MUSIC SATURDAY - BONONCINI

“Music happens to be an art form that transcends language.” - Herbie Hancock

Giovanni Bononcini (also spelled Buononcini - born July 18, 1670, Modena, Duchy of Modena—died July 9, 1747, Vienna) is a composer, chiefly remembered as Handel’s rival in England. He studied with his father, composer and theoretician Giovanni Maria Bononcini, and later at Bologna. Precocious musical gifts won him his first appointment, as a cellist, in 1687, and he soon became maestro di cappella of S. Giovanni in Monte.

He moved to Rome about 1691 and in 1698, after a brief period in Venice, settled in Vienna with his brother, the composer Antonio Maria Bononcini. In 1720 he was invited to London by the new operatic organisation, the Royal Academy of Music. His rivalry with Handel and their backing by opposed political and social factions ended in defeat for Bononcini. His backers were a group of noblemen; Handel was backed by the king.

A three-act opera, “Muzio Scevola”, was looked upon as a public competition, with Bononcini and Handel composing the second and third acts, respectively. Handel was judged the winner. This reverse and others led to Bononcini’s loss of support. Eight of his operas were produced in London, the most successful being “Astarto”, “Crispo”, and “Griselda”. Other compositions of this period include an anthem on the death (1722) of the Duke of Marlborough and harpsichord and chamber music.

In the early 1730s he went to Paris, leaving England in disgrace after submitting to the Academy of Ancient Music as his own composition a madrigal actually written by Antonio Lotti. His last work, “Te Deum”, was written in Vienna in the 1740s. Though he was a prolific and gifted composer, Bononcini’s abilities are dwarfed by comparison with Handel’s. Only in opera, where both used the same highly conventionalised idiom, are the two men comparable. Nonetheless, Bononcini achieved a simple and fluent melodic style and the ability to write well for his singers.

Here are his “Divertimenti Op.7” for chamber group, performed by Ensemble Aurora and La Stagione Armonica.

1. No.1 in F major 0:00

2. No. 2 in D minor 8:59

3. No. 3 in A minor 18:39

4. No. 4 in G minor 27:19

5. No. 5 in B flat major 33:34

6. No. 6 in C minor 44:12

7. No. 7 in E minor 53:41

8. No. 8 in G major 1:00:54

MUSIC SATURDAY - HÄNDEL's CONCERTI GROSSI

“Where words fail, music speaks.” - Hans Christian Andersen

Our memories are one of the fundamental things that define us, and to a certain extent, influence who we are and how we shall react to present and future situations. Many of those memories, for me at least, revolve around music. Music that we first heard on a certain occasion, background music that assumed special importance because of what was happening to us at a certain moment, music that was recommended to us by a special person our lives, music that was given to us as a gift, music that we heard at a concert where we were with someone special, music that we perhaps played on a particular moment when there was nothing else that we could do except play music…

Rallentanda, one of the readers of my blog (hello, Rall!), reminded me the other day through one her comments of a special moment in the past when I was first told to listen to a magnificent set of concerti by Georg Friederich Händel. The one that recommended them to me was my music teacher in High School, the one who also encouraged me to take up the study of music theory and the one who played on the piano my first compositions. I remember with fondness and gratitude that very special person who first saw sparks of musical talent in my nature and fanned them into a flame that has been kept alight for decades now. And these concerti always remind me of her, whenever I hear them (and that is often)!

So here are Georg Friedrich Händel’s Concerti Grossi Op 6, Nos 1-12, played by  The Avision Ensemble, conducted by Pavlo Beznosiuk.

Concerto Grosso in G Major, Op. 6, No. 1, HWV 319:

0:00:00 - I. A tempo giusto

0:01:33 - II. Allegro

0:03:17 - III. Adagio

0:05:52 - IV. Allegro

0:08:28 - V. Allegro

Concerto Grosso in F Major, Op. 6, No. 2, HWV 320:

0:11:21 - I. Andante larghetto

0:15:31 - II. Allegro

0:17:50 - III. Largo - Larghetto andante e piano

0:19:58 - IV. Allegro ma non troppo

Concerto Grosso in E Minor, Op. 6, No. 3, HWV 321:

0:22:22 - I. Larghetto

0:23:28 - II. Andante

0:24:57 - III. Allegro

0:27:23 - IV. Polonaise: Andante

0:32:22 - V. Allegro, ma non troppo

Concerto Grosso in A Minor, Op. 6, No. 4, HWV 322:

0:33:42 - I. Larghetto affettuoso

0:36:25 - II. Allegro

0:39:23 - III. Largo e piano

0:41:48 - IV. Allegro

Concerto Grosso in D Major, Op. 6, No. 5, HWV 323:

0:44:47 - I. [Larghetto e staccato]

0:46:20 - II. Allegro

0:48:33 - III. Presto

0:52:38 - IV. Largo

0:54:46 - V. Allegro

0:56:58 - VI. Menuet: Un poco larghetto

Concerto Grosso in G Minor, Op. 6, No. 6, HWV 324:

1:00:01 - I. Largo e affettuoso

1:03:17 - II. Allegro, ma non troppo

1:04:56 - III. Musette: Larghetto

1:09:58 - IV. Allegro

1:13:01 - V. Allegro

Concerto Grosso in B-Flat Major, Op. 6, No. 7, HWV 325:

1:15:29 - I. Largo

1:16:25 - II. Allegro

1:19:23 - III. Largo, e piano

1:22:31 - IV. Andante

1:26:18 - V. Hornpipe

Concerto Grosso in C Minor, Op. 6, No. 8, HWV 326:

1:29:34 - I. Allemande

1:36:08 - II. Grave

1:37:41 - III. Andante allegro

1:39:36 - IV. Adagio

1:40:41 - V. Siciliana: Andante

1:44:12 - VI. Allegro

Concerto Grosso in F Major, Op. 6, No. 9, HWV 327:

1:45:40 - I. Largo

1:47:11 - II. Allegro

1:51:04 - III. Larghetto

1:54:24 - IV. Allegro

1:56:10 - V. Menuet

1:57:30 - VI. Gigue

Concerto Grosso in D Minor, Op. 6, No. 10, HWV 328:

1:59:45 - I. Overture

2:01:14 - II. Allegro Lento

2:03:26 - III. Air: Lento

2:06:24 - IV. Allegro

2:08:37 - V. Allegro

2:11:22 - VI. Allegro moderato

Concerto Grosso in A Major, Op. 6, No. 11, HWV 329:

2:13:13 - I. Andante larghetto, e staccato

2:17:24 - II. Allegro

2:19:07 - III. Largo, e staccato

2:19:38 - IV. Andante

2:24:03 - V. Allegro Concerto Grosso in B Minor, Op. 6, No. 12, HWV 330:

2:29:21 - I. Largo

2:31:20 - II. Allegro

2:34:13 - III. Aria: Larghetto e piano

2:37:34 - IV. Largo

2:38:24 - V. Allegro

CHRISTMAS EVE 2015

“Christmas is the spirit of giving without a thought of getting. It is happiness because we see joy in people. It is forgetting self and finding time for others. It is discarding the meaningless and stressing the true values.” - Thomas S. Monson

George Frideric Handel was born February 23, 1685, Halle, Germany and died April 14, 1759, London, England. This composer of the late Baroque era contemporary of J.S. Bach, noted particularly for his operas, oratorios (vocal and choral concert works, usually religious in subject matter), and instrumental compositions. He is one of the most brilliant and gifted of composers, with his works. He wrote the most famous of all oratorios, the "Messiah", and is also known for such occasional pieces as Water Music (1717) and Music for the Royal Fireworks (1749).

Handel in 1741, was at the height of his powers, and the Messiah was composed within an amazing 23 days! Messiah was given its first performance in Dublin on April 13, 1742, and created a deep impression. Handel continued with the composition of many more oratorios and he made this, and large-scale choral works the most popular musical forms in England. He had created for himself a new public among the rising middle classes, who would have turned away in moral indignation from the Italian opera but who were quite ready to be edified by a moral tale from the Bible, set to suitably dignified and, by now, rather old-fashioned music. Ever since then, Handel’s Messiah has been performed almost continuously and nowadays its performance is a much-loved Christmas tradition in many English-speaking countries.

If you are rather stressed with the Christmas season and the hectic rush, take some time to listen to the “Messiah” and be refreshed mentally and spiritually.

MUSIC SATURDAY - HANDEL'S 'SAMSON'

“I should be sorry if I only entertained them, I wish to make them better.” – George Frideric Handel

‘Samson’ (HWV 57) is a three-act oratorio by George Frideric Handel, considered one of his finest dramatic works. It is usually performed as an oratorio in concert form, but on occasions has also been staged as an opera. The well-known arias “Let the bright Seraphim” (for soprano) and “Total eclipse” (for tenor) are often performed separately in concert.

Handel began its composition immediately after completing Messiah on 14 September 1741. It uses a libretto by Newburgh Hamilton, who based it on Milton’s ‘Samson Agonistes’, which in turn was based on the figure Samson in Chapter 16 of the Book of Judges. Handel completed the first act on 20 September 1741, the second act on 11 October that year and the whole work on 29 October. Shortly after that he travelled to Dublin to put on the premiere of Messiah, returning to London at the end of August 1742 and thoroughly revising Samson. The premiere was given at Covent Garden in London on 18 February 1743, with the incidental organ music probably the recently completed concerto in A major (HWV 307). The oratorio was a great success, leading to a total of seven performances in its first season, the most in a single season of any of his oratorios. Samson retained its popularity throughout Handel’s lifetime and has never fallen entirely out of favour since.

Act 1 (0.04:28): Blind and in chains, Samson is recovering from his slavery since the Philistines are having a festival in honour of their god Dagon. He grieves at his fate. The Israelites observe how their once invincible hero lies and that there is now no hope. Micah sees the whole people's lot reflected in his own. Samson reproaches himself, because he has been betrayed by his wife Dalila, and especially laments his loss of sight. Samson's father Manoah finds Samson and is shocked by his transformation. Samson longs for death, but is comforted by the Chorus of Israelites that he will triumph over death and time.

Act 2 (1:22:14): Micah and the Israelites call upon God to look upon the troubles of his servant. Dalila tries to recover Samson's love but her attempts to re-ensnare him come to nothing. The Philistine Harapha comes to insult Samson, who challenges him to a duel. Harapha, however, reviles Samson, claiming it is beneath his dignity to fight with a blind man. Samson mocks him as a braggart. Micah proposes to measure the power of Dagon against that of the god of the Israelites. The Israelite and Philistine choruses both praise their God.

Act 3 (2:41:36): Harapha arrives to take Samson to the feast of the Philistines and show him off there. Samson at first refuses to be present at the worship of Dagon, but then thinks of a plan and agrees to go to the festival, though he warns the Israelites to stay away from it. Manoah arrives with plans for the children of Israel, including how to free Samson. From a distance are heard the songs of the Philistines, calling on Dagon. Suddenly the audience hears noise and panic. An Israelite messenger arrives and tells the audience what has happened: Samson pulled down the building on himself and the Philistines. Samson's dead body is brought out and the children of Israel play and sing a funeral march. At the end, the Lord is praised.

This performance from the Royal Albert Hall in the BBC, Proms 2009, with Susan Gritton: soprano; Lucy Crowe: soprano; Iestyn Davies: countertenor; Mark Padmore: tenor; Ben Johnson: tenor; Neal Davies: bass; Christopher Purves: bass; The English Concert & The New Company conducted by Harry Bicket.

MUSIC SATURDAY - HÄNDEL VIOLIN SONATAS

“You affect the world by what you browse.” - Tim Berners-Lee
 

The change in YouTube policy that allows one to upload longer clips has meant that very quickly, a huge number of larger classical works have been uploaded in their entirety. This is a boon for classical music lovers, allowing one to perform a quick search and be able to enjoy the absolute best of the veritable treasure trove of Western classical music at will.
 

For Music Saturday today, here is such a gem. Georg Frideric Händel’s “Complete Violin Sonatas”, played by Andrew Manze (violin) and Richard Egarr (harpsichord).
 

Sonata in D major, Op.1/13, HWV 371 0:00
Sonata in F, Op.1/12, HWV 370 12:12
Sonata in D minor, HWV 359a 26:02
Sonata in A major, Op.1/3, HWV 361 33:42
Sonata in G minor, Op.1/6, HWV 364a 41:40
Sonata in A major ('Roger'), Op.1/10 48:58
Sonata in E major ('Roger'), Op.1/12 57:02
Sonata in G major, HWV 358 1:06:12

The painting above is Orazio Gentileschi’s (1563–1639) “Young Woman Playing a Violin”.

HÄNDEL FOR SATURDAY

“Music in the soul can be heard by the universe.” - Lao Tzu
 
For Music Saturday, one of the most important works of the Baroque by one of the giants of music. Georg Friedrich Handel Concerti Grossi Op 6, Nos 1-12.
 
Handel was born to Georg Handel (1622-97) and Dorothea Taust (1651-1730). Handel’s father, Georg, was a barber-surgeon for the Duke of Saxe-Weissenfels; his mother was the daughter of a pastor. Because Handel’s father wanted him to become a lawyer, Georg prevented Handel from playing any musical instruments. However, Handel managed to sneak past his father’s command by playing the hidden clavichord in the attic. At the age of 9, the Duke heard Handel playing the organ and convinced Georg to let Handel study music under Friedrich Zachow. When Handel was just 12, his father died leaving Handel as the “man of the household.”
 
Perhaps just in case Handel’s musical career was not as successful as he hoped it would be, records show that Handel had, in fact, enrolled into Halle University in 1702. A month later, Handel was appointed organist at the Calvinist Cathedral, but after one year, his contract was not renewed. Handel decided that he would follow his musical dreams and shortly thereafter, he left Halle for Hamburg. In Hamburg, Handel played violin and harpsichord for the only opera company in Germany that existed outside the royal courts, and also taught private lessons. Handel wrote his first opera, Almira in 1704. In 1706, Handel moved to Italy, where he gained a wealth of knowledge on setting Italian lyrics to voice. In 1710, he was appointed Kapellmeister at Hanover, but soon took leave to London. Then, in 1719, he became musical director of the Royal Academy of Music.
 
Much of Handel’s time during the 1720’s and 30’s was spent composing operas. However, he still found time to compose many other works. During the last few years of the 1730’s, Handel’s operas were not as successful. Afraid of his future success, he responded by focusing more on oratorio. In 1741, Handel composed the wildly successful Messiah, which was originally sung by a choir of 16 and an orchestra of 40. He left to Dublin for the premiere of the piece. During the last ten years of Handel’s life, he regularly performed his Messiah. Because of its success, he returned to London and with a new found confidence he composed another oratorio, Samson along with many others. Before his death, Handel had lost his vision due to cataracts. He died on April 14, 1759. He was buried at Westminster Abbey, and it was said that over 3,000 people attended his funeral.

PARTING

“They who go Feel not the pain of parting; it is they Who stay behind that suffer” - Henry Wadsworth Longfellow

For music Saturday today, a beautiful aria from George Friedrich Handel’s opera “Rodelinda”. It is the aria “Dove Sei?” (Where are you?).

“Rodelinda, regina de’ Longobardi” (HWV 19) is an opera seria in three acts composed for the first Royal Academy of Music by George Friederich Handel. The libretto is by Nicola Francesco Haym, and was based on an earlier libretto by Antonio Salvi set by Giacomo Antonio Perti in 1710. Salvi’s libretto originated with Pierre Corneille's play “Pertharite, roi des Lombards” (1653), based on the history of Perctarit, king of the Lombards in the 7th century.
 
Dove sei, amato bene?
Vieni, l'alma a consolar!
Sono oppresso da' tormenti
ed i crudeli miei lamenti
sol con te posso sopportar...

Where are you, my dear loved one?
Come and console my soul.
I am oppressed with sorrow
And my cruel lament
I can only bear with you near me…



The painting is “Parting” by Jean-Michel Ruyten.

CARA SPOSA

“When love beckons to you follow him, Though his ways are hard and steep. And when his wings enfold you yield to him, Though the sword hidden among his pinions may wound you. And when he speaks to you believe in him, Though his voice may shatter your dreams as the north wind lays waste the garden. For even as love crowns you so shall he crucify you. Even as he is for your growth so is he for your pruning. Even as he ascends to your height and caresses your tenderest branches that quiver in the sun, So shall he descend to your roots and shake them in their clinging to the earth...” – Kahlil Gibran
 

It was a very pleasant Saturday today, with some much needed rest and relaxation, after the rather hectic week that’s been. The weather today was also rather mild with some wintry sunshine warming us up. Then this evening, a quiet time with good company, a glass of wine and some nice food…

Here is George Frideric Handel’s Cara Sposa, an aria from his opera “Rinaldo”, sung by Andreas Scholl, countertenor.



Cara sposa, amante cara,
dove sei?
Deh! Ritorna a' pianti miei.

Del vostro Erebo sull'ara
colla face del mio sdegno
io vi sfido o spirti rei!

My dear betrothed, my dear one,
where are you?
Come back to my tears!

Evil spirits, I defy you
with the fire of my wrath
on your infernal altar.

YET ANOTHER GRADUATION!

“The roots of education are bitter, but the fruit is sweet.” - Aristotle

We had our graduation ceremony in Melbourne today at the Melbourne Town Hall. Consequently, it was another very busy day, coming right after a very busy week, which has seen me finalise our Annual Report to the Office of Higher Education, which is to be lodged first thing on Monday morning. Tomorrow is a day of rest!

The graduation went very well and the Town Hall, which is a magnificent venue, was full of graduands, family, friends, academics and the official party. I gave the welcoming speech that was well received and two hours later, we had finished. The official party then went to dinner at Feddish Restaurant at Federation Square where we had a very pleasant meal with much mirth and merriment.

As a consequence, for Music Saturday, something quite appropriate. Here is the Allegro from the G major organ concerto Op.4 No.1 HWV 289 by George Frideric Handel. The organ in the Melbourne Town Hall is magnificent and was used to great effect in the graduation this evening.

POSTCARD FROM ADELAIDE

“We shall find peace. We shall hear angels. We shall see the sky sparkling with diamonds.” – Anton Chekhov

Saturday night in Adelaide. I am just about to go out and have dinner with some of my colleagues. It has been a lovely mild and sunny autumn day and now as the evening falls, the temperature is also dropping and the sky, still quite clear is full stars.

A little Handel for this Saturday night. Here is his Sarabande which was used to great effect in the movie “Barry Lyndon”.



Enjoy your weekend, everyone!

SONG SATURDAY - HANDEL

“And weep the more, because I weep in vain.” - Thomas Gray

A very busy Saturday today, with much work on my book. I am finalising the illustrations and this takes much care and time. While doing that, however, I can listen to music and this was one of the pieces I heard. Immortal Handel!

An aria from George Frederick Handel’s opera “Rinaldo”, called “Lascia ch’ io pianga” (Let me weep).



The clip is from the Gérard Corbiau film “Farinelli” (1994). Farinelli, was the artistic name of Carlo Broschi, a young singer in Handel's time. He was castrated in his childhood in order to preserve his voice. During his life he becomes to be a very famous opera singer, managed by his mediocre brother

Lascia ch'io pianga

Lascia ch'io pianga la cruda sorte,
E che sospiri la libertà!
E che sospiri, e che sospiri la libertà!
Lascia ch'io pianga la cruda sorte,
E che sospiri la libertà!

Let me weep

Let me weep over my cruel fate,
And that I long for freedom!
And that I long, and that I long for freedom!
Let me weep over my cruel fate,
And that I long for freedom!

ELECTION DAY WATER

“What luck for rulers, that men do not think.” - Adolf Hitler
http://en.wikipedia.org/wiki/Hitler

This morning, bright and early we walked to our local polling station a couple of kilometres from our house and we voted. It is Election Day today and it is predicted that we have a cliffhanger of a poll on our hands. The reigning conservative government is up for election for its fifth term in office and the arrogance of its leaders is overwhelming. I am surprised that the Australian people are mistaking this condescending self-importance for confidence and ebullience. There has been the usual mud-slinging and scare campaigns and our prime minister is hoping to be re-elected, counting on the grey vote.

Some polls are predicting a Labor party victory and most people I have talked to are wanting a change. Steve Rudd who leads the Labor Party is younger, has fresh ideas and some more moderate, progressive policies. His plan to ratify the Kyoto protocol was good news for me, as our present PM has mulishly resisted to ratify it. In any case, I am not holding my breath and I am avoiding watching the reportage from the National Tally Room in Canberra. I’d rather read about it in tomorrow’s paper.

Now, for Music Saturday, I am much in need of something relaxing, classic and soothing. One can’t go past some Water Music by George Friedrich Handel.



Enjoy your weekend!

Well, I did get to watch a bit of the election coverage after a friend rang us to tell us how quickly the electorate’s swing against the government started to manifest itself. It is now official, we have a new Prime Minister, Kevin Rudd and the country is now in the Labor Party’s hands. The Senate votes are still being counted of course, and even in the House of Representatives some seats are still being contested. However, the Liberal Party has been defeated, and to add insult to injury, John Howard has lost his own seat of Bennelong…

Let us hope that all the pretty flowery speeches of the new Prime Minister elect will be converted into meaningful action. It was about time we had change and the new leader brings fresh ideas for the future…