George Frideric Handel

The Best of Handel
Handel: Oratorio arias

Almira - 1705
Rinaldo - 1711
"Water Music" - 1717
"Acis and Galatea" - 1718
"Ottone" - 1723
"Giulio Cesare" - 1724
Rodelinda - 1725
Alcina - 1728
Concerti Grossi, Op. 3 - 1734
"Alexander's Feast" - 1736
"Berenice" - 1737

"Saul" - 1739
"Israel in Egypt" - 1739

"Messiah" - 1741
"Samson" 1741-1743
"Belshazzar" - 1744
Judas Maccabaeus - 1746
Solomon - 1748
"Music for the Royal Fireworks" - 1749
"Jephta" - 1751
George Frideric Handel
George Frideric Handel, German (until 1715) Georg Friedrich Händel, Händel also spelled Haendel (born February 23, 1685, Halle, Brandenburg [Germany]—died April 14, 1759, London, England), German-born English composer of the late Baroque era, noted particularly for his operas, oratorios, and instrumental compositions. He wrote the most famous of all oratorios, Messiah (1741), and is also known for such occasional pieces as Water Music (1717) and Music for the Royal Fireworks (1749).

The son of a barber-surgeon, Handel showed a marked gift for music and became a pupil in Halle of the composer Friedrich W. Zachow, learning the principles of keyboard performance and composition from him. His father died when Handel was 11, but his education had been provided for, and in 1702 he enrolled as a law student at the University of Halle. He also became organist of the Reformed (Calvinist) Cathedral in Halle, but he served for only one year before going north to Hamburg, where greater opportunities awaited him. In Hamburg, Handel joined the violin section of the opera orchestra. He also took over some of the duties of harpsichordist, and early in 1705 he presided over the premiere in Hamburg of his first opera, Almira.

Handel spent the years 1706–10 traveling in Italy, where he met many of the greatest Italian musicians of the day, including Arcangelo Corelli and Alessandro Scarlatti and his son Domenico. He composed many works in Italy, including two operas, numerous Italian solo cantatas (vocal compositions), Il trionfo del tempo e del disinganno (1707) and another oratorio, the serenata Aci, Galatea e Polifemo (1708), and some Latin (i.e., Roman Catholic) church music. His opera Agrippina enjoyed a sensational success at its premiere in Venice in 1710.

Handel’s years in Italy greatly influenced the development of his musical style. His fame had spread throughout Italy, and his mastery of the Italian opera style now made him an international figure. In 1710 he was appointed Kapellmeister to the elector of Hanover, the future King George I of England, and later that year Handel journeyed to England. In 1711 his opera Rinaldo was performed in London and was greeted so enthusiastically that Handel sensed the possibility of continuing popularity and prosperity in England. In 1712 he went back to London for the production of his operas Il pastor fido and Teseo (1713). In 1713 he won his way into royal favour by his Ode for the Queen’s Birthday and the Utrecht Te Deum and Jubilate in celebration of the Peace of Utrecht, and he was granted an annual allowance of Ł200 by Queen Anne.

Recognized by prominent members of both the English aristocracy and the intelligentsia, Handel was in no hurry to return to Hanover. Soon he had no need to do so, for on the death of Queen Anne in 1714, the elector George Louis became King George I of England. In 1718 Handel became director of music to the duke of Chandos, for whom he composed the 11 Chandos Anthems and the English masque Acis and Galatea, among other works. Another masque, Haman and Mordecai, was to be the effective starting point for the English oratorio.

Except for a few visits to the European continent, Handel spent the rest of his life in England. In February 1727 he became a British subject, which enabled him to be appointed a composer of the Chapel Royal. In this capacity he wrote much music, including the Coronation Anthems for George II in 1727 and the Funeral Anthem for Queen Caroline 10 years later.

Handel by Philip Mercier


From 1720 until 1728 the operas at the King’s Theatre in London were staged by the Royal Academy of Music, and Handel composed the music for most of them. Among those of the 1720s were Floridante (1721), Ottone (1723), Giulio Cesare (1724), Rodelinda (1725), and Scipione (1726). From 1728, after the sensation caused by John Gay’s Beggar’s Opera (which satirized serious opera), the future of opera in the Italian style became increasingly uncertain in England. It went into decline for a variety of reasons, one of them being the impatience of the English with a form of entertainment in an unintelligible language sung by artists of whose morals they disapproved. But despite the vagaries of public taste, Handel went on composing operas until 1741, by which time he had written more than 40 such works. As the popularity of opera declined in England, oratorio became increasingly popular. The revivals in 1732 of Handel’s masques Acis and Galatea and Haman and Mordecai (renamed Esther) led to the establishment of the English oratorio—a large musical composition for solo voices, chorus, and orchestra, without acting or scenery, and usually dramatizing a story from the Bible in English-language lyrics. Handel first capitalized on this genre in 1733 with Deborah and Athalia.

Handel also continued to comanage an Italian opera company in London despite many difficulties. Throughout his London career he had suffered competition not only from rival composers but also from rival opera houses in a London that could barely support even one Italian opera in addition to its English theatres. Finally, in 1737, his company went bankrupt and he himself suffered what appears to have been a mild stroke. After a course of treatment at Aachen (Germany), he was restored to health and went on to compose the Funeral Anthem for Queen Caroline (1737) and two of his most celebrated oratorios, Saul and Israel in Egypt, both of which were performed in 1739. He also wrote the Twelve Grand Concertos, Op. 6, and helped establish the Fund for the Support of Decayed Musicians (now the Royal Society of Musicians).

Handel was by this time at the height of his powers, and the year 1741 saw the composition of his greatest oratorio, Messiah, and its inspired successor, Samson. Messiah was given its first performance in Dublin on April 13, 1742, and created a deep impression. Handel’s works of the next three years included the oratorios Joseph and His Brethren (first performed 1744) and Belshazzar (1745), the secular oratorios Semele (1744) and Hercules (1745), and the Dettingen Te Deum (1743), celebrating the English victory over the French at the Battle of Dettingen. Handel had by this time made oratorio and large-scale choral works the most popular musical forms in England. He had created for himself a new public among the rising middle classes, who would have turned away in moral indignation from the Italian opera but who were quite ready to be edified by a moral tale from the Bible, set to suitably dignified and, by now, rather old-fashioned music. Even during his lifetime Handel’s music was recognized as a reflection of the English national character, and his capacity for realizing the common mood was nowhere better shown than in the Music for the Royal Fireworks (1749), with which he celebrated the peace of the Treaty of Aix-la-Chapelle. Handel now began to experience trouble with his sight. He managed with great difficulty to finish the last of his oratorios, Jephtha, which was performed at Covent Garden Theatre, London, in 1752. He kept his interest in musical activities alive until the end. After his death on April 14, 1759, he was buried in Poets’ Corner in Westminster Abbey.

George Frideric Handel in 1733, by Balthasar Denner


The first basis of Handel’s style was the north German music of his childhood, but it was soon completely overlaid by the Italian style that he acquired in early adulthood during his travels in Italy. The influences of Arcangelo Corelli and Alessandro Scarlatti can be detected in his work to the end of his long life, and the French style of Jean-Baptiste Lully and, later, that of the English composer Henry Purcell are also evident. There is a robustness in Handel’s later music that gives it a very English quality. Above all, his music is eminently vocal. Handel’s directness of manner makes him one of the great masters of choral music. His choruses have a power and effectiveness that have never been surpassed, and his writing for them is remarkable for the manner in which he interweaves massive but simple harmonic passages with contrapuntal sections of great ingenuity, the whole most effectively illustrating the text. His writing for the solo voice is outstanding in its suitability for the medium and its unerring melodic line. Handel had a striking ability to depict human character musically in a single scene or aria, a gift used with great dramatic power in his operas and oratorios.

Though the bulk of his music was vocal, Handel was nevertheless one of the great instrumental composers of the late Baroque era. His long series of overtures (mostly in the French style), his orchestral concertos (Op. 3 and Op. 6), his large-scale concert music for strings and winds (such as the Water Music and the Fireworks Music), and the massive double concertos and organ concertos all show him to have been a complete master of the orchestral means at his command.

Handel had a lifelong attachment to the theatre—even his oratorios were usually performed on the stage rather than in church. Until almost the end of his life he loved Italian opera, and only after it involved him in ever-increasing financial losses did he abandon it for English oratorio. Like other composers of his time, he accepted the conventions of Italian opera, with its employment of male sopranos and contraltos and the formalized sequences of stylized recitatives and arias upon which opera seria was constructed. Using these conventions, he produced many masterpieces. Among the Italian operas, such works as Giulio Cesare (1724), Sosarme (1732), and Alcina (1735) still make impressive stage spectacles, with some scenes of great dramatic power bursting through the formal Baroque grandeur. Many of his Italian operas were revived in the 20th century.

Caricature of Handel by Joseph Goupy (1754)


But Handel’s oratorios now seem even more dramatic than his operas, and they can generally be performed on the stage with remarkably little alteration. Most of them, from early attempts such as Esther to such consummately crafted later works as Saul, Samson, Belshazzar, and Jephtha, treat a particular dramatic theme taken from the Old Testament that illustrates the heroism and suffering of a particular individual. The story line is illustrated by solo recitatives and arias and underlined by the chorus. With Israel in Egypt and Messiah, however, the emphasis is quite different, Israel because of its uninterrupted chain of massive choruses, which do not lend themselves to stage presentation, and Messiah because it is a meditation on the life of Christ the Saviour rather than a dramatic narration of his Passion. Handel also used the dramatic oratorio genre for a number of secular works, chief among which are Semele and Hercules, both based on stories from Greek mythology. But the finest of his secular choral works is Acis and Galatea, which has a youthful magic he never quite recovered in subsequent pieces of this type.

Handel’s most notable contribution to church music is his series of large-scale anthems, foremost of which are the 11 Chandos Anthems; though written for a small group of singers and instrumentalists, they are conceived on a grand scale. Closely following these works are the four Coronation Anthems for George II; the most celebrated of these, Zadok the Priest, is a striking example of what Ludwig van Beethoven called Handel’s ability to achieve “great effects with simple means.”

Most of the orchestral music Handel wrote consists of overtures, often in the style of Lully, and totaling about 80 in number. Handel was equally adept at the concerto form, especially the concerto grosso, in which he generally employed four or more movements. His most important works of this type are the Six Concerti Grossi (known as The Oboe Concertos), Op. 3, and the Twelve Grand Concertos, which represent the peak of the Baroque concerto grosso for stringed instruments. The Water Music and Fireworks Music suites, for wind and string band, stand in a special class in the history of late Baroque music by virtue of their combination of grandeur and melodic bravura. They are still among the most popular of his works.

Handel also published harpsichord music, of which two sets of suites, the Suites de pičces pour le clavecin of 1720 and the Suites de pičces of 1733, containing 17 sets in all, are his finest contribution to that instrument’s repertoire. The ever-popular Harmonious Blacksmith variations are in No. 5 of the Suites de pičces of 1720. Handel’s finest chamber music consists of trio sonatas, notably those published as Six Sonatas for Two Violins, Oboes, or German Flutes and Continuo, Op. 2 (1733). He also wrote various sonatas for one or more solo instruments with basso continuo accompaniment for harpsichord. In addition, he was a notable organist and composed more than 20 organ concertos, most of which Handel used as intermission features during performances of his oratorios.

A carved marble statue of Handel, created for the Vauxhall Gardens
in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.


In England, Handel was accorded the status of a classic composer even in his own lifetime, and he is perhaps unique among musicians in never having suffered any diminution of his reputation there since. As a young man on the European continent, he had to some extent supplied the demands of aristocratic patronage, but in England he adapted himself to a different climate of opinion and taste and came to serve and express the needs of a wider public. More than anyone else, he democratized music, and in this respect his popular oratorios, his songs, and his best-loved instrumental works have a social significance that complements their purely musical importance. Handel’s music became an indispensable part of England’s national culture. In Germany, meanwhile, interest in his music grew apace in the late 18th century and reestablished him as a German composer of the first rank.

Charles Cudworth

Encyclopćdia Britannica

George Frideric Handel (left) and King George I on the River Thames, 17 July 1717,
by Édouard Jean Conrad Hamman

Handel was born in Halle in Saxony (now Germany), the son of a 63-year-old barber-surgeon. His father intended that he should study law, but Handel longed to explore music — so much so that he smuggled a small clavichord into their attic. On a visit to the court of Saxe-Weissenfels, where his father was the court barber, Handel was overheard playing the organ by the Duke, who managed to convince the reluctant parent of the boy's musical potential. Handel subsequently studied both law and music, mastering the organ, violin, and harpsichord, composing in different musical forms and spending hours copying scores from the manuscript collection of his teacher, the organist and composer Friedrich Zachau.

Handel entered Halle University in 1702 and within a month was engaged as the probationary organist at the Calvinist cathedral in Halle. He enjoyed a year of free lodgings before moving on to Hamburg, the only German city, excluding the courts, with an opera house. He was employed as a violinist at the opera house, then harpsichordist, and within three years his first two operas were staged. In 1706 he met the heir to the Grand Duke of Tuscany, who invited him to Florence - the start of three formative and creative years in Italy. Here he met many leading composers, including Corelli, the Scarlattis, and Vivaldi, all of whose influences can be heard m his music. He was inspired to write operas, notably Agrippina which was performed 27 times, as well as oratorios and more than 150 cantatas. He created quite a name for himself, particularly in Venice, before travelling to Innsbruck to meet the Governor of the Tyrol. From there he journeyed to Hanover to work as the Kappellmeister to the Elector, the man destined to accede to the English throne.

In 1710 Handel visited London to produce his opera Rinaldo, and was inspired by its success to settle there permanently. Queen Anne awarded him a pension of 200L per annum, but Handel's position became difficult when she died and the Elector of Hanover, from whom he had played truant, became King of England. One story relates that a reconciliation was effected when King George made a sailing excursion on the Thames: a second barge carrying 50 musicians under Handel's direction shadowed the royal boat, performing the now famous Water music. The King was so captivated that he requested three renditions of the hour-long concert, forgiving the composer, and raising his pension to 600L.

Consisting of three suites divided into 20 short movements, the Water music is scored for trumpets, horns, oboes, bassoons, recorders, flutes, and strings. It notably displays Handel's gifts for orchestration, the sound of trumpets and horns across water being especially effective.

From 1718 to 1720 Handel served as music director to the Duke of Chandos, and during this period he wrote the Chandos anthems and the dramatic oratorio Acis and Galatea. He generally found patrons easily; in the winter of 1718—19 the nobility combined forces to create and fund the Royal Academy of Music to promote Italian opera in London, with Handel as musical director. For eight years the focus for operatic activity in Europe was London, and Handel enjoyed many triumphs, including Giulio Cesare in 1724. He was appointed composer to the Royal Chapel, moved to a house in Grosvenor Square, and sought English naturalization.

The Academy faltered as a result of the costs of its opera productions, but Handel's career seemed blessed. A modest first performance of his Esther, the first oratorio to be heard in London, took place at a tavern in the Strand during the winter of 1732. It was a triumph, and at Princess Anne's request was transferred to the King's Theatre. Handel expanded it, and the six performances were a great success.

In 1740 Handel composed his 12 Concerti grossi, Opus 6, for strings and optional woodwind, which with Bach's Brandenburg concertos represent the peak of instrumental writing during the Baroque. The next year he went to Dublin, where he began a series of "musical entertainments" that were an instant success. On 13 April 1742 he premiered his oratorio the Messiah to an enraptured Dublin audience. The Messiah was, incredibly, written in just one month in 1741. Based on texts from the Bible, it falls into three parts: the anticipation of the Messiah and Christ's birth; Christ's Passion; and Christ as the Redeemer. Handel altered the work's orchestration to suit the demands of various performances, and during his lifetime there was no one definitive edition. Of the famous "Hallelujah Chorus", Handel was moved to say, "I thought I saw all Heaven before me, and the great God himself."

Handel took the work back to England the following year, where it was initially less well received but gradually found favour. At Covent Garden he initiated a series of concerts and in 1744 staged the oratorios Belshazzar and Hercules. For the 1744-5 season he returned to the King's Theatre but his earlier success was not repeated and the series closed early.

Handel continued composing unabated and in 1746 produced the hugely popular oratorio Judas Maccabaeus. The king subsequently commissioned music to accompany a spectacular fireworks display to celebrate the Treaty of Aix-la-Chapelle. Even the rehearsal, in London's Vauxhall Gardens, caused an impromptu audience of 12,000 to stop traffic for three hours.

After the Fireworks music Handel wrote relatively little. He was unsuccessfully operated on for eye cataracts, which left him blind for the last seven years of his life. He died in London at the age of 74 and was buried in Westminster Abbey.


Concerto Grosso 1 in G
(English Chamber Orchestra conducted by R. Leppard) - complete

A tempo giusto
  Concerto Grosso 2 in F
(English Chamber Orchestra conducted by R. Leppard)
 - complete

Andante larghetto
Largo-Adagio-Larghetto andante, e piano
  Concerto Grosso 3 in E minor
(English Chamber Orchestra conducted by R. Leppard)
 - complete

  Concerto Grosso 4 in A minor
(English Chamber Orchestra conducted by R. Leppard)
 - complete

Larghetto affettuoso
Largo, e piano
  Concerto Grosso 9 in F
(English Chamber Orchestra conducted by R. Leppard)
 - complete


Concerto Grosso 10 in D minor
(English Chamber Orchestra conducted by R. Leppard)
 - complete

Air (Lento)
Allegro moderato

Concerto Grosso 11 in A
(English Chamber Orchestra conducted by R. Leppard)
 - complete

Andante larghetto, e staccato
Largo, e staccato

Concerto Grosso 12 in B minor
(English Chamber Orchestra conducted by R. Leppard)
 - complete

Larghetto, e piano

  Concerto Grosso Op. 3/1 in B flat major
(Camerata Romana conducted by Alberto Lizzio) - complete

  Concerto Grosso Op. 3/2 in B flat major
(Camerata Romana conducted by Alberto Lizzio) - complete

  Concerto Grosso Op. 3/3 in G major
(Camerata Romana conducted by Alberto Lizzio) - complete

Largo e staccato, Allegro
  Concerto Grosso Op. 3/4 in F major
(Camerata Romana conducted by Alberto Lizzio) - complete

Andante - Allegro
  Concerto Grosso Op. 3/5 in D minor
(Camerata Romana conducted by Alberto Lizzio) - complete

Andante, Allegro
Allegro ma non troppo
  Concerto Grosso Opm3/6 in D major
(Camerata Romana conducted by Alberto Lizzio) - complete

  Concerto Grosso Op. 3/7 in C major "Alexander's Feast" 
(Camerata Romana conducted by Alberto Lizzio) - complete

  Water Music-Suite 1 in F major 
(I Musici di San Marco conducted by L Varese)
 - complete

Adagio e Staccato
  Water Music-Suite 2 in D major 
(I Musici di San Marco conducted by L Varese)
 - complete

Alla Hornpipe
  Fiereworks Music-Concerto 26 in D major 
(I Musici di San Marco conducted by L Varese)
 - complete

La paix: Largo alla Siciliana
La rejouissance: Allegro
  Sinfonia in E minor from "The Messiah"
(I Musici di San Marco conducted by L Varese) - complete
  Larghetto (Pastorale) in C major from "The Messiah"
(I Musici di San Marco conducted by L Varese) - complete
Organ concerto, Op. 4/1 in G minor
(Eberhard Kraus: Organ Camerata Romana; Conductor: Eugen Duvier) - complete

Largetto e staccato
Organ concerto, Op. 4/1 in G minor
(Eberhard Kraus: Organ Camerata Romana; Conductor: Eugen Duvier) - complete


The Best of Handel
Published on Apr 15, 2013
George Frideric Handel
KPM Philharmonic Orchestra - The Best of Handel
Concerto Grosso Op. 6
No. 1, in G Major I. A Tempo Giusto
No. 1, in G Major II. Allegro 1:54
No. 1, in G Major III. Adagio 4:10
No. 1, in G Major IV. Allegro 7:30
No. 1, in G Major V. Allegro 10:13
No. 2, in F Major I. Andante Larghetto 13:19
No. 2, in F Major II. Allegro 17:45
No. 2, in F Major III. Largo 20:33
No. 2, in F Major IV. Allegro ma non troppo 23:47
No. 3, in E Major I. Larghetto 26:10
No. 3, in E Major II. Andante 27:58
No. 3, in E Major III. Allegro 30:50
No. 3, in E Major IV. Polonaise, Andante 33:50
No. 3, in E Major V. Allegro ma non troppo 40:04
No. 4, in A Minor I. Laghetto affettuoso 41:50
No. 4, in A Minor II. Allegro 44:33
No. 4, in A Minor III. Largo e piano 47:52
No. 4, in A Minor IV. Allegro 50:14
Water Music
Suite No. 1, in F Major I. Overture 53:14
Suite No. 1, in F Major II. Adagio e Staccato 58:55
Suite No. 1, in F Major III. Minuet 1:06:28
Suite No. 1, in F Major IV. Aria 1:10:34
Suite No. 1, in F Major V. Minuet 1:14:49
Suite No. 1, in F Major VI. Bouree 1:16:58
Suite No. 1, in F Major VII. Hornipipe 1:19:19
Suite No. 1, in F Major VIII. Allegro 1:21:27
Suite No. 2, in D Major I. Allegro 1:25:48
Suite No. 2, in D Major II. Alla Hornpipe 1:28:01
Suite No. 2, in D Major III. Minuet 1:32:52
Suite No. 2, in D Major IV. Lento 1:34:15
Suite No. 2, in D Major V. Bouree 1:36:15
Suite No. 3, in G Major I. Allegro 1:37:37
Suite No. 3, in G Major II. Rigaudon 1:40:23
Suite No. 3, in G Major III. Minuet 1:43:15
Suite No. 3, in G Major IV. Minuet 1:44:27
Suite No. 3, in G Majo V. Allegro 1:46:40
Suite No. 3, in G Major VI. Allegro 1:47:25
George Frideric Handel: Opera arias: Part I (HWV. 1-12)
I. Emma Kirkby: Vedrai s'a tuo dispetto 00:00
II. Sandrine Piau: Nasce il sol, e l'aura vola 04:42
III. Sandrine Piau: Parto crudel, si parto 08:17
IV. Sandrine Piau: Empio fato, e fiera sorte 10:58
V. Emma Kirkby: Perche viva il caro sposo 14:15
VI. Magdalena Kozena: Pensieri, voi mi tormentate 20:24
VII. Max Emanuel Cencic: Come nube, che fugge dal vento 27:53
VIII. Renee Fleming: Bel piacere 32:06
IX. Magdalena Kozena: Lascia ch'io pianga 33:51
X. David Daniels: Venti, turbini,prestate 38:49
XI. Andreas Scholl: Cara sposa 42:31
XII. Ewa Podleś: Or la tromba 51:52
XIII. Danielle de Niese: Dolce riposo 55:37
XIV. Joyce DiDonato: O stringere nel sen 59:26
XV. Joyce DiDonato: Moriro, ma vendicata 01:04:12
XVI. Sandrine Piau: Ah! spietato! 01:08:58
XVII. Magdalena Kozena: Destero dell'empia Dite 01:14:23
XVIII. Max Emanuel Cencic: Pena tiranna 01:20:12
XIX. Joyce DiDonato: Caro sposa, amato bene 01:25:30
XX. Joyce DiDonato: Ferite, uccidete, o numi del ciel 01:30:04
XXI. Nathalie Stutzmann: Ombra cara di mia sposa 01:34:09
XXII. Joyce DiDonato: Vanne, sorella ingrata 01:43:53
George Frideric Handel: Opera arias: Part II (HWV. 14-24)
I. Max Emanuel Cencic: Alma mia 00:00
II. Nathalie Stutzmann: Bramo te sola 05:18
III. James Bowman: Io son tradito...Tanti afanni 10:28
IV. Andreas Scholl: Bel contento 20:20
V. Simone Kermes: Amante stravagante 26:13
VI. Joyce DiDonato: L'angue offeso 29:50
VII. Magdalena Kozena: Cara speme, questo core 35:12
VIII. Danielle de Niese: Piangero la sorte mia 41:13
IX. David Daniels: Dallondoso periglio 47:30
X. Emma Kirkby: V'adoro pupille 49:33
XI. Andreas Scholl: Al lampo dell'armi 54:59
XII. David Daniels: A dispetto 57:50
XIII. Max Emanuel Cencic: Benche mi sprezzi 01:02:31
XIV. Marijana Mijanovic: Se fiera belva ha cinto 01:08:20
XV. Lucia Popp: Ho perduto il caro sposo 01:12:48
XVI. David Daniels: Pompe vane di morte! 01:17:46
XVII. Emma Kirkby: Scoglio d'immota fronte 01:19:45
XVIII. Julia Lezhneva: Lusinghe piu care 01:24:55
XIX. Julia Lezhneva: Un lusighiero dolce pensiero 01:30:07
XX. Joyce DiDonato: Brilla nell alma un non inteso ancor 01:36:50
XXI. Simone Kermes: Io ti bacio 01:42:45
XXII. Joyce DiDonato: Gelosia, spietato aletto 01:46:00
XXIII. Emma Kirkby: Quando non vede la cara madre 01:50:59
XXIV. Simone Kermes: Morte vieni, ma in van ti chiamo 01:56:24
XXV. Marijana Mijanovic: Deggio morire o stelle 01:59:09
XXVI. Simone Kermes: Torrente cresciuto 02:06:05
Handel: Oratorio arias: Part I (HWV. 46-57)
I. Cecilia Bartoli: Un pensiero nemico di pace 00:00
II. Cecilia Bartoli: Come nembo che fugge col vento 03:57
III. Cecilia Bartoli: Lascia la spina 09:08
IV. Cecilia Bartoli: Disserratevi, o porte d'averno 15:06
V. Cecilia Bartoli: Notte, notte funesta...Ferma l'ali 19:50
VI. James Bowman: All danger disdaining, for battle I glow 27:19
VII. Joan Sutherland: My engeance awakes me 31:31
VIII. Andreas Scholl: O lord, whose mercies numberless 36:28
IX. Andreas Scholl: Such haughty Beauties 42:08
X. Grace Bumbry: Their land brought forth frogs 46:03
XI. Grace Bumbry: Thou shalt bring them in 48:22
XII. Arleen Auger: Rejoice greatly, O daughter of Zion 51:39
XIII. Arleen Auger: But thou didst not leave his soul 56:28
XIV. Arleen Auger: I know that my Redeemer liveth 58:36
XV. Anne Sofie von Otter: He was despiesed 01:05:18
XVI. Anne Sofie von Otter: If God be for us 01:18:33
XVII. Michael Chance: But who may abide the day of his coming 01:23:14
XVIII. Joan Sutherland: With plaintive note 01:27:59
XIX. Joan Sutherland: Let the bright Seraphim 01:33:15
XX. Kathleen Ferrier: Return, o god of hosts 01:39:11
Handel: Oratorio arias: Part II (HWV. 58-71)
I. Beverly Sills: Endless pleasure, endless love 00:00
II. Kathleen Battle: Myself I shall adore 05:01
III. Renee Fleming: Oh sleep, why dost thou leave me 11:40
IV. David Daniels: No longer, Fate, relentnless frown 14:58
V. David Daniels: He, who for Atlas prop'd the sky 20:42
VI. Anne Sofie von Otter: The world, when day's career is run 22:33
VII. Anne Sofie von Otter: Begone, my fears, fly hence away 27:03
VIII. David Daniels: Oh sacred oracles of Truth 30:29
IX. Grace Bumbry: Father of heav'n! from Thy eternal throne 35:31
X. Magdalena Kozena: Oh had I Jubal's lyre 42:12
XI. Renee Fleming: Calm thou soul...Convey me to some peceful shore 44:50
XII. Andreas Scholl: Almighty Power 48:30
XIII. Andreas Scholl: Haste to the cedar grove 51:49
XIV. Andreas Scholl: When the sun o'er yonder hills 54:46
XV. Kathleen Battle: Ev're sight these eyes behold 58:40
XVI. Kathleen Battle: May peace in salem 01:03:14
XVII. David Daniels: The raptured soul 01:08:45
XVIII. David Daniels: Kind Heaven 01:17:00
XIX. David Daniels: Dull delay, in piercing anguish 01:22:42
XX. David Daniels: Up the dreadful steep ascending 01:26:01
XXI. GIllian Fisher: Guardian angels, oh, protectme 01:29:54
G.F. Handel - Complete Violin Sonatas, Manze, Egarr
Sonata in D major, Op.1/13, HWV 371 0:00
Sonata in F, Op.1/12, HWV 370 12:12
Sonata in D minor, HWV 359a 26:02
Sonata in A major, Op.1/3, HWV 361 33:42
Sonata in G minor, Op.1/6, HWV 364a 41:40
Sonata in A major ('Roger'), Op.1/10 48:58
Sonata in E major ('Roger'), Op.1/12 57:02
Sonata in G major, HWV 358 1:06:12
Andante for violin & continuo in A minor, HWV 412 1:11:02
Allegro for violin & continuo in C minor, HWV 408 1:13:14

Andrew Manze Violin
Richard Egarr Harpsichord

GF Handel - Complete Sonatas for Recorder
Handel - Sonata in D minor HWV 359a, John Holloway, Complete
Handel Sonata in D minor HWV 359a, John Holloway, Complete

1. Grave
2. Allegro
3. Adagio
4. Allegro

John Holloway Violin
Jaap Ter Linden Violoncello
Lars Ulrik Mortensen Harpsichord

Georg Friedrich Händel - St. Johns Passion - 1/4
Text by Christian Postel, Evangelist, Martin Klietman, tenor. Jesus, József Moldvay, baritone. Pilate, Charles Brett, countertenor. Mária Zádori, soprano. Ibolya Verebics, soprano. Judith Németh, mezzo-soprano. Gábor Kállay, tenor. István Gáti, baritone. Chamber Choir Capella Savaria, Pál Németh
Georg Friedrich Händel - St. Johns Passion - 2/4
Georg Friedrich Händel - St. Johns Passion - 3/4
Georg Friedrich Händel - St. Johns Passion - 4/4
Haendel - Italian cantatas - Magdalena Kožená - Marc Minkowski
George Frederic Haendel (1685 - 1759) - Italian cantatas (HWV 99, 145, 170) - Magdalena Kožená - Les musiciens du Louvre, Marc Minkowski : Delirio amoroso (99), La Lucrezia (145), Tra le fiamme (170).
Handel - Overture from "Il Pastor Fido", HWV 8a
Overture from "Il Pastor Fido", HWV 8a.

The English Concert, on period instruments. Simon Standage, violin solo. David Reichenberg, oboe solo. Alastair Mitchell, bassoon solo. Amanda McNamara, double bass solo. Nigel North, theorbo solo. Trevor Pinnock, harpsichord and conductor. Composed by G.F. Handel (1685-1759).

I. [without tempo indication] - Lentement ( 0:00 )
II. Largo ( 4:11 )
III. Allegro ( 8:04 )
IV. [Menuet] ( 10:17 )
V. Adagio ( 12:16 )
VI. [Allegro] ( 20:36 )

European Union Baroque Orchestra - Händel: Te Deum Utrecht, Jubilate Utrecht - Lars Ulrik Mortensen
European Union Baroque Orchestra & Choir of Clare College o.l.v. Lars Ulrik Mortensen
Alex Potter, contratenor

Georg Frideric Händel (1685-1759)
Te Deum 'Utrecht' HWV 278 (1713)
Jubilate 'Utrecht' HWV 279

Opgenomen tijdens het Festival Oude Muziek Utrecht in de Domkerk op 31 augustus 2013

Choir of Clare College, Cambridge: Janneke Dupre, Gabrielle Haigh, Alice Halstead, Sophie Horrocks, Helen Lilley, Caroline Meinhardt, Madeleine Seale, Rachael Ward, sopraan
Clara Betts-Dean, Abigail Gostick, Emma Simmons, Eva Smith-Leggatt, Eleanor Warner, alt
Laurence Booth-Clibborn, Nils Greenhow, Peter Harrison, Christopher Loyn, Alexander Peter, tenor
Adam Cigman-Mark, William Cole, Elliot Fitzgerald, Matthew Jorysz, Charles Littlewood, Magnus Maharg, Alexander McBride, Hugo Popplewell, James Proctor, bas
Graham Ross, koorleider

European Union Baroque Orchestra: Zefira Valova, Roldán Bernabé-Carrión, Christiane Eidsten Dahl, Antonio De Sarlo, Yotam Gaton, Saron Houben, Sarina Matt, Daphne Oltheten, Jamiang Santi, viool
Rafael Roth, Hilla Heller, Andrea Angela Ravandoni, altviool
Guillermo Turina Serrano, Nicola Paoli, cello
Lisa De Boos, contrabas
Alexis Kossenko, traverso
Clara Geuchen, Johannes Knoll, hobo
Andrew Burn, fagot
Sebastian Philpott, Gerard Serrano Garcia, trompet
Marianna Henriksson, klavecimbel

Utrecht Te Deum (Handel) Geraint Jones Singers and Orchestra
This is an extract from Handel's Te Deum for the Peace of Utrecht with soloists Ilse Wolf (soprano), Helen Watts (contralto), Wilfred Brown and Edgar Fleet (tenors) and Thomas Hemsley (bass).
G.F. Handel Suites for Harpsichord HWV 426-430
Harpsichord Suite No. 1 in A major, HWV 426 0:00
Harpsichord Suite No. 2 in F major, HWV 427 11:08
Harpsichord Suite No. 3 in D minor, HWV 428 20:51
Harpsichord Suite No. 4 in E minor, HWV 429 43:44
Harpsichord Suite No. 5 in E major, HWV 430 1:00:01

Ottavio Dantone Harpsichord
Harpsichord: M. Kramer after P. Taskin, Paris 1769

Harpsichord Hardrock: Handel Suite No.5 E Major HWV 430, part IV (The Harmonious Blacksmith)
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