George Frideric Handel (1685-1759)
Total Eclipse
London Handel Players
rec. 2023, St John the Baptist Church, Loughton, Essex
Reviewed as download from press preview
Handel at Home Volume 2
Somm Recordings SOMMCD0676 [75]
The first volume of these chamber music settings of popular arias by Handel turned out to be a success, so it’s no wonder that Somm wanted a sequel. I missed volume 1, but having now made amends by acquiring volume 2, I will briefly explain to readers who are in the same limbo as I was what the fuss is about. London Handel players saw the potential in presenting some of the many marvellous tunes Handel created during the more than forty years he lavished his melodic talent on arias for operas and other vocal works – but in instrumental guise. They were arranged either in the 18th century, i.e. in Handel’s own time, or in present time by the ensemble itself. It turned out that Handel’s very first opera for London – and the very first opera ever in Italian written for London – Rinaldo in 1711, became a tremendous success, and within seven weeks of the premiere publisher John Walsh, issued a collection of its arias with basso continuo for the amateur market, which was a best-seller. A few years later William Babell published a set of transcriptions for harpsichord of arias by Handel, including the famous lamentation Lascia ch’io pianga (track 4)from Rinaldo. Charles Burney many years later dismissed it as “mere rapidity of finger in playing single sounds, without the assistance of taste, expression, harmony or modulation …”. For this recording Silas Wollston has created an arrangement that follows Handel’s original more closely but also incorporates some of Babell’s “harmonic liberties and bravura ornamentation”. While this certainly robs the music of its nobility and deeply felt sorrow, it adds a certain thrill as compensation. The well-known Ombra cara from Radamisto (track 11) is also a harpsichord solo, and also here there are embellishments galore.
Elsewhere though it is Rachel Brown’s flute that deputises for the human voice with beguiling results. Cara sposa also from Rinaldo (track 2), another lament; the touching Total eclipse from Samson (track 9) lovingly played and Cleopatra’s two contrasting arias from Giulio Cesare (tracks 13-14): Se pietà a gripping prayer, one of Handel’s most beautiful creations; Da tempeste a radiant utterance beaming with joy, the melody literally bouncing along weightlessly. These are all highlights, and the purely instrumental overture to Samson, here a delicious flute concerto, elegantly played, is another highlight. Overall the playing is excellent with vitality, sensitivity and rhythmical precision, something that also permeates the Sonata a 5, a work in three short movements, which is the closest to a violin concerto that Handel ever wrote. Adrian Butterfield shines in the solo part, and in particular the finale with its echo effects and rhythmical exuberance is a winner. I couldn’t resist reprising it twice immediately.
This captivating programme should be attractive to baroque specialists as well as casual listeners with a taste for beautiful melodies. For the latter category above all this could be an ear-opener to the riches of the baroque repertoire, maybe a totally new world to some. Considering the many positive reviews of the first volume, I suspect that this sequel also will sell well – and even trigger the production team to consider a third volume. There is no shortage of attractive material available.
Göran Forsling
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Contents
Rinaldo, HWV 7
[1] Overture abcdef 5:46
[2] Sinfonia and Cara sposa abcdef 10:17
[3] Il vostro maggio abcdef 2:22
[4] Lascia ch’io pianga f 4:45
Sonata a 5, HWV 288 bcdefgh [8.43]
[5] I. Andante 3:36
[6] II. Adagio 1:29
[7] III. Allegro 3:40
Samson, HWV 57
[8] Overture aef 5:38
[9] Total eclipse abcdef 4:05
[10] Thus when the sun abcdef 4:29
Radamisto, HWV 12
[11] Ombra cara f 6:59
Giulio Cesare in Egitto, HWV 17
[12] Overture bcdef 2:55
[13] Se pietà abcdef 9:23
[14] Da tempeste abef 6:22
The Choice of Hercules, HWV 69
[15] Yet can I hear that dulcet lay abcdef 4:02
Performers
Rachel Brown (a) (flute, recorder), Adrian Butterfield (b) (violin and soloist),
Oliver Webber (c) (violin), Rachel Byrt (d) (viola), Gavin Kibble (e) (cello),
Silas Wollston (f) (harpsichord) with Naomi Burrell (g) (violin),
Carina Cosgrave (h) (double bass)
