Handel – German Arias and Trio Sonatas

Florilegium

15.9933.49
Clear
Original Recording Format: DSD 64

Both in his own time and after his death, George Frideric Handel’s outstanding reputation as a composer has rested mainly on the grandly stirring gestures of his most public works: the operas and oratorios he composed for the theatres of Georgian London. Nevertheless, Handel’s oeuvre includes a substantial body of chamber music, including some of the most satisfying and beautiful secular music of the period. Handel’s considerable collection of vocal works reveals a preference for texts in Italian and English, with very few works in his native German. Indeed Handel virtually abandoned German texts after 1708, with two notable exceptions: a Passion setting and a set of nine songs, both on texts by his friend, the enlightened poet and town Councillor Barthold Heinrich Brockes (1680- 1747). Not only did the two men share a Hamburg connection, but Brockes had studied at the University of Halle between 1702 and 1704, coinciding with Handel’s registered period of study there. Brockes held weekly concerts in his apartment at Halle, and perhaps these were the catalyst for his cultivating a lasting friendship with Handel. Around 1716 Handel composed a setting of Brockes’s Passion oratorio Der fu?r die Su?nde der Welt gemarterte und sterbende Jesus. In 1721, Brockes’s collection of poems Irdisches Vergnu?gen in Gott, bestehend in Physicalisch- und Moralischen Gedichten was published at Hamburg. They follow the main theme of God’s abundant goodness as evident from the joy and beauty to be found in nature. Arranged into ariosos, arias, duets, and with introductory or linking texts ideal for recitative, Brockes clearly wished to encourage musical settings of his poetry. The publication was popular, and successively revised and enlarged.

Tracklist

1.
Trio Sonata in e minor Op.5 No.3-Andante larghetto
02:17
2.
Trio Sonata in e minor Op.5 No.3- Allegro
01:55
3.
Trio Sonata in e minor Op.5 No.3-Sarabande
02:29
4.
Trio Sonata in e minor Op.5 No.3-Allemande
01:31
5.
Trio Sonata in e minor Op.5 No.3-Rondeau
01:05
6.
Trio Sonata in e minor Op.5 No.3-Gavotte
01:19
7.
Zeiten eitler Kummer - HWV202
05:59
8.
Das zitternde Glanzen hwv203
05:07
9.
Su_?er Blumen Ambraflocken HWV204
06:45
10.
Trio Sonata in b minor Op.2 No.1 - Andante
03:51
11.
Trio Sonata in b minor Op.2 No.1 - Allegro
02:39
12.
Trio Sonata in b minor Op.2 No.1 - Largo
02:45
13.
Trio Sonata in b minor Op.2 No.1 - Untitled
02:00
14.
Suu?e Stille, sanfte Quelle hwv205
04:56
15.
Singe, Seele, Gott zum Preise - HWV206
04:40
16.
Meine Seele h?rt im Sehen HWV207
05:30
17.
Concerto a Quattro in d minor - Adagio
02:16
18.
Concerto a Quattro in d minor - Allegro
02:27
19.
Concerto a Quattro in d minor - Largo
01:08
20.
Concerto a Quattro in d minor - Allegro
02:48
21.
Die ihr aus dunkeln Gru_ften HWV208
05:18
22.
In den angenehmen Buuschen HWV209
03:14
23.
Flammende Rose, Zierde der Erden HWV210
05:21

Total time: 01:17:20

Additional information

Label

SKU

35117

Qualities

, , , , ,

Channels

, ,

Artists

Composers

Genres

,

Cables

van den Hul

Digital Converters

Grimm

Editing Software

Pyramix

Mastering Engineer

The recording was originally digitized using the Grimm AD1, which operates at DSD64. The original session tracks were edited and rebalanced (which meant going through the mixer)  in the only available format for that purpose; the Pyramix 352.8KHz/24bit PCM (DXD). Prior to the advent of direct digital delivery, the next step in the production process from 352.8KHz/24bit PCM would be the DSD64 edited master for SACD production. What we have done now is also make a direct conversion to DSD128 and DSD256 from that original DXD edited master, without going through any interim processing steps.

Those DXD to DSD conversions are not up-samplings, as they would be going from one PCM sampling rate to another, for they are different encoding systems. PCM is a digital value sample based system, and DSD is a digital bit density modulated system. Conversion from any PCM sample rate to any DSD bit rate system is a remodulation, not an up-sampling.

We feel there is an audio advantage to this process in using the original files so we give you the choice and you can decide.

Jared Sacks

Mastering Room

Grimm LS1

Microphones

Bruel & Kyaer, Schoeps

Mixing Board

Rens Heijnis custom made

Original Recording Format

Producer

Jared Sacks

Recording Engineer

Jared Sacks

Recording location

St. Johns, Upper Norwood, London

Recording Software

Merging

Recording Type & Bit Rate

DSD64

Release Date March 10, 2017

Press reviews

Klassik.com

(…) Die kanadisch-britische Sopranistin Gilian Keith gestaltet die Da-Capo-Arien mit einem Vibrato in der Stimme, das natürlich aus ihrer Sprache fließt. Mühelos und mit Samtglanz in allen Lagen bettet sie in die melodienverträumten Kantilenen Triller und Verzierungen und tritt in einem Selbstverständnis wechselweise mit der Flöte oder Violine in einen Dialog, als sei sie eben nur das andere Instrument. Fürsorglich umspielt werden die Melodieführer von der Continuo-Gruppe. (…) Die Interpretation durch das Ensemble Florilegium begeistert durch ihre Frische, Leichtigkeit und hinreißende Souveränität.

BBC Music Magazine

Ashley Solomon and his Florilegium ensemble ring the changes between flute and violin, interspersing groups of arias with chamber instrumental pieces by Händel played with their customary refinement and expressive intimacy.

Fono Forum

(…) Philippens profiliert sich als technisch versierte Geigerin, feingefühlig begibt sie sich auf die Suche nach den Facetten romantischer Klanglichkeit.

Tageblatt

(…) ein wundervolles Beispeil dafür das Flöte, Geige, Cello und Cembalo volkommen ausreichen, um dies vokalen Juwele zu optimaler Wirkung zu bringen. (…)

Luister

Aangename muziek door musici (…) die hecht samenspelen, helder opgenomen door Jared Sacks en de zijnen.

Classics Today

(…) it’s hard not to be charmed by her (Gillian Keith) straightforward style and youthful tone and temperament (…)

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