Von den 35 Opern, die Georg Friedrich Händel für London zwischen 1711 und 1741 komponiert hat, genoß Giulio Cesare immer schon einen Sonderstatus. Das Werk geriet nie ganz in Vergessenheit. Nach Händels Tod beschrieb Charles Burney Cesare als »eine Oper voller Schönheiten verschiedener Art«. Schon anläßlich der Uraufführungs-Serie kam es im Februar und März 1724 zu 12 Reprisen. 1725, 1730 und 1732...
Tamerlano
Viele Kenner halten Tamerlano für Händels fortschrittlichste Oper. Lange bevor Christoph Willibald Gluck zu seiner die Wahrhaftigkeit auf dem Theater suchenden Opernreform ansetzte, verzichtete Händel hier ein auf jede szenische Ablenkung und jeden Anflug einer Nebenhandlung verzichtendes Werk, in dem sich die Handlung von Szene zu Szene weiter verdichtet. Ein singulärer Höhepunkt in der...
Semele
Georg Friedrich Händels Semele hat man mehr als einmal als die bedeutendste englischsprachige Oper zwischen Purcells Dido und Aeneas und Brittens Peter Grimes bezeichnet. Auch wenn die Musikgeschichte dem Werk einen Platz unter Händels Oratorien - irgendwo zwischen dem Messias und Jephtha zugeordnet hat. Tatsächlich ist Semele ein Beweis für die Theaterpranke dieses Komponisten, eines der w...
Pasticcio aus Werken Vivaldis, Hasses u. a.
Libretto: Agostino Piovene (Verona 1735)
Bajazet hat es wirklich gegeben: Sultan Bayezids I. (1360-1403) war der einzige Sultan der Geschichte, der in den Türken-Kriegen jemals gefangen genommen wurde - und zwar im Mongolensturm unter Timur Lenk (»Tamerlan«). Als Symbol für die Möglichkeit einer gänzlichen Unterwerfung des Osmanischen Reiches wurde er im...
Der »Erfinder« des Instrumentalkonzerts – Strawinsky hat später geätzt, Vivaldi hätte 600 Mal dasselbe Konzert komponiert – umso reicher ist die Ausbeute für den, der zu Lauschen versteht.
Das Ensemble Rosso Verona Baroque Ensemble unter Pietro Battistoni präsentiert erstmals die Reihe der »Concerti« op. 2 von Giuseppe Torelli auf CD. Wie viel Weile gut' Ding doch manchmal braucht ...
»Mignonne, allons voir si la Rose« (Costeley)Nadia Boulanger Ensemble (1950)
Ce moys de may (Clement Jannequin)Nadia Boulanger Ensemble (1950)
»Hau, hau, hau le boys!« (Claudin de Serimsy)Nadia Boulanger Ensemble (1950)
»Revecy venire du Printemps« (aus: Claude Le Jeune »Le Printemps« 1513)Nadia Boulanger Ensemble (1950)
Vous me tuez si doucement ("Chansonettes Mesurees") (Jacques Mauduit)Nadia Boulanger Ensemble (1950)
Tu ne l'enten pas, c'est latin (Claude Le Jeune)Nadia Boulanger Ensemble (1950)
Au joly boys ("31 Chansons Musicales") (Claudin de Sermisy)Nadia Boulanger Ensemble (1950)
Francion vint l'autre jour (Pierre Bonnet)Nadia Boulanger Ensemble (1950)
Le Chant des Oyseaux (Clement Jannequin)Nadia Boulanger Ensemble (1950)
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French Renaissance Vocal Music
Begleittext von Nadia Boulanger
Every work of art is a triumph of technique. From a certain happy arrangement of words, lines, colors, or sounds, beauty is suddenly born. How? It would be very difficult to say, for the essence escapes analysis. The masters of the Renaissance, admirable artisans that they were, knew this well. To be sure, always having taken pains to do a good job wherever the responsibility and the dignity of the artist were concerned, they put themselves in the hands of the gods when it came to going beyond the limits where human control ends.
