It is a well-known story: The hero Hercules (Greek: Herakles) is walking in the Cithaeron mountains when he suddenly encounters two female figures at a...

It is a well-known story: The hero Hercules (Greek: Herakles) is walking in the Cithaeron mountains when he suddenly encounters two female figures at a fork in the path, Voluptas (Pleasure) and Virtus (Virtue). Both attempt to win the young demigod for themselves. At the end of their courtship, Hercules joins with virtue and dedicates himself to her ideals. The virtue aspect of this story from ancient mythology also made it a popular subject in the Christian world. In this way, on 5 September 1733 in Leipzig, Johann Sebastian Bach performed his Dramma per musica “Lasst uns sorgen, lasst uns wachen” BWV 213 for the eleventh birthday of the Saxon crown prince Friedrich Christian with his Collegium musicum. In summer 1750, 17 years after Bach and directly before his last trip to Germany, George Frideric Handel worked with the subject in London – the result being “The Choice of Hercules” HWV 69.Handel and Bach were born around four weeks apart and 150 km apart from one another in distance, but they never encountered one another in person. By linking both “Hercules” works to a pasticcio (pastiche), we have now created a virtual encounter between the two composers for today’s listeners. The pasticcio practice was a popular method in Bach and Handel’s time, particularly in opera, to bring together various pieces of music, preferably also from several composers, to create a new work. The fact that several languages were sung during a performance did not undermine its effect and popularity. In Clemens Flämig’s “Hercules” pasticcio too, there are English texts alongside German ones. The result can be heard on the double album at hand which was released within the series “haendeliana hallensis”.