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▒ ░ ░ "OPEN MUSiC ASSOCiATiON"
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▒ █▓▓█▀ ██▓░ ▓ PROUDLY PRESENTS: ░ ▒ ░ █▓▓▓▒█ ▒
▓ ▀█▒█▄ █ ▓ ██▓▒█▀ ▓
▓█ █▓░█ ▒ Sampson, Blaze, KrΣmer, & Orchestra - HΣndel Great Orator █░▒█ █▓
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▀█▄▄ ▀ ARTiST..[ Sampson, Blaze, KrΣmer, & Orchestra ▀ ▄▄█▀
░ █ ▀█ TiTLE...[ HΣndel Great Oratorio Duets █▀ █ ░
▒ █ ▀█ GENRE...[ Classical GRABBER.[ EAC █▀ █ ▒
▓ █▄ █ LABEL...[ bis records ENCODER.[ Lame 3.97 █ ▄█ ▓
█▄ █▄ █ YEAR....[ 2006 QUALiTY.[ VBR kbps/44,1hz █ ▄█ ▄█
█▄ █▄█ SOURCE..[ CDDA MODE....[ Joint-Stereo █▄█ ▄█
█ ▀█ PLAYTIME[ 70:58 min REL.DATE[ Nov-26-2006 █▀ █
██▄ TRACKS..[ 18 RiPPER..[ TEAM OMA ▄██
░ █▓█▄ SiZE....[ 97,8 MB SUPPLiER[ TEAM OMA ▄█▓█ ░
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░ █ ▀█ █▀ █ ░
▒ █▄ ▀█ NR. TRACK. TiME. █▀ ▄█ ▒
▓▄ █ █ ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ █ █ ▄▓
█ █░ █ 01 from Jephta (HWV 70) These labours past 06:28 █ ░█ █
█ █░ █ 02 from Joshua (HWV 64) Oh peerless maid 02:40 █ ░█ █
█ █░ █ 03 from Joshua-Our limpid streams 02:55 █ ░█ █
█ █░ █ 04 from Belshazzar (HWV 61) Great victor 05:03 █ ░█ █
█ █░ █ 05 from Susanna (HWV 66) When thou art nigh 03:36 █ ░█ █
█ █░ █ 06 from Susanna-To my chaste Susanna's praise 03:17 █ ░█ █
█ █░ █ 07 from Theodora (HWV 68) glorious son 05:44 █ ░█ █
█ █░ █ 08 from Theodora-Streams of pleasure ever flowing 06:04 █ ░█ █
█ █░ █ 09 from Solomon (HWV 67) Welcome as the dawn of day 03:58 █ ░█ █
█ █░ █ 10 from Solomon-Ev'ry joy that wisdom knows 03:32 █ ░█ █
█ █░ █ 11 from Eternal Source of light 04:46 █ ░█ █
█ █░ █ (HWV 74) Health descends █ ░█ █
█ █░ █ 12 from Saul (HWV 53) O fairest of ten thousand fair 03:01 █ ░█ █
█ █░ █ 13 from Saul-At persecution I can laugh 01:27 █ ░█ █
█ █░ █ 14 from Deborah 04:48 █ ░█ █
█ █░ █ (HWV 51) Where do thy ardours raise me! █ ░█ █
█ █░ █ 15 from Deborah-Smiling freedom, lovely guest 03:57 █ ░█ █
█ █░ █ 16 from Alexander Balus (HWV 65) Hail wedded love 03:28 █ ░█ █
█ █░ █ 17 from Alexander Power o. M. (HWV 75) Let's imitate 02:41 █ ░█ █
█ █░ █ 18 from Esther (HWV 50b) Who calls my parting soul 03:33 █ ░█ █
█ █░ █ █ ░█ █
█ ▀█▄█ ∙∙∙∙∙∙∙∙∙∙∙ ░ █▄█▀ █
▀█ ▀█ ▒ TOTAL: 70:58 ▒ █▀ █▀
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▓█ █▓░█ █░▓█ █▓
█ █▓░█ haendel, friedrich georg [george frideric handel] █░▓█ █
█ █▓░█ halle 1685 - london 1759 █░▓█ █
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█ █▓░█ █░▓█ █
█ █▓░█ biography █░▓█ █
█ █▓░█ born in the german town of halle in 1685, handel █░▓█ █
█ █▓░█ studied briefly at the university of halle, before █░▓█ █
█ █▓░█ moving to hamburg in 1703, where he served as a █░▓█ █
█ █▓░█ violinist in the opera orchestra and subsequently as █░▓█ █
█ █▓░█ harpsichordist and composer. from 1706 until 1710 he █░▓█ █
█ █▓░█ was in italy, where he further developed his mastery █░▓█ █
█ █▓░█ of italian musical style. appointed kapellmeister to █░▓█ █
█ █▓░█ the elector of hanover, the future george i of █░▓█ █
█ █▓░█ england, he visited london, where he composed the █░▓█ █
█ █▓░█ first london italian opera rinaldo, in 1710 and █░▓█ █
█ █▓░█ settled there two years later. he enjoyed █░▓█ █
█ █▓░█ aristocratic and later royal patronage, and was █░▓█ █
█ █▓░█ occupied largely with the composition of italian █░▓█ █
█ █▓░█ opera with varying financial success until the 1740s. █░▓█ █
█ █▓░█ he was successful in developing a new form, english █░▓█ █
█ █▓░█ oratorio, which combined the musical felicities of █░▓█ █
█ █▓░█ the italian operatic style with an increased r⌠le for █░▓█ █
█ █▓░█ the chorus, relative economy of production and the █░▓█ █
█ █▓░█ satisfaction of an english and religious text, █░▓█ █
█ █▓░█ elements that appealed to english protestant █░▓█ █
█ █▓░█ sensibilities. in london he won the greatest esteem █░▓█ █
█ █▓░█ and exercised an influence that tended to overshadow █░▓█ █
█ █▓░█ the achievements of his contemporaries and immediate █░▓█ █
█ █▓░█ successors. he died in london in 1759 and was buried █░▓█ █
█ █▓░█ in westminster abbey in the presence of some 3000 █░▓█ █
█ █▓░█ mourners. █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ operas █░▓█ █
█ █▓░█ handel wrote over forty italian operas, the majority █░▓█ █
█ █▓░█ for staging in london. the operatic conventions of █░▓█ █
█ █▓░█ the time, restricting subject and form, and the major █░▓█ █
█ █▓░█ use of castrato singers in the principal male r⌠les, █░▓█ █
█ █▓░█ led to a general neglect of this important part of █░▓█ █
█ █▓░█ handel's work until recent years, with the increased █░▓█ █
█ █▓░█ cultivation of male soprano and male alto voices and █░▓█ █
█ █▓░█ a growing understanding of handel's achievement █░▓█ █
█ █▓░█ within the limitations of the genre. arias and other █░▓█ █
█ █▓░█ operatic excerpts, however, have retained a continued █░▓█ █
█ █▓░█ place in vocal and to some extent in instrumental █░▓█ █
█ █▓░█ repertoire. in particular the aria from the opera █░▓█ █
█ █▓░█ serse of 1738, ombra mai f∙, popularly known as █░▓█ █
█ █▓░█ handel's largo, has re-appeared in every possible █░▓█ █
█ █▓░█ arrangement. other arias are familiar in something █░▓█ █
█ █▓░█ approaching their original form. these include lascia █░▓█ █
█ █▓░█ ch'io pianga from rinaldo, piangΦro la sorte mia from █░▓█ █
█ █▓░█ giulio cesare and care selve from atalanta. █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ oratorios █░▓█ █
█ █▓░█ messiah is by far the best known of all english █░▓█ █
█ █▓░█ oratorios. its three parts deal with the birth, █░▓█ █
█ █▓░█ passion and resurrection of christ, using a text in █░▓█ █
█ █▓░█ part derived from the bible and from the version of █░▓█ █
█ █▓░█ the psalms familiar from the church of england book █░▓█ █
█ █▓░█ of common prayer. the work was completed and first █░▓█ █
█ █▓░█ performed in 1742 and later repeated annually in █░▓█ █
█ █▓░█ london in aid of the foundling hospital. israel in █░▓█ █
█ █▓░█ egypt, judas maccabaeus, samson, based on milton, and █░▓█ █
█ █▓░█ solomon are only some of the english oratorios of █░▓█ █
█ █▓░█ handel that are familiar in whole or in part to █░▓█ █
█ █▓░█ choirs and audiences. to these may be added the █░▓█ █
█ █▓░█ secular oratorio semele, with a text by the dramatist █░▓█ █
█ █▓░█ william congreve, dealing with an episode from █░▓█ █
█ █▓░█ classical mythology and including, for a disguised █░▓█ █
█ █▓░█ jupiter, the well known aria where'er you walk. █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ church music █░▓█ █
█ █▓░█ handel wrote music for the catholic liturgy in 1707, █░▓█ █
█ █▓░█ when he was in rome. in england, under the patronage █░▓█ █
█ █▓░█ of the duke of chandos, he wrote a set of anthems, █░▓█ █
█ █▓░█ the so-called chandos anthems. the four coronation █░▓█ █
█ █▓░█ anthems, written for the coronation of george ii in █░▓█ █
█ █▓░█ 1727, represent music for a royal ceremonial occasion █░▓█ █
█ █▓░█ at its most impressive. other settings for the █░▓█ █
█ █▓░█ anglican liturgy include the utrecht te deum of 1713, █░▓█ █
█ █▓░█ celebrating the peace of utrecht, and the dettingen █░▓█ █
█ █▓░█ te deum, a celebration of the victory of dettingen █░▓█ █
█ █▓░█ over the french army in 1743. █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ secular vocal & choral music █░▓█ █
█ █▓░█ the story of the shepherd and shepherdess acis and █░▓█ █
█ █▓░█ galatea and the monster polyphemus forms the basis of █░▓█ █
█ █▓░█ the pastoral acis and galatea, first performed in █░▓█ █
█ █▓░█ 1718. the aria of polyphemus o ruddier than the █░▓█ █
█ █▓░█ cherry is in popular baritone repertoire. l'allegro, █░▓█ █
█ █▓░█ il penseroso ed il moderato, based on milton and █░▓█ █
█ █▓░█ completed in 1740, provides at least one popular █░▓█ █
█ █▓░█ soprano aria, sweet bird. in the earlier part of his █░▓█ █
█ █▓░█ career handel wrote a large number of solo and duo █░▓█ █
█ █▓░█ italian cantatas, with instrumental accompaniment, as █░▓█ █
█ █▓░█ well as vocal duets and trios with the more █░▓█ █
█ █▓░█ economical accompaniment of basso continuo, a chordal █░▓█ █
█ █▓░█ and a bass instrument. this last repertoire deserves █░▓█ █
█ █▓░█ further exploration. █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ orchestral music █░▓█ █
█ █▓░█ since corelli, a musician who was said to have found █░▓█ █
█ █▓░█ handel's french style alien to italian tradition, the █░▓█ █
█ █▓░█ concerto grosso had continued as the most popular █░▓█ █
█ █▓░█ baroque orchestral form, with a small concertino █░▓█ █
█ █▓░█ group, usually of two violins, cello and harpsichord, █░▓█ █
█ █▓░█ contrasted with the whole string orchestra. handel █░▓█ █
█ █▓░█ wrote and published in 1739 a set of twelve such █░▓█ █
█ █▓░█ concertos, opus 6, designed originally for strings █░▓█ █
█ █▓░█ and continuo. an earlier compilation of six concerti █░▓█ █
█ █▓░█ grossi, scored also for wind instruments, had been █░▓█ █
█ █▓░█ published in london in 1734. alexander's feast is the █░▓█ █
█ █▓░█ name given to one of the concertos first performed █░▓█ █
█ █▓░█ with the choral work of that name, a setting of █░▓█ █
█ █▓░█ dryden in celebration of the feast of st. cecilia, █░▓█ █
█ █▓░█ patron saint of music, in 1736. his sixteen organ █░▓█ █
█ █▓░█ concertos, the first six included in opus 4 and a █░▓█ █
█ █▓░█ further six in opus 7, served a practical and novel █░▓█ █
█ █▓░█ purpose as interval music, to be played at █░▓█ █
█ █▓░█ performances of oratorio. no. 13 is generally known █░▓█ █
█ █▓░█ as the cuckoo and the nightingale. the water music is █░▓█ █
█ █▓░█ a set of pieces written in 1717 to entertain george i █░▓█ █
█ █▓░█ as he was rowed up the thames to supper at chelsea, █░▓█ █
█ █▓░█ and the music for the royal fireworks, written in █░▓█ █
█ █▓░█ 1749, preceded a firework display in green park, a █░▓█ █
█ █▓░█ celebration of the peace of aix-la-chapelle. █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ chamber music █░▓█ █
█ █▓░█ music for smaller groups of performers by handel █░▓█ █
█ █▓░█ includes a number of trio sonatas, the majority for █░▓█ █
█ █▓░█ two violins and basso continuo, and a number of █░▓█ █
█ █▓░█ sonatas for solo instrument and continuo, six for █░▓█ █
█ █▓░█ recorder and six for violin. the publisher of the █░▓█ █
█ █▓░█ twelve sonatas of opus 1, about 1730, described a █░▓█ █
█ █▓░█ dozen of these sonatas as for treble instrument and █░▓█ █
█ █▓░█ continuo, allowing potential performers a freedom of █░▓█ █
█ █▓░█ choice that was not altogether unusual at the time. █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ keyboard music █░▓█ █
█ █▓░█ handel was as versatile as any musician of his age. █░▓█ █
█ █▓░█ he excelled, however, as a keyboard-player, judged in █░▓█ █
█ █▓░█ an early contest in rome with the harpsichordist █░▓█ █
█ █▓░█ domenico scarlatti, with the wisdom of solomon, as █░▓█ █
█ █▓░█ the better organist, while scarlatti was honoured as █░▓█ █
█ █▓░█ the better harpsichordist. handel left a great deal █░▓█ █
█ █▓░█ of keyboard music, most of it for the harpsichord and █░▓█ █
█ █▓░█ much of it written early in his career. the first █░▓█ █
█ █▓░█ eight suites for harpsichord were published by the █░▓█ █
█ █▓░█ composer in 1720, followed in 1733 by a second █░▓█ █
█ █▓░█ collection of eight suites, assembled largely by the █░▓█ █
█ █▓░█ publisher. the g major chaconne, using a popular █░▓█ █
█ █▓░█ baroque variation form, consists of 62 variations on █░▓█ █
█ █▓░█ a simple repeated bass pattern. █░▓█ █
█ █▓░█ the air from suite no. 5, with its five following █░▓█ █
█ █▓░█ variations, has won fame under the title the █░▓█ █
█ █▓░█ harmonious blacksmith, a reference to an unlikely █░▓█ █
█ █▓░█ anecdote concerning the inspiration of the piece. █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ one cannot recommend these cd theoretically, without █░▓█ █
█ █▓░█ the impression of the sound their special character █░▓█ █
█ █▓░█ not to describe will be. in the nachvollzug of the █░▓█ █
█ █▓░█ belonged one however the enthusiasm of the █░▓█ █
█ █▓░█ rezensenten for this outstanding bringing in becomes █░▓█ █
█ █▓░█ understandable, as i hope. first gives it good █░▓█ █
█ █▓░█ reasons for this extraordinary hΣndel program, █░▓█ █
█ █▓░█ huldigt it nevertheless completely own invention █░▓█ █
█ █▓░█ composers, to who äsacred oratorio ô, behind which █░▓█ █
█ █▓░█ decades of experience stand as a composer for concert █░▓█ █
█ █▓░█ hall, in the meantime exact knowledge of the english █░▓█ █
█ █▓░█ public and not least their own firm anchorage in the █░▓█ █
█ █▓░█ evangelist faith, in which it resounds in the █░▓█ █
█ █▓░█ domestic was educated. if the duette in hΣndels marks █░▓█ █
█ █▓░█ italian operas usually dramatic culmination points, █░▓█ █
█ █▓░█ then they represent instants of the meditation and █░▓█ █
█ █▓░█ intimate staying in the english oratorien rather, █░▓█ █
█ █▓░█ which may reach up to the imaginierten dialogue of █░▓█ █
█ █▓░█ the faith with hope. calm, weighing rhythms, for █░▓█ █
█ █▓░█ example some sicliana, often give an almost celestial █░▓█ █
█ █▓░█ atmosphere to these music pieces. carolyn sampson and █░▓█ █
█ █▓░█ robin blaze lead together with the orchestra of the █░▓█ █
█ █▓░█ age of enlightenment all virtues of the english █░▓█ █
█ █▓░█ hΣndel tradition into the field: musikantische █░▓█ █
█ █▓░█ perfection, which never wins over hand before the █░▓█ █
█ █▓░█ representation of the musical content, perfect a █░▓█ █
█ █▓░█ balance between verve and relaxation. here an even █░▓█ █
█ █▓░█ measure is reached, which is just as far distant from █░▓█ █
█ █▓░█ lax as of unrast and which one would wish to famous █░▓█ █
█ █▓░█ hΣndel interpreter of the european continent and also █░▓█ █
█ █▓░█ some british colleague. the technical quality, with █░▓█ █
█ █▓░█ which the interpreters master also the subtlest █░▓█ █
█ █▓░█ organization means, is out of question, in short: █░▓█ █
█ █▓░█ here on a level it is made music that it will be █░▓█ █
█ █▓░█ difficult to find many other hΣndel interpretation of █░▓█ █
█ █▓░█ such a perfect balance of all musical parameters. █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ http://www.bis.se/index.php █░▓█ █
█ █▓░█ http://de.wikipedia.org/wiki/georg_friedrich_h%c3%a4n █░▓█ █
█ █▓░█ del █░▓█ █
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█ █▓░█ enjoy and support the artists. █░▓█ █
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█▄ █▄ █ ░ iRC: #euhmnope? ░ █ ▄█ ▄█
█▄ █▄█ MAiL: oma@hushmail.com █▄█ ▄█
█ ▀█ ░ WEB: http://www.never-ever.com ░ █▀ █
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