London Calling - Handel / Semmingsen, Eike, Barokksolistene

$21.99
Label
BIS
Release Date
April 1, 2012
Format
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    Featuring ⌄
    • COMPOSER
      CORELLI, ARCANGELO GEMINIANI
    • PERFORMER
      Tuva, Barokksolistene, Semmingsen
    Product Details ⌄
    Works ⌄

    1. Overture

      Composer: George Frideric Handel

      Ensemble: Barokksolistene

    2. Act II: Aria: T'amai, quant'il mio cor

      Composer: George Frideric Handel

      Ensemble: Barokksolistene

      Performer: Tuva Semmingsen

    3. Act I: Aria: Vado, corro al mio tesoro

      Composer: George Frideric Handel

      Ensemble: Barokksolistene

      Performer: Tuva Semmingsen

    4. I. Adagio - Allegro

      Composer: Arcangelo Corelli

      Performer: Bjarte Eike, Miloš Valent, Judith-Maria Blomsterberg, Allan Rasmussen

    5. II. Adagio

      Composer: Arcangelo Corelli

      Performer: Bjarte Eike, Miloš Valent, Judith-Maria Blomsterberg, Allan Rasmussen

    6. III. Vivace - Allegro - Allegro

      Composer: Arcangelo Corelli

      Performer: Bjarte Eike, Miloš Valent, Judith-Maria Blomsterberg, Allan Rasmussen

    7. Act III: Sinfonia

      Composer: George Frideric Handel

      Ensemble: Barokksolistene

    8. Act III: Accompagnato: Where shall I fly?

      Composer: George Frideric Handel

      Ensemble: Barokksolistene

      Performer: Tuva Semmingsen

    9. I. Allegro moderamente

      Composer: Francesco Maria Veracini

      Performer: Bjarte Eike, Thomas Pitt, Fredrik Bock, Allan Rasmussen

    10. II. Adagio

      Composer: Francesco Maria Veracini

      Performer: Bjarte Eike, Thomas Pitt, Fredrik Bock, Allan Rasmussen

    11. III. Scozzese: Un poco andante ed affettuoso - Largo - Un poco andante ed affettuoso

      Composer: Francesco Maria Veracini

      Performer: Bjarte Eike, Thomas Pitt, Fredrik Bock, Allan Rasmussen

    12. Theodora, HWV 68, Act I: Air: As with rosy steps

      Composer: George Frideric Handel

      Ensemble: Barokksolistene

      Performer: Tuva Semmingsen

    13. Concerto Grosso in D Minor (after Corelli's Sonata, Op. 5, No. 12, "La Follia")

      Composer: Francesco Geminiani

      Performer: Bjarte Eike, Miloš Valent, Rastko Roknic, Thomas Pitt, Hans Knut Sveen

    14. Act I: Aria: O rendetemi il mio bene

      Composer: George Frideric Handel

      Ensemble: Barokksolistene

      Performer: Tuva Semmingsen

    15. Act III: Sinfonia

      Composer: George Frideric Handel

      Ensemble: Barokksolistene

    16. Act III: Aria: Sento la gioia

      Composer: George Frideric Handel

      Ensemble: Barokksolistene

      Performer: Tuva Semmingsen


As the hub of a fledgling British Empire, London around 1710 was burgeoning with new wealth and offered the perfect setting for operatic entrepreneurs eager to spread the latest Italian fashions. It was thus a city of opportunity for Handel, fresh from spending five years in Italy, but also for many other touring musicians including Arcangelo Corelli, Francesco Maria Veracini and Francesco Geminiani. This recording unveils a portrait of the chameleon Handel, emerging in the panache of his early Italian-styled Amadigi, reaching maturity in the 'English operatic' Hercules and arriving finally in the perennial melodic grace of Theodora, his penultimate oratorio. Extracts from these works, in which the young Norwegian mezzo-soprano Tuva Semmingsen displays both vocal agility and a wide-ranging emotional palette, are interspersed with instrumental works by Handel's Italian contemporaries. Corelli's Concerto grosso in D major, from the celebrated Opus 6, and Geminiani's 'La Follia' in D minor - incidentally a reworking of Corelli's famous violin sonata - both illustrate Italian instrumental music at its most sumptuous, in colourful and dynamic performances by the Norwegian period band Barokksolistene. For further variety, the leader and artistic director of the ensemble, Bjarte Eike, also performs a chamber work by Veracini, who visited London regularly during some three decades in the early 18th century. The Sonata in A major was published in England in 1744, and it would be quite tempting to interpret the use in it of a Scottish tune, Tweed's side, as merely a clever marketing device to charm a local audience, were it not that the tune, and the composition itself, was so attractive.