All of Trevor Pinnocks unmissable Handel orchestral recordings with the English Concert on period instruments, collected for the first time in a single release: Classic recordings of Op. 3 and Op. 6; A must-have for anyone remotely interested in Handel.
Written in 1724, just after Giulio Cesare and just before Rodelinda, Tamerlano comes from one of the most fruitful periods of Handel’s career, full of compelling inspiration, yet it has been relatively neglected on disc. This Avie recording was made live at Sadler’s Wells in London in collaboration with the BBC in June 2001, marking a welcome return to disc of Trevor Pinnock and the English Concert. The result is delicate on a smallish scale, less sharply focused than Pinnock’s Archiv recordings, but with unerring judgement on style and pacing.
Simon Preston's recordings of the complete set of Handel's organ concertos with Trevor Pinnock and The English Concert was the first to use the latest musicological research by Anthony Hicks. These recordings remain unsurpassed from a scholarly point of view, and the performances themselves remained a benchmark for at least a decade. They may not be the best versions available now but still have a lot to offer. Preston's performances are alert and still sound very vibrant and strong, yet it must be confessed that the rather harsh sound of Preston's instrument in Opus 7 verges on becoming joyless at times.
This disc brings together recordings made in the 1980's as part of a reduction of three original discs down to two. At the same time, the original fine recordings have been remastered to good effect with added depth and space. This makes a particularly important improvement to the Coronation Anthems which previously came over as sonically lacking ideal breadth, depth and recorded weight in Zadok. The ears adjusted after that.
Belshazzar (HWV 61) is an oratorio by George Frideric Handel. The libretto was by Charles Jennens, and Handel abridged it considerably. Jennens' libretto was based on the Biblical account of the fall of Babylon at the hands of Cyrus the Great and the subsequent freeing of the Jewish nation, as found in the Book of Daniel.
Handel composed Belshazzar in the late Summer of 1744 concurrently with Hercules, during a time that Winton Dean calls "the peak of Handel's creative life".The work premiered the following Lenten season on 27 March 1745 at the King's Theatre, London.The work fell into neglect after Handel's death, with revivals of the work occurring in the United Kingdom in 1847, 1848 and 1873.With the revival of interest in Baroque music and historically informed musical performance since the 1960s, Belsahzzar receives performances in concert form today and is also sometimes fully staged as an opera.
Celebrate the 250th anniversary of Handel's death with this impressive box set. 30-CD box set of the composer's most celebrated works–including the Royal Fireworks and Water Music, The Messiah, concerti grossi and much more! Featuring conductors Sir Neville Marriner, Christopher Hogwood, Trevor Pinnock, Mark Minkowski and others. Performances by the Gabrielli Players, Academy of St. Martin in the Fields, English Baroque Soloists and others.
This album of Handel vocal selections should delight the listener with its clear, bell-like soprano and its period orchestra, its Handelian melismas and reverential songs to God. Soprano Dorothea Craxton sings with such a beautiful, creamy sound and smooth technique that one does not hear her breaths. However, this album disappoints for the sole reason that the recording quality is off-balance, often relegating Craxton to sound like a member of the ensemble as opposed to soloist (or being overpowered by one of the ensemble).
According to Christopher Hogwood, in his marvelous biography of Handel, "In the winter of that year , Handel received what was for him an unusual commission. Although closely associated with the London theatre, he wrote very little incidental music for plays. A request from John Rich to provide airs and dances for Smollett's 'Alceste' was undertaken, according to Hawkins, in repayment of a debt to Rich."
With so many fine-to-great Messiah’s already available, who stands to benefit from this lackluster, hardly serviceable offering? William Boughton’s conducting is pedestrian at best–the performance lumbers along politely, ignoring every one of Handel’s many opportunities to soar. This is especially excruciating in the choruses: rarely have “And he shall purify”, “Lift up your heads, O ye gates”, and “Let all the angels of God worship him” not to mention “Hallelujah” advanced with such leaden, dispassionate propriety.