor) & Concerto Copenhagen.
- published: 05 Sep 2007
- views: 268225
- author: BaroqueFever
George Fredrich Handel Organ Concertos,Ton Koopman
- Order: Reorder
- Duration: 77:22
- Updated: 29 Dec 2012
http://wn.com/George_Fredrich_Handel_Organ_Concertos,Ton_Koopman
Handel - Largo (from 'Xerxes') Opera
- Order: Reorder
- Duration: 3:00
- Updated: 29 Dec 2012
Handel , Largo from the opera Serse (Xerxes) by George Frideric Handel. Date: 1734
http://wn.com/Handel_Largo_from_'Xerxes'_Opera
Handel , Largo from the opera Serse (Xerxes) by George Frideric Handel. Date: 1734
- published: 13 Jun 2008
- views: 1107724
- author: ClassicalMusicOnly
Handel's Messiah:The Biblical Message Behind The Musical Masterpiece (NEW FULL LENGTH)
- Order: Reorder
- Duration: 53:48
- Updated: 28 Dec 2012
George Frideric Handel's musical masterpiece MESSIAH, illustrated with beautiful motion pictures and short narrative between the songs to tell the Biblical story behind the music. This presentation emphasizes the purpose of Jesus' life, death and resurrection. Features The Academy of Ancient Music, Christopher Hogwood conductor, and the Smithsonian Chamber Players. 54 minutes. A DVD of this film is available for $6. Call 614-882-2126, or go to www.biblestudents.com Associated Bible Students of Central Ohio
http://wn.com/Handel's_MessiahThe_Biblical_Message_Behind_The_Musical_Masterpiece_NEW_FULL_LENGTH
George Frideric Handel's musical masterpiece MESSIAH, illustrated with beautiful motion pictures and short narrative between the songs to tell the Biblical story behind the music. This presentation emphasizes the purpose of Jesus' life, death and resurrection. Features The Academy of Ancient Music, Christopher Hogwood conductor, and the Smithsonian Chamber Players. 54 minutes. A DVD of this film is available for $6. Call 614-882-2126, or go to www.biblestudents.com Associated Bible Students of Central Ohio
- published: 31 Oct 2011
- views: 41547
- author: 4Biblestudents
Handel: Messiah, Hallelujah (Sir Colin Davis, Tenebrae, LSO)
- Order: Reorder
- Duration: 3:50
- Updated: 29 Dec 2012
*** Special iTunes offer. Download this album for 25% off. Click to visit the iTunes store bit.ly *** Sir Colin Davis conducts the London Symphony Orchestra, Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir performing Handel's Messiah. bit.ly Recorded in December 2006. Click for more video from the concert performance, information and how to buy on SACD (which includes a bonus DVD of concert footage) or download from iTunes, Amazon and eMusic bit.ly
http://wn.com/Handel_Messiah,_Hallelujah_Sir_Colin_Davis,_Tenebrae,_LSO
*** Special iTunes offer. Download this album for 25% off. Click to visit the iTunes store bit.ly *** Sir Colin Davis conducts the London Symphony Orchestra, Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir performing Handel's Messiah. bit.ly Recorded in December 2006. Click for more video from the concert performance, information and how to buy on SACD (which includes a bonus DVD of concert footage) or download from iTunes, Amazon and eMusic bit.ly
- published: 26 Nov 2008
- views: 532054
- author: Lso
Inspirational Classic - Saul By Handel Pt.1
- Order: Reorder
- Duration: 88:56
- Updated: 05 Dec 2012
Life Concerto of the famous piece "Saul" by Georg Friedrich Händel.
http://wn.com/Inspirational_Classic_Saul_By_Handel_Pt1
Life Concerto of the famous piece "Saul" by Georg Friedrich Händel.
- published: 16 Feb 2011
- views: 12350
- author: TheFaithTube
Handel - Messiah - Cleobury
- Order: Reorder
- Duration: 158:23
- Updated: 29 Dec 2012
Messiah - Oratorio, HWV 56 The Choir of King's College, Cambridge The Brandenburg Consort Ailish Tynan (soprano) Alice Coote (mezzo-soprano) Allan Clayton (tenor) Matthew Rose (bass) Stephen Cleobury (conductor)
http://wn.com/Handel_Messiah_Cleobury
Messiah - Oratorio, HWV 56 The Choir of King's College, Cambridge The Brandenburg Consort Ailish Tynan (soprano) Alice Coote (mezzo-soprano) Allan Clayton (tenor) Matthew Rose (bass) Stephen Cleobury (conductor)
- published: 21 Jul 2012
- views: 68709
- author: Clara Schumann
Handel: Music for the Royal Fireworks 1/2 (Ouverture)
- Order: Reorder
- Duration: 9:33
- Updated: 28 Dec 2012
Very moving performance on 23 August, 1991, of Handels Music for the Royal Fireworks by The King's Consort. Conductor Robert King engines a huge baroque band on period instruments, consisting of 24 oboes, 16 bassoons, 1 enormous contra-bassoon, 9 trumpets, 9 horns, 3 pairs of timpani and 5 drums. The Ouverture is enlightened in this broadcast by the BBC by a dramatization in paper cut-outs of the events at the very first performance during which the improperly handled fireworks burned down the concert pavillion. The recording with my old Telefunken machine has a slightly overmodulated sound, but it is not too disturbing and does not harm the overall grandioseness and beautiful splendor of the performance.
http://wn.com/Handel_Music_for_the_Royal_Fireworks_1_2_Ouverture
Very moving performance on 23 August, 1991, of Handels Music for the Royal Fireworks by The King's Consort. Conductor Robert King engines a huge baroque band on period instruments, consisting of 24 oboes, 16 bassoons, 1 enormous contra-bassoon, 9 trumpets, 9 horns, 3 pairs of timpani and 5 drums. The Ouverture is enlightened in this broadcast by the BBC by a dramatization in paper cut-outs of the events at the very first performance during which the improperly handled fireworks burned down the concert pavillion. The recording with my old Telefunken machine has a slightly overmodulated sound, but it is not too disturbing and does not harm the overall grandioseness and beautiful splendor of the performance.
- published: 10 Oct 2007
- views: 797922
- author: carminum
HANDEL - Passacaglia -Perlman e Zukerman
- Order: Reorder
- Duration: 6:51
- Updated: 29 Dec 2012
HANDEL - Halvorsen Passacaglia, Perlman e Zukerman
http://wn.com/HANDEL_Passacaglia_-Perlman_e_Zukerman
HANDEL - Halvorsen Passacaglia, Perlman e Zukerman
- published: 06 Jan 2009
- views: 602206
- author: xeniamusica
Handel: Messiah, For unto us a child is born (Sir Colin Davis, Tenebrae, LSO)
- Order: Reorder
- Duration: 4:13
- Updated: 29 Dec 2012
Sir Colin Davis conducts the London Symphony Orchestra, Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir performing Handel's Messiah. bit.ly Recorded in December 2006. Click for more video from the concert performance, information and how to buy on SACD (which includes a bonus DVD of concert footage) or download from iTunes, Amazon and eMusic bit.ly
http://wn.com/Handel_Messiah,_For_unto_us_a_child_is_born_Sir_Colin_Davis,_Tenebrae,_LSO
Sir Colin Davis conducts the London Symphony Orchestra, Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir performing Handel's Messiah. bit.ly Recorded in December 2006. Click for more video from the concert performance, information and how to buy on SACD (which includes a bonus DVD of concert footage) or download from iTunes, Amazon and eMusic bit.ly
- published: 26 Nov 2008
- views: 1304138
- author: Lso
Handel - Concerto Grosso Op. 6, No. 5
- Order: Reorder
- Duration: 15:08
- Updated: 28 Dec 2012
George Frideric Handel Concerto Grosso in D, Op.6, No.5, HWV323 1.Larghetto e staccato 2.Allegro 3.Presto 4.Largo 5.Allegro 6.Menuetto (Un poco larghetto) Raymond Leppard English Chamber Orchestra
http://wn.com/Handel_Concerto_Grosso_Op_6,_No_5
George Frideric Handel Concerto Grosso in D, Op.6, No.5, HWV323 1.Larghetto e staccato 2.Allegro 3.Presto 4.Largo 5.Allegro 6.Menuetto (Un poco larghetto) Raymond Leppard English Chamber Orchestra
- published: 25 Sep 2011
- views: 25491
- author: robycheff
Hallelujah - Choir of King's College, Cambridge live performance of Handel's Messiah
- Order: Reorder
- Duration: 3:58
- Updated: 29 Dec 2012
EMI have just released a DVD of King's College Choir performing Handel's Messiah. You can buy both the DVD and CD from the The Shop at King's, King's Parade, Cambridge or online from the Friends of King's website - www.kingsfriends.org or on the EMI website: www.emiclassics.com/dvds.php The Messiah DVD captures an extraordinary performance in the magnificent setting of the College Chapel. The performance was recorded during this year's Easter at Kings festival and was screened in over 85 cinemas across Europe and North America. It was the first time a choral concert had been broadcast live throughout cinemas. The critically-acclaimed concert features the Academy of Ancient Music conducted by Stephen Cleobury together with with soloists Ailish Tynan, Alice Coote, Allan Clayton and Matthew Rose, and the King's College Choir. The concert commemorated both the 250th anniversary of the death of George Frideric Handel and the 800th anniversary of the University of Cambridge.
http://wn.com/Hallelujah_Choir_of_King's_College,_Cambridge_live_performance_of_Handel's_Messiah
EMI have just released a DVD of King's College Choir performing Handel's Messiah. You can buy both the DVD and CD from the The Shop at King's, King's Parade, Cambridge or online from the Friends of King's website - www.kingsfriends.org or on the EMI website: www.emiclassics.com/dvds.php The Messiah DVD captures an extraordinary performance in the magnificent setting of the College Chapel. The performance was recorded during this year's Easter at Kings festival and was screened in over 85 cinemas across Europe and North America. It was the first time a choral concert had been broadcast live throughout cinemas. The critically-acclaimed concert features the Academy of Ancient Music conducted by Stephen Cleobury together with with soloists Ailish Tynan, Alice Coote, Allan Clayton and Matthew Rose, and the King's College Choir. The concert commemorated both the 250th anniversary of the death of George Frideric Handel and the 800th anniversary of the University of Cambridge.
- published: 10 Nov 2009
- views: 832267
- author: KingsCollegeCam
Zadok the Priest — Choir of Westminster Abbey
- Order: Reorder
- Duration: 5:28
- Updated: 28 Dec 2012
Handel's Coronation Anthem No. 1 (Zadok the Priest) for chorus & orchestra. HWV 258. Performed by the Choir of Westminster Abbey.
http://wn.com/Zadok_the_Priest_—_Choir_of_Westminster_Abbey
Handel's Coronation Anthem No. 1 (Zadok the Priest) for chorus & orchestra. HWV 258. Performed by the Choir of Westminster Abbey.
- published: 14 Apr 2011
- views: 135931
- author: 1finch2finch
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Hallelujah - Choir of King's College, Cambridge live performance of Handel's Messiah
- Order: Reorder
- Duration: 3:58
- Updated: 05 Dec 2012
EMI have just released a DVD of King's College Choir performing Handel's Messiah. You can buy both the DVD and CD from the The Shop at King's, King's Parade, Cambridge or online from the Friends of King's website - www.kingsfriends.org or on the EMI website: www.emiclassics.com/dvds.php The Messiah DVD captures an extraordinary performance in the magnificent setting of the College Chapel. The performance was recorded during this year's Easter at Kings festival and was screened in over 85 cinemas across Europe and North America. It was the first time a choral concert had been broadcast live throughout cinemas. The critically-acclaimed concert features the Academy of Ancient Music conducted by Stephen Cleobury together with with soloists Ailish Tynan, Alice Coote, Allan Clayton and Matthew Rose, and the King's College Choir. The concert commemorated both the 250th anniversary of the death of George Frideric Handel and the 800th anniversary of the University of Cambridge.
http://wn.com/Hallelujah_Choir_of_King's_College,_Cambridge_live_performance_of_Handel's_Messiah
EMI have just released a DVD of King's College Choir performing Handel's Messiah. You can buy both the DVD and CD from the The Shop at King's, King's Parade, Cambridge or online from the Friends of King's website - www.kingsfriends.org or on the EMI website: www.emiclassics.com/dvds.php The Messiah DVD captures an extraordinary performance in the magnificent setting of the College Chapel. The performance was recorded during this year's Easter at Kings festival and was screened in over 85 cinemas across Europe and North America. It was the first time a choral concert had been broadcast live throughout cinemas. The critically-acclaimed concert features the Academy of Ancient Music conducted by Stephen Cleobury together with with soloists Ailish Tynan, Alice Coote, Allan Clayton and Matthew Rose, and the King's College Choir. The concert commemorated both the 250th anniversary of the death of George Frideric Handel and the 800th anniversary of the University of Cambridge.
- published: 10 Nov 2009
- views: 718446
- author: KingsCollegeCam
Handel: Messiah, For unto us a child is born (Sir Colin Davis, Tenebrae, LSO)
- Order: Reorder
- Duration: 4:13
- Updated: 05 Dec 2012
Sir Colin Davis conducts the London Symphony Orchestra, Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir performing Handel's Messiah. bit.ly Recorded in December 2006. Click for more video from the concert performance, information and how to buy on SACD (which includes a bonus DVD of concert footage) or download from iTunes, Amazon and eMusic bit.ly
http://wn.com/Handel_Messiah,_For_unto_us_a_child_is_born_Sir_Colin_Davis,_Tenebrae,_LSO
Sir Colin Davis conducts the London Symphony Orchestra, Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir performing Handel's Messiah. bit.ly Recorded in December 2006. Click for more video from the concert performance, information and how to buy on SACD (which includes a bonus DVD of concert footage) or download from iTunes, Amazon and eMusic bit.ly
- published: 26 Nov 2008
- views: 1190013
- author: Lso
Handel - Messiah - Hallelujah Chorus
- Order: Reorder
- Duration: 3:27
- Updated: 05 Dec 2012
From Andre Rieu's "Live From Radio City Music Hall" in New York City 2004, with the Johann Strauss Orchestra and the Harlem Gospel Choir. Though heavily romanticized, it is one of the best renditions of this magnificent piece, in this one's opinion. LYRICS: Hallelujah hallelujah...
http://wn.com/Handel_Messiah_Hallelujah_Chorus
From Andre Rieu's "Live From Radio City Music Hall" in New York City 2004, with the Johann Strauss Orchestra and the Harlem Gospel Choir. Though heavily romanticized, it is one of the best renditions of this magnificent piece, in this one's opinion. LYRICS: Hallelujah hallelujah...
- published: 28 Feb 2009
- views: 2764107
- author: killerecho
George Frideric Handel - The Arrival of the Queen of Sheba
- Order: Reorder
- Duration: 3:29
- Updated: 05 Dec 2012
George Frideric Handel - The Arrival of the Queen of Sheba from the oratorio Solomon (1749) Georg Friedrich Händel
http://wn.com/George_Frideric_Handel_The_Arrival_of_the_Queen_of_Sheba
George Frideric Handel - The Arrival of the Queen of Sheba from the oratorio Solomon (1749) Georg Friedrich Händel
- published: 13 Jul 2007
- views: 2501214
- author: schmobot
Handel - Sarabande
- Order: Reorder
- Duration: 3:31
- Updated: 05 Dec 2012
Title : George Frederic Handel , Sarabande Handel 's Sarabnande was played in the movie " Barry Lyndon "
http://wn.com/Handel_Sarabande
Title : George Frederic Handel , Sarabande Handel 's Sarabnande was played in the movie " Barry Lyndon "
- published: 24 Aug 2008
- views: 3081251
- author: ClassicalMusicOnly
I Know That My Redeemer Liveth! - George Frederick Handel's "Messiah".
- Order: Reorder
- Duration: 6:39
- Updated: 16 Nov 2012
Performed by The London Celebration Choir and Orchestra. I Know That My Redeemer Liveth I know that my Redeemer liveth And that He shall stand At the latter day Upon the earth I know that my Redeemer liveth And He shall stand At the latter day Upon the earth Upon the earth I know that my Redeemer liveth And that He shall stand At the latter day Upon the earth And though worms destroy this body Yet in my flesh shall I see God Yet in my flesh shall I see God For now is Christ risen From the dead The first fruits of them that sleep For now is Christ risen For now is Christ risen From the dead I know that my Redeemer liveth I know that my Redeemer lives I know that Christ is risen Yes, I know my Redeemer lives
http://wn.com/I_Know_That_My_Redeemer_Liveth!_George_Frederick_Handel's_Messiah
Performed by The London Celebration Choir and Orchestra. I Know That My Redeemer Liveth I know that my Redeemer liveth And that He shall stand At the latter day Upon the earth I know that my Redeemer liveth And He shall stand At the latter day Upon the earth Upon the earth I know that my Redeemer liveth And that He shall stand At the latter day Upon the earth And though worms destroy this body Yet in my flesh shall I see God Yet in my flesh shall I see God For now is Christ risen From the dead The first fruits of them that sleep For now is Christ risen For now is Christ risen From the dead I know that my Redeemer liveth I know that my Redeemer lives I know that Christ is risen Yes, I know my Redeemer lives
- published: 31 Jan 2010
- views: 22751
- author: Afrikitty
George Frideric Handel: Samson - Making of
- Order: Reorder
- Duration: 1:59
- Updated: 24 Sep 2012
This making of about the great oratorio "Samson" from Georg Frideric Handel shows some impressions of the live production in the Frauenkirche Dresden with Nicholas McGegan, outstanding soloists, the NDR Choir and the Festspielorchester Göttingen.
http://wn.com/George_Frideric_Handel_Samson_Making_of
This making of about the great oratorio "Samson" from Georg Frideric Handel shows some impressions of the live production in the Frauenkirche Dresden with Nicholas McGegan, outstanding soloists, the NDR Choir and the Festspielorchester Göttingen.
- published: 13 Jan 2009
- views: 6561
- author: carusverlag
George Frederic Handel - 'Comfort Ye My People' from "The Messiah"
- Order: Reorder
- Duration: 3:56
- Updated: 03 Dec 2012
Performed by the London Philharmonic Orchestra and Chorus.
http://wn.com/George_Frederic_Handel_'Comfort_Ye_My_People'_from_The_Messiah
Performed by the London Philharmonic Orchestra and Chorus.
- published: 22 Oct 2008
- views: 92172
- author: Op139
Sarah Curlin performing Care Selve (from Atlanta) by George Frideric Handel
- Order: Reorder
- Duration: 3:06
- Updated: 20 Aug 2012
Arkansas Tech University Junior Recital 2009: Sarah Elizabeth Curlin
http://wn.com/Sarah_Curlin_performing_Care_Selve_from_Atlanta_by_George_Frideric_Handel
Arkansas Tech University Junior Recital 2009: Sarah Elizabeth Curlin
- published: 26 Feb 2009
- views: 2144
- author: Curlitop04
George Frideric Handel. Faramondo. MECencic, P.Jaroussky, X.Sabata. Diego Fasolis. (Full video)
- Order: Reorder
- Duration: 149:54
- Updated: 03 Dec 2012
George Frideric Handel (1685 — 1759) Faramondo (opera in 3 acts) Faramondo: Max Emanuel Cencic (countertenor) Clotilde: Sophie Karthaeuser (soprano) Rosimonda: Marina de Liso (mezzosoprano) Gustavo: In-Sung Sim (bass) Adolfo: Philippo Jaroussky (countetrenor) Gernando: Xavier Sabata (countertenor) Teobaldo: Fulvio Bettini (baritone) Childerico: Terry Wey (countertenor) Orchestra: I Barocchisti Conductor: Diego Fasolis
http://wn.com/George_Frideric_Handel_Faramondo_MECencic,_PJaroussky,_XSabata_Diego_Fasolis_Full_video
George Frideric Handel (1685 — 1759) Faramondo (opera in 3 acts) Faramondo: Max Emanuel Cencic (countertenor) Clotilde: Sophie Karthaeuser (soprano) Rosimonda: Marina de Liso (mezzosoprano) Gustavo: In-Sung Sim (bass) Adolfo: Philippo Jaroussky (countetrenor) Gernando: Xavier Sabata (countertenor) Teobaldo: Fulvio Bettini (baritone) Childerico: Terry Wey (countertenor) Orchestra: I Barocchisti Conductor: Diego Fasolis
- published: 20 Feb 2011
- views: 53377
- author: dark999crow
George Friedrich Handel Recorder Sonata Op.1 No 4 A-minor
- Order: Reorder
- Duration: 5:30
- Updated: 10 Oct 2012
I Larghetto II Allegro. Played by me. Dowani CD. Home recording with zoom h2 handy recorder
http://wn.com/George_Friedrich_Handel_Recorder_Sonata_Op1_No_4_A-minor
I Larghetto II Allegro. Played by me. Dowani CD. Home recording with zoom h2 handy recorder
- published: 06 Sep 2009
- views: 12181
- author: arsenickcg
Handel: O care parolette (Orlando), Anne-Kathryn Olsen, soprano & Voices of Music
- Order: Reorder
- Duration: 3:47
- Updated: 04 Dec 2012
2011 Young Artists Competition winner Anne-Kathryn Olsen sings Handel's aria "O care parolette" from the opera Orlando (HWV 31). Live video from the Evening with the Stars Concert in San Francisco, April 2011. Featuring (left to right) Sara Usher, Amy Wang, Noah Strick, Rachel Hurwitz and Maxine Nemerovski, baroque violins; Ondine Young and Maria Caswell, baroque violas; Elisabeth Reed, baroque cello; Farley Pearce, violone, Hanneke van Proosdij, harpsichord; David Tayler, archlute. Visit us on the web at www.voicesofmusic.org
http://wn.com/Handel_O_care_parolette_Orlando,_Anne-Kathryn_Olsen,_soprano_Voices_of_Music
2011 Young Artists Competition winner Anne-Kathryn Olsen sings Handel's aria "O care parolette" from the opera Orlando (HWV 31). Live video from the Evening with the Stars Concert in San Francisco, April 2011. Featuring (left to right) Sara Usher, Amy Wang, Noah Strick, Rachel Hurwitz and Maxine Nemerovski, baroque violins; Ondine Young and Maria Caswell, baroque violas; Elisabeth Reed, baroque cello; Farley Pearce, violone, Hanneke van Proosdij, harpsichord; David Tayler, archlute. Visit us on the web at www.voicesofmusic.org
- published: 18 Apr 2011
- views: 12259
- author: Walvis2007
![Barry Lyndon - Handel - Sarabande [Music]](http://web.archive.org./web/20121230000213im_/http://i.ytimg.com/vi/EHU3IXLKlq4/default.jpg "Barry Lyndon - Handel - Sarabande [Music]")
Barry Lyndon - Handel - Sarabande [Music]
- Order: Reorder
- Duration: 4:03
- Updated: 05 Dec 2012
Belle musique, Title : George Frederic Handel , Sarabande Handel 's Sarabnande was played in the movie " Barry Lyndon " ______________________________________ Now, listen !
http://wn.com/Barry_Lyndon_Handel_Sarabande_Music_
Belle musique, Title : George Frederic Handel , Sarabande Handel 's Sarabnande was played in the movie " Barry Lyndon " ______________________________________ Now, listen !
- published: 30 Dec 2011
- views: 5703
- author: MrToadfun
GF Handel - Rinaldo "Cara sposa" Andreas Scholl
- Order: Reorder
- Duration: 9:18
- Updated: 03 Dec 2012
George Frideric Handel Rinaldo, HWV 7 "Cara sposa" Rinaldo's aria from act I, sc.7 Premiere Cast, February 24, 1711: Rinaldo: Nicolo Grimaldi, castrato Eustazio: Valentino Urbani, castrato Armida: Elisabetta Pilotti-Schiavonetti, soprano Almirena: Isabella Girardeau, soprano Goffredo: Francesca Vanini-Boschi, contralto Argante: Giuseppe Boschi, bass In this video: Andreas Scholl, countertenor Accademia Bizantina Direction: Ottavio Dantone Live performance from Festival de Musique de Dresde, 12 May, 2008 Rinaldo sings this aria after his fiancee Almirena is abducted by the sorceress Armida. "Rinaldo was first produced at the Queen's (later King's) Theatre in the Haymarket on 24 February 1711. It was Handel's first opera for London, and also the first Italian opera specifically composed for the London stage. The concept of opera as a wholly sung musical drama was still new in Britain, and through the first successful production was an English version of Giovanni Bononcini's Camilla in 1706, the popularity of Italian singers — especially the sensational castrati — swiftly established opera in the Italian language as the standard form. ... Synopsis The action is set at the time of the First Crusade (1096--99). Christian forces led by Goffredo (Godfrey of Bouillon) are laying siege to the city of Jerusalem, held by the Saracen king Argante. With Goffredo are his brother Eustazio and his daughter Almirena, who is in love with the Christian knight Rinaldo. Argante is supported ...
http://wn.com/GF_Handel_Rinaldo_Cara_sposa_Andreas_Scholl
George Frideric Handel Rinaldo, HWV 7 "Cara sposa" Rinaldo's aria from act I, sc.7 Premiere Cast, February 24, 1711: Rinaldo: Nicolo Grimaldi, castrato Eustazio: Valentino Urbani, castrato Armida: Elisabetta Pilotti-Schiavonetti, soprano Almirena: Isabella Girardeau, soprano Goffredo: Francesca Vanini-Boschi, contralto Argante: Giuseppe Boschi, bass In this video: Andreas Scholl, countertenor Accademia Bizantina Direction: Ottavio Dantone Live performance from Festival de Musique de Dresde, 12 May, 2008 Rinaldo sings this aria after his fiancee Almirena is abducted by the sorceress Armida. "Rinaldo was first produced at the Queen's (later King's) Theatre in the Haymarket on 24 February 1711. It was Handel's first opera for London, and also the first Italian opera specifically composed for the London stage. The concept of opera as a wholly sung musical drama was still new in Britain, and through the first successful production was an English version of Giovanni Bononcini's Camilla in 1706, the popularity of Italian singers — especially the sensational castrati — swiftly established opera in the Italian language as the standard form. ... Synopsis The action is set at the time of the First Crusade (1096--99). Christian forces led by Goffredo (Godfrey of Bouillon) are laying siege to the city of Jerusalem, held by the Saracen king Argante. With Goffredo are his brother Eustazio and his daughter Almirena, who is in love with the Christian knight Rinaldo. Argante is supported ...
- published: 10 Jul 2008
- views: 96535
- author: civileso
Entrance of the Queen of Sheba - George Frideric Handel (Cover)
- Order: Reorder
- Duration: 3:17
- Updated: 07 Jul 2012
Suffolk County Music Educators Association All-County Division II 2010 concert performance.
http://wn.com/Entrance_of_the_Queen_of_Sheba_George_Frideric_Handel_Cover
Suffolk County Music Educators Association All-County Division II 2010 concert performance.
- published: 10 Jul 2010
- views: 1372
- author: kmagpie13
Handel - Theodora "New scenes of joy" Anne Sofie von Otter
- Order: Reorder
- Duration: 4:41
- Updated: 06 Jun 2012
George Frideric Handel "New Scenes of Joy" Theodora, HWV 68 Irene's aria from act III, sc.3 Libretto by Thomas Morell opera.stanford.edu In this recording: Anne Sofie von Otter Orchestre et Choeur du Concert d'Astrée Emmanuelle Haim (conductor) Live performance, 19 October 2006, Théâtre des Champs-Elysées, Paris www.operatoday.com Geraldine McGreevy: Theodora Anne Sofie von Otter: Irene Stephen Wallace: Dydimus Paul Agnew: Septimius Matthew Rose: Valens Orchestre et choeur du Concert d'Astrée, Emmanuelle Haïm (dir.) From wikipedia (in part): en.wikipedia.org "Theodora, HWV 68, is an oratorio in three acts by George Frideric Handel, set to an English libretto by Thomas Morell. The oratorio concerns the Christian martyr Flavia Maximiana Theodora and her Christian-converted Roman lover, Didymus. Handel wrote Theodora during his last period of composition. He was sixty-four years old when he began working on it in June 1749. He had written the oratorios Solomon and Susanna the previous year. Theodora would be his second-to-last oratorio. ... Theodora differs from the former two oratorios because it is a tragedy, ending in the death of the heroine and her converted lover. The music is much more direct than the earlier works, transcending the mediocrity of the libretto (which was true for several of Handel's works) so that the characters and the drama are well-defined. ... Handel finished the oratorio on 31 July 1749, and its premiere was on 16 March 1750. Pityingly, Theodora ...
http://wn.com/Handel_Theodora_New_scenes_of_joy_Anne_Sofie_von_Otter
George Frideric Handel "New Scenes of Joy" Theodora, HWV 68 Irene's aria from act III, sc.3 Libretto by Thomas Morell opera.stanford.edu In this recording: Anne Sofie von Otter Orchestre et Choeur du Concert d'Astrée Emmanuelle Haim (conductor) Live performance, 19 October 2006, Théâtre des Champs-Elysées, Paris www.operatoday.com Geraldine McGreevy: Theodora Anne Sofie von Otter: Irene Stephen Wallace: Dydimus Paul Agnew: Septimius Matthew Rose: Valens Orchestre et choeur du Concert d'Astrée, Emmanuelle Haïm (dir.) From wikipedia (in part): en.wikipedia.org "Theodora, HWV 68, is an oratorio in three acts by George Frideric Handel, set to an English libretto by Thomas Morell. The oratorio concerns the Christian martyr Flavia Maximiana Theodora and her Christian-converted Roman lover, Didymus. Handel wrote Theodora during his last period of composition. He was sixty-four years old when he began working on it in June 1749. He had written the oratorios Solomon and Susanna the previous year. Theodora would be his second-to-last oratorio. ... Theodora differs from the former two oratorios because it is a tragedy, ending in the death of the heroine and her converted lover. The music is much more direct than the earlier works, transcending the mediocrity of the libretto (which was true for several of Handel's works) so that the characters and the drama are well-defined. ... Handel finished the oratorio on 31 July 1749, and its premiere was on 16 March 1750. Pityingly, Theodora ...
- published: 23 May 2008
- views: 8914
- author: civileso
Prom Palace - Zadok the Priest - Handel
- Order: Reorder
- Duration: 6:02
- Updated: 05 Dec 2012
George Frideric Handel's Coronation Anthem: Zadok the Priest - performed at the Queen's Concerts, Buckingham Palace for her Majesty the Queen during her Golden Jubilee in 2002 - BBC Symphony Orchestra and Symphony Chorus conducted by Sir Andrew Davis
http://wn.com/Prom_Palace_Zadok_the_Priest_Handel
George Frideric Handel's Coronation Anthem: Zadok the Priest - performed at the Queen's Concerts, Buckingham Palace for her Majesty the Queen during her Golden Jubilee in 2002 - BBC Symphony Orchestra and Symphony Chorus conducted by Sir Andrew Davis
- published: 18 Jan 2008
- views: 280853
- author: RupertJones
Handel Messiah, by London Symphony Orchestra & Sir Colin Davis 1966
- Order: Reorder
- Duration: 143:48
- Updated: 05 Dec 2012
George Frideric Handel (1685-1759) The Messiah Oratorio -- complete. Heather Harper (soprano) Helen Watts (contralto) John Wakefield (tenor) John Shirley-Quirk (bass) Ralph Downes (organ) Leslie Pearson (harpsichord) William Lang (trumpet)si London Symphony Orchestra and Chorus, conducted by Sir Colin Davis. Let me say at once, notwithstanding any qualifications, that I haven't enjoyed any performance of Messiah --live, radio, or record -- half as much as this one for 20 years or so, since the dawnings of my musical sophistication. I put this subjectively, because I don't think everyone will feel the same. This not a traditional Messiah. It is a modern one, by which I mean that it is one which sweeps away the late eighteenthand the nineteenth-century glosses and aims at a performing style as near to Handel's as can be (though occasionally the aim is, I think, a little off-centre -- but more of that below). Of course, we can never quite return to Messiah as Handel gave it in Dublin in 1742 or at the Foundling Hospital in the 1750s: first, it is impossible totally to recapture the performing conventions of those days; second, performances with 25 singers and an orchestra of 35 wouldn't be generally acceptable nowadays -- and in a sense rightly, for instruments and vocal techniques have changed, and merely to use the numbers Handel used (and evidently preferred) would not give us the sound he heard. This new version has an orchestra of 31 strings, two oboes, two bassoons ...
http://wn.com/Handel_Messiah,_by_London_Symphony_Orchestra_Sir_Colin_Davis_1966
George Frideric Handel (1685-1759) The Messiah Oratorio -- complete. Heather Harper (soprano) Helen Watts (contralto) John Wakefield (tenor) John Shirley-Quirk (bass) Ralph Downes (organ) Leslie Pearson (harpsichord) William Lang (trumpet)si London Symphony Orchestra and Chorus, conducted by Sir Colin Davis. Let me say at once, notwithstanding any qualifications, that I haven't enjoyed any performance of Messiah --live, radio, or record -- half as much as this one for 20 years or so, since the dawnings of my musical sophistication. I put this subjectively, because I don't think everyone will feel the same. This not a traditional Messiah. It is a modern one, by which I mean that it is one which sweeps away the late eighteenthand the nineteenth-century glosses and aims at a performing style as near to Handel's as can be (though occasionally the aim is, I think, a little off-centre -- but more of that below). Of course, we can never quite return to Messiah as Handel gave it in Dublin in 1742 or at the Foundling Hospital in the 1750s: first, it is impossible totally to recapture the performing conventions of those days; second, performances with 25 singers and an orchestra of 35 wouldn't be generally acceptable nowadays -- and in a sense rightly, for instruments and vocal techniques have changed, and merely to use the numbers Handel used (and evidently preferred) would not give us the sound he heard. This new version has an orchestra of 31 strings, two oboes, two bassoons ...
- published: 24 Jul 2012
- views: 29258
- author: josephfrederic1
Georg Friedrich Handel - The Messiah - Collin Davies
- Order: Reorder
- Duration: 158:10
- Updated: 05 Dec 2012
Handel - The Messiah Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir performing Handel's Messiah Tthe London Symphony Orchestra Sir Colin Davis, Conductor
http://wn.com/Georg_Friedrich_Handel_The_Messiah_Collin_Davies
Handel - The Messiah Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir performing Handel's Messiah Tthe London Symphony Orchestra Sir Colin Davis, Conductor
- published: 14 Jun 2012
- views: 9200
- author: Clara Schumann
Fritz Wunderlich Handel: Xerxes "Ombra mai fu" (Largo)
- Order: Reorder
- Duration: 3:07
- Updated: 01 Dec 2012
Vinyl Fritz Wunderlich Handel: Xerxes "Ombra mai fu" (Largo) Handel: Xerxes "Ombra ma fu" (Largo) Fritz Wunderlich, lyric tenor an operbathosa video Friedrich "Fritz" Karl Otto Wunderlich (September 26, 1930 September 17, 1966) was a German lyric tenor, born in Kusel in the Rhineland. His mother was a violinist and his father was a choir-master. For a short time, the family kept the inn "Emrichs Bräustübl". Fritz's father lost his job due to pressure imposed upon him by local Nazis, in addition to suffering from a severe battlefield injury. He committed suicide when Fritz was five years old. The story regarding Wunderlich's discovery parallels many of his contemporaries (notably Nicolai Gedda and Dietrich Fischer-Dieskau). As a young man Wunderlich worked in a bakery. At the insistence of neighbors and passers-by who had witnessed his musical gifts and beautiful voice, Wunderlich decided to begin studies in music. He managed to obtain a scholarship in order to pursue his studies at the Freiburg College of Music where he studied French horn and voice. Wunderlich was soon noted as a brilliant young tenor, especially in Mozartian roles, but he later expanded his reach to the full range of the lyric tenor repertoire. It was the fashion during Wunderlich's career for German theaters to perform operas in the local rather than original language. Therefore, most of his recordings of the standard operatic repertoire are sung in German, including Verdi's Rigoletto and Don Carlos ...
http://wn.com/Fritz_Wunderlich_Handel_Xerxes_Ombra_mai_fu_Largo
Vinyl Fritz Wunderlich Handel: Xerxes "Ombra mai fu" (Largo) Handel: Xerxes "Ombra ma fu" (Largo) Fritz Wunderlich, lyric tenor an operbathosa video Friedrich "Fritz" Karl Otto Wunderlich (September 26, 1930 September 17, 1966) was a German lyric tenor, born in Kusel in the Rhineland. His mother was a violinist and his father was a choir-master. For a short time, the family kept the inn "Emrichs Bräustübl". Fritz's father lost his job due to pressure imposed upon him by local Nazis, in addition to suffering from a severe battlefield injury. He committed suicide when Fritz was five years old. The story regarding Wunderlich's discovery parallels many of his contemporaries (notably Nicolai Gedda and Dietrich Fischer-Dieskau). As a young man Wunderlich worked in a bakery. At the insistence of neighbors and passers-by who had witnessed his musical gifts and beautiful voice, Wunderlich decided to begin studies in music. He managed to obtain a scholarship in order to pursue his studies at the Freiburg College of Music where he studied French horn and voice. Wunderlich was soon noted as a brilliant young tenor, especially in Mozartian roles, but he later expanded his reach to the full range of the lyric tenor repertoire. It was the fashion during Wunderlich's career for German theaters to perform operas in the local rather than original language. Therefore, most of his recordings of the standard operatic repertoire are sung in German, including Verdi's Rigoletto and Don Carlos ...
- published: 06 Mar 2010
- views: 99011
- author: operbathosa
Son nata a lagrimar (Giulio Cesare) - Jaroussky, Lemieux
- Order: Reorder
- Duration: 7:48
- Updated: 14 Nov 2012
George Frideric Handel (1685-1759) Giulio Cesare in Egitto, HWV 17 Duet of Cornelia and Sesto from the first act Philippe Jaroussky, countertenor Marie-Nicole Lemieux, contralto Le Concert d'Astrée, dir. Emmanuelle Haïm Handel gala in TCE 2010.03.19. Radio broadcast on France Musique ******* All the photos are from Anima Fotografie's beautiful set, "Jane's Angel" www.flickr.com ******* Son nata a lagrimar /son nato a sospirar, e il dolce mio conforto, ah, sempre piangerò. Se il fato ci tradì, sereno e lieto dì mai più sperar potrò. I was born to weep /I was born to sigh, And I shall forever mourn My sweet consolation. If fate has betrayed us, I shall never again hope for A serene or happy day.
http://wn.com/Son_nata_a_lagrimar_Giulio_Cesare_Jaroussky,_Lemieux
George Frideric Handel (1685-1759) Giulio Cesare in Egitto, HWV 17 Duet of Cornelia and Sesto from the first act Philippe Jaroussky, countertenor Marie-Nicole Lemieux, contralto Le Concert d'Astrée, dir. Emmanuelle Haïm Handel gala in TCE 2010.03.19. Radio broadcast on France Musique ******* All the photos are from Anima Fotografie's beautiful set, "Jane's Angel" www.flickr.com ******* Son nata a lagrimar /son nato a sospirar, e il dolce mio conforto, ah, sempre piangerò. Se il fato ci tradì, sereno e lieto dì mai più sperar potrò. I was born to weep /I was born to sigh, And I shall forever mourn My sweet consolation. If fate has betrayed us, I shall never again hope for A serene or happy day.
- published: 04 Jul 2010
- views: 11275
- author: sjuli17
Sarabande and Variations by George Fredric Handel (Live Performance)
- Order: Reorder
- Duration: 4:22
- Updated: 18 Aug 2012
Sarabande and Variations by George Fredric Handel. This recital was presented 5-2-2010 in the 'Casual Concerts at the Kansas City Public Library' for the Kansas City Classical Guitar Society.
http://wn.com/Sarabande_and_Variations_by_George_Fredric_Handel_Live_Performance
Sarabande and Variations by George Fredric Handel. This recital was presented 5-2-2010 in the 'Casual Concerts at the Kansas City Public Library' for the Kansas City Classical Guitar Society.
- published: 11 May 2010
- views: 1730
- author: Daniel Krieg
Jackie Evancho - Ombra Mai Fu live on NPR
- Order: Reorder
- Duration: 3:58
- Updated: 01 Dec 2012
Jackie sings live accompanied only by piano. Great showcase for her beautiful voice. "Ombra mai fu" is the opening aria from the 1738 opera Serse by George Frideric Handel.
http://wn.com/Jackie_Evancho_Ombra_Mai_Fu_live_on_NPR
Jackie sings live accompanied only by piano. Great showcase for her beautiful voice. "Ombra mai fu" is the opening aria from the 1738 opera Serse by George Frideric Handel.
- published: 21 Sep 2011
- views: 36584
- author: TeeVeeClips
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Part 1 HANDEL MESSIAH on period instruments Westchester Oratorio Society Benjamin Niemczyk
- Order: Reorder
- Duration: 48:47
- Updated: 27 Dec 2012
PART 1 Handel Messiah, complete on period instruments Westchester Oratorio Society REBEL Baroque Orchestra Benjamin Niemczyk, Conductor Nell Snaidas, Soprano Hai-Ting Chin, Alto Daniel Neer, Tenor Raymond Diaz, Bass
http://wn.com/Part_1_HANDEL_MESSIAH_on_period_instruments_Westchester_Oratorio_Society_Benjamin_Niemczyk
PART 1 Handel Messiah, complete on period instruments Westchester Oratorio Society REBEL Baroque Orchestra Benjamin Niemczyk, Conductor Nell Snaidas, Soprano Hai-Ting Chin, Alto Daniel Neer, Tenor Raymond Diaz, Bass
- published: 18 Jul 2012
- views: 3158
- author: westchesteroratorio
George Frideric Handel. Faramondo. MECencic, P.Jaroussky, X.Sabata. Diego Fasolis. (Full video)
- Order: Reorder
- Duration: 149:54
- Updated: 27 Dec 2012
George Frideric Handel (1685 — 1759) Faramondo (opera in 3 acts) Faramondo: Max Emanuel Cencic (countertenor) Clotilde: Sophie Karthaeuser (soprano) Rosimonda: Marina de Liso (mezzosoprano) Gustavo: In-Sung Sim (bass) Adolfo: Philippo Jaroussky (countetrenor) Gernando: Xavier Sabata (countertenor) Teobaldo: Fulvio Bettini (baritone) Childerico: Terry Wey (countertenor) Orchestra: I Barocchisti Conductor: Diego Fasolis
http://wn.com/George_Frideric_Handel_Faramondo_MECencic,_PJaroussky,_XSabata_Diego_Fasolis_Full_video
George Frideric Handel (1685 — 1759) Faramondo (opera in 3 acts) Faramondo: Max Emanuel Cencic (countertenor) Clotilde: Sophie Karthaeuser (soprano) Rosimonda: Marina de Liso (mezzosoprano) Gustavo: In-Sung Sim (bass) Adolfo: Philippo Jaroussky (countetrenor) Gernando: Xavier Sabata (countertenor) Teobaldo: Fulvio Bettini (baritone) Childerico: Terry Wey (countertenor) Orchestra: I Barocchisti Conductor: Diego Fasolis
- published: 20 Feb 2011
- views: 56345
- author: dark999crow
Georg Friedrich Händel "Concerto grosso Op 6 No 11"
- Order: Reorder
- Duration: 20:14
- Updated: 27 Dec 2012
Concerto grosso Op 6 No 11 in A Major by Georg Friedrich Händel 1. Andante:Larghetto e staccato 2. Allegro 3. Largo e staccato 4. Andante 5. Allegro Camerata Romana
http://wn.com/Georg_Friedrich_Händel_Concerto_grosso_Op_6_No_11
Concerto grosso Op 6 No 11 in A Major by Georg Friedrich Händel 1. Andante:Larghetto e staccato 2. Allegro 3. Largo e staccato 4. Andante 5. Allegro Camerata Romana
- published: 20 May 2011
- views: 83365
- author: gioiellidellamusica
God Rot Tunbridge Wells - The Life Of Georg Frederic Handel
- Order: Reorder
- Duration: 118:53
- Updated: 25 Dec 2012
George Frideric Handel - God Rot Tunbridge Wells - The Life Of Georg Frederic Handel complete
http://wn.com/God_Rot_Tunbridge_Wells_The_Life_Of_Georg_Frederic_Handel
George Frideric Handel - God Rot Tunbridge Wells - The Life Of Georg Frederic Handel complete
- published: 17 Jun 2012
- views: 1451
- author: Erepus
George Frideric Handel Music for the Royal Fireworks and Water Music with Orpheus Chamber Orchestra
- Order: Reorder
- Duration: 86:32
- Updated: 13 Sep 2012
George Frideric Handel who lived from 1685-1759 composed for the court of King George the first Music for the Royal Fireworks and the Water Music. These songs are available on youtube itself in its video editor section but the music found in the back ground is performed on the cd of 1992 Deutsche Grammophon by the Orpheus Chamber Orchestra. Skyrim is a videogame previously of the Elder Scrolls series and has had numerous actors participate from Patrick Steward to Linda Carter. These trademarks in no way promote, endorse, or recommend these videos or 1607Link. Written permission is available to remove part or all of a video on 1607Link. Some songs have been repeated to the same image, this would require some more footage but all the footage used here in is on other peoples youtube sites of there own footage of skyrim for sketchng and other purposes. Some of the images put into music here in were mostly stumbled upon by accident. The Creative process is a wonderful method when it is by chance.
http://wn.com/George_Frideric_Handel_Music_for_the_Royal_Fireworks_and_Water_Music_with_Orpheus_Chamber_Orchestra
George Frideric Handel who lived from 1685-1759 composed for the court of King George the first Music for the Royal Fireworks and the Water Music. These songs are available on youtube itself in its video editor section but the music found in the back ground is performed on the cd of 1992 Deutsche Grammophon by the Orpheus Chamber Orchestra. Skyrim is a videogame previously of the Elder Scrolls series and has had numerous actors participate from Patrick Steward to Linda Carter. These trademarks in no way promote, endorse, or recommend these videos or 1607Link. Written permission is available to remove part or all of a video on 1607Link. Some songs have been repeated to the same image, this would require some more footage but all the footage used here in is on other peoples youtube sites of there own footage of skyrim for sketchng and other purposes. Some of the images put into music here in were mostly stumbled upon by accident. The Creative process is a wonderful method when it is by chance.
- published: 12 Feb 2012
- views: 842
- author: Jared Routson
Handel's Messiah:The Biblical Message Behind The Musical Masterpiece (NEW FULL LENGTH)
- Order: Reorder
- Duration: 53:48
- Updated: 27 Dec 2012
George Frideric Handel's musical masterpiece MESSIAH, illustrated with beautiful motion pictures and short narrative between the songs to tell the Biblical story behind the music. This presentation emphasizes the purpose of Jesus' life, death and resurrection. Features The Academy of Ancient Music, Christopher Hogwood conductor, and the Smithsonian Chamber Players. 54 minutes. A DVD of this film is available for $6. Call 614-882-2126, or go to www.biblestudents.com Associated Bible Students of Central Ohio
http://wn.com/Handel's_MessiahThe_Biblical_Message_Behind_The_Musical_Masterpiece_NEW_FULL_LENGTH
George Frideric Handel's musical masterpiece MESSIAH, illustrated with beautiful motion pictures and short narrative between the songs to tell the Biblical story behind the music. This presentation emphasizes the purpose of Jesus' life, death and resurrection. Features The Academy of Ancient Music, Christopher Hogwood conductor, and the Smithsonian Chamber Players. 54 minutes. A DVD of this film is available for $6. Call 614-882-2126, or go to www.biblestudents.com Associated Bible Students of Central Ohio
- published: 31 Oct 2011
- views: 41091
- author: 4Biblestudents
330pm Kamiak Messiah 2011 Selections from George Frideric Handel's Messiah
- Order: Reorder
- Duration: 22:26
- Updated: 10 Oct 2012
http://wn.com/330pm_Kamiak_Messiah_2011_Selections_from_George_Frideric_Handel's_Messiah
Handel Messiah, by London Symphony Orchestra & Sir Colin Davis 1966
- Order: Reorder
- Duration: 143:48
- Updated: 27 Dec 2012
George Frideric Handel (1685-1759) The Messiah Oratorio -- complete. Heather Harper (soprano) Helen Watts (contralto) John Wakefield (tenor) John Shirley-Quirk (bass) Ralph Downes (organ) Leslie Pearson (harpsichord) William Lang (trumpet)si London Symphony Orchestra and Chorus, conducted by Sir Colin Davis. Let me say at once, notwithstanding any qualifications, that I haven't enjoyed any performance of Messiah --live, radio, or record -- half as much as this one for 20 years or so, since the dawnings of my musical sophistication. I put this subjectively, because I don't think everyone will feel the same. This not a traditional Messiah. It is a modern one, by which I mean that it is one which sweeps away the late eighteenthand the nineteenth-century glosses and aims at a performing style as near to Handel's as can be (though occasionally the aim is, I think, a little off-centre -- but more of that below). Of course, we can never quite return to Messiah as Handel gave it in Dublin in 1742 or at the Foundling Hospital in the 1750s: first, it is impossible totally to recapture the performing conventions of those days; second, performances with 25 singers and an orchestra of 35 wouldn't be generally acceptable nowadays -- and in a sense rightly, for instruments and vocal techniques have changed, and merely to use the numbers Handel used (and evidently preferred) would not give us the sound he heard. This new version has an orchestra of 31 strings, two oboes, two bassoons ...
http://wn.com/Handel_Messiah,_by_London_Symphony_Orchestra_Sir_Colin_Davis_1966
George Frideric Handel (1685-1759) The Messiah Oratorio -- complete. Heather Harper (soprano) Helen Watts (contralto) John Wakefield (tenor) John Shirley-Quirk (bass) Ralph Downes (organ) Leslie Pearson (harpsichord) William Lang (trumpet)si London Symphony Orchestra and Chorus, conducted by Sir Colin Davis. Let me say at once, notwithstanding any qualifications, that I haven't enjoyed any performance of Messiah --live, radio, or record -- half as much as this one for 20 years or so, since the dawnings of my musical sophistication. I put this subjectively, because I don't think everyone will feel the same. This not a traditional Messiah. It is a modern one, by which I mean that it is one which sweeps away the late eighteenthand the nineteenth-century glosses and aims at a performing style as near to Handel's as can be (though occasionally the aim is, I think, a little off-centre -- but more of that below). Of course, we can never quite return to Messiah as Handel gave it in Dublin in 1742 or at the Foundling Hospital in the 1750s: first, it is impossible totally to recapture the performing conventions of those days; second, performances with 25 singers and an orchestra of 35 wouldn't be generally acceptable nowadays -- and in a sense rightly, for instruments and vocal techniques have changed, and merely to use the numbers Handel used (and evidently preferred) would not give us the sound he heard. This new version has an orchestra of 31 strings, two oboes, two bassoons ...
- published: 24 Jul 2012
- views: 83428
- author: josephfrederic1
1pm Kamiak Messiah 2011 - Selections from George Frideric Handel's Messiah
- Order: Reorder
- Duration: 22:42
- Updated: 18 May 2012
1pm Kamiak Messiah 2011 - Selections from George Frideric Handel's Messiah
http://wn.com/1pm_Kamiak_Messiah_2011_Selections_from_George_Frideric_Handel's_Messiah
1pm Kamiak Messiah 2011 - Selections from George Frideric Handel's Messiah
- published: 14 Dec 2011
- views: 297
- author: Sam Freeman
The Best Movements of George Frideric Handel (1685-1759) - Excerpts
- Order: Reorder
- Duration: 25:01
- Updated: 13 Dec 2012
climaxworks.mine.nu George Frideric Handel (1685-1759) - A collection of the best classical music ever made, compiled in 60 volumes or separately in each composer. Digitally remastered to provide a higher quality of entertainment for all music lovers.
http://wn.com/The_Best_Movements_of_George_Frideric_Handel_1685-1759_Excerpts
climaxworks.mine.nu George Frideric Handel (1685-1759) - A collection of the best classical music ever made, compiled in 60 volumes or separately in each composer. Digitally remastered to provide a higher quality of entertainment for all music lovers.
- published: 13 Oct 2012
- views: 592
- author: Agustin Vieira
Handel: An Occasional Oratorio HWV 62 (1746): XIII-XXI
- Order: Reorder
- Duration: 29:45
- Updated: 13 Dec 2012
George Frideric Handel (1685-1759) XIII: Act 1 No. 9. Aria: Fly from the Threat'ning Vengeance, Fly! (Soprano) XIV: Act 1 No. 10. Accompagnato: Humbled With Fear (Bass) XV: Act 1 No. 11. Aria: His Sceptre Is the Rod of Righteousness (Bass) XVI: Act 1 No. 12. Aria: Be Wise, Be Wise At Length (Soprano) XVII: Act 1 No. 13. Chorus: Be Wise, Be Wise At Length XVIII: Act 1 No. 14. Recitative: Of Many Millions the Populous Rout (Tenor) XIX: Act 1 No. 15. Aria: Jehovah Is My Shield, My Glory (Tenor) XX: Act 1 No. 16. Recitative: Fools and Madmen Stand Not Within (Bass) XXI: Act 1 No. 17. Chorus: God Found Them Guilty The King's Consort - Robert King Choir of The King's Consort Choir of New College Oxford Susan Gritton (Soprano) Lisa Milne (Soprano) James Bowman (Countertenor) John Mark Ainsley (Tenor) Michael George (Bass) An Occasional Oratorio (HWV 62) is an oratorio by George Frideric Handel, based upon a libretto by Newburgh Hamilton after the poetry of John Milton and Edmund Spenser. Handel composed the Occasional Oratorio hastily in January and February of 1746 and premiered it immediately on 14 February 1746. It contains 44 movements split over three parts. The famous chorus "Prepare the Hymn" (a paraphrase of Psalm 81:1-2) is the 26th movement and appears in the second part. The second minuet from the Music for the Royal Fireworks was reused from this oratorio. Act 1 No. 9. Aria: Fly from the threat'ning vengeance, fly! Ere 'tis too-late, Avoid your fate, The bolt once ...
http://wn.com/Handel_An_Occasional_Oratorio_HWV_62_1746_XIII-XXI
George Frideric Handel (1685-1759) XIII: Act 1 No. 9. Aria: Fly from the Threat'ning Vengeance, Fly! (Soprano) XIV: Act 1 No. 10. Accompagnato: Humbled With Fear (Bass) XV: Act 1 No. 11. Aria: His Sceptre Is the Rod of Righteousness (Bass) XVI: Act 1 No. 12. Aria: Be Wise, Be Wise At Length (Soprano) XVII: Act 1 No. 13. Chorus: Be Wise, Be Wise At Length XVIII: Act 1 No. 14. Recitative: Of Many Millions the Populous Rout (Tenor) XIX: Act 1 No. 15. Aria: Jehovah Is My Shield, My Glory (Tenor) XX: Act 1 No. 16. Recitative: Fools and Madmen Stand Not Within (Bass) XXI: Act 1 No. 17. Chorus: God Found Them Guilty The King's Consort - Robert King Choir of The King's Consort Choir of New College Oxford Susan Gritton (Soprano) Lisa Milne (Soprano) James Bowman (Countertenor) John Mark Ainsley (Tenor) Michael George (Bass) An Occasional Oratorio (HWV 62) is an oratorio by George Frideric Handel, based upon a libretto by Newburgh Hamilton after the poetry of John Milton and Edmund Spenser. Handel composed the Occasional Oratorio hastily in January and February of 1746 and premiered it immediately on 14 February 1746. It contains 44 movements split over three parts. The famous chorus "Prepare the Hymn" (a paraphrase of Psalm 81:1-2) is the 26th movement and appears in the second part. The second minuet from the Music for the Royal Fireworks was reused from this oratorio. Act 1 No. 9. Aria: Fly from the threat'ning vengeance, fly! Ere 'tis too-late, Avoid your fate, The bolt once ...
- published: 14 Jul 2011
- views: 6814
- author: SimplyBaroque
George Friedrich Handel - Tamerlano
- Order: Reorder
- Duration: 192:10
- Updated: 29 Oct 2012
Georg Friedrich Händel Tamerlano, HWV 18 Oper in 3 Akten Tamerlano - Monica Bacelli Bajazet - Thomas Randle Andronicus - Graham Pushee Irene - Anna Bonitatibus Asteria - Elisabeth Norberg-Schulz Leone - Antonio Abete The English Concert Trevor Pinnock, Conductor
http://wn.com/George_Friedrich_Handel_Tamerlano
Georg Friedrich Händel Tamerlano, HWV 18 Oper in 3 Akten Tamerlano - Monica Bacelli Bajazet - Thomas Randle Andronicus - Graham Pushee Irene - Anna Bonitatibus Asteria - Elisabeth Norberg-Schulz Leone - Antonio Abete The English Concert Trevor Pinnock, Conductor
- published: 16 Oct 2012
- views: 341
- author: Gloria Plenna
Sonata George Friedrich Handel
- Order: Reorder
- Duration: 27:51
- Updated: 18 Jun 2012
MusicalClockHWV578
http://wn.com/Sonata_George_Friedrich_Handel
HANDEL - ACIS AND GALATEA - WALTER GOEHR ( 1951 ) VINYL
- Order: Reorder
- Duration: 103:31
- Updated: 03 Aug 2012
GEORGE FRIDERIC HANDEL ACIS AND GALATEA Margaret Ritchie - Richard Lewis - Trevor Anthony - William Herbert Choir and Orchestra of the Handel Society Direction WALTER GOEHR enregistré en 1951 Vinyl Concert Hall
http://wn.com/HANDEL_ACIS_AND_GALATEA_WALTER_GOEHR_1951_VINYL
GEORGE FRIDERIC HANDEL ACIS AND GALATEA Margaret Ritchie - Richard Lewis - Trevor Anthony - William Herbert Choir and Orchestra of the Handel Society Direction WALTER GOEHR enregistré en 1951 Vinyl Concert Hall
- published: 22 Jun 2012
- views: 453
- author: RIRRATTO
Georg Friedrich Handel - The Messiah - Collin Davies
- Order: Reorder
- Duration: 158:10
- Updated: 27 Dec 2012
Handel - The Messiah Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir performing Handel's Messiah Tthe London Symphony Orchestra Sir Colin Davis, Conductor
http://wn.com/Georg_Friedrich_Handel_The_Messiah_Collin_Davies
Handel - The Messiah Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir performing Handel's Messiah Tthe London Symphony Orchestra Sir Colin Davis, Conductor
- published: 14 Jun 2012
- views: 26083
- author: Clara Schumann
Menuhin 22-04-1916 12-03-1999 Purcell Handel and muh more.wmv
- Order: Reorder
- Duration: 227:58
- Updated: 16 Dec 2012
- Sonata no. 09, violins (2), bass viol & continuo, F Major Z 810 [Henry Purcell] - Sonata, violins (2) & continuo, g minor Op. 2 No. 8 HWV 393 [George F. Handel] - Duo, violins (2), G Major [Giovanni Battista Viotti] - Il cimento dell'armonia e dell'inventione, no. 11, D Major Op. 8 No. 11 RV 210 [Antonio Vivaldi] - Concertone, violins (2) & orchestra, C Major KV 190 , 186e [Wolfgang A. Mozart] - Concerto, violin, B-Flat Major [George Frideric Handel] - Sonata, violin & continuo, A Major Op. 1 No. 3 HWV 361 [George Frideric Handel] - Sonata, violin & continuo, g minor Op. 1 No. 10 HWV 368 [George Frideric Handel] - Sonata, violin & continuo, F Major Op. 1 No. 12 HWV 370 [George Frideric Handel] - Sonata, violin & continuo, D Major Op. 1 No. 13 HWV 371 [George Frideric Handel] - Sonata, violin & continuo, A Major Op. 1 No. 14 HWV 372 [George Frideric Handel] - Sonata, violin & continuo, E Major Op. 1 No. 15 HWV 373 [George Frideric Handel] - Sonata in 3 parts, no. 08, violins (2), bass viol & continuo, G Major Z 797 [Henry Purcell] - Fantasia, no. 04, viols (4), g minor Z 735 [Henry Purcell] - Fantasia, no. 08, viols (4), d minor Z 739 [Henry Purcell] - Sonata in 4 parts, no. 06, violins (2), bass viol & continuo, g minor Z 807 [Henry Purcell] - Sonata in 3 parts, no. 06, violins (2), bass viol & continuo, C Major Z 795 [Henry Purcell] - Fantasia, no. 07, viols (4), c minor Z 738 [Henry Purcell] - Fantasia, viols (5), F Major Z 745 [Henry Purcell] - Sonata, violin ...
http://wn.com/Menuhin_22-04-1916_12-03-1999_Purcell_Handel_and_muh_morewmv
- Sonata no. 09, violins (2), bass viol & continuo, F Major Z 810 [Henry Purcell] - Sonata, violins (2) & continuo, g minor Op. 2 No. 8 HWV 393 [George F. Handel] - Duo, violins (2), G Major [Giovanni Battista Viotti] - Il cimento dell'armonia e dell'inventione, no. 11, D Major Op. 8 No. 11 RV 210 [Antonio Vivaldi] - Concertone, violins (2) & orchestra, C Major KV 190 , 186e [Wolfgang A. Mozart] - Concerto, violin, B-Flat Major [George Frideric Handel] - Sonata, violin & continuo, A Major Op. 1 No. 3 HWV 361 [George Frideric Handel] - Sonata, violin & continuo, g minor Op. 1 No. 10 HWV 368 [George Frideric Handel] - Sonata, violin & continuo, F Major Op. 1 No. 12 HWV 370 [George Frideric Handel] - Sonata, violin & continuo, D Major Op. 1 No. 13 HWV 371 [George Frideric Handel] - Sonata, violin & continuo, A Major Op. 1 No. 14 HWV 372 [George Frideric Handel] - Sonata, violin & continuo, E Major Op. 1 No. 15 HWV 373 [George Frideric Handel] - Sonata in 3 parts, no. 08, violins (2), bass viol & continuo, G Major Z 797 [Henry Purcell] - Fantasia, no. 04, viols (4), g minor Z 735 [Henry Purcell] - Fantasia, no. 08, viols (4), d minor Z 739 [Henry Purcell] - Sonata in 4 parts, no. 06, violins (2), bass viol & continuo, g minor Z 807 [Henry Purcell] - Sonata in 3 parts, no. 06, violins (2), bass viol & continuo, C Major Z 795 [Henry Purcell] - Fantasia, no. 07, viols (4), c minor Z 738 [Henry Purcell] - Fantasia, viols (5), F Major Z 745 [Henry Purcell] - Sonata, violin ...
- published: 22 Apr 2012
- views: 1924
- author: mightysmeagol
Handel: Oratorio arias: Part I ( HWV. 46-57)
- Order: Reorder
- Duration: 103:41
- Updated: 09 Dec 2012
George Frideric Handel (23 February 1685-14 April 1759) I. Cecilia Bartoli: Un pensiero nemico di pace 00:00 II. Cecilia Bartoli: Come nembo che fugge col vento 03:57 III. Cecilia Bartoli: Lascia la spina 09:08 IV. Cecilia Bartoli: Disserratevi, o porte d'averno 15:06 V. Cecilia Bartoli: Notte, notte funesta...Ferma l'ali 19:50 VI. James Bowman: All danger disdaining, for battle I glow 27:19 VII. Joan Sutherland: My engeance awakes me 31:31 VIII. Andreas Scholl: O lord, whose mercies numberless 36:28 IX. Andreas Scholl: Such haughty Beauties 42:08 X. Grace Bumbry: Their land brought forth frogs 46:03 XI. Grace Bumbry: Thou shalt bring them in 48:22 XII. Arleen Auger: Rejoice greatly, O daughter of Zion 51:39 XIII. Arleen Auger: But thou didst not leave his soul 56:28 XIV. Arleen Auger: I know that my Redeemer liveth 58:36 XV. Anne Sofie von Otter: He was despiesed 01:05:18 XVI. Anne Sofie von Otter: If God be for us 01:18:33 XVII. Michael Chance: But who may abide the day of his coming 01:23:14 XVIII. Joan Sutherland: With plaintive note 01:27:59 XIX. Joan Sutherland: Let the bright Seraphim 01:33:15 XX. Kathleen Ferrier: Return, o god of hosts 01:39:11 Handel: Oratorio arias: Part II ( HWV. 58-71): www.youtube.com An oratorio is a large musical composition including an orchestra, a choir, and soloists. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias. However, opera is musical theatre, while ...
http://wn.com/Handel_Oratorio_arias_Part_I_HWV_46-57
George Frideric Handel (23 February 1685-14 April 1759) I. Cecilia Bartoli: Un pensiero nemico di pace 00:00 II. Cecilia Bartoli: Come nembo che fugge col vento 03:57 III. Cecilia Bartoli: Lascia la spina 09:08 IV. Cecilia Bartoli: Disserratevi, o porte d'averno 15:06 V. Cecilia Bartoli: Notte, notte funesta...Ferma l'ali 19:50 VI. James Bowman: All danger disdaining, for battle I glow 27:19 VII. Joan Sutherland: My engeance awakes me 31:31 VIII. Andreas Scholl: O lord, whose mercies numberless 36:28 IX. Andreas Scholl: Such haughty Beauties 42:08 X. Grace Bumbry: Their land brought forth frogs 46:03 XI. Grace Bumbry: Thou shalt bring them in 48:22 XII. Arleen Auger: Rejoice greatly, O daughter of Zion 51:39 XIII. Arleen Auger: But thou didst not leave his soul 56:28 XIV. Arleen Auger: I know that my Redeemer liveth 58:36 XV. Anne Sofie von Otter: He was despiesed 01:05:18 XVI. Anne Sofie von Otter: If God be for us 01:18:33 XVII. Michael Chance: But who may abide the day of his coming 01:23:14 XVIII. Joan Sutherland: With plaintive note 01:27:59 XIX. Joan Sutherland: Let the bright Seraphim 01:33:15 XX. Kathleen Ferrier: Return, o god of hosts 01:39:11 Handel: Oratorio arias: Part II ( HWV. 58-71): www.youtube.com An oratorio is a large musical composition including an orchestra, a choir, and soloists. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias. However, opera is musical theatre, while ...
- published: 26 Oct 2012
- views: 575
- author: GilPiotr
Kathleen Ferrier - sings George Frideric Händel
- Order: Reorder
- Duration: 24:36
- Updated: 03 Dec 2012
Händel - Return O God of Hosts from Samson ; Father of Heaven from Judas Maccabaeus ; O Thou that tellest good tidings and He was despised from Messiah Kathleen Ferrier, contralto; London Philharmonic Orchestra; Adrian Boult, conductor. Production notes:"The historic performances of 7th & 8th October, 1952, recreated in stereo." Publisher: London : Decca, 1960. Series: The world of the great classics.
http://wn.com/Kathleen_Ferrier_sings_George_Frideric_Händel
Händel - Return O God of Hosts from Samson ; Father of Heaven from Judas Maccabaeus ; O Thou that tellest good tidings and He was despised from Messiah Kathleen Ferrier, contralto; London Philharmonic Orchestra; Adrian Boult, conductor. Production notes:"The historic performances of 7th & 8th October, 1952, recreated in stereo." Publisher: London : Decca, 1960. Series: The world of the great classics.
- published: 09 Jul 2012
- views: 242
- author: goturhjem2
HANDEL - JUDAS MACCABAEUS ( ACT III ) - JOHANNES SOMARY
- Order: Reorder
- Duration: 38:10
- Updated: 26 Dec 2012
George Frideric HANDEL JUDAS MACCABAEUS ( Acte III ) Oratorio en 3 actes Londres 1746 Heather Harper - Helen Watts - Alexander Young - John Shirley-Quirk Amor Artis Chorale English Chamber Orchestra Direction Johannes SOMARY www.haendel.it
http://wn.com/HANDEL_JUDAS_MACCABAEUS_ACT_III_JOHANNES_SOMARY
George Frideric HANDEL JUDAS MACCABAEUS ( Acte III ) Oratorio en 3 actes Londres 1746 Heather Harper - Helen Watts - Alexander Young - John Shirley-Quirk Amor Artis Chorale English Chamber Orchestra Direction Johannes SOMARY www.haendel.it
- published: 09 Jan 2012
- views: 8197
- author: RIRRATTO
Georg Friedrich Handel / Malcom Hamilton: "Suite No. 7" & "Chaccone No. 1"
- Order: Reorder
- Duration: 26:20
- Updated: 08 Dec 2012
What's on the CD besides the Sonatas by Scarlatti... Suite No. 7 In G Minor, HWV 432 - Ouverture - Andante - Allegro - Sarabande - Double de la même Sarabande (Improvised) - Gigue - Passacaglia Followed by Chaccone No. 1 in G Major Played by Malcom Hamilton Link to the Sonatas by Scarlatti: www.youtube.com From Delos CD, D/CD 1001 amazon.com: www.amazon.com Discogs: www.discogs.com
http://wn.com/Georg_Friedrich_Handel_Malcom_Hamilton_Suite_No_7_Chaccone_No_1
What's on the CD besides the Sonatas by Scarlatti... Suite No. 7 In G Minor, HWV 432 - Ouverture - Andante - Allegro - Sarabande - Double de la même Sarabande (Improvised) - Gigue - Passacaglia Followed by Chaccone No. 1 in G Major Played by Malcom Hamilton Link to the Sonatas by Scarlatti: www.youtube.com From Delos CD, D/CD 1001 amazon.com: www.amazon.com Discogs: www.discogs.com
- published: 31 Jul 2012
- views: 135
- author: DaMuzakian
Equinox Chamber Orchestra Spring 2012 Concert (without lecture)
- Order: Reorder
- Duration: 32:39
- Updated: 17 Dec 2012
Festival Rondeau from Abdelazer -- Henry Purcell Bourrée from Flute Sonata in G major -- George Frideric Handel Hornpipe from Suite No. 1 in F major -- George Frideric Handel Reigen Pavanen "Bittre Rene" -- Anonymous Gavotte -- Jean-Philippe Rameau Sonata No. 3 in F major, Mvts. I & II -- George Frideric Handel Minuet in C -- JS Bach Air from Orchestral Suite No. 3 -- JS Bach Brandenburg Concerto No. 5 in D major, Mvt. I, abridged -- JS Bach All arrangements by Danielle Alexis Petrovich, conductor and director
http://wn.com/Equinox_Chamber_Orchestra_Spring_2012_Concert_without_lecture
Festival Rondeau from Abdelazer -- Henry Purcell Bourrée from Flute Sonata in G major -- George Frideric Handel Hornpipe from Suite No. 1 in F major -- George Frideric Handel Reigen Pavanen "Bittre Rene" -- Anonymous Gavotte -- Jean-Philippe Rameau Sonata No. 3 in F major, Mvts. I & II -- George Frideric Handel Minuet in C -- JS Bach Air from Orchestral Suite No. 3 -- JS Bach Brandenburg Concerto No. 5 in D major, Mvt. I, abridged -- JS Bach All arrangements by Danielle Alexis Petrovich, conductor and director
- published: 26 Jul 2012
- views: 162
- author: EquinoxChamber
HANDEL - ISRAEL IN EGYPT ( Part One ) - WALTER GOEHR ( 1950 ) VINYL
- Order: Reorder
- Duration: 41:37
- Updated: 23 Dec 2012
GEORGE FRIDERIC HANDEL ISRAEL IN EGYPT ( 1ère partie ) Londres 1739 Elsie Morrison - Marjorie Thomas - Richard Lewis - Donald Lea - Stanley Riley The Handel Society Choir The Handel Society Orchestra Direction WALTER GOEHR enregistré en 1950 Vinyl Pour la 2ème partie :youtu.be
http://wn.com/HANDEL_ISRAEL_IN_EGYPT_Part_One_WALTER_GOEHR_1950_VINYL
GEORGE FRIDERIC HANDEL ISRAEL IN EGYPT ( 1ère partie ) Londres 1739 Elsie Morrison - Marjorie Thomas - Richard Lewis - Donald Lea - Stanley Riley The Handel Society Choir The Handel Society Orchestra Direction WALTER GOEHR enregistré en 1950 Vinyl Pour la 2ème partie :youtu.be
- published: 09 May 2012
- views: 1634
- author: RIRRATTO
HANDEL - ALEXANDER BALUS ( 1747 ) - extraits du 2ème acte - Robert KING
- Order: Reorder
- Duration: 29:43
- Updated: 14 Dec 2012
George Frideric HANDEL ( 1685-1759 ) ALEXANDER BALUS, an Oratorio. Libretto by Thomas Morell Ecrit en 1747, créé en 1748 à Londres Extraits du 2ème acte Catherine Denley, Michael George, Charles Daniels, Lynne Dawson, Claron McFadden The Choir of New College Oxford The Choir of the King's Consort THE KING's CONSORT Direction Robert KING www.tkcworld.org www.hyperion-records.co.uk
http://wn.com/HANDEL_ALEXANDER_BALUS_1747_extraits_du_2ème_acte_Robert_KING
George Frideric HANDEL ( 1685-1759 ) ALEXANDER BALUS, an Oratorio. Libretto by Thomas Morell Ecrit en 1747, créé en 1748 à Londres Extraits du 2ème acte Catherine Denley, Michael George, Charles Daniels, Lynne Dawson, Claron McFadden The Choir of New College Oxford The Choir of the King's Consort THE KING's CONSORT Direction Robert KING www.tkcworld.org www.hyperion-records.co.uk
- published: 22 Mar 2011
- views: 1820
- author: RIRRATTO
3:58
Hallelujah - Choir of King's College, Cambridge live performance of Handel's Messiah
EMI have just released a DVD of King's College Choir performing Handel's Messiah. You can ...
published: 10 Nov 2009
author: KingsCollegeCam
Hallelujah - Choir of King's College, Cambridge live performance of Handel's Messiah
EMI have just released a DVD of King's College Choir performing Handel's Messiah. You can buy both the DVD and CD from the The Shop at King's, King's Parade, Cambridge or online from the Friends of King's website - www.kingsfriends.org or on the EMI website: www.emiclassics.com/dvds.php The Messiah DVD captures an extraordinary performance in the magnificent setting of the College Chapel. The performance was recorded during this year's Easter at Kings festival and was screened in over 85 cinemas across Europe and North America. It was the first time a choral concert had been broadcast live throughout cinemas. The critically-acclaimed concert features the Academy of Ancient Music conducted by Stephen Cleobury together with with soloists Ailish Tynan, Alice Coote, Allan Clayton and Matthew Rose, and the King's College Choir. The concert commemorated both the 250th anniversary of the death of George Frideric Handel and the 800th anniversary of the University of Cambridge.
- published: 10 Nov 2009
- views: 718446
- author: KingsCollegeCam
4:13
Handel: Messiah, For unto us a child is born (Sir Colin Davis, Tenebrae, LSO)
Sir Colin Davis conducts the London Symphony Orchestra, Susan Gritton, Sara Mingardo, Mark...
published: 26 Nov 2008
author: Lso
Handel: Messiah, For unto us a child is born (Sir Colin Davis, Tenebrae, LSO)
Sir Colin Davis conducts the London Symphony Orchestra, Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir performing Handel's Messiah. bit.ly Recorded in December 2006. Click for more video from the concert performance, information and how to buy on SACD (which includes a bonus DVD of concert footage) or download from iTunes, Amazon and eMusic bit.ly
- published: 26 Nov 2008
- views: 1190013
- author: Lso
3:27
Handel - Messiah - Hallelujah Chorus
From Andre Rieu's "Live From Radio City Music Hall" in New York City 2004, with the Johann...
published: 28 Feb 2009
author: killerecho
Handel - Messiah - Hallelujah Chorus
From Andre Rieu's "Live From Radio City Music Hall" in New York City 2004, with the Johann Strauss Orchestra and the Harlem Gospel Choir. Though heavily romanticized, it is one of the best renditions of this magnificent piece, in this one's opinion. LYRICS: Hallelujah hallelujah...
- published: 28 Feb 2009
- views: 2764107
- author: killerecho
3:29
George Frideric Handel - The Arrival of the Queen of Sheba
George Frideric Handel - The Arrival of the Queen of Sheba from the oratorio Solomon (1749...
published: 13 Jul 2007
author: schmobot
George Frideric Handel - The Arrival of the Queen of Sheba
George Frideric Handel - The Arrival of the Queen of Sheba from the oratorio Solomon (1749) Georg Friedrich Händel
- published: 13 Jul 2007
- views: 2501214
- author: schmobot
3:31
Handel - Sarabande
Title : George Frederic Handel , Sarabande Handel 's Sarabnande was played in the movie " ...
published: 24 Aug 2008
author: ClassicalMusicOnly
Handel - Sarabande
Title : George Frederic Handel , Sarabande Handel 's Sarabnande was played in the movie " Barry Lyndon "
- published: 24 Aug 2008
- views: 3081251
- author: ClassicalMusicOnly
6:39
I Know That My Redeemer Liveth! - George Frederick Handel's "Messiah".
Performed by The London Celebration Choir and Orchestra. I Know That My Redeemer Liveth I ...
published: 31 Jan 2010
author: Afrikitty
I Know That My Redeemer Liveth! - George Frederick Handel's "Messiah".
Performed by The London Celebration Choir and Orchestra. I Know That My Redeemer Liveth I know that my Redeemer liveth And that He shall stand At the latter day Upon the earth I know that my Redeemer liveth And He shall stand At the latter day Upon the earth Upon the earth I know that my Redeemer liveth And that He shall stand At the latter day Upon the earth And though worms destroy this body Yet in my flesh shall I see God Yet in my flesh shall I see God For now is Christ risen From the dead The first fruits of them that sleep For now is Christ risen For now is Christ risen From the dead I know that my Redeemer liveth I know that my Redeemer lives I know that Christ is risen Yes, I know my Redeemer lives
- published: 31 Jan 2010
- views: 22751
- author: Afrikitty
1:59
George Frideric Handel: Samson - Making of
This making of about the great oratorio "Samson" from Georg Frideric Handel shows some imp...
published: 13 Jan 2009
author: carusverlag
George Frideric Handel: Samson - Making of
This making of about the great oratorio "Samson" from Georg Frideric Handel shows some impressions of the live production in the Frauenkirche Dresden with Nicholas McGegan, outstanding soloists, the NDR Choir and the Festspielorchester Göttingen.
- published: 13 Jan 2009
- views: 6561
- author: carusverlag
3:56
George Frederic Handel - 'Comfort Ye My People' from "The Messiah"
Performed by the London Philharmonic Orchestra and Chorus....
published: 22 Oct 2008
author: Op139
George Frederic Handel - 'Comfort Ye My People' from "The Messiah"
Performed by the London Philharmonic Orchestra and Chorus.
- published: 22 Oct 2008
- views: 92172
- author: Op139
3:06
Sarah Curlin performing Care Selve (from Atlanta) by George Frideric Handel
Arkansas Tech University Junior Recital 2009: Sarah Elizabeth Curlin...
published: 26 Feb 2009
author: Curlitop04
Sarah Curlin performing Care Selve (from Atlanta) by George Frideric Handel
Arkansas Tech University Junior Recital 2009: Sarah Elizabeth Curlin
- published: 26 Feb 2009
- views: 2144
- author: Curlitop04
149:54
George Frideric Handel. Faramondo. MECencic, P.Jaroussky, X.Sabata. Diego Fasolis. (Full video)
George Frideric Handel (1685 — 1759) Faramondo (opera in 3 acts) Faramondo: Max Emanuel Ce...
published: 20 Feb 2011
author: dark999crow
George Frideric Handel. Faramondo. MECencic, P.Jaroussky, X.Sabata. Diego Fasolis. (Full video)
George Frideric Handel (1685 — 1759) Faramondo (opera in 3 acts) Faramondo: Max Emanuel Cencic (countertenor) Clotilde: Sophie Karthaeuser (soprano) Rosimonda: Marina de Liso (mezzosoprano) Gustavo: In-Sung Sim (bass) Adolfo: Philippo Jaroussky (countetrenor) Gernando: Xavier Sabata (countertenor) Teobaldo: Fulvio Bettini (baritone) Childerico: Terry Wey (countertenor) Orchestra: I Barocchisti Conductor: Diego Fasolis
- published: 20 Feb 2011
- views: 53377
- author: dark999crow
5:30
George Friedrich Handel Recorder Sonata Op.1 No 4 A-minor
I Larghetto II Allegro. Played by me. Dowani CD. Home recording with zoom h2 handy recorde...
published: 06 Sep 2009
author: arsenickcg
George Friedrich Handel Recorder Sonata Op.1 No 4 A-minor
I Larghetto II Allegro. Played by me. Dowani CD. Home recording with zoom h2 handy recorder
- published: 06 Sep 2009
- views: 12181
- author: arsenickcg
3:47
Handel: O care parolette (Orlando), Anne-Kathryn Olsen, soprano & Voices of Music
2011 Young Artists Competition winner Anne-Kathryn Olsen sings Handel's aria "O care parol...
published: 18 Apr 2011
author: Walvis2007
Handel: O care parolette (Orlando), Anne-Kathryn Olsen, soprano & Voices of Music
2011 Young Artists Competition winner Anne-Kathryn Olsen sings Handel's aria "O care parolette" from the opera Orlando (HWV 31). Live video from the Evening with the Stars Concert in San Francisco, April 2011. Featuring (left to right) Sara Usher, Amy Wang, Noah Strick, Rachel Hurwitz and Maxine Nemerovski, baroque violins; Ondine Young and Maria Caswell, baroque violas; Elisabeth Reed, baroque cello; Farley Pearce, violone, Hanneke van Proosdij, harpsichord; David Tayler, archlute. Visit us on the web at www.voicesofmusic.org
- published: 18 Apr 2011
- views: 12259
- author: Walvis2007
4:03
Barry Lyndon - Handel - Sarabande [Music]
Belle musique, Title : George Frederic Handel , Sarabande Handel 's Sarabnande was played ...
published: 30 Dec 2011
author: MrToadfun
Barry Lyndon - Handel - Sarabande [Music]
Belle musique, Title : George Frederic Handel , Sarabande Handel 's Sarabnande was played in the movie " Barry Lyndon " ______________________________________ Now, listen !
- published: 30 Dec 2011
- views: 5703
- author: MrToadfun
9:18
GF Handel - Rinaldo "Cara sposa" Andreas Scholl
George Frideric Handel Rinaldo, HWV 7 "Cara sposa" Rinaldo's aria from act I, sc.7 Premier...
published: 10 Jul 2008
author: civileso
GF Handel - Rinaldo "Cara sposa" Andreas Scholl
George Frideric Handel Rinaldo, HWV 7 "Cara sposa" Rinaldo's aria from act I, sc.7 Premiere Cast, February 24, 1711: Rinaldo: Nicolo Grimaldi, castrato Eustazio: Valentino Urbani, castrato Armida: Elisabetta Pilotti-Schiavonetti, soprano Almirena: Isabella Girardeau, soprano Goffredo: Francesca Vanini-Boschi, contralto Argante: Giuseppe Boschi, bass In this video: Andreas Scholl, countertenor Accademia Bizantina Direction: Ottavio Dantone Live performance from Festival de Musique de Dresde, 12 May, 2008 Rinaldo sings this aria after his fiancee Almirena is abducted by the sorceress Armida. "Rinaldo was first produced at the Queen's (later King's) Theatre in the Haymarket on 24 February 1711. It was Handel's first opera for London, and also the first Italian opera specifically composed for the London stage. The concept of opera as a wholly sung musical drama was still new in Britain, and through the first successful production was an English version of Giovanni Bononcini's Camilla in 1706, the popularity of Italian singers — especially the sensational castrati — swiftly established opera in the Italian language as the standard form. ... Synopsis The action is set at the time of the First Crusade (1096--99). Christian forces led by Goffredo (Godfrey of Bouillon) are laying siege to the city of Jerusalem, held by the Saracen king Argante. With Goffredo are his brother Eustazio and his daughter Almirena, who is in love with the Christian knight Rinaldo. Argante is supported ...
- published: 10 Jul 2008
- views: 96535
- author: civileso
Vimeo results:
0:30
SALTO Systems achieves environmental excellence with ISO 14001
By meeting the ISO 14001 standard, SALTO Systems is able to demonstrate its commitment to ...
published: 24 Jun 2011
author: SALTO Systems
SALTO Systems achieves environmental excellence with ISO 14001
By meeting the ISO 14001 standard, SALTO Systems is able to demonstrate its commitment to achieving both legal and regulatory compliance whilst presenting itself as a forward thinking, environmentally aware business.
ISO 14001, which is an internationally accepted standard, exists to address the balance between maintaining profitability whilst reducing environmental impact.
Javier Roquero, Managing Director of SALTO Systems, says the workforce has worked hard to achieve this environmental accreditation. "From the day SALTO Systems commenced the program, all of our staff have been eagerly involved."
"The realisation of making a difference to the environment was enough of a goal to drive the challenge along. Now, after only 12 months, we can proudly say that we are ISO 14001 certified, which is fantastic achievement by everyone involved," he added.
Marc Handels, Vice President Marketing and Sales of SALTO Systems, commented: “Gaining ISO 14001 accreditation by following strict assessment procedures, demonstrates our commitment and dedication to lowering SALTO System’s impact on the environment. In turn, this accreditation provides our customers with the confidence and assurance that SALTO Systems is an environmentally conscious business.”
“The achievement makes SALTO Systems one of the few companies in our market to have achieved both ISO 9001 and ISO 14001 certifications within such a short time” he concludes.
With the successful award of ISO 14001 certification by Lloyd’s Register Quality Assurance; the company aims to further strengthen its standards of sustainability. By integrating improved environmental and ecological processes into its existing management system, internal processes and organisation will be enhanced and optimised accordingly.
4:59
Farid Bang - PUSHER [ OFFICIAL HQ VIDEO ]
Amazon-Edition: http://www.amazon.de/dp/B006515K4O
der offizielle BANGER SHOP jetzt onlin...
published: 22 Jan 2012
author: BangerChannel
Farid Bang - PUSHER [ OFFICIAL HQ VIDEO ]
Amazon-Edition: http://www.amazon.de/dp/B006515K4O
der offizielle BANGER SHOP jetzt online!!! http://www.faridbang-shop.de
offizielles Video von Farid Bang zu PUSHER
das Video wurde produziert von http://www.streetcinema.tv/
der Beat wurde von JUH DEE produziert
http://www.facebook.com/streetcinema.tv
PUSHER APPAREL - http://www.pusher-apparel.com/
http://www.facebook.com/PusherApparel
Facebook: http://www.facebook.com/faridbang
Amazon-Edition: http://www.amazon.de/dp/B006515K4O
Standard-Edition: http://www.amazon.de/dp/B006515K6C
iTunes: http://itunes.apple.com/de/preorder/der-letzte-tag-deines-lebens/id496605408
Homepage: http://www.faridbang.com
Live on Tour 2012: http://www.eventim.de/farid-bang
am 27. - JANUAR - 2012 erscheint das 4. Studioalbum DER LETZTE TAG DEINES LEBENS von Farid Bang im Handel!
3:41
Die Troglauer Buam - Der Haberfeldtreiber
Da ist es also nun. Das Video zu unserer Single "Haberfeldtreiber". Ab 10.September als Do...
published: 10 Sep 2010
author: TroglauerBuam
Die Troglauer Buam - Der Haberfeldtreiber
Da ist es also nun. Das Video zu unserer Single "Haberfeldtreiber". Ab 10.September als Download überall erhältlich und ab 01.Oktober auch als CD im Handel! Viel Spaß!
4:00
Private Affair
Film by Bell Soto
Starring : Kim Willecke, Laura Forman, Zack Zublena
Editors : Bell Soto ...
published: 17 Nov 2011
author: Bell Soto
Private Affair
Film by Bell Soto
Starring : Kim Willecke, Laura Forman, Zack Zublena
Editors : Bell Soto + Simon Schwarz
Stylist : Alejandra Hernandez
Music by Leonardo Glovibes
Un Anno D'Amore ( Alberto Testa, Mina )
Remixed by :
Simone Vitullo , Sebastian Mauro , Leonardo Glovibes
performed by Lady Vale
Music : George Fredrick Handel : "E Vivo ancora?....Scherza, Infida" Arionte.
Make up : Pavy Olivarez
Hair : Riad Azar
Casting Director : Robert Cunard
Consulting : Riad Azar
Special thanks to Moritz at KULT
Produced by No-Name Producctions
Youtube results:
3:17
Entrance of the Queen of Sheba - George Frideric Handel (Cover)
Suffolk County Music Educators Association All-County Division II 2010 concert performance...
published: 10 Jul 2010
author: kmagpie13
Entrance of the Queen of Sheba - George Frideric Handel (Cover)
Suffolk County Music Educators Association All-County Division II 2010 concert performance.
- published: 10 Jul 2010
- views: 1372
- author: kmagpie13
4:41
Handel - Theodora "New scenes of joy" Anne Sofie von Otter
George Frideric Handel "New Scenes of Joy" Theodora, HWV 68 Irene's aria from act III, sc....
published: 23 May 2008
author: civileso
Handel - Theodora "New scenes of joy" Anne Sofie von Otter
George Frideric Handel "New Scenes of Joy" Theodora, HWV 68 Irene's aria from act III, sc.3 Libretto by Thomas Morell opera.stanford.edu In this recording: Anne Sofie von Otter Orchestre et Choeur du Concert d'Astrée Emmanuelle Haim (conductor) Live performance, 19 October 2006, Théâtre des Champs-Elysées, Paris www.operatoday.com Geraldine McGreevy: Theodora Anne Sofie von Otter: Irene Stephen Wallace: Dydimus Paul Agnew: Septimius Matthew Rose: Valens Orchestre et choeur du Concert d'Astrée, Emmanuelle Haïm (dir.) From wikipedia (in part): en.wikipedia.org "Theodora, HWV 68, is an oratorio in three acts by George Frideric Handel, set to an English libretto by Thomas Morell. The oratorio concerns the Christian martyr Flavia Maximiana Theodora and her Christian-converted Roman lover, Didymus. Handel wrote Theodora during his last period of composition. He was sixty-four years old when he began working on it in June 1749. He had written the oratorios Solomon and Susanna the previous year. Theodora would be his second-to-last oratorio. ... Theodora differs from the former two oratorios because it is a tragedy, ending in the death of the heroine and her converted lover. The music is much more direct than the earlier works, transcending the mediocrity of the libretto (which was true for several of Handel's works) so that the characters and the drama are well-defined. ... Handel finished the oratorio on 31 July 1749, and its premiere was on 16 March 1750. Pityingly, Theodora ...
- published: 23 May 2008
- views: 8914
- author: civileso
6:02
Prom Palace - Zadok the Priest - Handel
George Frideric Handel's Coronation Anthem: Zadok the Priest - performed at the Queen's Co...
published: 18 Jan 2008
author: RupertJones
Prom Palace - Zadok the Priest - Handel
George Frideric Handel's Coronation Anthem: Zadok the Priest - performed at the Queen's Concerts, Buckingham Palace for her Majesty the Queen during her Golden Jubilee in 2002 - BBC Symphony Orchestra and Symphony Chorus conducted by Sir Andrew Davis
- published: 18 Jan 2008
- views: 280853
- author: RupertJones
143:48
Handel Messiah, by London Symphony Orchestra & Sir Colin Davis 1966
George Frideric Handel (1685-1759) The Messiah Oratorio -- complete. Heather Harper (sopra...
published: 24 Jul 2012
author: josephfrederic1
Handel Messiah, by London Symphony Orchestra & Sir Colin Davis 1966
George Frideric Handel (1685-1759) The Messiah Oratorio -- complete. Heather Harper (soprano) Helen Watts (contralto) John Wakefield (tenor) John Shirley-Quirk (bass) Ralph Downes (organ) Leslie Pearson (harpsichord) William Lang (trumpet)si London Symphony Orchestra and Chorus, conducted by Sir Colin Davis. Let me say at once, notwithstanding any qualifications, that I haven't enjoyed any performance of Messiah --live, radio, or record -- half as much as this one for 20 years or so, since the dawnings of my musical sophistication. I put this subjectively, because I don't think everyone will feel the same. This not a traditional Messiah. It is a modern one, by which I mean that it is one which sweeps away the late eighteenthand the nineteenth-century glosses and aims at a performing style as near to Handel's as can be (though occasionally the aim is, I think, a little off-centre -- but more of that below). Of course, we can never quite return to Messiah as Handel gave it in Dublin in 1742 or at the Foundling Hospital in the 1750s: first, it is impossible totally to recapture the performing conventions of those days; second, performances with 25 singers and an orchestra of 35 wouldn't be generally acceptable nowadays -- and in a sense rightly, for instruments and vocal techniques have changed, and merely to use the numbers Handel used (and evidently preferred) would not give us the sound he heard. This new version has an orchestra of 31 strings, two oboes, two bassoons ...
- published: 24 Jul 2012
- views: 29258
- author: josephfrederic1
48:47
Part 1 HANDEL MESSIAH on period instruments Westchester Oratorio Society Benjamin Niemczyk
PART 1 Handel Messiah, complete on period instruments Westchester Oratorio Society REBEL B...
published: 18 Jul 2012
author: westchesteroratorio
Part 1 HANDEL MESSIAH on period instruments Westchester Oratorio Society Benjamin Niemczyk
PART 1 Handel Messiah, complete on period instruments Westchester Oratorio Society REBEL Baroque Orchestra Benjamin Niemczyk, Conductor Nell Snaidas, Soprano Hai-Ting Chin, Alto Daniel Neer, Tenor Raymond Diaz, Bass
- published: 18 Jul 2012
- views: 3158
- author: westchesteroratorio
149:54
George Frideric Handel. Faramondo. MECencic, P.Jaroussky, X.Sabata. Diego Fasolis. (Full video)
George Frideric Handel (1685 — 1759) Faramondo (opera in 3 acts) Faramondo: Max Emanuel Ce...
published: 20 Feb 2011
author: dark999crow
George Frideric Handel. Faramondo. MECencic, P.Jaroussky, X.Sabata. Diego Fasolis. (Full video)
George Frideric Handel (1685 — 1759) Faramondo (opera in 3 acts) Faramondo: Max Emanuel Cencic (countertenor) Clotilde: Sophie Karthaeuser (soprano) Rosimonda: Marina de Liso (mezzosoprano) Gustavo: In-Sung Sim (bass) Adolfo: Philippo Jaroussky (countetrenor) Gernando: Xavier Sabata (countertenor) Teobaldo: Fulvio Bettini (baritone) Childerico: Terry Wey (countertenor) Orchestra: I Barocchisti Conductor: Diego Fasolis
- published: 20 Feb 2011
- views: 56345
- author: dark999crow
20:14
Georg Friedrich Händel "Concerto grosso Op 6 No 11"
Concerto grosso Op 6 No 11 in A Major by Georg Friedrich Händel 1. Andante:Larghetto e sta...
published: 20 May 2011
author: gioiellidellamusica
Georg Friedrich Händel "Concerto grosso Op 6 No 11"
Concerto grosso Op 6 No 11 in A Major by Georg Friedrich Händel 1. Andante:Larghetto e staccato 2. Allegro 3. Largo e staccato 4. Andante 5. Allegro Camerata Romana
- published: 20 May 2011
- views: 83365
- author: gioiellidellamusica
118:53
God Rot Tunbridge Wells - The Life Of Georg Frederic Handel
George Frideric Handel - God Rot Tunbridge Wells - The Life Of Georg Frederic Handel compl...
published: 17 Jun 2012
author: Erepus
God Rot Tunbridge Wells - The Life Of Georg Frederic Handel
George Frideric Handel - God Rot Tunbridge Wells - The Life Of Georg Frederic Handel complete
- published: 17 Jun 2012
- views: 1451
- author: Erepus
86:32
George Frideric Handel Music for the Royal Fireworks and Water Music with Orpheus Chamber Orchestra
George Frideric Handel who lived from 1685-1759 composed for the court of King George the ...
published: 12 Feb 2012
author: Jared Routson
George Frideric Handel Music for the Royal Fireworks and Water Music with Orpheus Chamber Orchestra
George Frideric Handel who lived from 1685-1759 composed for the court of King George the first Music for the Royal Fireworks and the Water Music. These songs are available on youtube itself in its video editor section but the music found in the back ground is performed on the cd of 1992 Deutsche Grammophon by the Orpheus Chamber Orchestra. Skyrim is a videogame previously of the Elder Scrolls series and has had numerous actors participate from Patrick Steward to Linda Carter. These trademarks in no way promote, endorse, or recommend these videos or 1607Link. Written permission is available to remove part or all of a video on 1607Link. Some songs have been repeated to the same image, this would require some more footage but all the footage used here in is on other peoples youtube sites of there own footage of skyrim for sketchng and other purposes. Some of the images put into music here in were mostly stumbled upon by accident. The Creative process is a wonderful method when it is by chance.
- published: 12 Feb 2012
- views: 842
- author: Jared Routson
53:48
Handel's Messiah:The Biblical Message Behind The Musical Masterpiece (NEW FULL LENGTH)
George Frideric Handel's musical masterpiece MESSIAH, illustrated with beautiful motion pi...
published: 31 Oct 2011
author: 4Biblestudents
Handel's Messiah:The Biblical Message Behind The Musical Masterpiece (NEW FULL LENGTH)
George Frideric Handel's musical masterpiece MESSIAH, illustrated with beautiful motion pictures and short narrative between the songs to tell the Biblical story behind the music. This presentation emphasizes the purpose of Jesus' life, death and resurrection. Features The Academy of Ancient Music, Christopher Hogwood conductor, and the Smithsonian Chamber Players. 54 minutes. A DVD of this film is available for $6. Call 614-882-2126, or go to www.biblestudents.com Associated Bible Students of Central Ohio
- published: 31 Oct 2011
- views: 41091
- author: 4Biblestudents
22:26
330pm Kamiak Messiah 2011 Selections from George Frideric Handel's Messiah
...
published: 14 Dec 2011
author: Sam Freeman
330pm Kamiak Messiah 2011 Selections from George Frideric Handel's Messiah
- published: 14 Dec 2011
- views: 830
- author: Sam Freeman
143:48
Handel Messiah, by London Symphony Orchestra & Sir Colin Davis 1966
George Frideric Handel (1685-1759) The Messiah Oratorio -- complete. Heather Harper (sopra...
published: 24 Jul 2012
author: josephfrederic1
Handel Messiah, by London Symphony Orchestra & Sir Colin Davis 1966
George Frideric Handel (1685-1759) The Messiah Oratorio -- complete. Heather Harper (soprano) Helen Watts (contralto) John Wakefield (tenor) John Shirley-Quirk (bass) Ralph Downes (organ) Leslie Pearson (harpsichord) William Lang (trumpet)si London Symphony Orchestra and Chorus, conducted by Sir Colin Davis. Let me say at once, notwithstanding any qualifications, that I haven't enjoyed any performance of Messiah --live, radio, or record -- half as much as this one for 20 years or so, since the dawnings of my musical sophistication. I put this subjectively, because I don't think everyone will feel the same. This not a traditional Messiah. It is a modern one, by which I mean that it is one which sweeps away the late eighteenthand the nineteenth-century glosses and aims at a performing style as near to Handel's as can be (though occasionally the aim is, I think, a little off-centre -- but more of that below). Of course, we can never quite return to Messiah as Handel gave it in Dublin in 1742 or at the Foundling Hospital in the 1750s: first, it is impossible totally to recapture the performing conventions of those days; second, performances with 25 singers and an orchestra of 35 wouldn't be generally acceptable nowadays -- and in a sense rightly, for instruments and vocal techniques have changed, and merely to use the numbers Handel used (and evidently preferred) would not give us the sound he heard. This new version has an orchestra of 31 strings, two oboes, two bassoons ...
- published: 24 Jul 2012
- views: 83428
- author: josephfrederic1
22:42
1pm Kamiak Messiah 2011 - Selections from George Frideric Handel's Messiah
1pm Kamiak Messiah 2011 - Selections from George Frideric Handel's Messiah...
published: 14 Dec 2011
author: Sam Freeman
1pm Kamiak Messiah 2011 - Selections from George Frideric Handel's Messiah
1pm Kamiak Messiah 2011 - Selections from George Frideric Handel's Messiah
- published: 14 Dec 2011
- views: 297
- author: Sam Freeman
25:01
The Best Movements of George Frideric Handel (1685-1759) - Excerpts
climaxworks.mine.nu George Frideric Handel (1685-1759) - A collection of the best classica...
published: 13 Oct 2012
author: Agustin Vieira
The Best Movements of George Frideric Handel (1685-1759) - Excerpts
climaxworks.mine.nu George Frideric Handel (1685-1759) - A collection of the best classical music ever made, compiled in 60 volumes or separately in each composer. Digitally remastered to provide a higher quality of entertainment for all music lovers.
- published: 13 Oct 2012
- views: 592
- author: Agustin Vieira
29:45
Handel: An Occasional Oratorio HWV 62 (1746): XIII-XXI
George Frideric Handel (1685-1759) XIII: Act 1 No. 9. Aria: Fly from the Threat'ning Venge...
published: 14 Jul 2011
author: SimplyBaroque
Handel: An Occasional Oratorio HWV 62 (1746): XIII-XXI
George Frideric Handel (1685-1759) XIII: Act 1 No. 9. Aria: Fly from the Threat'ning Vengeance, Fly! (Soprano) XIV: Act 1 No. 10. Accompagnato: Humbled With Fear (Bass) XV: Act 1 No. 11. Aria: His Sceptre Is the Rod of Righteousness (Bass) XVI: Act 1 No. 12. Aria: Be Wise, Be Wise At Length (Soprano) XVII: Act 1 No. 13. Chorus: Be Wise, Be Wise At Length XVIII: Act 1 No. 14. Recitative: Of Many Millions the Populous Rout (Tenor) XIX: Act 1 No. 15. Aria: Jehovah Is My Shield, My Glory (Tenor) XX: Act 1 No. 16. Recitative: Fools and Madmen Stand Not Within (Bass) XXI: Act 1 No. 17. Chorus: God Found Them Guilty The King's Consort - Robert King Choir of The King's Consort Choir of New College Oxford Susan Gritton (Soprano) Lisa Milne (Soprano) James Bowman (Countertenor) John Mark Ainsley (Tenor) Michael George (Bass) An Occasional Oratorio (HWV 62) is an oratorio by George Frideric Handel, based upon a libretto by Newburgh Hamilton after the poetry of John Milton and Edmund Spenser. Handel composed the Occasional Oratorio hastily in January and February of 1746 and premiered it immediately on 14 February 1746. It contains 44 movements split over three parts. The famous chorus "Prepare the Hymn" (a paraphrase of Psalm 81:1-2) is the 26th movement and appears in the second part. The second minuet from the Music for the Royal Fireworks was reused from this oratorio. Act 1 No. 9. Aria: Fly from the threat'ning vengeance, fly! Ere 'tis too-late, Avoid your fate, The bolt once ...
- published: 14 Jul 2011
- views: 6814
- author: SimplyBaroque
192:10
George Friedrich Handel - Tamerlano
Georg Friedrich Händel Tamerlano, HWV 18 Oper in 3 Akten Tamerlano - Monica Bacelli Bajaze...
published: 16 Oct 2012
author: Gloria Plenna
George Friedrich Handel - Tamerlano
Georg Friedrich Händel Tamerlano, HWV 18 Oper in 3 Akten Tamerlano - Monica Bacelli Bajazet - Thomas Randle Andronicus - Graham Pushee Irene - Anna Bonitatibus Asteria - Elisabeth Norberg-Schulz Leone - Antonio Abete The English Concert Trevor Pinnock, Conductor
- published: 16 Oct 2012
- views: 341
- author: Gloria Plenna
103:31
HANDEL - ACIS AND GALATEA - WALTER GOEHR ( 1951 ) VINYL
GEORGE FRIDERIC HANDEL ACIS AND GALATEA Margaret Ritchie - Richard Lewis - Trevor Anthony ...
published: 22 Jun 2012
author: RIRRATTO
HANDEL - ACIS AND GALATEA - WALTER GOEHR ( 1951 ) VINYL
GEORGE FRIDERIC HANDEL ACIS AND GALATEA Margaret Ritchie - Richard Lewis - Trevor Anthony - William Herbert Choir and Orchestra of the Handel Society Direction WALTER GOEHR enregistré en 1951 Vinyl Concert Hall
- published: 22 Jun 2012
- views: 453
- author: RIRRATTO
Vimeo results:
0:30
SALTO Systems achieves environmental excellence with ISO 14001
By meeting the ISO 14001 standard, SALTO Systems is able to demonstrate its commitment to ...
published: 24 Jun 2011
author: SALTO Systems
SALTO Systems achieves environmental excellence with ISO 14001
By meeting the ISO 14001 standard, SALTO Systems is able to demonstrate its commitment to achieving both legal and regulatory compliance whilst presenting itself as a forward thinking, environmentally aware business.
ISO 14001, which is an internationally accepted standard, exists to address the balance between maintaining profitability whilst reducing environmental impact.
Javier Roquero, Managing Director of SALTO Systems, says the workforce has worked hard to achieve this environmental accreditation. "From the day SALTO Systems commenced the program, all of our staff have been eagerly involved."
"The realisation of making a difference to the environment was enough of a goal to drive the challenge along. Now, after only 12 months, we can proudly say that we are ISO 14001 certified, which is fantastic achievement by everyone involved," he added.
Marc Handels, Vice President Marketing and Sales of SALTO Systems, commented: “Gaining ISO 14001 accreditation by following strict assessment procedures, demonstrates our commitment and dedication to lowering SALTO System’s impact on the environment. In turn, this accreditation provides our customers with the confidence and assurance that SALTO Systems is an environmentally conscious business.”
“The achievement makes SALTO Systems one of the few companies in our market to have achieved both ISO 9001 and ISO 14001 certifications within such a short time” he concludes.
With the successful award of ISO 14001 certification by Lloyd’s Register Quality Assurance; the company aims to further strengthen its standards of sustainability. By integrating improved environmental and ecological processes into its existing management system, internal processes and organisation will be enhanced and optimised accordingly.
4:59
Farid Bang - PUSHER [ OFFICIAL HQ VIDEO ]
Amazon-Edition: http://www.amazon.de/dp/B006515K4O
der offizielle BANGER SHOP jetzt onlin...
published: 22 Jan 2012
author: BangerChannel
Farid Bang - PUSHER [ OFFICIAL HQ VIDEO ]
Amazon-Edition: http://www.amazon.de/dp/B006515K4O
der offizielle BANGER SHOP jetzt online!!! http://www.faridbang-shop.de
offizielles Video von Farid Bang zu PUSHER
das Video wurde produziert von http://www.streetcinema.tv/
der Beat wurde von JUH DEE produziert
http://www.facebook.com/streetcinema.tv
PUSHER APPAREL - http://www.pusher-apparel.com/
http://www.facebook.com/PusherApparel
Facebook: http://www.facebook.com/faridbang
Amazon-Edition: http://www.amazon.de/dp/B006515K4O
Standard-Edition: http://www.amazon.de/dp/B006515K6C
iTunes: http://itunes.apple.com/de/preorder/der-letzte-tag-deines-lebens/id496605408
Homepage: http://www.faridbang.com
Live on Tour 2012: http://www.eventim.de/farid-bang
am 27. - JANUAR - 2012 erscheint das 4. Studioalbum DER LETZTE TAG DEINES LEBENS von Farid Bang im Handel!
3:41
Die Troglauer Buam - Der Haberfeldtreiber
Da ist es also nun. Das Video zu unserer Single "Haberfeldtreiber". Ab 10.September als Do...
published: 10 Sep 2010
author: TroglauerBuam
Die Troglauer Buam - Der Haberfeldtreiber
Da ist es also nun. Das Video zu unserer Single "Haberfeldtreiber". Ab 10.September als Download überall erhältlich und ab 01.Oktober auch als CD im Handel! Viel Spaß!
4:00
Private Affair
Film by Bell Soto
Starring : Kim Willecke, Laura Forman, Zack Zublena
Editors : Bell Soto ...
published: 17 Nov 2011
author: Bell Soto
Private Affair
Film by Bell Soto
Starring : Kim Willecke, Laura Forman, Zack Zublena
Editors : Bell Soto + Simon Schwarz
Stylist : Alejandra Hernandez
Music by Leonardo Glovibes
Un Anno D'Amore ( Alberto Testa, Mina )
Remixed by :
Simone Vitullo , Sebastian Mauro , Leonardo Glovibes
performed by Lady Vale
Music : George Fredrick Handel : "E Vivo ancora?....Scherza, Infida" Arionte.
Make up : Pavy Olivarez
Hair : Riad Azar
Casting Director : Robert Cunard
Consulting : Riad Azar
Special thanks to Moritz at KULT
Produced by No-Name Producctions
Youtube results:
158:10
Georg Friedrich Handel - The Messiah - Collin Davies
Handel - The Messiah Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Te...
published: 14 Jun 2012
author: Clara Schumann
Georg Friedrich Handel - The Messiah - Collin Davies
Handel - The Messiah Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir performing Handel's Messiah Tthe London Symphony Orchestra Sir Colin Davis, Conductor
- published: 14 Jun 2012
- views: 26083
- author: Clara Schumann
227:58
Menuhin 22-04-1916 12-03-1999 Purcell Handel and muh more.wmv
- Sonata no. 09, violins (2), bass viol & continuo, F Major Z 810 [Henry Purcell] - Sonata...
published: 22 Apr 2012
author: mightysmeagol
Menuhin 22-04-1916 12-03-1999 Purcell Handel and muh more.wmv
- Sonata no. 09, violins (2), bass viol & continuo, F Major Z 810 [Henry Purcell] - Sonata, violins (2) & continuo, g minor Op. 2 No. 8 HWV 393 [George F. Handel] - Duo, violins (2), G Major [Giovanni Battista Viotti] - Il cimento dell'armonia e dell'inventione, no. 11, D Major Op. 8 No. 11 RV 210 [Antonio Vivaldi] - Concertone, violins (2) & orchestra, C Major KV 190 , 186e [Wolfgang A. Mozart] - Concerto, violin, B-Flat Major [George Frideric Handel] - Sonata, violin & continuo, A Major Op. 1 No. 3 HWV 361 [George Frideric Handel] - Sonata, violin & continuo, g minor Op. 1 No. 10 HWV 368 [George Frideric Handel] - Sonata, violin & continuo, F Major Op. 1 No. 12 HWV 370 [George Frideric Handel] - Sonata, violin & continuo, D Major Op. 1 No. 13 HWV 371 [George Frideric Handel] - Sonata, violin & continuo, A Major Op. 1 No. 14 HWV 372 [George Frideric Handel] - Sonata, violin & continuo, E Major Op. 1 No. 15 HWV 373 [George Frideric Handel] - Sonata in 3 parts, no. 08, violins (2), bass viol & continuo, G Major Z 797 [Henry Purcell] - Fantasia, no. 04, viols (4), g minor Z 735 [Henry Purcell] - Fantasia, no. 08, viols (4), d minor Z 739 [Henry Purcell] - Sonata in 4 parts, no. 06, violins (2), bass viol & continuo, g minor Z 807 [Henry Purcell] - Sonata in 3 parts, no. 06, violins (2), bass viol & continuo, C Major Z 795 [Henry Purcell] - Fantasia, no. 07, viols (4), c minor Z 738 [Henry Purcell] - Fantasia, viols (5), F Major Z 745 [Henry Purcell] - Sonata, violin ...
- published: 22 Apr 2012
- views: 1924
- author: mightysmeagol
103:41
Handel: Oratorio arias: Part I ( HWV. 46-57)
George Frideric Handel (23 February 1685-14 April 1759) I. Cecilia Bartoli: Un pensiero ne...
published: 26 Oct 2012
author: GilPiotr
Handel: Oratorio arias: Part I ( HWV. 46-57)
George Frideric Handel (23 February 1685-14 April 1759) I. Cecilia Bartoli: Un pensiero nemico di pace 00:00 II. Cecilia Bartoli: Come nembo che fugge col vento 03:57 III. Cecilia Bartoli: Lascia la spina 09:08 IV. Cecilia Bartoli: Disserratevi, o porte d'averno 15:06 V. Cecilia Bartoli: Notte, notte funesta...Ferma l'ali 19:50 VI. James Bowman: All danger disdaining, for battle I glow 27:19 VII. Joan Sutherland: My engeance awakes me 31:31 VIII. Andreas Scholl: O lord, whose mercies numberless 36:28 IX. Andreas Scholl: Such haughty Beauties 42:08 X. Grace Bumbry: Their land brought forth frogs 46:03 XI. Grace Bumbry: Thou shalt bring them in 48:22 XII. Arleen Auger: Rejoice greatly, O daughter of Zion 51:39 XIII. Arleen Auger: But thou didst not leave his soul 56:28 XIV. Arleen Auger: I know that my Redeemer liveth 58:36 XV. Anne Sofie von Otter: He was despiesed 01:05:18 XVI. Anne Sofie von Otter: If God be for us 01:18:33 XVII. Michael Chance: But who may abide the day of his coming 01:23:14 XVIII. Joan Sutherland: With plaintive note 01:27:59 XIX. Joan Sutherland: Let the bright Seraphim 01:33:15 XX. Kathleen Ferrier: Return, o god of hosts 01:39:11 Handel: Oratorio arias: Part II ( HWV. 58-71): www.youtube.com An oratorio is a large musical composition including an orchestra, a choir, and soloists. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias. However, opera is musical theatre, while ...
- published: 26 Oct 2012
- views: 575
- author: GilPiotr
24:36
Kathleen Ferrier - sings George Frideric Händel
Händel - Return O God of Hosts from Samson ; Father of Heaven from Judas Maccabaeus ; O Th...
published: 09 Jul 2012
author: goturhjem2
Kathleen Ferrier - sings George Frideric Händel
Händel - Return O God of Hosts from Samson ; Father of Heaven from Judas Maccabaeus ; O Thou that tellest good tidings and He was despised from Messiah Kathleen Ferrier, contralto; London Philharmonic Orchestra; Adrian Boult, conductor. Production notes:"The historic performances of 7th & 8th October, 1952, recreated in stereo." Publisher: London : Decca, 1960. Series: The world of the great classics.
- published: 09 Jul 2012
- views: 242
- author: goturhjem2
photo: US Navy / HMC Josh Ives
27 Dec 2012
Imperial adventures are nothing new in the Middle East. Neither is their glorification, as Peter O’Toole’s pained Lawrence of Arabia eternally reminds us. But for a decade or so now, things have been heating up, as if to coincide with climate change and fears of declining petroleum reserves ... The Belly for Belligerence? ... The question loomed over beltway intelligentsia like an ephemeral Gordian knot ... We’re All Hawks Now ... While George W ... ....(size: 9.3Kb)
photo: WN / Janice Sabnal
27 Dec 2012
Washington. Six people, including two young children, were left dead in weather-related accidents, as winter snowstorms complicated travel for many Americans in the Midwest and Northeast on Wednesday. Snow totals in parts of Indiana ranged from 6 to 12 inches, CNN reported. About 350 snowploughs were clearing roads throughout the city. New York Gov. Andrew Cuomo told residents they should avoid nonessential travel ... IANS ... ....(size: 2.2Kb)
photo: AP / Altaf Qadri
29 Dec 2012
Police in India have sealed off much of the capital, Delhi, and issued an appeal for calm after the death of a woman who was gang-raped in the city. The 23-year old woman, who has not been identified, died early on Saturday at a hospital in Singapore, where she had been taken for specialist treatment. Her body is to be flown back to India for burial ... Gatherings of more than five people have been banned in the city centre ... ....(size: 4.9Kb)
photo: AP / Ben Curtis
28 Dec 2012
The president of Central African Republic (CAR) has urgently called on France and other foreign powers to help his government fend off rebels who are quickly seizing territory and approaching the capital. Speaking to crowds in Bangui, a city of some 600,000, Francois Bozize on Thursday pleaded with foreign powers to do what they could. He pointed in particular to France, Central African Republic's former colonial ruler ... 516 Share ... News ... ....(size: 19.5Kb)
photo: AP / K.M.Chaudary
27 Dec 2012
Large crowds of Pakistan People's Party (PPP) supporters are gathering to mark the fifth anniversary of the murder of ex-Prime Minister Benazir Bhutto. Ms Bhutto died in a gun and bomb attack during her 2007 election campaign. Hundreds of thousands of people have set up camp near the Bhutto family's ancestral home in Sindh province ... He cannot contest an election until his 25th birthday. Show of strength ... ....(size: 2.4Kb)
The Columbus Dispatch
29 Dec 2012
Television News. Current home-delivery subscribers may add Digital D, 24/7 E-Edition and unlimited premium Dispatch.com access, for a . Or, you can choose a digital-only subscription for unlimited access to the E-Edition via computer and iPad. Drew Barrymore ... Musica Sacra — works by Bruckner, Handel, Haydn and Monteverdi ... ....(size: 3.9Kb)
The Examiner
29 Dec 2012
Normal. 0. false. false. false. EN-US. X-NONE. X-NONE. /* Style Definitions */. table.MsoNormalTable. {mso-style-name."Table Normal";. mso-tstyle-rowband-size.0;. mso-tstyle-colband-size.0;. mso-style-noshow.yes;. mso-style-priority.99;. mso-style-qformat.yes;. mso-style-parent."";. mso-padding-alt.0in 5.4pt 0in 5.4pt; ... Audience favorite, Natalie Dessay joins countertenor David Daniels in a new production of Handel’s “Giulio Cesare” in April ... ....(size: 2.8Kb)
Standart News
28 Dec 2012
Business Wire
28 Dec 2012
. With reference to Chapter 4 Section 9 in ”lagen (1991.980) om handel med finansiella instrument” it’s hereby announced that through the subscription by exercise of options in Aerocrine (STO.AERO-B) the number of shares and votes in Aerocrine has increased during December 2012 as specified in the table below ... Solna December 28, 2012 ... ....(size: 4.9Kb)
The Australian
28 Dec 2012
THE Beatles released their first hit single, Love Me Do, a little more than 50 years ago, in October 1962 ... "Above us only sky"). Have we now placed him among the greatest English composers and musicians of all time - say, Dunstable, Tallis, Byrd, Purcell, Handel, Elgar and Britten? Will history's verdict be that Lennon truly deserves to rub shoulders with these geniuses, or was he an accomplished craftsman with a pretty face? ... Login ... ....(size: 7.8Kb)
The New York Times
28 Dec 2012
Connect With Us on Twitter. Follow @nytimesarts for arts and entertainment news. Arts Twitter List. Critics, Reporters and Editors ... WAKIN. BROADWAY ... Mr ... Early music flourishes in New York most abundantly in December, with works written for the winter feasts and holidays over the centuries and — paradoxically — with countless presentations of Handel’s “Messiah,” which was written for performance in the spring ... ....(size: 14.0Kb)
MSNBC
27 Dec 2012
“That's going to leave a nongaming economic impact of about $210 million on our economy just for that one night,” LVCVA spokesman Jeremy Handel said. New Year's Eve tourists will trickle in over the next few days, Handel said ... through New Year's Day,” said Handel. According to Handel, hotels for the holiday could be filled 90 percent or more....(size: 1.9Kb)
Reuters
27 Dec 2012
Q. Is it true, then, that the voice improves with time?. A ... Q ... A ... There's still mystery.". Q ... A ... Q. Your concert recital earlier this month singing Handel, Rossini and Mozart with Daniel Barenboim conducting at La Scala in Milan, with a chorus of boos and whistles in the second half, was perhaps less of a success?. A ... The concert was magnificent - Handel, Mozart, Rossini - and then I believe at the very end there was a very Fellinian situation....(size: 4.1Kb)
The Examiner
27 Dec 2012
Each of these has its own value ... Lest anyone think I am biased against New York, however, I also acknowledged the performance of George Frideric Handel’s Israel in Egypt by the Trinity Baroque Orchestra and Trinity Choir Wall Street, along with a host of excellent soloists, all under the direction of Julian Wachner ... This was the harmonia mundi recording of Handel’s Agrippina under the general direction of René Jacobs ... ....(size: 11.2Kb)
The Washington Post
27 Dec 2012
Christmas and Charles Dickens have gone together at least since the wonderful Dingley Dell chapters of “The Pickwick Papers,” while a somewhat later book, the one with “Carol” in the title, is now as integral to the holiday as Handel’s “Messiah” and last-minute shopping ... the actress Ellen Ternan ... Loading... Comments Weigh In Corrections?. Recommend. Personal Post ... Fathers never change. ....(size: 4.1Kb)
Signon San Diego
27 Dec 2012
Concerts. Reverend Horton Heat. Rock/blues; 9 p.m. Monday; Belly Up Tavern, 143 S. Cedros Ave., Solana Beach; $55-$60;. or (858) 481-8140. The Pointer Sisters. ’70s disco/pop; 8 p.m. Monday; Pechanga Resort & Casino, 45000 Pechanga Parkway, Temecula; $55-$75; (877) 711-2946. Pato Banton. Reggae; 9 p.m. Jan. 4; Belly Up Tavern, 143 S ... or (858) 481-8140 ... Jan ... The Center Chorale presents Handel’s holiday oratorio with the Festival Orchestra; 7.30 p.m....(size: 3.9Kb)
Wall Street Journal
27 Dec 2012
By JOSHUA ROBINSON. From the London Olympics to Euro 2012 to the Ryder Cup, it's been an extraordinary year in European sport. Fans gasped as Sergio Aguero's stoppage-time goal gave Manchester City the Premier League title. They laughed when Usain Bolt did pretty much anything ... While everyone knows that it's adapted from Handel's Zadok the Priest—right?—and that it ends with "The champions!" which other languages are also in the lyrics?....(size: 8.9Kb)
Philadelphia Daily News
26 Dec 2012
It's Handel's Messiah, of course, a piece that could be a year-round classic (Choral Arts Society and Tempesta di Mare will perform it in March) but tends to arrive at the end of the year like a reward ... The strong-minded guest conductor Paul Goodwin (a noted Handel specialist) led Messiah here in 2009 and 2010, and perhaps built on the work he'd ......(size: 18.6Kb)
"Handel" redirects here. For other uses, see Handel (disambiguation).
George Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.
Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.
Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.
Contents |
Early years[link]
Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]
Handel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.
From Halle to Italy[link]
In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.
According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.
Move to London[link]
In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.
In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]
One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.
The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]
Cannons (1717–18)[link]
Main article: Handel at Cannons
In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]
In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]
Royal Academy of Music (1719–34)[link]
Main article: Royal Academy of Music (company)
In May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.
In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.
The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.
Handel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]
Opera at Covent Garden (1734–41)[link]
In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.
In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]
Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]
Oratorio[link]
Main article: List of Handel's Oratorios
Il Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]
It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]
In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.
During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.
The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]
Later years[link]
In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.
In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.
Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]
Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]
Works[link]
- Main articles: List of compositions by George Frideric Handel and List of operas by Handel.
Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.
Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]
Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.
Legacy[link]
Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]
After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.
Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.
Handel's music was studied by composers such as Haydn, Mozart and Beethoven
Recent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.
Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).
Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.
Musician's musician[link]
Handel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".
Homages[link]
After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.
Veneration[link]
Handel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.
He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.
He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.[71]
Media
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Suite I, No. 2 in F Major, HWV 427 – I. Adagio Performed by Ivan Ilić, courtesy of Musopen Suite I, No. 2 in F Major, HWV 427 – II. Allegro Performed by Ivan Ilic, courtesy of Musopen Suite I, No. 2 in F Major, HWV 427 – III. Adagio Performed by Ivan Ilic, courtesy of Musopen Suite I, No. 2 in F Major, HWV 427 – IV. Allegro Performed by Ivan Ilic, courtesy of Musopen Fantasias 8, 12 and Carillon Performed by Sylvia Kind on a harpsichord of the type made in the early 20th century Arrival of the Queen of Sheba Performed by the Advent Chamber Orchestra with Humbert Lucarelli and Edino Biaggi on oboes Organ Concerto – Op. 7 No. 1 – HWV 306 – 1. Andante – 2. Andante Performed by the Advent Chamber Orchestra with organist David Schrader Organ Concerto – Op. 7 No. 1 – HWV 306 – 3. Largo, e piano Performed by the Advent Chamber Orchestra with organist David Schrader Flute Sonata in E minor – 1. Grave Performed by Al Goldstein (flute) and Martha Goldstein (harpsichord) Flute Sonata in E minor – 2. Allegro Performed by Al Goldstein (flute) and Martha Goldstein (harpsichord) Flute Sonata in E minor – 3. Adagio Performed by Al Goldstein (flute) and Martha Goldstein (harpsichord) Flute Sonata in E minor – 4. Allegro Performed by Al Goldstein (flute) and Martha Goldstein (harpsichord) Fitzwilliam Sonata No. 1 The first Fitzwilliam Sonata performed by Alex Murray (flute) and Martha Goldstein (harpsichord) Fitzwilliam Sonata No. 2 Performed by Alex Murray (flute) and Martha Goldstein (harpsichord) Fitzwilliam Sonata No. 3 Performed by Alex Murray (flute) and Martha Goldstein (harpsichord) - Problems listening to the files? See media help.
Editions[link]
Between 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]
The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.
The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.
See also[link]
 |
Book: Georg Friedrich Händel |
| Wikipedia books are collections of articles that can be downloaded or ordered in print. | |
- Handel Reference Database
- Letters and writings of George Frideric Handel
- List of compositions by George Frideric Handel
- List of operas by Handel
- Publications by Friedrich Chrysander
- Valentine Snow
- Will of George Frideric Handel
Notes[link]
- ^ "British Citizen by Act of Parliament: George Frideric Handel". Parliament.uk. 14 April 2009. http://www.parliament.uk/business/publications/parliamentary-archives/archives-highlights/handel-and-naturalisation/. Retrieved 13 April 2012.
- ^ Bukofzer, M. (1983) Music in the Baroque Era. From Monteverdi to Bach, p. 337.
- ^ Deutsch 1955, p. 1
- ^ Adams Aileen, K., Hofestadt, B., "Georg Handel (1622–97): the barber-surgeon father of George Frideric Handel (1685–1759)", Journal of Medical Biography, 2005, Aug; 13(3):142–49.
- ^ National Portrait Gallery, p. 51
- ^ Dent 2004, pp. 3–4
- ^ Friedrich Chrysander states it was not his half-brother but the 10-years older (!) nephew, who had to address George Friedrich as his uncle. zeno.org
- ^ Weissenfels is 34 km south of Halle; a one-way trip on foot would have taken them about seven hours. As they went by coach they travelled faster. For more details see: The life of Handel by Victor Schoelcher, books.google.com
- ^ Keates 1985, pp. 17–18
- ^ Burrows 1994, p. 18
- ^ Burrows 1994, p. 19
- ^ Handel as Orpheus: voice and desire in the chamber cantatas by Ellen T. Harris, books.google.com
- ^ Burrows 1994, pp. 29–30
- ^ Dean & Knapp 1987, p. 129
- ^ Burrows 1994, p. 38
- ^ Dean & Knapp 1987, pp. 173, 180
- ^ National Portrait Gallery, p. 88
- ^ There is a tantalising suggestion by Handel's biographer, Jonathan Keates, that he may have come to London in 1710 and settled in 1712 as a spy for the eventual Hanoverian successor to Queen Anne. news.bbc.co.uk
- ^ National Portrait Gallery, p. 92
- ^ Dean & Knapp 1987, pp. 286
- ^ Burrows 1994, p. 77
- ^ Bukofzer, M. (1983) Music in the Baroque Era. From Monteverdi to Bach, p. 333-35
- ^ Rolland, R. (1910) Händel, p. 54. Beroemde musici. Deel XVIII.
- ^ Dean & Knapp 1987, p. 209
- ^ Deutsch 1955, pp. 70–71
- ^ Handel's Finances, BBC
- ^ Deutsch 1955, p. 89
- ^ Dean 2006, p. 226 According to Dean they could not have reached London before 1716. In 1743, Smith wrote in a letter that he had been in Handel's service for 24 years.
- ^ Burrows 1994, p. 387
- ^ In 2000, the upper stories of 25 Brook Street were leased to the Handel House Trust, and after extensive restoration, the Handel House Museum opened to the public with an events programme of baroque music.
- ^ Deutsch 1955, p. 194
- ^ Imogen Levy (2 June 1953). "Guide to the Coronation Service". Westminster Abbey. http://www.westminster-abbey.org/our-history/royals/coronations/guide-to-the-coronation-service. Retrieved 28 May 2012.
- ^ theatrical monopoly in Banham, Martin The Cambridge guide to theatre pp. 1105 (Cambridge University Press, 1995) ISBN 0-521-43437-8
- ^ Handel's Compositions GFHandel.org, Retrieved 21 December 2007
- ^ Scribd.com[dead link]
- ^ Dent 2004, p. 33
- ^ Dean 2006, pp. 274–284
- ^ Dean 2006, p. 288
- ^ Burrows 1994, p. 395
- ^ Dean 2006, p. 283
- ^ For new insights on this episode, see Ilias Chrissochoidis: "Handel Recovering: Fresh Light on his Affairs in 1737", Eighteenth-Century Music 5/2 (2008): 237–44.
- ^ Marx, J.H. (1998) Händels Oratorien, Oden und Serenaten, p. 243.
- ^ National Portrait Gallery, p. 157
- ^ Larsen 1972, p. 15 Handels Messiah. A distinguished authority on Handel discusses the origins, composition, and sources of one the great choral works of western civilization.
- ^ Larsen 1972, p. 26
- ^ Marx, J.H. (1998) Händels Oratorien, Oden und Serenaten, p. 48.
- ^ Larsen 1972, p. 66
- ^ Larsen 1972, p. 49
- ^ Larsen 1972, p. 40
- ^ Larsen 1972, p. 33
- ^ Larsen 1972, p. 19
- ^ Larsen 1972, p. 37
- ^ National Portrait Gallery, p. 165
- ^ Larsen 1972, pp. 16, 39–41
- ^ Larsen 1972, p. 78
- ^ Dent 2004, pp. 40–41
- ^ Young 1966, p. 48
- ^ Burrows 1994, pp. 354–55
- ^ Burrows 1994, pp. 297–98
- ^ Young 1966, p. 56
- ^ Dent 2004, p. 63
- ^ Young 1966, p. 60
- ^ The Letters and Writings of George Frideric Handel by Erich H. Müller, 1935 (SBN 8369-5286-3)
- ^ a b "Handel as art collector – Thomas McGeary". Em.oxfordjournals.org. 1 February 2012. http://em.oxfordjournals.org/content/37/4/533.full. Retrieved 13 April 2012.
- ^ Textbook in CD Sacred Arias with Harp & Harp Duets by Rachel Ann Morgan & Edward Witsenburg.
- ^ Best, Terence, ed. Handel collections and their history, a collection of conference papers given by the international panel of distinguished Handel scholars. Clarendon Press, 1993
- ^ p 239. Handel, a celebration of his life and times, 1685–1759. Jacob Simon, National Portrait Gallery (Great Britain), 1985.
- ^ "BBC Press Release". Bbc.co.uk. 13 January 2009. http://www.bbc.co.uk/pressoffice/pressreleases/stories/2009/01_january/13/composer6.shtml. Retrieved 13 April 2012.
- ^ Dent 2004, p. 23
- ^ a b Young, Percy Marshall (1 April 1975) [1947]. Handel (Master Musician series). J.M.Dent & Sons. p. 254. ISBN 0-460-03161-9.
- ^ For All the Saints: A Calendar of Commemorations for United Methodists, ed. by Clifton F. Guthrie (Order of Saint Luke Publications, 1995, ISBN:1-878009-25-7) p. 161.
- ^ Winton Dean, The New Grove Handel. NY: Norton, 1982, p. 116. ISBN 0-393-30086-2.
- ^ The Halle Handel Edition. "A short history of editing Handel". http://www.handel-edition.com/history.htm. Retrieved 3 December 2011.
References[link]
- Abraham, Gerald (1954), Handel: a symposium, Oxford University Press
- Burrows, Donald (1994), Handel, Oxford University Press, ISBN 0-19-816470-X
- Burrows, Donald (1997), The Cambridge Companion to Handel, Cambridge University Press, ISBN 0-521-45613-4
- Chrissochoidis, Ilias. "Early Reception of Handel's Oratorios, 1732–1784: Narrative – Studies – Documents" (PhD dissertation, Stanford University, 2004), available through UMI.
- Chrissochoidis, Ilias. "Handel at a Crossroads: His 1737–1738 and 1738–1739 Seasons Re-Examined", Music & Letters 90/4 (November 2009), 599–635.
- Chrissochoidis, Ilias. "Handel, Hogarth, Goupy: Artistic intersections in Handelian biography", Early Music 37/4 (November 2009), 577–596.
- Chrissochoidis, Ilias. "'hee-haw ... llelujah': Handel among the Vauxhall Asses (1732)", Eighteenth-Century Music 7/2 (September 2010), 221–262.
- Dean, Winton; Knapp, John Merrill (1987). Handel's Operas, 1704–1726. Oxford: Clarendon Press. ISBN 0-19-816441-6.
- Dean, Winton (2006). Handel’s Operas, 1726–1741. The Boydell Press. http://www.boydell.co.uk/43832682.HTM.
- Deutsch, Otto Erich (1955). Handel: A Documentary Biography.
- Dent, Edward Joseph (2004). Handel. R A Kessinger Publishing. ISBN 1-4191-2275-4.
- Frosch, W.A., The "case" of George Frideric Handel, New England Journal of Medicine, 1989; 321:765–769, 14 September 1989. content.nejm.org
- Harris, Ellen T. (general editor) The librettos of Handel's operas: a collection of seventy librettos documenting Handel's operatic career New York: Garland, 1989. ISBN 0-8240-3862-2
- Harris, Ellen T. Handel as Orpheus. Voice and Desire in the Chamber Cantatas Harvard University Press, 2001. ISBN 0-674-00617-8
- Hogwood, Christopher. Handel. London: Thames and Hudson, 1984. ISBN 0-500-01355-1
- Keates, Jonathan. Handel, the man and his music. London: V. Gollancz, 1985. ISBN 0-575-03573-0
- Keates, Jonathan (1985). Handel, the man and his music. New York: St Martin's Press.
- Larsen, J.P. (1972). Handel's Messiah. London: Adams and Charles Black Limited.
- Leopold, Silke. "Händel die Opern" Bärenreiter 2009, ISBN 978-3-7618-1991-3
- Meynell, Hugo. The Art of Handel's Operas The Edwin Mellen Press (1986) ISBN 0-88946-425-1
- National Portrait Gallery. Handel. A Celebration of his Life and Times 1685–1759.
- Young, Percy Marshall (1966). Handel. New York: David White Company.
External links[link]
- Howell, Ian. "How to Handle Spelling Händel". The Countertenor Voice (Feb 2011). http://blog.counterpointspublishing.com/2011/02/how-to-handle-spelling-handel/.
- Howell, Ian. "Guiding Handel's Legacy: An Interview with Handel House Museum Director Sarah Bardwell". The Countertenor Voice (May 2011). http://blog.counterpointspublishing.com/2011/05/1721/.
| Find more about George Frideric Handel on Wikipedia's sister projects: | |
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Images and media from Commons |
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Quotations from Wikiquote |
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Source texts from Wikisource |
- Edward Dent's Handel biography from Project Gutenberg
- Works by George Frideric Handel at Project Gutenberg
- The second volume of Winton Dean for "Handel's Operas" covering the years 1726–1741
- Friedrich Chrysander's Handel biography (in German)
- Biographical details web site
- Handel Houses:
- Works by or about George Frideric Handel in libraries (WorldCat catalog)
- References on Handel
- Handel Reference Database
Scores and recordings[link]
- Free scores by George Frideric Handel at the International Music Score Library Project: includes Complete Works Edition (Ausgabe der Deutschen Händelgesellschaft)
- Free scores by George Frideric Handel in the Choral Public Domain Library (ChoralWiki)
- The Mutopia Project provides free downloading of sheet music and MIDI files for some of Handel's works.
- Free typeset sheet music of Handel's works from Cantorion.org
- Free scores by George Frideric Handel in the Werner Icking Music Archive (WIMA)
- Handel cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library.
- Handel's Sheet Music by free-scores.com
- Kunst der Fuge: George Frideric Handel – MIDI files
- Water Music, Organ Concertos op. 4, Tamerlano, etc. Creative Commons recordings
This article incorporates text from a publication now in the public domain: Jackson, Samuel Macauley, ed. (1914). "article name needed". New Schaff-Herzog Encyclopedia of Religious Knowledge (third ed.). London and New York: Funk and Wagnalls.
| Persondata | |
|---|---|
| Name | Handel, George Frideric |
| Alternative names | Händel, Georg Friedrich |
| Short description | German Baroque composer |
| Date of birth | (1685-02-23)23 February 1685 |
| Place of birth | Halle at Saxony-Anhalt |
| Date of death | 14 April 1759(1759-04-14) |
| Place of death | London |
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For the former Formula One driver, see Colin Davis (racing driver).
For the TV character, see List of minor Chuck characters#Colin Davis.
Sir Colin Rex Davis, CH, CBE (born 25 September 1927) is an English conductor. His repertoire is broad, but among the composers with whom he is particularly associated are Mozart, Berlioz, Elgar, Sibelius, Stravinsky and Tippett.
He studied as a clarinettist, but was intent on becoming a conductor. After struggles as a freelance conductor from 1949 to 1957, he gained a series of appointments with orchestras including the BBC Scottish Orchestra, the BBC Symphony Orchestra and the Bavarian Radio Symphony Orchestra. He has been associated with the London Symphony Orchestra for over 50 years, including over ten years as its principal conductor. He has also held the musical directorships of Sadler's Wells Opera and the Royal Opera House, where he was principal conductor for over fifteen years. His guest conductorships include the Boston Symphony Orchestra, the New York Philharmonic Orchestra, and the Dresden Staatskapelle, among many others.
As a teacher, Davis holds posts at the Royal Academy of Music, London, and the Carl Maria von Weber High School of Music in Dresden. He made his first gramophone recordings in 1958, and his discography built up in the succeeding five decades is extensive, with a large number of studio recordings for Philips Records and a growing catalogue of live recordings for the London Symphony Orchestra's own label.
Contents |
Biography[link]
Early years[link]
Davis was born in Weybridge, Surrey, the youngest of three sons among seven siblings, to Reginald George and Lillian Davis.[1][2] The family was musical, and Davis was exposed to music from his early years. He recalled, "I can still see Sargent conducting the first concert I ever attended. I can still hear Melchior in the final scene of Siegfried – an old 78 playing on my father's gramophone. … I can also remember the moment I decided to make music my life. I was 13 or 14 at the time and the performance was of Beethoven's Eighth. Doors were suddenly opened. I became totally involved, even obsessed by music, although I was frightfully enclosed by my likes and dislikes. Today I'm game for anything."[3]
Davis was educated at Christ's Hospital and then won a scholarship to the Royal College of Music in London, where he studied the clarinet with Frederick Thurston.[4] As a clarinettist he was overshadowed by his fellow-student Gervase de Peyer, but he had in any case already set his mind to conducting. He was, however, not eligible for the conducting class at the college, because he could not play the piano.[5]
His ambitions to conduct were further disrupted by compulsory military service, which was in force in Britain at that time. After leaving the college, Davis served as a clarinettist in the band of the Household Cavalry. Stationed at Windsor he had continual opportunities to attend concerts in London under conductors including Sir Thomas Beecham and Bruno Walter. After completing his military service, he launched himself in 1949 into what he later described as the "freelance wilderness", where he remained until 1957.[2] His first conducting work was with the Kalmar Orchestra, which he co-founded with other former students of the Royal College. He made a good impression and was invited to conduct the recently founded Chelsea Opera Group in Don Giovanni. In the early years of his career he also took some engagements as an orchestral clarinettist.[6] What seemed at first to be a full-time conducting appointment, for the Original Ballet Russe in 1952, came to an abrupt end after three months, when the company collapsed. In between sparse conducting engagements, Davis worked as a coach and lecturer, including spells at the Cambridge University Musical Society and the Bryanston Summer School, where a performance of L'enfance du Christ awakened his love of Berlioz's music.[7]
BBC and Sadler's Wells[link]
His first breakthrough came in 1957, when at his third attempt he secured the post of assistant conductor of the BBC Scottish Orchestra (now the BBC Scottish Symphony Orchestra). The chief conductor of the orchestra generally chose to conduct the standard repertoire pieces himself, leaving Davis with modern works and non-standard repertoire works including those of Berlioz.[8] By 1959 he had developed to the extent that, after a concert of Stravinsky and Mozart with the London Mozart Players, the chief music critic of The Observer, Peter Heyworth, wrote, "Mr Davis conducted two works in a manner that showed that he is not only outstanding among our younger conductors, but probably the best we have produced since Sir Thomas Beecham, his senior by forty-eight years."[9]
Davis first found wide acclaim when he stood in for an ill Otto Klemperer in a performance of Don Giovanni, at the Royal Festival Hall in 1959. A year later, Beecham invited him to collaborate with him in preparing The Magic Flute at Glyndebourne. Beecham was taken ill, and Davis conducted the opera. After the Don Giovanni, The Times wrote, "A superb conductor of Mozart declared himself last night at the Festival Hall…. Mr Davis emerged as a conductor ripe for greatness."[10] Neville Cardus in The Guardian was less enthusiastic but nevertheless considered that Davis "had his triumphs" in the performance.[11] After The Magic Flute, The Times called Davis "master of Mozart's idiom, style and significance",[12] although Heyworth in The Observer was disappointed by his tempi, judging them to be too slow.[13]
In 1960 Davis made his début at the Proms in a programme of Britten, Schumann, Mozart and Berlioz.[14] In the same year, he was appointed chief conductor of Sadler's Wells Opera, and in 1961 he was made musical director of the company, with whom he built up a large repertoire of operas, conducting in London and on tour.[15] Grove's Dictionary of Music and Musicians wrote of this period, "He excelled in Idomeneo, The Rake's Progress and Oedipus rex, and Fidelio; his Wagner, Verdi and Puccini were less successful. He introduced Weill's Mahagonny, and Pizzetti's Assassinio nella cattedrale to the British public and conducted the première of Bennett's The Mines of Sulphur (1965)."[16] Together with the stage director Glen Byam Shaw, he worked to present operas in a way that gave due weight to the drama as well as the music.[17] In his early years, Davis was known as something of a firebrand with a short fuse in rehearsals, and his departure from Sadler's Wells in 1965 was not without acrimony.[18]
After he left Sadler's Wells it was widely expected that he would be offered the chief conductorship of the London Symphony Orchestra, but the post went to István Kertész. Soon afterwards Davis was offered the post of chief conductor of the BBC Symphony Orchestra, though the appointment was not effective until September 1967.[19] At first, so far as the public was concerned, his tenure was overshadowed, at least during the orchestra's most conspicuous concert seasons, the Proms, by the memory of Sir Malcolm Sargent, who had been an immensely popular figure as chief conductor of the Proms until 1966. Sargent had been "a suave father figure"[20] to the promenaders, and it took some time for the much younger Davis to be accepted.[19] The BBC's official historian of the Proms later wrote, "Davis never really identified himself with the Proms in the way that Sargent had done.[20] Davis was uncomfortable with the traditional hullabaloo of the Last Night of the Proms and attempted, unsuccessfully, to modernise it.[21] The BBC's Controller of Music, William Glock, was a long-standing admirer of Davis, and encouraged him to put on adventurous programmes, with a new emphasis on modern music, both at the Proms and throughout the rest of the orchestra's annual schedule.[22]
Covent Garden[link]
In 1970, Sir David Webster, who ran the Royal Opera and the Royal Ballet companies at Covent Garden, invited Davis to succeed Georg Solti as principal conductor of the opera.[23] At about the same time, the Boston Symphony Orchestra invited him to become its musical director, but Davis felt that if Covent Garden needed him, it was his duty to take on the post.[17] Webster's vision was that Davis and the stage director Peter Hall, formerly of the Royal Shakespeare Company, would work in equal partnership as musical director and director of productions. After early successes together, including the première of Michael Tippett's The Knot Garden in December 1970, Hall left to succeed Laurence Olivier as director of the National Theatre. Webster had retired by that time, leaving Davis, together with Webster's successor as General Administrator, John Tooley, to run the Royal Opera.[23]
Davis's early months in charge at Covent Garden were marked by dissatisfaction among some of the audience, and booing was heard at a "disastrous" Nabucco in 1971, and his conducting of Wagner's Ring was at first compared unfavourably with that of his predecessor.[24] Among his successes were Berlioz's massive Les Troyens and Benvenuto Cellini, Verdi's Falstaff, the major Mozart operas, and, as one critic put it, he "confirmed his preeminence as a Britten and Stravinsky interpreter" with productions of Peter Grimes and The Rake's Progress.[24] Davis conducted more than 30 operas during his fifteen-year tenure,[16] but "since people like Maazel, Abbado and Muti would only come for new productions", Davis yielded the baton to these foreign conductors, giving up the chance to conduct several major operas, including Der Rosenkavalier, Rigoletto and Aida.[24]
In addition to the standard operatic repertoire, Davis conducted a number of atonal and other modern operas, including Alban Berg's Lulu and Wozzeck, Tippett's The Knot Garden and The Ice Break (of which he is the dedicatee),[16] and Alexander Zemlinsky's The Dwarf and Eine Florentinische Tragödie.[25] With later stage directors at Covent Garden, Davis preferred to work with those who respected the libretto: "I have a hankering for producers who don't feel jealous of composers for being better than they are, and want to impose their, often admittedly clever, ideas on the work in hand."[26] Davis hoped that Goetz Friedrich, with whom he worked on Wagner's Ring cycle, would take on the role of principal producer vacated by Hall, "but it seemed that nobody wanted to commit themselves."[24]
During his Covent Garden tenure, Davis was also principal guest conductor of the BBC Symphony Orchestra from 1971 to 1975 and of the Boston Symphony Orchestra from 1972 to 1984.[2] Another guest conducting engagement was in 1977, when he became the first English conductor to appear at Bayreuth, where he conducted the opening opera of the festival, Tannhäuser. Despite the Bayreuth habitués' suspicion of newcomers,[27] Davis's Tannhäuser was "highly successful".[28] He debuted at the Metropolitan Opera, New York City, in 1969, the Vienna State Opera in 1986 and the Bavarian State Opera in 1994.[2]
Bavarian Radio Symphony and London Symphony Orchestras[link]
From 1983 to 1993, Davis was chief conductor of the Bavarian Radio Symphony Orchestra, with whom he developed his concert hall repertoire, including symphonies by Bruckner and Mahler.[18] He was offered but declined the chief conductorships of the Cleveland Orchestra in succession to Maazel and the New York Philharmonic in succession to Zubin Mehta.[29] As a principal guest conductor he was associated with the Dresden Staatskapelle, which appointed him honorary conductor (Ehrendirigent) in 1990, the first in the orchestra's 460-year-history.[30] From 1998–2003, he was principal guest conductor of the New York Philharmonic.[2]
In 1995, Davis was appointed principal conductor of the London Symphony Orchestra. It was the culmination of a long association with the orchestra. He had first conducted the LSO in 1959, and in 1964 he headed the orchestra's first world tour. He became principal guest conductor in 1975 and was at the helm in the LSO's first major series at its new home, the Barbican Centre, in a Berlioz/Tippett festival in 1983.[30] In 1997 he conducted the LSO's first residency at Lincoln Center in New York City.[30] Davis was the longest-serving principal conductor in the history of the LSO holding the post from 1995 until 2006, after which the orchestra appointed him President of the LSO, an honour previously held only by Arthur Bliss, William Walton, Karl Böhm and Leonard Bernstein.[31] On 21 June 2009, 50 years to the day after his first LSO performance, a special concert was given at the Barbican, at which present-day players were joined by many past members of the orchestra.[30] Davis's programme for the concert was Mozart's Symphony No 40 in G minor, and Brahms's Piano Concerto No 2, with Nelson Freire as soloist.[32]
During his time with the LSO, both as principal conductor and later as president, Davis has conducted series and cycles of the music of Sibelius, Berlioz, Bruckner, Mozart, Elgar, Beethoven, and Brahms,[30] and in 2009 began presenting a cycle of the symphonies of Carl Nielsen.[33] Grove's Dictionary of Music and Musicians wrote, "He conducted a Sibelius cycle in 1992 and a concert performance of Les Troyens the following year, both of which have become the stuff of legend. More recently he has added grand performances of Bruckner, Richard Strauss and Elgar, the première of Tippett's last major work, The Rose Lake (1995), and a Berlioz cycle begun with Benvenuto Cellini in 1999 and crowned by an incandescent Les Troyens in December 2000, all confirming his partnership with the LSO as one of the most important of its time."[16]
Teacher[link]
Davis is president of the Landesgymnasium für Musik "Carl Maria von Weber" in Dresden,[34] and holds the International Chair of Orchestral Studies at the Royal Academy of Music, London.[35] Jonathan Freeman-Attwood, principal of the academy, wrote of Davis, "As the Academy's International Chair of Conducting over 25 years, Sir Colin has helmed six opera productions and over sixty concerts, classes and chamber music projects. Such extraordinary generosity from a major international conductor is surely unique. He has inspired a whole generation here, as did Henry Wood and John Barbirolli before him."[30]
Recordings[link]
Davis's discography is extensive. He made his first records in 1958 for the World Record Club: three Mozart symphonies and the Oboe Concerto with Leon Goossens. He made several records for the small independent label L'Oiseau Lyre, including a 1960 L'enfance du Christ and a 1962 Béatrice et Bénédict which, at January 2010, were both still available on CD. For EMI he made both operatic and orchestral recordings, the former with Sadler's Wells forces, including excerpts from Carmen and a complete Oedipus Rex, and the latter including Harold in Italy with Yehudi Menuhin, and what remains one of his best-known recordings, a 1961 Beethoven Seventh Symphony.[36][37]
Philips and RCA[link]
In the 1960s, Davis signed as an exclusive artist for Philips Records, with whom he made an extensive range of recordings in the symphonic repertoire and a large number of operatic recordings, including the major Mozart operas; operas by Tippett, Britten, Verdi and Puccini; and a comprehensive survey of the operas of Berlioz, culminating in an award-winning first recording of the complete Les Troyens issued in May 1970.[18][38]
Davis's 1966 Philips recording of Handel's Messiah was regarded as revelatory at the time of its issue for its departure from the large-scale Victorian-style performances that had been customary before then.[39] Other Philips recordings included a 1982 set of Haydn's twelve London Symphonies with the Concertgebouw Orchestra "distinguished by performances of tremendous style and authority, and a sense of rhythmic impetus that is most exhilarating";[40] and a 1995 Beethoven symphony cycle with the Dresden Staatskapelle, of which The Gramophone wrote, "There has not been a Beethoven cycle like this since Klemperer's heyday."[41]
Davis made a number of records with the Boston Symphony Orchestra for Philips, including the first of his three Sibelius cycles, which remains in the CD catalogues. They also recorded works by Debussy, Grieg, Schubert, Schumann, and Tchaikovsky.
For RCA, Davis recorded complete symphony cycles of Sibelius (with the LSO), Brahms (Bavarian Radio Symphony Orchestra, 1989–98), and Schubert (Dresden Staatskapelle, 1996).
LSO Live[link]
Davis's terms as chief conductor, and latterly president, of the LSO have coincided with the orchestra's decision to launch its own record label, issuing live recordings (patched where necessary with takes from rehearsals) at budget prices. Davis's recordings on the LSO Live label include Beethoven's opera Fidelio (2006), a wide range of Berlioz works, including a second recording of Les Troyens (2000), La Damnation de Faust (2000), Roméo et Juliette (2000), Béatrice et Bénédict (2000), Harold en Italie (2003), and the Symphonie Fantastique (2000); Britten's Peter Grimes (2004); Dvořák's Symphonies Nos. 6–9 (1999–2004); five Elgar sets: the Enigma Variations (2007) and the Introduction and Allegro for Strings (2005), the three symphonies (2001), and The Dream of Gerontius (2005); Handel's Messiah (2006); Haydn's Die Schöpfung (2007); Holst's The Planets (2002); James MacMillan's St John Passion, (2008) The World's Ransoming and The Confession of Isobel Gowdie (2007); Mozart's Requiem (2007); Nielsen's Symphonies Nos. 4-5 (2011); a third Sibelius symphony cycle (2002–2008); Smetana's Má vlast (2005); Tippett's A Child of our Time (2007), Verdi's Falstaff (2004), Requiem (2009), and Otello (2010); and Walton's First Symphony (2005).[42]
Awards[link]
Davis was appointed CBE in 1965,[43] knighted in 1980[44] and appointed Companion of Honour in 2001.[45] He was awarded the Royal Philharmonic Society's gold medal in 1995,[2] the Queen's Medal for Music, 2009,[46] and has numerous international awards, including Commendatore of the Republic of Italy, 1976; Commander's Cross, Order of Merit (Germany), 1987; Commandeur, l'Ordre des Arts et des Lettres (France), 1990; Commander, Order of the Lion (Finland), 1992; Order of Merit (Bavaria), 1993; Officier, Légion d'Honneur (France), 1999 (Chevalier, 1982); Order of Maximilian (Bavaria), 2000.[2]
Other awards include Pipe Smoker of the Year in 1996,[47] Male Artist of the Year in the Classical Brit Awards 2008,[47] and the Grammy Award in 2006 for Best Opera for his LSO Live recording of Verdi's Falstaff.[30]
Personal life[link]
In 1949, Davis married the soprano April Cantelo. They had two children, Suzanne and Christopher. Their marriage ended in 1964, and in that same year, Davis married Ashraf Naini, known as Shamsi. To satisfy both the Iranian and British authorities, the couple were married three times, once in Iran and twice in the UK, in the Iranian Embassy as well as in a regular UK civil ceremony; they had five children.[48] One of their children is the conductor Joseph Wolfe, who chose a different surname, because he wanted to "create some space to grow and develop my own identity as a musician."[49] Lady Davis died in June 2010.[50]
Notes[link]
- ^ Blyth, p. 4
- ^ a b c d e f g "Davis, Sir Colin (Rex)", Who's Who, 2010, A & C Black, 2010; online edition, Oxford University Press, December 2009, accessed 9 Jan 2010
- ^ The Gramophone, December 1967, p. 39
- ^ Blyth, pp. 6–8
- ^ Blyth, p. 8
- ^ Blyth, pp. 9–10
- ^ Blyth, p. 10
- ^ Blyth, p. 11
- ^ Heyworth, Peter, "Best Since Beecham", The Observer, 6 September 1959, p. 23
- ^ "Outstanding Don Giovanni under Mr. Colin Davis", The Times, 19 October 1959, p. 6
- ^ "Schwarzkopf dominant in concert version of Don Giovanni", The Guardian, 20 October 1959, p. 7
- ^ "Mozart Genius at its Peak", The Times, 29 July 1960, p. 13
- ^ Heyworth, Peter. "Disenchanted Flute", The Observer, 31 July 1960, p. 18
- ^ The Times, 3 August 1960, p. 5
- ^ Blyth, p. 13
- ^ a b c d "Colin Davis", Grove's Dictionary, Oxford Music Online, accessed 9 January 2009
- ^ a b Blyth, p. 21
- ^ a b c "Davis, Colin", Naxos.com, accessed 10 January 2010
- ^ a b Orga, p. 158
- ^ a b Cox, p. 192
- ^ Orga, p. 166
- ^ Blyth, p. 16
- ^ a b Haltrecht, p. 101
- ^ a b c d Canning, Hugh. "Forget the booing, remember the triumph", The Guardian, 19 July 1986, p. 11
- ^ Royal Opera House programme booklets for 30 September 1983, 3 April 1970, 2 December 1970, 6 December 1972, 11 July 1977 and 7 October 1985
- ^ The Gramophone, July 1981, p. 23
- ^ 26 July 1977, p. 9
- ^ The Times, 25 July 1977, p. 9; and 26 July 1977, p. 9
- ^ Morrison, p. 217. The posts were then offered to and accepted by Christoph von Dohnányi and Kurt Masur respectively
- ^ a b c d e f g Mackenzie, Lennox, "50 years with Sir Colin Davis", LSO.co.uk, accessed 10 January 2010
- ^ LSO concert programme booklet, 9 January 2007
- ^ LSO concert programme booklet, 21 June 2009
- ^ LSO concert programme note, 1 October 2009
- ^ "Schirmherr: Sir Colin Davis". http://www.landesmusikgymnasium.de/index.php?id=58. accessed 30 October 2011
- ^ "Colin Davis", Royal Academy of Music, accessed 10 January 2010
- ^ "Discography", Blyth, pp. 60–61
- ^ The Gramophone, February 1996, p. 8
- ^ The Gramophone, May 1970, p. 84
- ^ The Gramophone, November 1966, p. 77. It was produced by Mercury Records' Harold Lawrence and recorded by Philips engineer Hans Lauterslager using the Mercury 3-spaced-omni mic technique, called "M3" by Philips. See Lauterslager, Hans: presentation at Audio Engineering Society Amsterdam 2008 Historical Event. Presentation included listing of Philips M3 recording sessions. The recording was reissued on CD by Philips in the 1990s as a 2-CD set in the "Duo" series.
- ^ The Gramophone, June 1982, p. 33
- ^ The Gramophone, December 1995, p. 75
- ^ LSO Live catalogue, accessed 10 January 2010
- ^ London Gazette: (Supplement) no. 43529. p. 10. 29 December 1964, accessed 15 September 2009
- ^ London Gazette: (Supplement) no. 48059. p. 288. 7 January 1980. accessed 15 September 2009
- ^ London Gazette: (Supplement) no. 56237. p. 5. 16 June 2001. accessed 15 September 2009.
- ^ The Official Website of the British Monarchy, accessed 11 January 2010
- ^ a b Norris, Geoffrey, "Sir Colin Davis: Knit one, purl one, conduct one", The Daily Telegraph, 15 May 2008
- ^ O'Mahony, John. "Calm after the storm", The Guardian, 21 September 2002
- ^ "Joseph Wolfe"' Classical Source, accessed 29 January 2012
- ^ Service, Tom. "Sir Colin Davis: 'You are of no account whatsoever'", The Guardian, 12 May 2011
References[link]
- Blyth, Alan (1972). Colin Davis. London: Ian Allan. OCLC 675416.
- Cox, David (1980). The Henry Wood Proms. London: BBC. ISBN 0-563-17697-0.
- Haltrecht, Montague (1975). The Quiet Showman: Sir David Webster and the Royal Opera House. London. ISBN 0-00-211163-2.
- Morrison, Richard (2004). Orchestra – The LSO: A Century of Triumph and Turbulence. London: Faber and Faber. ISBN -571-21584-X.
- Orga, Ateş (1974). The Proms. Newton Abbot: David and Charles. OCLC 1121308.
External links[link]
- Morrison, Richard. "Monarch of all he's survived", Profile of Davis at 80 – The Times, 21 September 2007
- Colin Davis at Allmusic
| Cultural offices | ||
|---|---|---|
| Preceded by Alexander Gibson |
Musical director, Sadler's Wells 1961–1965 |
Succeeded by Bryan Balkwill and Mario Bernardi |
| Preceded by Georg Solti |
Music director, Royal Opera House, Covent Garden 1971–1987 |
Succeeded by Bernard Haitink |
| Preceded by Rafael Kubelík |
Chief conductor, Bavarian Radio Symphony Orchestra 1983–1993 |
Succeeded by Lorin Maazel |
|
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| Persondata | |
|---|---|
| Name | Davis, Colin |
| Alternative names | |
| Short description | |
| Date of birth | 25 September 1927 |
| Place of birth | |
| Date of death | |
| Place of death | |
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- For the Charles Gounod opera, see La reine de Saba.
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This article contains Ethiopic text. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Ethiopic characters. |
The Queen of Sheba (Hebrew: מלכת שבא, Malkaṯ Šəḇâ in Biblical Hebrew; Malkat Sh'va in Modern Hebrew; Ge'ez: ንግሥተ ሳባ, Nigiste Saba (Nəgəstä Saba); Arabic: ملكة سبأ, Malikat Sabaʾ) was a monarch of the ancient kingdom of Sheba and is referred to in Ethiopian history, the Bible, the Qur'an, Yoruba customary tradition, and Josephus. She is widely assumed to have been a queen regnant, although there is no historical proof of this; in fact, she may have been a queen consort.[1] The location of her kingdom is believed to have been in Ethiopia and Yemen.
Contents |
Diverse references[link]
The queen of Sheba has been called a variety of names by different peoples in different times. To King Solomon of Israel she was the Queen of Sheba. In Islamic tradition she was called Bilqis or Balqis by the Arabs, who say she came from the city of Sheba, also called Mareb, in Yemen or Arabia Felix. The Roman historian Josephus calls her Nicaule. The Ethiopian people claim her as Makeda or Maqueda. She is thought to have been born sometime in the 10th century BC. Her lineage was part of the Ethiopian dynasty established in 1370 BCE by Za Besi Angabo, which lasted 350 years; Makeda's grandfather and father were the last two rulers of this dynasty. Makeda's mother was known as Queen Ismenie. In 1005 BCE, Makeda's father appointed her as his successor from his deathbed.[2]
To the early ancient Greeks, Ethiopia referred to an empire that encompassed a vast territory, extending to Arabia, Syria, Armenia, and the territory between the Mediterranean, the Indian Ocean, and the Persian Gulf. This is the empire that the Queen of Sheba was said to have reigned over. In the Ethiopian Book of Aksum, she is described as establishing a new capital city at Azeba, while the Kebra Negast refers to her building a capital at Debra Makeda, or "Mount Makeda". The Yemenite kingdom of Himyar refers to her in its histories as well.[3]
In the Hebrew Bible, a tradition of the history of nations is preserved in Genesis 10. In Genesis 10:7 there is a reference to Sheba, the son of Raamah, the son of Cush, the son of Ham, son of Noah. In Genesis 10:26-29 there is a reference to another person named Sheba, listed along with Almodad, Sheleph, Hazarmaveth, Jerah, Hadoram, Uzal, Diklah, Obal, Abimael, Ophir, Havilah, and Jobab as the descendants of Joktan, the son of Eber, the son of Shelah, the son of Arphaxad, the descendant of Shem, another son of Noah.
Aharoni, Avi-Yonah, Rainey, and Safrai placed the Semitic Sheba in Southern Arabia in geographic proximity to the location of the tribes descended from their ancestor, Joktan. In addition to Sheba, Hazarmaveth and Ophir were identified. Semitic Havilah was located in Eastern Africa, modern day Ethiopia. Semitic Havilah (Beresh't 10:29) is to be distinguished from Cushite Havilah (Beresh't 10:7), the descendant of Cush, descendant of Ham; both locations for Havilah are thought by these scholars to have been located in present day Ethiopia.[4]
Narratives concerning the Queen of Sheba[link]
Hebrew biblical accounts[link]
According to the Hebrew Bible, the unnamed queen of the land of Sheba heard of the great wisdom of King Solomon of Israel and journeyed there with gifts of spices, gold, precious stones, and beautiful wood and to test him with questions, as recorded in First Kings 10:1-13 (largely copied in 2 Chronicles 9:1–12).
It is related further that the queen was awed by Solomon's great wisdom and wealth, and pronounced a blessing on Solomon's God. Solomon reciprocated with gifts and "everything she desired." Solomon offered to give her everything his kingdom had to offer except the "royal bounty." Therefore, according to the Bible, "she turned and went to her country, she and her servants." The queen apparently was quite rich, however, as she brought four and a half tons of gold with her to give to Solomon (1 Kings 10:10).
In the biblical passages which refer explicitly to the Queen of Sheba there are no hints of love or sexual attraction between Solomon and the Queen of Sheba. The two are depicted merely as fellow monarchs engaged in the affairs of state.
Account in the New Testament[link]
The Queen of Sheba is believed[who?] to be the Queen of the South referenced in Matthew 12:42 and Luke 11:31 in the New Testament, where Jesus indicates that she and the Ninevites will judge the generation of Jesus' contemporaries who rejected him. (Some arguments believe that The Queen of Sheba was not the Queen of the South, because she did not come from the Ends of the Earth.)
Qur'anic and other Middle Eastern accounts[link]
The Qur'an, the central religious text of Islam, mentions the kingdom of the Queen by name (Sheba) in the 34th Chapter. Arab sources name her Balqis, Bilqis or Bilquis. The Qur'anic narrative, from sura 27 (An-Naml),[5] has Suleiman (Salomon) getting reports from the Hoopoe bird about the kingdom of Saba (Sheba), ruled by a queen whose people worship the sun instead of God. Suleiman sends a letter inviting her to submit fully to the One God, Allah, Lord of the Worlds according to the Islamic text. The Queen of Sheba is unsure how to respond and asks her advisors for counsel. They reply by reminding her that they are "of great toughness" in a reference to their willingness to go to war should she choose to. She replies that she fears if they were to lose, Suleiman may behave as any other king would: 'entering a country, despoiling it and making the most honorable of its people its lowest'. She decides to meet with Suleiman in order to find out more. Suleiman receives her response to meet him, and asks if anyone can bring him her throne before she arrives. A jinn under the control of Suleiman proposed that he will bring it before Suleiman rises from his seat. One who had knowledge of the "Book" proposed to bring him the throne of Bilqis 'in the twinkling of an eye' and accomplished that immediately.[6] The queen arrives at his court, is shown her throne and asked: does your throne look like this? She replied: (It is) as though it were it. When she enters his crystal palace she accepts Abrahamic monotheism and the worship of one God alone, Allah.
Ethiopian accounts[link]
The imperial family of Ethiopia claims its origin directly from the offspring of the Queen of Sheba by King Solomon.[7] The Queen of Sheba (ንግሥተ ሣብአ nəgəśtã Śāb'ã), is named Makeda (ማክዳ Mākədā) in the Ethiopian account.
Story[link]
An ancient compilation of Ethiopian legends, Kebra Negast ('the Glory of Kings'), is dated to seven hundred years ago and relates a history of Makeda and her descendants. In this account King Solomon is said to have seduced the Queen of Sheba and sired her son, Menelik I, who would become the first Emperor of Ethiopia.
The narrative given in the Kebra Negast - which has no parallel in the Hebrew Biblical story - is that King Solomon invited the Queen of Sheba to a banquet, serving spicy food to induce her thirst, and inviting her to stay in his palace overnight. The Queen asked him to swear that he would not take her by force. He accepted upon the condition that she, in turn, would not take anything from his house by force. The Queen assured that she would not, slightly offended by the implication that she, a rich and powerful monarch, would engage in stealing. However, as she woke up in the middle of the night, she was very thirsty. Just as she reached for a jar of water placed close to her bed, King Solomon appeared, warning her that she was breaking her oath, water being the most valuable of all material possessions. Thus, while quenching her thirst, she set the king free from his promise and they spent the night together.
Other Ethiopian accounts make her the daughter of a king named Agabo or Agabos, in some legends said to have become king after slaying the mythological serpent Arwe; in others, to have been the 28th ruler of the Agazyan tribe. In either event, he is said to have extended his Empire to both sides of the Red Sea.[citation needed]
The tradition that the Biblical Queen of Sheba was a ruler of Ethiopia who visited King Solomon in Jerusalem, in ancient Israel, is supported by the first century CE. Roman (of Jewish origin) historian Flavius Josephus, who identified Solomon’s visitor as a "Queen of Egypt and Ethiopia".[8]
While there are no known traditions of matriarchal rule in Yemen during the early first millennium BC, the earliest inscriptions of the rulers of Dʿmt in northern Ethiopia and Eritrea mention queens of very high status, possibly equal to their kings.[9]
Etymology of Makeda[link]
The etymology of her name is uncertain, but there are two principal opinions about its Ethiopian source. One group, which includes the British scholar Edward Ullendorff, holds that it is a corruption of "Candace", the Ethiopian queen mentioned in the New Testament Acts; the other group[who?] connects the name Makeda with the Ethiopic version of the Alexander romance, which, like other translations, holds that 'Iskinder' (Alexander the Great) of Macedonia (Ethiopic Meqédon) met with Queen Candace (Kandake) of Nubia (c. 332 BCE), and that she dissuaded him from invading her realm.
The Italian scholar Carlo Conti Rossini, however, was unconvinced by either of these theories and, in 1954 stated that he believed the matter unresolved.[10]
Other traditions[link]
In addition to the above cited accounts, at least one other traditional reference to the queen exists. The Yoruba Ijebu clan of Ijebu-Ode, Nigeria, claim that she was actually a noblewoman of theirs known as Oloye Bilikisu Sungbo. They also assert that a medieval system of walls and ditches, known as the eredo, that was built by their ancestors over the course of the 9th, 10th and 11th centuries, was a monument to the greatness of this personage by her people. After excavations in 1999 the archaeologist Patrick Darling was quoted as saying "I don't want to overplay the Sheba theory, but it cannot be discounted...The local people believe it and that's what is important...The most cogent argument against it at the moment is the dating."[11]
Later receptions[link]
Christian interpretations[link]
Christian interpretations of the scriptures mentioning the Queen of Sheba in the Hebrew Bible, the Old Testament, typically have emphasized both the historical and metaphorical values in the story. The account of the Queen of Sheba is thereby interpreted by Christians as being both a metaphor and an analogy: the Queen's visit to Solomon has been compared to the metaphorical marriage of the Church to Christ where Solomon is the anointed one or the messiah and Sheba represents a Gentile population submitting to the messiah; the Queen of Sheba's chastity has also been depicted as a foreshadowing of the Virgin Mary; and the three gifts that she brought (gold, spices, and stones) have been seen as analogous to the gifts of the Magi (gold, frankincense, and myrrh). The latter is emphasized as being consistent with a passage from Isaiah 60:6; And they from Sheba shall come: they shall bring forth gold and incense; and they shall show forth the praises of the Lord.[12] This last connection is interpreted[who?] as relating to the Magi, the learned astronomers of Sheba who saw a new star and set off on a journey to find a new ruler connected to the new star, that led them to Bethlehem.
Medieval depictions[link]
Art in the Middle Ages depicting the visit of the Queen of Sheba includes the Portal of the Mother of God at the 13th century Amiens Cathedral, which is included as an analogy as part of a larger depiction of the gifts of the Magi.[13] The 12th century cathedrals at Strasbourg, Chartres, Rochester and Canterbury include artistic renditions in such elements as stained glass windows and door jamb decorations.[12]
Renaissance account[link]
Boccaccio's On Famous Women (Latin: De Mulieribus Claris) follows Josephus in calling the Queen of Sheba, Nicaula. Boccaccio goes on to explain that not only was she the Queen of Ethiopia and Egypt, but also the queen of Arabia. She also is related to have had a grand palace on "a very large island" called Meroe, located someplace near the Nile river, "practically on the other side of the world." From there Nicaula crossed the deserts of Arabia, through Ethiopia and Egypt, and up the coast of the Red Sea, to come to Jerusalem to see "the great King Solomon".[14]
Christine de Pizan's The Book of the City of Ladies continues the convention of calling the Queen of Sheba, Nicaula. Piero della Francesca's frescoes in Arezzo (ca 1466) on the Legend of the True Cross, contain two panels on the visit of the Queen of Sheba to Solomon. The legend links the beams of Solomon's palace (adored by Queen of Sheba) to the wood of the crucifixion. The Renaissance continuation of the metaphorical view of the Queen of Sheba as an analogy to the gifts of the Magi also is clearly evident in the Triptych of the Adoration of the Magi (c. 1510), by Hieronymus Bosch. Bosch chooses to depict a scene of the Queen of Sheba and Solomon in an ornately decorated collar worn by one of the Magi.[15]
Christopher Marlowe's Doctor Faustus refers to the Queen of Sheba as Saba, when Mephistopheles is trying to persuade Faustus of the wisdom of the women with whom he supposedly shall be presented every morning.[16]
Theories concerning the origin of the account[link]
Possible Egyptian derivation[link]
Josephus says in his Antiquity of the Jews, book 8 chapter 6, that it was the "queen of Egypt and Ethiopia" who visited King Solomon.
Recent archaeological discoveries[link]
Recent archaeological discoveries in Mareb, Yemen support the view that the Queen of Sheba ruled over southern Arabia, with evidence suggesting that the area was the capital of the Kingdom of Sheba.
A team of researchers funded by the American Foundation for the Study of Man (AFSM) and led by University of Calgary archaeology professor, Dr. Bill Glanzman, has been working to "unlock the secrets of a 3,000-year-old temple in Yemen." "We have an enormous job ahead of us," said Glanzman in 2007. "Our first task is to wrest the sanctuary from the desert sands, documenting our findings as we go. We're trying to determine how the temple was associated with the Queen of Sheba, how the sanctuary was used throughout history, and how it came to play such an important role in Arab folklore."[17]
See also[link]
 |
Wikimedia Commons has media related to: Queen of Sheba |
 |
Look up Queen of Sheba in Wiktionary, the free dictionary. |
- Sheba
- Minaean
- King Solomon
- Old Testament
- Teleportation in Islam
- Bilocation
- Biblical narratives and the Qur'an
Bibliography[link]
References[link]
- Budge, E. A. Wallis, The Queen of Sheba and her only son Menelik, London 1932.
- Jankowski, A., Die Königin von Saba und Salomo, Hamburg 1987.
- Joseph, Antiquitates iudaicae, viii.6.2.
- Pliny the Elder, Naturalis historia, vi.32.154.
- Makeda, Queen of Sheba by Torrey Philemon.
- Queen of Sheba Temple restored (2000, BBC)
- The Queen Of Sheba by Michael Wood and the BBC.
- The Queen of Sheba, web directory with thumbnail galleries
- Jewish Encyclopedia with information on Jewish and Muslim traditions
- "Queen of Sheba mystifies at the Bowers" — Gladys Rama's review of a museum exhibit for UC Irvine's 'New U' publication
- Alessandro de Maigret. Arabia Felix, translated Rebecca Thompson. London: Stacey International, 2002. ISBN 1-900988-07-0
- Andrey Korotayev. Ancient Yemen. Oxford: Oxford University Press, 1995. ISBN 0-19-922237-1.
Footnotes[link]
- ^ K. A. Kitchen, 2003, p. 11
- ^ Van Sertima, Ivan (1984). Black Women in Antiquity. Transaction Publishers. pp. 16-7. ISBN 978-0-87855-982-4.
- ^ Van Sertima, Ivan (1984). Black Women in Antiquity. Transaction Publishers. pp. 19-21. ISBN 978-0-87855-982-4.
- ^ Yohanan Aharoni, Michael Avi-Yonah, Anson F. Rainey, and Ze'ev Safrai, The Macmillan Bible Atlas, (New York: Macmillan Publishing, 1993) 21.
- ^ Quran 27:23–44
- ^ Quran 27:40
- ^ Comay, Joan; Ronald Brownrigg (1993) (in English). Who's Who in the Bible:The Old Testament and the Apocrypha, The New Testament. New York: Wing Books. pp. Old Testament, 351. ISBN 0-517-32170-X.
- ^ Flavius Josephus, Paul L. Maier Josephus, the Essential Works: A Condensation of "Jewish Antiquities", and "the Jewish War" Kregel Publications,U.S. (31 Mar 1995)ISBN 978-0825432606 p.140 [1]
- ^ Rodolfo Fattovich, "The 'Pre-Aksumite' State in Northern Ethiopia and Eritrea Reconsidered" in Paul Lunde and Alexandra Porter ed., Trade and Travel in the Red Sea Region, in D. Kennet & St J. Simpson ed., Society for Arabian Studies Monographs No. 2. BAR International Series 1269. Archaeopress, Oxford: 2004, p. 73.
- ^ David Allen Hubbard, "The Literary Sources of the Kebra Nagast", doctoral thesis (St. Andrews, 1954), pp. 303f.
- ^ Archaeologists find clues to Queen of Sheba in Nigeria, Find May Rival Egypt's Pyramids
- ^ a b Byrd, Vickie, editor; Queen of Sheba: Legend and Reality, (Santa Ana, California: The Bowers Museum of Cultural Art, 2004), p. 17.
- ^ Murray, Stephen, The Portals: Access to Redemption, http://www.mcah.columbia.edu/Mcahweb/facade/body.html, webpage, accessed August 6, 2006.
- ^ Giovanni Boccaccio, Famous Women translated by Virginia Brown 2001, p. 90; Cambridge and London, Harvard University Press; ISBN 0-674-01130-9;
- ^ Web Gallery of Art, http://www.wga.hu/frames-e.html?/html/b/bosch/91adorat/01tripty.html, website accessed August 2, 2006
- ^ Marlowe, Christopher; Doctor Faustus and other plays: Oxford World Classics, p. 155.
- ^ University of Calgary, http://www.ucalgary.ca/UofC/events/unicomm/NewsReleases/queen.htm, website accessed November 18, 2007
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Related pages:
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http://cs.wn.com/Královna ze Sáby
http://id.wn.com/Makeda
http://es.wn.com/Reina de Saba
http://ru.wn.com/Царица Савская
http://nl.wn.com/Koningin van Sheba
http://pt.wn.com/Rainha de Sabá
http://pl.wn.com/Makeda
http://fr.wn.com/Reine de Saba
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Andreas Scholl (born 10 November 1967) is a German countertenor, a male classical singer in the alto vocal range. He is noted as a specialist in Baroque music.
Contents |
Biography[link]
Childhood[link]
Scholl was born on 10 November 1967 in Eltville, Germany, and grew up in neighboring Kiedrich.[1] All of his family members were singers. He was enrolled at the age of seven into the Kiedricher Chorbuben (Kiedrich Choir-Boys) — which was first documented in 1333 as "a schola of men assisting the priests on all Sundays, singing the Gregorian chant." At age 13, Andreas Scholl sang the second boy (his sister Elisabeth sang the first boy) in Mozart's Die Zauberflöte at the Hessisches Staatstheater Wiesbaden. That same year, he was one of 20,000 choristers from all over the world gathered in Rome for a festival where Scholl was chosen to sing solo at Mass on 4 January 1981 and met Pope John Paul II. Along with his fellow choristers, Andreas Scholl was an extra in the film The Name of the Rose, playing a young monk standing alongside Sean Connery in scenes shot at Eberbach Abbey, near Kiedrich.
Musical education[link]
Scholl was 17 when the extent of his ability was recognized by the Chorbuben's voice coach from the Darmstadt Music Academy. He then sang for the tenor/countertenor Herbert Klein, who advised him that there were only two places he should study: either in London or at the early music conservatoire in Basel, the Schola Cantorum Basiliensis. Since an uncle had introduced Scholl to the voices of Paul Esswood and James Bowman, the leading European countertenors of the day, Scholl chose Bowman as a role model. Scholl sent a demo tape to René Jacobs to evaluate his talent. This resulted in Jacobs inviting Scholl to visit the Schola Cantorum Basiliensis. However, Scholl had no first degree. Although the Schola Cantorum Basiliensis only offered post-graduate courses, Scholl was subsequently offered admission on the strength and quality of his voice after singing a Schubert song for the admissions board — which included René Jacobs.
At the Schola, Andreas Scholl's teacher was Richard Levitt, followed by Jacobs in his second year.[2] Violinist Chiara Banchini and soprano Emma Kirkby were major influences, as Scholl began to specialise in the music of the Baroque. Scholl additionally studied with soprano Evelyn Tubb and lutenist Anthony Rooley. In addition to the Diploma of Ancient Music, for which his external examiner was James Bowman, Andreas Scholl garnered prizes from the Council of Europe and the Foundation Claude Nicolas Ledoux, and awards from Switzerland's Association Migros and Ernst Göhner Foundation.
Andreas Scholl has been teaching interpretation in the Schola Cantorum Basiliensis, succeeding his own teacher, Richard Levitt, and is in much demand for master classes.
Career[link]
Early performances[link]
In 1988 Scholl performed Bach's Christmas Oratorio in Rüdesheim. In 1991 he appeared in Bach's St John Passion, conducted by Philippe Herreweghe in Antwerp.[2] In 1993, Scholl stood in for René Jacobs at Jacobs' request at the Théâtre Grévin in Paris, causing a sensation. This performance of Bach’s Johannespassion was broadcast on Good Friday to a radio audience which included William Christie. Shortly thereafter, Christie and Scholl met on a train. The 1994 recording of Handel's Messiah with Les Arts Florissants resulted directly from this meeting.
Scholl performed Bach's Mass in B minor in 1995, conducted by Jacobs, and sang Purcell on a tour in France.[2] In 1998 Scholl and his sister performed in Bach's St Matthew Passion, with Max Ciolek as the Evangelist and Max van Egmond as the Vox Christi, in St. Martin, Idstein.[3] Scholl performed the title role of Solomon at The Proms. He gave recitals in Wigmore Hall and at the Brighton Festival.[2]
Opera[link]
Scholl's major opera roles have been written for the 18th century alto castrato Senesino. They include his operatic debut at the Glyndebourne in 1998, Bertarido in Handel's Rodelinda, repeated in 1999 and 2002.[4] Rodelinda was a huge success and he 'stopped the show' (Sunday Times). According to James Bowman, who describes himself as an unqualified admirer, 'people went into a kind of trance' when he sang Dove Sei. The Financial Times said of his Vivi tiranno: '... such intelligent virtuosity ... time stands still and you feel he is speaking to you.' In February 2002, Le Monde called him 'Le Roi Scholl' after his reprise of the role of Bertarido in the Paris production of the Glyndebourne Rodelinda.
Scholl performed this role also at the Metropolitan Opera in 2006, opposite Renée Fleming in the title role and Kobie van Rensburg, conducted by Patrick Summers, repeated in 2011.[5] He performed the title role in Handel's Giulio Cesare in a Royal Danish Opera production in 2002 and 2005), reprised in Paris (2007) and Lausanne (2008).[4] In 2008 he performed the role of Arsace in Handel's Partenope for the Royal Danish Opera. In 2010 he sang Giulio Cesare, this time opposite Cecilia Bartoli as Cleopatra, with Les Arts Florissants conducted by William Christie.[4]
Concert[link]
In 1999, Scholl appeared with De Nederlandse Bachvereniging, conducted by Jos van Veldhoven in works of Bach, including his Missa in G (BWV 236). He performed in the Avery Fisher Hall Bach's Christmas Oratorio, conducted by Ton Koopman. In 2000 he sang in Japan several concerts of Bach's Mass in B minor, conducted by Masaaki Suzuki. In 2001, Scholl sang in Handel's Saul in Brussels and performed the title role in Handel's Solomon, conducted by Paul McCreesh. He sang Bach's St John Passion in the Thomaskirche, Leipzig.[4] At the Bachfest Leipzig (de) 2003, he sang in the Mass in B minor, which traditionally closes the festival, with Letizia Scherrer, Mark Padmore and Sebastian Noack, choir and orchestra of the Collegium Vocale Gent, conducted by Philippe Herreweghe.[6] In 2006 he sang on a tour of Europa Bach's solo cantatas Vergnügte Ruh, beliebte Seelenlust, BWV 170, and Geist und Seele wird verwirret, BWV 35, with the orchestra Accademia Bizantina. In 2007 he sang Saul again, at Eberbach Abbey with Trine Wilsberg Lund (Merab), Hannah Morrison (Michal), Andreas Karasiak (Jonathan) and the Schiersteiner Kantorei, conducted by Martin Lutz. In the Berliner Philharmonie he sang Handels Messiah with soloists of the Tölzer Knabenchor, the choir of Les Arts Florissants and the Berliner Philharmonic, conducted by Christie.[4]
In 2008 Andres Scholl made his debut with the New York Philharmonic, singing Handel's Messiah in Avery Fisher Hall, conducted by Ton Koopman.[7] In 2011 Scholl made his debut at the Rheingau Musik Festival in three events, an interview, a trip to three churches with different concert programs, and an opera recital with his sister Elisabeth at Eberbach Abbey. In the Christophoruskirche of Wiesbaden-Schierstein he appeared with harpsichordist Tamar Halperin, in Hallgarten with members of the Accademia Bizantina, in the romanesque Basilika St. Aegidius of Mittelheim with the vocal trio White Raven. The opera recital with the chamber orchestra Accademia Bizantina contained works of Handel and Purcell, such as Handel's Rodelinda, Purcell's King Arthur, closing with the final love duet "Caro! Bella!" from Giulio Cesare in Egitto.[8] In 2011 he performed the alto part of Handel's Messiah in St. Martin, Idstein, with Katia Plaschka, Ulrich Cordes and Markus Flaig.[9] A review describes his perfect timing in the recitatives, his pronounced declamation, technically perfect interpretation and phrasing of the arias, and his devotion to Handel's music and Jennens's text.[10] The Air "He was despised" was regarded as the center of the concert.[9]
Collaborations[link]
Andreas Scholl has worked with the majority of contemporary Baroque specialists, including Chiara Banchini, William Christie, Christophe Coin, Michel Corboz, Paul Dyer, John Eliot Gardiner, Reinhard Goebel, Philippe Herreweghe, Christopher Hogwood, René Jacobs, Konrad Junghänel, Robert King, Paul McCreesh, Nicholas McGegan, Roger Norrington, Christophe Rousset, Jos van Veldhoven, Dominique Veillard and Roland Wilson. He took part in the project of Ton Koopman and the Amsterdam Baroque Orchestra & Choir to record the complete vocal works of Bach. His regular solo partners include cemballist Markus Märkl and the virtuoso lutenist Edin Karamazov. Ensembles with whom he performs include the De Nederlandse Bachvereniging, Cantus Cölln, the Orchestra of the Age of Enlightenment, Musica Antiqua Köln, the Akademie für Alte Musik Berlin, the Freiburger Barockorchester, the Australian Brandenburg Orchestra and Accademia Bizantina.
The composer Marco Rosano has created a new Stabat Mater for Andreas Scholl; he sang the first complete performance of this work on 22 February 2008 at the City Recital Hall, Angel Place, Sydney, accompanied by the Australian Brandenburg Orchestra under Paul Dyer.
Popular music[link]
Scholl has always written songs as well as music for ballet and theatre and has his own professional sound studio in Basel, Switzerland. His White as Lilies, based on ideas of John Dowland, is on the 1995 CD The Countertenors (with Dominique Visse and Pascal Bertin). It was a hit in Korea when used in a TV commercial and was later released there in an orchestrated version. In December 2003, he gave his first public performance in popular music, an eclectic programme of electronic and orchestral works which included his own compositions. Alongside Andreas Scholl was fellow Baroque countertenor, Roland Kunz, who specialises in setting Elizabethan English poems to his own electronic music. The two countertenors duetted in Scholl's and Kunz's songs, backed by Kunz's band die Unerlösten and the Rundfunk-Sinfonieorchester Saarbrücken under Rick Stengårds.
Recordings[link]
The bulk of Scholl's recording career has been with Harmonia Mundi and Decca. By 1998 his CDs dominated Harmonia Mundi's hit list at numbers one, three, four, five and ten, and they are still among Harmonia Mundi's best sellers. His discography amounts to more than sixty CDs, all but two being music of the European Baroque or Renaissance. Recordings in which he has collaborated, including all but one of his solo recordings, have won awards. His personal accolades include the Diapason d'Or, multiple Gramophone Awards, 10 de Repertoire, ffff Telerama and Choc du Mond de la Musique, the ECHO award and Prix de l'Union de la Presse Musicale Belge. In an extremely rare departure from its normally austere approach, Fanfare magazine described his recording of Dowland's A Musicall Banquet as 'perfect'. The recording of Bach's St John Passion conducted by Philippe Herreweghe on which Andreas Scholl sings was nominated for a Cannes Classical Award in 2003. He was Germany's Kultur Radio Artist of the Year in 1998. He has revealed, to German audiences in particular, some little-known masterworks of German Baroque composers and has thereby made a significant contribution to the modern rediscovery of the Baroque repertoire. His 2001 album of folk songs, Wayfaring Stranger, was a personal project, well-received by the CD-buying public but not universally acclaimed by his fellow musicians, some of whom regarded it as an inappropriate departure.
References[link]
- ^ Andreas Scholl (Counter-tenor) bach-cantatas.com
- ^ a b c d Andreas Scholl klassikakzente.de, 7 October 2010 (German)
- ^ "Andreas Scholl past concerts 1998". andreasschollsociety.org. 2010. http://www.andreasschollsociety.org/performance_history.html#98. Retrieved 7 November 2010.
- ^ a b c d e When did Scholl sing at ...? Andreas Scholl Society
- ^ James H. Oestreich: Bringing Back the Baroque in a Revival Tailored to the Met New York Times 15 November 2011
- ^ Johanna Gross (1. Juni 2003). "Das jährliche Ritual zum Abschluss des Bachfestes" (in German). leipzig-almanach.de. http://www.leipzig-almanach.de/musik_abschluss_des_bachfestes_mit_bachs_h-moll-messe_aufgefuehrt_von_philippe_herreweghe_mit_chor_und_orchester_des_collegium_vocale_gent_johanna_gross_x.html. Retrieved 6. Oktober 2011.
- ^ "Handel's Messiah". nyphil.org. 17 December 2008. http://nyphil.org/meet/archive/index.cfm?page=eventDetail&eventNum=1522&seasonNum=8&archive=1. Retrieved 6 October 2011.
- ^ Musikalischer Klang mit Idee Axel Zibulski, Wiesbadener Kurier, 19 July 2011 (German)
- ^ a b Doris Kösterke (20 September 2011). "Erhabene innere Ruhe" (in German). Wiesbadener Kurier. http://www.wiesbadener-kurier.de/region/kultur/musik/print_11179242.htm. Retrieved 20 September 2011.
- ^ Beke Heeren-Pradt (21 September 2011). "Mit Hingabe und Präzision" (in German). Wiesbadener Tagblatt. http://www.st-martin-idstein.de/?id=809&type=1. Retrieved 21 September 2011.
External links[link]
- Literature by and about Andreas Scholl in the German National Library catalogue
- Andreas Scholl Website (German)
- The Andreas Scholl Society not-for-profit independent site with future concerts, past performances, extended biography, full discography, list of all recorded tracks indexed by composer, photo archive, early music links, index of world countertenors, audio samples, message board
- Andreas Scholl Harrison Parrott artist management
- Andreas Scholl Decca 2011
- Andreas Scholl at Allmusic
- Andreas Scholl laphil.com 2011
- Scholl's MySpace page with audio clips from his own studio.
- Andreas Scholl sings from Mozart's Mitridate
- Germany special: The Rhine Valley Interview with Andreas Scholl by Kieran Falconer, The Independent, 9 April 2006
- Andreas Scholl' Dan Shorer, "on-line meetings at U-Sophia, where minds meet on-line"
- Andreas Scholl Oper Frankfurt
| Persondata | |
|---|---|
| Name | Scholl, Andreas |
| Alternative names | |
| Short description | German countertenor |
| Date of birth | 10 November 1967 |
| Place of birth | Eltville |
| Date of death | |
| Place of death | |
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Ton Koopman (born 2 October 1944 in Zwolle, Netherlands) is a conductor, organist and harpsichordist.
Koopman had a "classical education" and then studied the organ (with Simon C. Jansen), harpsichord (with Gustav Leonhardt) and musicology in Amsterdam. He specialized in Baroque music and received the Prix d'Excellence for both organ and harpsichord.
In 1979 Koopman founded the Amsterdam Baroque Orchestra and the Amsterdam Baroque Choir in 1992 (now combined as the Amsterdam Baroque Orchestra & Choir). Koopman concentrates on Baroque music, especially that of Bach, and is a leading figure in the authentic performance movement. While a number of early-music conductors have ventured into newer music, Koopman has not. He has said, "I draw the line at Mozart’s death" (1791).[1] One exception is his recording of the Concert Champêtre of Francis Poulenc, written in 1928.
Among Koopman's most ambitious projects was the recording of the complete cycle of all of Bach's cantatas, a project completed in 2005. Soloists for the project were among others Lisa Larsson, Sandrine Piau, Sibylla Rubens, Barbara Schlick, Caroline Stam, Deborah York and Johannette Zomer (soprano), Bogna Bartosz, Michael Chance, Franziska Gottwald, Bernhard Landauer, Elisabeth von Magnus, Annette Markert and Kai Wessel (alto), Paul Agnew, Jörg Dürmüller, James Gilchrist, Christoph Prégardien and Gerd Türk (tenor) and Klaus Mertens (bass). Koopman has received many prizes for his recordings. In 2005 he has commenced Dieterich Buxtehude – Opera Omnia, a project to record the complete works of Dieterich Buxtehude. As of March 2010, eleven volumes have been released.[2] He was elected president of the "International Dieterich Buxtehude Society" in 2004.
Koopman's extensive discography includes the complete Bach cantatas and organ works, St Matthew Passion (twice) and St John Passion, Mass in B minor, Christmas Oratorio, a recording of his own reconstruction of the lost St Mark Passion, concertos and harpsichord works by Bach, Mozart's Coronation Mass and Vespers, Requiem, a cycle of Mozart symphonies, Vivaldi's The Four Seasons, Handel's Messiah and Organ Concertos, et al.
Besides his work with the Amsterdam Baroque Orchestra & Choir, he is in frequent demand as guest conductor and as harpsichordist and organist. Some of his organ interpretations have drawn criticism for their overuse of ornamentation. His aim is always to achieve authenticity in performance, using exact copies of historical instruments from the time of the composer.
In 2003 he established his own recording company "Antoine Marchand" (a French translation of his name).
In April 2003 he was knighted in the Netherlands, receiving the Order of the Netherlands Lion.
In 2011, Koopman begins a three-year stint as artist-in-residence with the Cleveland Orchestra.[3]
He is professor at The Royal Conservatory of The Hague. He is married to Tini Mathot, who is also an accomplished harpsichordist, and the two frequently perform together. Ms. Mathot is also his chief recording producer, as well as a teacher at the Royal Conservatory.[4]
References[link]
- ^ http://ottosbaroquemusick-bachradio.blogspot.com/2010/12/bach-js-harpsichord-concertos-amsterdam.html
- ^ Dieterich Buxtehude - Opera Omnia
- ^ http://www.mercurynews.com/music/ci_17321899
- ^ http://www.bach-cantatas.com/Bio/Mathot-Tini.htm
- Interview
- Reviews
- Biography at Naxos.com
- Biography at Leiden University
- Article at Leiden University
- Other article at Leiden University
- Bach-cantatas.com: Ton Koopman
- On-Line meeting
External links[link]
- Ton Koopman official website
- International Dieterich Buxtehude Society
- Weblog
- Ton Koopman's guest page and recorded sessions at U-Sophia, where minds meet on-line
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| Persondata | |
|---|---|
| Name | Koopman, Ton |
| Alternative names | |
| Short description | Dutch conductor, organist and harpsichordist |
| Date of birth | 12 October 1944 |
| Place of birth | Zwolle |
| Date of death | |
| Place of death | |
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George Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727. By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.
Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity. Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.
