Handel - Italian Duets
£9.45
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Label: Brilliant Classics
Cat No: 94344
Format: CD
Number of Discs: 1
Release Date: 8th October 2012
Contents
Works
Amor gioie mi porge, HWV180Cantata HWV179 'Ahi, nelle sorti umane'
Caro autor di mia doglia, HWV182
Entree
No, di voi non vo fidarmi, HWV189
Prelude
Preludio in D minor
Quel fior che all'alba ride, HWV192
Sonata in B major
Toccata
Va, va, speme infida, pur, HWV199
Artists
Susanna Ryden (soprano)Gemma Bertagnoli (soprano)
Harmonices Mundi
Conductor
Claudio AstronioWorks
Amor gioie mi porge, HWV180Cantata HWV179 'Ahi, nelle sorti umane'
Caro autor di mia doglia, HWV182
Entree
No, di voi non vo fidarmi, HWV189
Prelude
Preludio in D minor
Quel fior che all'alba ride, HWV192
Sonata in B major
Toccata
Va, va, speme infida, pur, HWV199
Artists
Susanna Ryden (soprano)Gemma Bertagnoli (soprano)
Harmonices Mundi
Conductor
Claudio AstronioAbout
Two wonderful voices, ranking among the best in this particular field (Italian vocal baroque music) - Gemma Bertagnolli and Susanne Rydén - are backed by the period instrument ensemble Harmonices Mundi under Claudio Astronio who have made fine recordings for Brilliant of several other Baroque composers.
The supreme master of the chamber duet genre was Agostino Steffani and it is no coincidence that Handel had a manuscript copy of Steffani’s famous duets with him at the beginning of his stay in Rome. The Italian composer’s work was a model for the young musician from Saxony, an inspiration that left tangible traces in those very duets.
There is a distinct network of connections between Handel’s duets, his other compositions and those of several of his contemporaries, that bears witness to consistent borrowing. The duets are a case in point, revealing a criss-crossing of musical loans from one composition to another. Apart from Steffani, Handel also borrowed musical ideas from colleagues such as Giovanni Maria Clari and Pietro Torri, Dietrich Buxtehude and Antonio Caldara.
The duets continued to charm the world of music even after Handel’s death when, with the exception of the grand oratorios, the rest of his output faded somewhat into the background. Each duet in this collection is preceded by a compatible instrumental piece, which acts as a sort of prelude. Although these latter compositions were originally written for the keyboard, they were also transcribed for various basso continuo instruments, which is how they are performed here. The practice of alternating instrumental and vocal pieces was typical of court and academy performance during the 1700s, and is well suited to Handel’s duets.
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