George Frideric Handel: Oratorio SAUL

Editorial Reviews
Album Description
This recording is part of a cycle of old testament oratorios by G. F. Handel and is one of the many concerts performed at Maulbronn monastery over the past years. The Maulbronn monastery, founded by Cistercian monks in the year 1147, is the only completely preserved mediaeval complex north of the Alps and since 1994 as the 13th German site on the list of UNESCO World Heritage Sites. The series of recordings combines authentically performed baroque oratorios with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically authentic performance. The music is exclusively performed on reconstructed historical instruments, which are tuned to the pitch customary in the composers lifetime (a = c. 415 Hz).

Soloists: Nancy Argenta – Sopran (Michal), Laurie Reviol – Sopran (Merab), Michael Chance – Altus (David), Mark LeBrocq – Tenor (Jonathan), Michael Berner – Tenor (Abner, Hoherpriester, Hexe von Endor, Amalikter), Stephen Varcoe - Bass (Saul), Steffen Balbach – Bass (Samuel, Doeg)

Ensembles: Hannoversche Hofkapelle (on period instruments), Maulbronn Chamber Choir

Conductor: Jürgen Budday

Tracks:

Cantata No. 80: A Mighty Fortress Is Our God
Cantata No. 140: Zion Hears The Watchmen's Voices
Magnificant In D Major, BWV 243: My Soul Doth Magnify The Lord
Cantata No.147: Jesu, Joy Of Man's Desiring
Cantata No. 4: Now Keep We All This Holy Feast
Cantata No. 208: Sheep May Safely Graze
Mass In B Minor, BWV 232: Et Resurrexit
Cantata No. 79: Now Thank We All Our God
Cantata No. 140: Sleepers Awake
Samson: Awake The Trumpet's Lofty Sound
Samson: Let Their Celestial Concerts All Unite
Judas Maccabaeus: See, The Conqu'ring Hero Comes!
Judas Maccabaeus: Sing Unto God
Judas Maccabaeus: Hallelujah, Amen
Saul: Welcome, Welcome Mighty King
Saul: David, His Ten Thousands Slew
Israel In Egypt: But As For His People
Israel In Egypt: Sing Ye To The Lord
Coronation Anthem: Zadok The Priest
Messiah: Hallelujah

Customer Reviews:

Bach and Handel Treats.......2000-08-04

The unfortunate thingÑif anything can be said to the contrary about this collectionÑis that is an older recording. As far as authenticity, what was available in the days of Bach and Handel to perform their music, and what they may have had in mind as the formidable way of presenting it to the publicÑas well as to the heavensÑmay be quite different things. Viewed in this way, authenticity may be an abstraction we are not here priviledged to comment on.

I have marveled for years, even when these were two separate LP's, of the power and dimensionality conveyed by the way these works are performed. I still switch from one to another piece as which is my favorite. In this respect, the experience is a hermenutic delight. Any lover or respecter of Bach or Handel would not go wrong by including this collection in their musical library.

When I use the word "treats" in the title, I mean just that: it is a collection of works that one would be hard pressed to find performed together on any available recording. And so I use the metaphor "treat," as if I were given a morsel and then devoured it; and another, and devoured that one, each with a fullness of pleasure and delight, and with soul filling satisfaction.

These indivdual recordings are for the most part masterpieces in and of themselves, and to be able to listen to them as they are performed flawlessly, and in a manner that invites the Spirit of GodÑby saying they are a "treat"Ñis to merely to treat them minimally.

Fine recording, but doesn't work for me........1999-05-07

I love several of J.S. Bach's cantatas, and enjoy hearing them in a variety of ways--period performances, orchestral arrangements, etc. Therefore I'm not one to insist on authenticity. Nevertheless, the chorus here sounds too big for the Bach. Also, the program needs more variety for straight through listening. Chorus after (massive) chorus doesn't work for me.

rock on!!!!!.......1999-02-09

Jesu joy of man's desiring, holy wisdom love most bright

This song is the best I have ever heard. It rocks!!!!!.......1999-02-09

Jesu joy of man's desiring, holy wisdom love most bright

Average customer rating:

Solid Basic March Collection
Bold and brassy mixes well with the rest
40 Famous Marches - a great collection!!
Classics on Parade
Too, too much Philip Jones Ensemble

40 Famous Marches

Manufacturer: Decca
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Similar Items:

Stars & Stripes Forever and the Greatest Marches
Sousa's Greatest Hits
Regimental Marches of British Army, Vol. 1
German Military Marches
Fiedler's Favorite Marches

ASIN: B000040OX5
Release Date: 2000-02-08

Tracks:

Pomp And Circumstance March No. 1 In D Major - London PO; Solti, G.
Karelia Suite: Alla marcia - Philharmonia Orchestra
Jubel March - Vienna PO; Boskovsky, W.
Funeral March Of A Marionette - Orchestra Of The Royal Opera House, Covent Garden
Tannhauser: Grand March - Philip Jones Brass Ensemble; Howarth, E.
Rinaldo: March - English Chamber Orchestra
Saul: Dead March - English CO; Bonynge, R.
Aida: Grand March - Philip Jones Brass Ensemble
Radetzky March - Vienna PO; Boskovsky, W.
Marche militaire - Wiener Philharmoniker
Athalia: War March Of The Priests - Vienna PO; Dohnanyi, C.v.
The Nutcracker: March - National Philharmonic Orchestra
The Love For Three Oranges: March - London PO; Weller, W.
Le Prophete: Coronation March - London Philharmonic Orchestra
La Damnation de Faust: Hungarian March - Chicago SO; Solti, G.
Persian March - Wiener Philharmoniker
Aladdin Suite: Oriental Festive March - San Francisco SO; Blomstedt, H.
The Ruins Of Athens: Turkish March - Carlo Curley
The Occasional Oratorio: March - San Francisco SO; Blomstedt, H.
Pomp And Circumstance March No. 4 In G Major - London Philharmonic Orchestra

Tracks:

Crown Imperial (Coronation March) - London PO; Norrington, R.
Music For The Funeral Of Queen Mary: Funeral March - Baroque Brass Of London
Prince of Denmark's March (Trumpet Voluntary) - London PO; Norrington, R.
March - Philip Jones Brass Ensemble
Marche triomphale - London PO; Norrington, R.
Egyptian March - Wiener Philharmoniker
Joyeuse March - Swiss Romande Orch; Ansermet, E.
Napoleon March - Wiener Philharmoniker
A Midsummer Night's Dream: Wedding March - Montreal SO; Dutoit, C.
Russian March - Wiener Philharmoniker
Carmen, Suite No.2: Marche des contrebandiers - Montreal SO; Dutoit, C.
The Tale Of Tsar Saltan: March - London Symphony Orchestra
Mlada: Procession Of The Nobles - Kingsway Orch; Camarata, S.
Spanish March - Wiener Philharmoniker
Things To Come: March - National PO; Herrmann, B.
Washington Post - Philip Jones Brass Ensemble
Entry Of The Gladiators - National PO; Herrmann, B.
Colonel Bogey - Philip Jones Brass Ensemble
The Dam Busters - National PO; Herrmann, B.
The Stars And Stripes Forever - Philip Jones Brass Ensemble

Customer Reviews:

Solid Basic March Collection.......2006-08-07

Great solid basic collection, a real bargain with mostly outstanding performances. Having played several in bands and orchestras and sung one (the Rimsky Mlada), I have a good idea how they should go. As other other commentators say, there are better individual recordings, such as anything by Fennell and the Eastman band. The organ pieces just don't do this music justice, although a real cathedral organ can come close, but that's beyond these discs. The Nielsen Aladdin March is the new one for me. Berlioz by Solti is great! Buy it!

Bold and brassy mixes well with the rest.......2004-08-14

I am impressed most by the variety in 40 Famous Marches on 2 CDs, a Double Decca release. The performers include Philharmonic Orchestras, a Brass Ensemble, Chamber Orchestra, organ, Symphony, and for nine selections, the Wiener Philharmoniker. I am not sure if the word schmaltzy ought to be applied to any of this, but the Wiener Philharmoniker often exhibits a unique sound which is not quite the same as any of the other selections. The final five selections are all performed by the Philip Jones Brass Ensemble under Elgar Howarth in ADD/DDD format in 1983 and 1985. Two of those five are rousing marches by John Philip Sousa, another called `Entry of the Gladiators' is typical of songs played by live bands at circuses, and the remaining two are from movie soundtracks. `Colonel Bogey' is famous from the movie about British prisoners of war building a railroad bridge for the Japanese in World War Two, the Bridge over the River Kwai.

The major source of variety in these 40 selections is that many of them are taken from operas and even a ballet, Tchaikovsky's famous `The Nutcracker--March.' I originally found this collection when I was searching for `Funeral March of a Marionette' by Charles Gounod (1818-1893) which has a theme that is famous from its use by a television series hosted by Alfred Hitchcock. If you can't remember how that goes, you ought to buy this collection and listen for it early: it is selection 4 on the first CD. The main theme was fun to play and easy to learn in a book of piano lessons, but the rest is quite whimsical and worth listening to, and people who play organ with pedal notes might still be able to find music for playing the entire arrangement, difficult though it is for someone like me, who becomes confused when too many things are going on at the same time.

There was something on this CD that sounded weird, and I had to check to see what it was, and it was just someone playing the organ, but he was trying to play `The Ruins of Athens -- Turkish March' by Ludwig van Beethoven (1770-1827).

Something by Handel sounds so much like the beginning of a movie that I expect someone to start singing, `The hills are alive with The Sound Of Music,' but this CD is something else. The first CD starts and ends with marches from `Pomp and Circumstance' by Edward Elgar, so people who have been to a lot of graduation ceremonies will be expecting plenty of familiar music. The 6:32 time is slightly longer than the Wagner's `Tannhauser -- Grand March' on the first CD, but long graduation ceremonies may play it even longer, until all the diplomas are handed out.

Verdi, Strauss, Schubert, Prokofiev, Berlioz, these famous composers might be recognized by people who know music, but the `Wedding March' by Felix Mendelssohn is famous with everybody for what it is used for. If you haven't heard it lately, maybe you should hear it a few times so you won't be so nervous the next time it comes around.

40 Famous Marches - a great collection!!.......2003-11-21

This is a wonderful collection. What a wide collection of exciting pieces, all in one affordable package!! It encompasses so many composers and styles, from the majesty of Elgar and Walton, to upbeat Sousa to schmaltzy Strauss. It also includes such classic marches as Meyerbeer's Coronation, a pinnacle of the French opera style, the timeless Wedding March of Mendelssohn, and the brilliant organ piece, Marche Triomphale of Sigfrid Karg-Elert. There are also some interesting oddball selections like the mysterious Things to Come of Bliss (composed for the H.G. Wells film), the jaunty Chabrier marche, and oriental flair of Nielsen's Aladdin.
In reading some of the other criticisms, it is true that the Philip Jones Brass Ensemble perhaps is not the best or most noted ensemble. However, overall, the pieces they play are either Sousa or patriotic-sounding tunes. Their only forays into the true classical realm are the Grand Marches from Tannhauser and Aida, and they are not half bad. So don't let those pieces keep you from buying the CD - 1) because most of the songs they do play are great and 2) they only play in 1/4 of the music....

Classics on Parade.......2003-05-01

If you're looking for a collection of marches from classical music, this would be a fine one to get.
It contains recordings made from 1958 to 1996 by some of the world's great orchestras, plus several numbers by the Philip Jones Brass Ensemble, and four arranged for organ.
The first 35 marches include many of the best-known classical marches, plus three "coronation" marches, written as far back as the end of the seventeenth century (The Prince of Denmark's March) up to 1954 (The Dam Busters). The last five pieces are "popular" marches played by the Jones Ensemble.
The liner notes give a nice history of marches, including where most of the ones in this collection fit into that scenario.
A great collection of marches by classical and popular music "masters".

Too, too much Philip Jones Ensemble.......2003-04-17

A mixed bag of music, 40 FAMOUS MARCHES compiles a good many marches - some not too common.

The CD has it's high points:
1. Chicago Symphony (under Solti!) playing Berlioz's Hungarian March (love that trombone excerpt - BAM!)
2. London Philharmonic playing Prokofiev's "The Love for Three Oranges" March
3. Elgar's Pomp and Circumstance No. 1 (also London Philharmonic)

BUT... There's some real stuff on here, too. I must concur with a prior reviewer: FAR TOO MUCH Philip Jones Brass Ensemble. Case in point - Sousa's Stars and Stripes Forever, as played by PJBE is completely devoid of the energy and fire it needs. The trombone countermelody at the end is just NOT THERE (you'll strain to hear it). There's just no way this is right. PBJE is great in their setting, but this is just not it.

Tracks:

Canon In D Major - Johann Pachelbel
Suites De Symphonies No. 1: I. Rondeau - Jean-Joseph Mouret
Adagio In G Minor - Tomaso Albinoni
Little Suite From The 'Anna Megdalena Notebook': I. Menuett In G Major, BWV Anh. 114 - Johann Sebastian Bach
Little Suite From The 'Anna Megdalena Notebook': II. Musette In D Major, BWV Anh. 126 - Johann Sebastian Bach
Little Suite From The 'Anna Megdalena Notebook': III. 'Bist Du Bei Mir', BWV 508 - Johann Sebastian Bach
Little Suite From The 'Anna Megdalena Notebook': IV. Marche In D Major, BWV Anh. 122 - Johann Sebastian Bach
Orfeo Ed Euridice: Dance Of The Blessed Spirits - Christoph Willibald Gluck
Trumpet Voluntary - Jeremiah Clarke
Solomon: The Arrival Of The Queen Of Sheba - George Frideric Handel
Concerto Grosso In G Minor, Op. 6 No. 8: Pastorale Ad Libitum - Arcangelo Corelli
Berenice: Overture - George Frideric Handel
Abdelazer: Rondeau - Henry Purcell
Xerxes: Largo - George Frideric Handel
Belshazzar: Martial Symphony - George Frideric Handel
Saul: Dead March - George Frideric Handel
Cantana BWV 147 Herz Und Mund Und Tat Und Leben: Jesu, Joy Of Man's Desiring - Johann Sebastian Bach
Judas Maccabaeus: See, The Conquering Hero Comes - George Frideric Handel
Samson: Let The Bright Seraphim - George Frideric Handel
Suite For Strings: I. Sarabanda. Largo - Arcangelo Corelli
Suite For Strings: II. Giga, Allegro - Arcangelo Corelli
Suite For Strings: III. Badinerie. Vivace - Arcangelo Corelli

Customer Reviews:

Baroque Masterpieces.......2007-07-07

The music was very good but wish they had more to listen too. Not enough bang.

Great short Baroque piece collection.......2005-02-05

This CD has 17 pieces on 22 tracks including 7 by Handel, 2 each by Bach & Corelli, and 1 each by Pachelbel, Mouret, Albinoni, Gluck, Clarke, & Purcell. They are frequently the best known piece by the composer--and easily recognizable: Pachelbel's Canon, Mouret's Rondeau (theme from PBS' Masterpiece Theater), Albinoni's Adagio, etc. If you like high quality short pieces/excerpts, this CD is for you. My only qualification is: no Telemann, but it's just too good for a 4-star rating.

Excellent Baroque Collection.......2003-07-22

As I have stated in many of my previous reviews, I am a huge fan of the Sony Essential Classics (SEC) budget series. Most of the recordings feature classic and often definitive performances featuring the likes of George Szell, Leonard Bernstein, Robert Casadesus, Isaac Stern and Rudolf Serkin among others. Here we get a variety of orchestras and conductors including big names like Jean-Claude Malgoire, Raymond Leppard, Pierre Boulez, Sir Charles Groves and the great Eugene Ormandy. This disc features excellent performances of what is arguably the most popular Baroque music ever written. I am not usually one to give five-star ratings to greatest-hits style collections (particularly in classical), but the half-dozen performances by Ormandy make this disc a great purchase for both novices and serious collectors.

Emma Kirkby sings Handel, Arne, Haydn & Mozart

Average customer rating:

All hail the Queen of Early Music!
An uplifting experience
Mysterious Beauty
The divine voice of Emma Kirkby

Emma Kirkby sings Handel, Arne, Haydn & Mozart

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Emma Kirkby Collection
Emma Kirkby - Handel Opera Arias / Goodman, Brandenburg Consort
Vivaldi - Gloria · Nulla in mundo pax sincera · Nisi Dominus · Cantatas / Kirkby · Bott · Nelson · Watkinson · Bowman · Preston · AAM · Hogwood
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The Glories of Handel Opera ~ Kirkby · Sutherland · Tebaldi · Berganza · Horne · Bowman · Pavarotti

ASIN: B000009DG1
Release Date: 1998-07-14

Tracks:

Alessandro Severo: Ouverture HWV A13 - George Frideric Handel
Britannia: Welcome Mars - George Frideric Handel
Dione: Pretty Warblers - George Frideric Handel
Hornpipe - George Frideric Handel
Rosamond: Rise, Glory, rise - George Frideric Handel
Ariodante: Ingrato Polinesso...Neghittosi or voi che fate?, HWV 33:41b - George Frideric Handel
Alcina: Credete al mio dolore, HWV 34:40 - George Frideric Handel
Alcina: Tornami a vagheggiar, HWV 34:15 - George Frideric Handel
March In D, HWV 345 - George Frideric Handel
Alexander's Feast: War, He Sung, Is Toil And Trouble, HWV 75:11 - George Frideric Handel
L'Allegro, il Penseroso ed il Moderato: Sweet Bird, HWV 55:11-12 - George Frideric Handel
Saul: Capricious Man, HWV 53:37 - George Frideric Handel
Comus: By The Rushy-Fringed Bank - George Frideric Handel
Comus: Brightest Lady - Thrice Upon Thy Finger's Tip - George Frideric Handel
The Tempest: Where The Bee Sucks There Lurk I - George Frideric Handel

Tracks:

The Creation: With Verdure Clad - Emma Kirkby
The Creation: On Mighty Pens - Emma Kirkby
Il re pastore, K208: Aer tranquillo e di sereni - Emma Kirkby
Il re pastore, K208: L'amero, saro costante - Emma Kirkby
Voi avete un cor fedele, K217 - Emma Kirkby
Ah, lo prvidi!, K272 - Emma Kirkby
Zaide, K344: Ruhe sanft, mein holdes Leben - Emma Kirkby
Zaide, K344: Trostlos schluchzet Philomele - Emma Kirkby
Nehmt meinen Dank, ihr holden Gonner!, K383 - Emma Kirkby
Ch'io mi scordi di te?, K505 - Emma Kirkby

Customer Reviews:

All hail the Queen of Early Music!.......2004-10-27

I had the pleasure recently of attending a recital with Miss Kirkby and Fretwork, here in Houston. I had heard of her, but wasn't all too familiar with her voice. Then, I decided a couple of days before the performance that I would buy one of her discs, for her to autograph. Honestly, I chose this two-disc recital because it had a nice picture of her, with space for her to autograph!

I am happy to say that I chose what is surely one of the most pleasant soprano recitals on the market. Her voice is essentially "white," as opposed to a full operatic voice with vibrato, etc. Nonetheless, what she does with this ample selection of music, esp. Mozart, is truly incredible.

Rise, Glory, Rise, as mentioned by at least one other reviewer, is nothing short of stunning. I like the way she sings, "Bid the drum, bid the drum," with much enthusiasm. The orchestration is spectacular baroque, with the expert conducting of Hogwood, who conducts on the entire recital. (I had the pleasure to hear him conduct Ariodante here in Houston a couple of seasons back, at HGO).

Speaking of Ariodante, there is an aria from that opera, as well as other Handel arias on the first disc. Now, those of us who cut our operatic teeth on Joan Sutherland or Beverly Sills may not appreciate Emma Kirkby at first. Being used to Joan's upward transpositions, interpolated high notes, and intricate cadenzas, it took a couple of listens to appreciate Kirby's rendition of Tornami a Vagheggar. We must remember that the Sutherland and Sills interpretations took lots of liberties that Handel didn't necessarily intend!

While I do enjoy the first disc, I relish the second disc from start to end. First, there are two arias from Haydn's Creation. The orchestration is sublime, and Emma calms us with her "cooing" in the second selection. Then comes Mozart, which fills the rest of the second disc. Kirby's L'amero, Saro Costante is a miracle. To give you an example, I have heard Leontyne Price's interpretation, and had previously dismissed hte aria as a bore. Kirkby, however, sounds so sweet and virginal, so much so that you can really picture a young lady singing about fidelity. The purity and exquisiteness of Kirby's singing will melt you.

Another joy is Voi Avete Un Cor Fedele. Kirkby isn't a coloratura fanatic like our beloved Sutherland,but when she does coloratura, it is enthralling. Here, she uses rapid coloratura, a la Cecilia Bartoli, to stunning effect.

It would have been easy to choose a lot of Mozart standard arias, like Matern aller Arten. However, Emma steers clear of those chestnuts on this recital, instead treating us to lesser-known works. Just when you start to settle in the second disc, she melts you again with arias in German, from one of Mozart's lesser-known operas. The first of these three arias moved me to tears. Words simply can't express the purity of her tone, and the tender care she lavishes on the text! Beguiling, to say the least.

Finally, there is Non Temerte, Amato Bene. I first heard this aria on a recently-issued two-disc recital of Teresa Berganza. While Berganza charms us with her warm tone and vibrato, Emma Kirkby's interpretation is no less valid.

Even if you don't particularly care for the current early-music revival, any lover of the human voice and operatic arias should buy this treasurable recital.

An uplifting experience.......2002-06-05

This is not a muscial review. That would be beyond my talents. No, this is a "spiritual" review and here is the reason. I had experienced a personal tragedy and turned often to music to revive my spirits and maintain my hope that things would right themselves in my life. Works such as Hayden's "Creation," Beethoven's "Fidelio," many of Bach's cantatas, Vivaldi's "Glorias," etc. Then I bought this CD. Immediately, I couldn't get enough of it. I felt uplifted everytime I listened, and it wasn't the same track each time that gave me that small feeling of joy that only music can provide. All is well again in my life and I continue to adore listening to this CD. For me, it was, and continues to be, magical.

Mysterious Beauty.......2001-11-19

Classical music is one of the greatest joys in life. Opera on the other hand, is often too melodramatic to stomach. But there is nothing more enchanting than an Aria. On this 2 CD set, Emma Kirkby sings in sweet exultation. Her voice expresses power and agility yet a limpid tranquility. Clarity is the greatest achievement of any musician. With the aid of precision accompaniment on period instruments, shameless perfection is delivered. She soothes the soul longing for beauty. Her marvelous Soprano is rendered on 25 tracks in this eclectic ensemble. If you are a champion of Handel or a devotee of Mozart, you should not hesitate to purchase this CD. Emma Kirkby will have you beaming with delight and pining for more. Surely it will be one of the brightest of your collection.

The divine voice of Emma Kirkby.......2000-06-07

An outstanding collection of Italian, German and English arias, beautifully sung by my favourite soprano voice Emma Kirkby - the diva of renaissance and baroque music. All the arias are enchanting, especially "Rise, Glory, rise" an aria from Arne's opera "Rosamond". The conducting and playing of Christopher Hogwood and his team of period-performance specialist The Academy of Ancient Music are as always superb.These are all arias to have one wanting to go back to the complete operas. Strongly recommended.

Handel - Royal Fireworks Music · Concerto Grosso "Alexander's Feast" · Overtures / The English Concert · Pinnock

Average customer rating:

Superb 'Program' Music
Unforgettable performance !
The Pinnock-le of English Baroque
A Rousing Performance

Handel - Royal Fireworks Music · Concerto Grosso "Alexander's Feast" · Overtures / The English Concert · Pinnock
George Frideric Handel , Trevor Pinnock , The English Concert , Anthony Halstead , and Christian Rutherford
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

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General | Opera & Vocal | Styles | Music

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Handel: Coronation Anthems, etc
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Handel: Music for the Royal Fireworks (original version 1749) / Pinnock, The English Concert

ASIN: B0000057F6
Release Date: 1995-08-15

Tracks:

Music For The Royal Fireworks, HWV 351: 1. Overture (Adagio - Allegro - Lentement - Allegro)
Music For The Royal Fireworks, HWV 351: 2. Bourree
Music For The Royal Fireworks, HWV 351: 3. La Paix
Music For The Royal Fireworks, HWV 351: 4. La Rejouissance
Music For The Royal Fireworks, HWV 351: 5. Menuet I
Music For The Royal Fireworks, HWV 351: 6. Menuet II
Concerto Grosso In C Major 'Alexander's Feast': 1. Allegro
Concerto Grosso In C Major 'Alexander's Feast': 2. Largo
Concerto Grosso In C Major 'Alexander's Feast': 3. Allegro
Concerto Grosso In C Major 'Alexander's Feast': 4. Andante Ma Non Presto
The Arrival Of The Queen Of Sheba HWV 67
Belshazzar, HWV 61 - (Maestoso - Allegro)
Alceste, HWV 45 Act I: Grand' Entree - Maestoso
Saul, HWV 53: Act I Sinfonia: Allegro
Saul, HWV 53: Act I Sinfonia: Larghetto - Adagio
Saul, HWV 53: Act I Sinfonia: Allegro
Saul, HWV 53: Act I Sinfonia: Andante Larghetto
Samson, HWV 57: Act I - Sinfonia: Andante - Adagio
Samson, HWV 57: Act I - Sinfonia: Allegro
Samson, HWV 57: Act I - Sinfonia: Menuetto

Amazon.com

Trevor Pinnock recently recorded Handel's Fireworks Music in its original version for lots and lots of winds and percussion, but there's good reason to prefer this performance of Handel's alternate version, which includes string parts. Pinnock has always had a keen ear for Handelian pomp, and this version has just that extra bit of sparkle and brilliance. The coupled overtures make a welcome bonus. --David Hurwitz

Customer Reviews:

Superb 'Program' Music.......2007-07-15

Before listening to this recording, I was drafting a review which began with the invariably less interesting aspects of music written for a specific purpose, such as, for example the 1812 Overture, most marches, and opening themes to Olympic contests. But then I listened to this piece and threw that very general hypothesis out the window, as Handel simply gets the job done in writing celebratory music which has endured. I also happened to think that this dumb premise would devalue virtually all of my favorite musical genres, that written for liturgical purposes. So here we are, a German musical celebration of an English event. It works!

Unforgettable performance !.......2004-10-29

The peak of this CD is the colossal recording of the Royal Fireworks . Majesty with fierceness ; frehness and virility ; passion and intellect ; sublime and expressive ; lyricism and honesty are some of the adjectives which deserves this artistic triumph of Mr. Trevor Pinnock.

The Pinnock-le of English Baroque.......2002-09-20

There's no doubt in my mind: Trevor Pinnock is the world's greatest interpreter of baroque music, period. Here, he is at his very finest, in the more enjoyable version of Royal Fireworks ( with strings, that is ), as well as in the concerto grosso and overtures on this album. In fact, not only is the instrumentation easier to listen to than the original wind-only, but Pinnock plays much more charmingly on this recording than on his wind-only version. The amazon.com reviewer has in bang-on when he says that this one has more sparkle. One can hear in the very first bars, as the shorter intervals are played more quickly on this recording, as opposed to the dragging articulation you get in the other recording. This is a must for Handel fans.

A Rousing Performance.......2002-01-26

Trevor Pinnock again demonstrates that he is the leading interpreter of Baroque music. This performance of "Music for the Royal Fireworks" is easily the most powerful and exciting available. I have heard other recordings which in comparison sound like music for the royal naptime. If you have not heard this version, you have not really heard the piece.

Handel - Saul / Joshua · Bell · Zazzo · Ovenden · Saks · Slattery · RIAS Kammerchor · Concerto Köln · Jacobs

Average customer rating:

Frustrated
Saul: Handel's Oratorio Becomes Dramatic Opera
"When David with celestial fire..."

Handel - Saul / Joshua · Bell · Zazzo · Ovenden · Saks · Slattery · RIAS Kammerchor · Concerto Köln · Jacobs
Rosemary Joshua , George Frideric Handel , Rene Jacobs , Lawrence Zazzo , Concerto Köln , RIAS Kammerchor , Emma Bell , Finnur Bjarnason , Jeremy Ovenden , Michael Slattery , and Henry Waddington
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Handel: Radamisto
Vivaldi: Bajazet [Includes Bonus DVD]
Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski
Sandrine Piau - Handel Opera Seria
Vivaldi: Griselda

ASIN: B000A169OA
Release Date: 2005-10-11

Tracks:

Symphony: Allegro - Larghetto - Allegro - Andante Larghetto
1. Chorus: How Excellent Thy Name, O Lord
2. Air (Soprano): An Infant Raised By Thy Command - 3. Trio (Alto, Tenore, Basso): Along The Monster Atheist Strode
4. Soprano, Alto, Tenore, Basso: The Youth Inspired By Thee, O Lord - 5. Chorus: How Excellent Thy Name, O Lord
6. Recit & 7. Air (Michal): He Comes, He Comes! - O God-Like Youth! - 8. Recitative (Abner, Saul, David): Behold, O King, The Brave, Victorious Youth
9. Air (David): O King, Your Favours With Delight - 10. Recitative (Jonathan): Oh Early Piety!
11. Air (Merab): What Abject Thoughts A Prince Can Have! - 12. Recitative (Merab): Yet Think, On Whom This Honour You Bestow
13. Air (Jonathan): Birth And Fortune I Despise!
14. Recitative (High Priest): Go On, Illustrious Pair! - 15. Air (High Priest): While Yet Thy Tide Of Bood Runs High
16. Recitative (Saul, Merab): Thou, Merab, First In Birth, Be First In Honour - 17. Air (Merab): My Soul Rejects The Thought With Scorn - 18. Air (Michal): See, With What A Scornful Air - 19. Air (Michal): Ah, Lovely Youth, Wast Thou Designed
20. Symphony: Andante Allegro - 21. Recitative (Michal): Already See The Daughters Of The Land - 22. Chorus: Welcome, Welcome, Mighty King!
23. Accompagnato (Saul): What Do I Hear? - 24. Chorus: David His Ten Thousands Slew - 25. Accompagnato (Saul): To Him Ten Thousands - 26. Air (Saul): With Rage I Shall Start Burst His Praises To Hear
27. Recitative (Jonathan, Michal): Imprudent Women! - 28. Air (Michal): Fell Rage And Black Despair Possessed
29. Recitative (High Priest): This But The Smallest Part Of Harmony - 30. Accompagnato (High Priest): By Thee This Universal Frame
31. Recitative (Abner): Racked With Infernal Pains - 32. Air (David): O Lord, Whose Mercies Numberless
33. Symphony: Largo - 34. Recitative (Jonathan): 'Tis All In Vain, His Fury Still Continues
35. Air (Saul): A Serpent, In My Bosom Warmed - 36. Recitative (Saul): Has He Escaped My Rage?
37. Air (Merab): Capricious Man
38. Accompagnato (Jonathan): O Filial Piety! - 39. Air (Jonathan): No, Cruel Father, No!
40. Air (High Priest): O Lord, Whose Providence - 41. Chorus: Preserve Him For The Glory Of Thy Name
42. Chorus: Envy! Eldest Born Of Hell!
43. Recitative (Jonathan): Ah! Dearest Friend - 44. Air (Jonathan): But Sooner Jordan' Stream, I Swear
45. Recitative (David, Jonathan): Oh Strange Vicissitude! - 46. Air (David): Such Haughty Beauties Rather Move

Tracks:

47. Recitative (Jonathan): My Father Comes - 48. Recitative (Saul, Jonathan): Hast Thou Obeyed My Orders
49. Air (Jonathan): Sin Not, O King, Against The Youth - 50. Air (Saul): As Great Jehovah Lives - 51. Air (Jonathan): From Cities Stormed, And Battles Won
52. Recitative (Jonathan, Saul): Appear, My Friend - 53. Air (David): Your Words, O King, My Loyal Heart - 54. Recitative (Saul): Yes, He Shall Wed My Daughter!
55. Recitative (Michal): A Father's Will Has Authorised My Love - 56. Duet (Michal, David): O Fairest Of Ten Thousand Fair - 57. Chorus: Is There A Man
58. Symphony: Largo - Allegro
59. Recitative (David): Thy Father Is As Cruel - 60. Duet (David, Michal): At Persecution I Can Laugh
61. Recitative (Michal, Doeg): Whom Dost Thou Seek - 62. Air (Michal): No, No Let The Guilty Tremble
63. Recitative (Merab): Mean As He Was, He Is My Brother Now - 64. Air (Merab): Author Of Peace, Who Canst Controul
65. Symphony: Allegro
66. Accompagnato (Saul): The Time At Length Is Come - 67. Recitative (Saul, Jonathan): Where Is The Son Of Jesse?
68. Chorus: Oh Fatal Consequence Of Rage
69. Accompagnato (Saul): Wretch That I Am - 70. Recit - Accompagnato (Saul): 'Tis Said, Here Lives A Woman
71. Recitative (With, Saul): With Me What Would'st Thou - 72. Air (Witch Of Endor): Infernal Spirits
73. Accompagnato (Samuel, Saul): Why Hast Thou Forced Me From The Realms Of Peace
74. Symphony: Allegro
75. Recitative (David, Amalekite): Whence Comest Thou? - 76. Air (David): Impious Wretch, Of Race Accurst!
77. March: Grave
78. Chorus: Mourn, Israel
79. Air (High Priest): Oh Let It Not In Gath Be Heard
80. Air (Merab): From This Unhappy Day
81. Air (David): Brave Jonathan His Bow Never Drew - 82. Chorus: Eagles Were Not So Swift As They
83. Air (Michal): In Sweetest Harmony They Lived! - 84. Solo (David And Chorus): O Fatal Day! - 85. Recitative (Abner): Ye Men Of Judah, Weep No More!
86. Chorus: Gird On Thy Sword, Thou Man Of Might

Amazon.com

Saul is one of Handel's most action-filled, fast-moving oratorios; an opera in everything but name only. It has been lucky on disc--both Paul McCreesh (Archiv) and John Eliot Gardiner (Philips) have led superb readings, and Joachim Carlos Martini leads a good performance on Naxos, which is a bargain. Now René Jacobs and his remarkable Concerto Köln come along and offer a truly majestic reading, filled with real drama and beautiful, precise singing and playing. Tenor Jeremy Ovenden sings Jonathan with nobility and faces down Saul in Act II with style and power. David is sung by countertenor Lawrence Zazzo, and he's as good as the best-recorded competition (Andreas Scholl, Derek Lee Ragin). Emma Bell is ravishing as Merab; Rosemary Joshua makes a fine Joshua. In the title role, Gidon Saks has the spite and big tone to draw a realistic portrait of Saul. This is another feather in René Jacobs' recorded cap. --Robert Levine

Customer Reviews:

Frustrated.......2006-09-11

It is extremely frustrating to not be able to listen to this recording and compare it to others. Also there is nothing said about what language this is recorded in. The cover makes one think it might be in German, but there is nothing that says. It is extrememly important to have adequate information about a product if one is considering it. The write up of this product stinks. The reviewers rave on about how great it is, but I cannot learn if it is in English or German, or what it sounds like compared to other recordings.

Saul: Handel's Oratorio Becomes Dramatic Opera.......2006-04-04

Though there are thankfully several very fine recordings of 'Saul', one of Handel's most successful 'operatic oratorios', this new release with René Jacobs conducting the Concerto Köln and RIAS-Kammerchor Berlin is by far the most intense and dramatic of the competition. Jacobs' style meshes perfectly with the Handel score and his tasteful embellishments for once enhance the drama rather than just stealing focus as brilliant playing. And his understanding of the choral music, which is so central to this work, is as fine as we are likely to hear.

The cast for this 'Saul' is uniformly excellent. While there are literally no 'big names' here, the ensemble cast is well chosen down to the smallest role. Jacob's draws flawless and seamless performances from Jeremy Ovenden (Jonathan), Lawrence Zazzo (David), Rosemary Joshua (Michal), Emma Bell (Merab), and Gidon Saks (Saul) - rightly in command of the atmospheric performance. But the smaller roles are equally well cast, especially young Michael Slattery who is rapidly gaining the attention of the major conductors in his work in opera ('Bastien and Bastienne', The Tristan Project - the Esa-Pekka Salonen/Peter Sellars/Bill Viola triumphant version of 'Tristan und Isolde', along with concert versions of Glass' 'Akhnaten' with the Los Angeles Philharmonic, the Mozart Requiem with the same forces, etc), Finnur Bjarnason, and Henry Waddington. It is refreshing to have the luxury of such fine singing!

For the power of drama that Handel's work holds, this is the recording of choice. It is successful on every level. Highly Recommended. Grady Harp, April 06

"When David with celestial fire...".......2005-10-16

"Struck the sweet persuasive lyre:/Soft gliding down his ravished ears,/The healing sounds dispel his cares" (Saul, IV).

When I first learned of this recording under Jacob's baton I was elated, if a tad annoyed at the promise of yet another superlative Saul (I own 5) while so many others (Susanah!!!) by Handel get short shift. But no matter, I can wait...

This recording is great on many, many levels. The singing and playing are consistently and wonderfully dramatic, showing real knowledge of and attention to meaning and nuance in the score. Unlike so often in the past with baroque vocal music, the cast is flawless, as it should be: why in God's name use a third-rater countertenor, shrill soprano, nasal tenor, or chunky-sounding female alto when so many great singers are out there? Jacobs stands on the side of righteousness here. I would single out Rosemary Joshua (Michal), Lawrence Zazzo (David) and Jeremy Ovenden (Jonathan) for sheer beauty of tone, and Emma Bell (Merab)and Gidon Saks (Saul) for dramatic singing, exactly as their roles are conceived, showing Jacob's great instincts.

Lastly, and this is no small matter for the baroque opera/oratorio addict, this complete recording is on 2 disks (instead of the customary 3), nicely reducing the price. Let's hope this becomes the trend.

Average customer rating:

The Handel Collection

Manufacturer: American Gramaphone
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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The Johann Sebastian Bach Collection
The Mozart Collection

ASIN: B0000005MH
Release Date: 1990-04-30

Tracks:

Solomon: Arrival of the Queen of Sheba
Harpsicord Suite in E: Air and Variations. The Harmonious Blacksmith
Semele: Where'er You Walk
Concerto a due cori no. 1 in B Flat
Organ concerto in F op 4 no 5
Water Music: Minuet in G
Water Music: Country Dance
Water Music: Air
Harpsichord Suite in C: Sarabande
Harp Concerto in B Flat, Op. 4 No. 6
Saul: Bell Sinfonia
Concerto grosso, Op. 6 No. 12: Aria
Harpsichord Suite in A: Gigue
Obo Concerto in B Flat. Op.4 No.6
Water Music: Hornpipe

Average customer rating:

In Memory Of... Classics for Funerals

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

Pavanes | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

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Compilations | Classical | Styles | Music

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English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

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General | Soundtracks | Styles | Music
Similar Items:

Funeral Music
In Memoriam: music for solemn occasions
Music for the Funeral Service
Pan's Labyrinth (New Line Two-Disc Platinum Series)
God Is Not Great: How Religion Poisons Everything

ASIN: B0006SGF1O
Release Date: 2005-02-22

Tracks:

Funeral March From Op.35 - BBC Philharmonic
Agnus Dei - Richard Hickox
Komm Susse Tod - BBC Philharmonic
Pie Jesu - Libby Crabtree
'Nimrod' - Alexander Gibson
'I Know That My Redeemer Liveth' - Joan Rodgers
Largo - Simon Standage
Pavane - BBC Philharmonic
Vocalise - Detroit Symphony Orchestra
'When I Am Laid In Earth' - Emma Kirby
'Meditation' - Yuri Torchinsky
Pavane Pour Une Infante Defunte - Louis Lortie
Irish Tune - BBC Philharmonic
Adagio For Strings, Op.11 - Neeme Jarvi

Tracks:

Introitus - Choir Of Saint John's College
'Le Dernier Sommeil De La Vierge - BBC Philharmonic
Panis Angelicus - BBC Philharmonic
Adagietto - Neeme Jarvi
'Dead March' - BBC Philharmonic
'Ruht Wohl, Ihr Heiligen Gebeine' - Harry Christophers
Cantus-In Memory Of Benjamin Britten - Neeme Jarvi
Agnus Dei - City Of Birmingham Symphony Chorus
'Touch Her Soft Lips And Part' - Richard Hickox
'Death Of Ase' - Vernon Handley
'Jesu, Joy Of Man's Desiring' - Michael Austin
Sursum Corda, Op.11 - Bournemouth Sinfonietta
Marcia Funebre - Walter Weller

Average customer rating:

An excellent album from this marvellous countertenor
a voice teacher and early music fan
What would this world be without countertenors?
no emotion
Heavenly Voice

Andreas Scholl - Heroes / Norrington
George Frideric Handel , Johann Adolf Hasse , Christoph Willibald Gluck , Wolfgang Amadeus Mozart , Roger Norrington , Andreas Scholl , and Orchestra of the Age of Enlightenment
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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The Voice
Andreas Scholl - Kantate
Andreas Scholl - Ombra mai fu ~ Handel Arias from Giulio Cesare, Admeto, Radamisto, Rodelinda, Serse, Alcina
Arias for Senesino
Andreas Scholl - English Folksongs & Lute Songs (17th Century)

ASIN: B00000IX7A
Release Date: 1999-05-11

Tracks:

Serse, HWV 40: Frondi tenere
Serse, HWV 40: Ombri mai fu
Semele, HWV 58: Where'er You Walk
Saul, HWV 53: Such Haughty Beauties
Saul, HWV 53: Oh Lord, Whose Mercies Numberless
Rodelinda, regina de' Langobardi, HWV 19: Vivi, tiranno!
Rodelinda, regina de' Langobardi, HWV 19: Con rauco mormorio
Giulio Cesare in Egitto, HWV 17: Dall'ondoso periglio
Giulio Cesare in Egitto, HWV 17: Aure, deh, per pieta spirate
Artaserse: Pallido il sole - Andreas Scholl
Orfeo ed Euridice: Che faro senza Euridice ? - Gluck
Ascanio in Alba, K111: Al mio ben mi veggio avanti - Mozart
Telemaco: Ah! non turbi il mio riposo - Gluck
Mitridate, re di Ponto, K87 - 74a: Venga pur, minacci e frema - Mozart

Amazon.com

The gods of musical commerce are smiling on hot young countertenor Andreas Scholl: this is his second CD of opera arias to appear in less than a month. The previous disc, a selection of Handel arias on Harmonia Mundi, showcased Scholl's considerable strengths: subtle and sensitive phrasing, deft coloratura, and a pure, rounded tone with little of the disembodied hootiness that used to be accepted from countertenors. His first recital disc for Decca gives us a wider range of music (Hasse, Gluck, and Mozart as well as Handel) and a more complete representation of Scholl's singing--vices as well as virtues. Among the former are his top notes (sometimes squealy or poorly tuned) and a Joan Sutherland-like combination of beautiful sound with indistinct diction and lack of temperament. This is particularly damaging in the laments from Rodelinda and Giulio Cesare, which come across as mere pleasant pastorales; the famous "Che farò?" from Gluck's Orfeo ed Euridice sounds self-satisfied rather than bereft. (To be fair, Roger Norrington's jaunty tempos deserve much of the blame for this.) Scholl also aspirates his coloratura, which will bother some listeners more than others. On the other hand, "Oh, Lord, whose mercies numberless" from Handel's Saul is radiant, and the two arias from early Mozart operas are thrilling. In the end, the disc gives a fair, well-rounded picture of an important young singer. Speaking of pictures, by the way, Decca's photographer deserves plaudits for making this tall, somewhat gawky German with Nana Mouskouri glasses look almost glamorous. --Matthew Westphal

Customer Reviews:

An excellent album from this marvellous countertenor.......2007-03-16

I'm no expert in classical music and found my way to this album by a rather circuitous route. I hadn't heard a countertenor before listening to a snippet of Andreas Scholl singing Ombra Mai Fù on iTunes and finding his voice very intriguing. I did a little research on the countertenor voice, not sure whether I actually liked what I heard or not. Eventually I decided to try a CD and I picked "Heroes" as it has Ombra Mai Fù - yes, a very popular a possibly over-sung aria, but still one I love.

"Heroes" was probably just the right album for me to pick. There's a range of different music on here, some Italian, some in English, and with different singing styles. But throughout the whole album Andreas Scholl's voice is just stunning. It's a very warm, pure sound and you can hear the words that he's singing. It's not over-warbly, something I don't like in classical singers, but on the other hand he doesn't sing in a plain or bland manner. It's an album that, for me, improves as I listen to it more and more. And yes, I do very much like his voice; I've never been a fan of female altos, somehow they don't seem to quite have the power or feeling that I like to listen to, but Andreas Scholl seems able to produce that. Not only have I now ordered his "Arias for Senesino" album because I enjoyed this one so much but I'm planning to attend a concert where he is singing in Germany. And that, as a result of listening to just one CD, is high praise indeed!

a voice teacher and early music fan.......2006-11-06

I like the quote by Andreas Scholl printed on the outside of the record jacket: "There is more to heroism than winning fearlessly. My heroes have moments of weakness and must overcome their difficulties." There is no doubt that when he chose the selections for this disc he had this thought in mind. Heroes such as Jupiter in 'Semele' who praised his lover Semele with the lovely 'Where'er You Walk' and at the end killed her (nice guy)- Bertarido in 'Rodelinda' singing 'Vivi,tiranno'after killing a mobster(justifably) and then refusing to kill the 'ringleader'- Orfeo in'Orfeo and Euridice' singing a song of longing for his wife after sending her back to death by making a huge error- and David in 'Saul' singing 'O Lord, Whose Mercies Numberless' one minute asking God to help Saul and afterward hating and fearing him. Scholl handles all of these situations pretty much in character. His voice, as always, is clear reflecting the fact that his training even thuout his 'changing' voice at puberty was always geared to the head voice. His teacher cleverly detected that that was his best voice. Of course, the English for centuries have known this and followed thru producing such excellent countertenors as Bowman,Chance,Blaze etc. This is a very exciting and entertaining group of arias well worth the purchase.

What would this world be without countertenors?.......2002-12-11

I met my first countertenor a few years ago and I had the priviledge of singing beside him in our choir. The incredible purity of the countertenor voice is something that I, as a Baroque music lover, can only dream of achieving. I think that Andreas Scholl is one of the most incredible countertenors today. The purity of his sound and the passion of his performances speaks to me in ways that only music can. I own several of his albums, and this is my favorite. Nothing is quite incredible as in 'Pallido Il Sole' when he dips into his natural baritone register for a few notes and comes back up again. There is something mystical and beautiful about male altos and we, as the female counterparts, should try to emulate.

no emotion.......2002-09-29

If nice voice only is what you are looking for, go for this CD. But if you are looking for the emotion and the _interpretation_ of the arias (my case), this is not your choice. No emotion comes across....Pity.

Heavenly Voice.......2001-09-21

I like so much Baroque music. At this period, singer is a man that is not a woman. They are always prase for GOD, love......
If you can select this CD, you can meet the new classic world.

Average customer rating:

Beyond beauty in the realm of English national emergence

Handel: Saul

Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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Similar Items:

Handel - Theodora / Gritton, Bickley, Blaze, Agnew, A. Smith, N. Davies, Gabrieli Consort and Players, McCreesh
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Handel: Rodelinda
Handel: Radamisto
Handel - Serse / Rasmussen, Piau, Bayrakdarian, Bardon, Hallenberg, Peirone, Lippi, Rousset, Les Talens Lyriques, Dresden Opera

ASIN: B0000SWNHU
Release Date: 2004-04-13

Tracks:

Allegro
Larghetto
Organo Ad Libitum
Allegro
Andante Larghetto
1. Chorus: How Excellent Thy Name, O Lord
2. Air (Soprano): An Infant Rais'd/3. Chorus: Along The Monster Atheist Strode
4. Chorus: The Youth Inspir'd By Thee, O Lord
5. Chorus: How Excellent Thy Name, O Lord
6. Recitative (Michal); He Comes/7. Air (Michal) O God-Like Youth!
8. Recitative (Abner, Saul, David): Behold, O King
9. Air (David): O King, Your Favours With Delight/10. Recitative (Jonathan): O Early Piety!
Air. (Merab): What Abject Thoughts/12. Recitative (Merab): Yet Think, On Whom This Honour
13. Air (Jonathan): Birth And Fortune I Despise!
14. Recitative (High Priest): Go On, Illustrious Pair!/15. Air (High Priest): While Yet Thy Tide Of Blood
16. Recitative (Saul, Merab): Thou, Merab, First In Birth/Air (Merab): My Soul Rejects The Thought With Scorn/Air (Michal): See With What A Scornful Air/Air (Michal): Ah! Lovely Youth!
20. Symphony/21. Recitative (Michal): Already See, The Daughters Of The Land/22. Chorus: Welcome, Welcome, Mighty King!
23. Accompagnato (Saul): What Do I Hear?/24. Chorus: David Ten Thousands Slew/25. Accompagnato (Saul): To Him Ten Thousands!
26. Air (Saul): With Rage I Shall Burst
27. Recitative (Jonathan, Michal): Imprudent Women!
28. Air (Machal): Fell Rage And Black Despair
29. Recitative (High Priest): This But The Smallest Part
31. Recitative (Abner): Rack'd With Infernal Pains
32. Air (David): O Lord, Whose Mercies Numberless/33. Symphony
34. Recitative (Jonathan): 'Tis All In Vain/35. Air (Saul): A Serpent In My Bosom Warm'd/36. Recitative (Saul): Has He Escap'd My Rage?
37. Air (Merab): Capricious Man
38. Accompagnato (Jonathan): O Filial Piety!
39. Air (Jonathan): No, Cruel Father, No!
40. Air (High Priest): O Lord, Whose Providence
41. Chorus: Preserve him For The Glory Of Thy Name

Tracks:

42. Chorus: Envy! Eldest-born Of Hell!
43. Recitative (Jonathan): Ah! Dearest Friend
44. Air (Jonathan): But Sooner Jordan's Stream
45. Recitative (David, Jonathan); O Strange Vicissitude!
46. Air (David): Such Haughty Beauties Rather Move
47. Recitative (Jonathan): My Father Comes/48. Recitative (Saul, Jonathan): Hast Thou Obey'd My Orders
49. Air (Jonathan): Sin Not, O King
50. Air (Saul): As Great Jehovah Lives
51. Air (Jonathan): From Cities Storm'd
52. Recitative (Jonathan, Saul): Appear My Friend
53. Air (David): Your Words, O King/54. Recitative (Saul): Yes, He Shall Wed My Daughter!
55. Recitative (Michal): A Father's Will
56. Duet (Michal, David): O Fairest Of Ten Thousand Fair/57. Chorus: Is There A Man
58. Symphony
59. Recitative (David): Thy Father Is As Cruel
60. Duet (David, Michal): At Persecution I Can Laugh
61. Recitative (Michal, Doeg): Whom Dost Thou Seek?
62. Air (Michal): No; Let The Guilty Tremble
63. Recitative (Merab): Mean As He Was
64. Air (Merab): Author Of Peace
65. Symphony
66. Accompagnato (Saul): The Time At Lenght Is Come/67. Recitative (Saul, Jonathan): Where Is The Son Of Jesse?
68. Chorus: O Fatal Consequence Of Rage

Tracks:

69. Accompagnato (Saul): Wretch That I Am!/70. Recitative - Accompagnato (Saul): 'Tis Said, Here Lives A Woman/71. Recitative (Witch, Saul): With Me What Would'st Thou?
72. Air (Witch): Infernal Spirits
73. Accompagnato (Samuel, Saul): Why Hast Thou Forc'd Me
74. Symphony
75. Recitative (David, Amalekite): Whence Comest Thou?/76. Air (David): Impious Wretch
77. Dead March
78. Chorus: Mourn, Israel, Mourn
79. Air (Tenor: Padmore): O Let It Not In Gath Be Heard
80. Air (Soprano: Argenta): From This Unhappy Day
81. Air (Soprano): Brave Jonathan His Bw Ne'er Drew
82. Chorus: Eagles Were Not So Swift As They
83. Air (Soprano: Gritton): In Sweetest Harmony
84. Solo (David) And Chorus: O Fatal Day!
85. Recitative (High Pries): Ye Men Of Judah
86. Chorus: Gird On Thy Sword

Amazon.com

Saul is one of Handel's most dramatic and touching oratorios. Saul's insane jealousy and its tragic results are movingly told, with rich characterizations for the main characters and some of the composer's most colorful music. The addition of a carillon is exotic and flavorful; the trumpets and drums are exciting. McCreesh underlines the drama with his orchestra's crisp attacks and the chorus has real personality, whether in the songs of praise or the laments. Neil Davies' rich bass is remarkably expressive and fluid as Saul, while countertenor Andreas Scholl is triumphant as David; his tone is rich and full, capable of expressing anger, grief, loyalty. Mark Padmore uses his lovely, pliant tenor with warmth as Jonathan, and Susan Gritton's Merab is stunning. The rest of the cast is as emotionally involved as they are musically, which is to say, magnificently. John Eliot Gardiner's recording on Philips is excellent too, but this one beats it by a slim margin. --Robert Levine

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Beyond beauty in the realm of English national emergence.......2006-11-23

From the very start you know you are entering a masterpiece performed by one of the greatest living conductors. First the use of instruments. Each one has a particular part to play and, even in the most unified tuttis of the orchestra, each instrument plays its role and can be followed faithfully without getting lost in some kind of blended melting pot. This is admirable from the opening notes right on till the end. Then Handel uses voices in a very creative way too. David is an alto, which is normal in the 18th century since he is the hero and no one is going to cast a shadow on him. The alliance of this alto with the tenor Jonathan or the soprano Michal, or even the antagonistic soprano Merab, leads to giving each voice a real dramatic depth. The two sopranos are not used the same way since they are opposed in meaning, in attitude towards David. But there is another level that is Handel's mark on the operatic music of his time: the use of the English language. He has been able to capture the very harmony of the language itself and he casts his music, his singing, his variations inside the stress patterns and rhythm of the language and detonates the poetry of words in perfect tempo with the beauty of notes and intervals. Even the difficult English diphthongs flow into the music naturally and so fluently they seem to have been invented for the music, though it is indeed the reverse. Finally, before speaking of the message carried by the opera - or oratorio if you prefer - I have to emphasize the fact that this is a Biblical episode that is essential in our culture. It is the famous battle between David and Goliath, an archetypical episode in our civilization, as well as in the Bible. The little one against the big one. The plebeian one defending the realm. The weak one using his intelligence and skills to defeat the powerful one. We have to add to this the semitic stone civilization is defeating the northern Philistine metal civilization. And of course we have to think of the last descendent of David's line, Jesus. David is thus the embodiment of Jesus in our heritage, and, today probably more than in Handel's time, David has been immortalized by Michelangelo's carved representation of David killing Goliath with a stone and then using Goliath's own sword to behead him, just like Solomon will hire metal craftsmen from the north to build the Temple, hence using the skills of others, foreigners, even enemies to strengthen the faith and the realm of Israel. In this opera Handel concentrates on Saul's fall and the annunciation of David's rise. Saul is shown as jealous, insecure, full of anger which leads him to rejecting the basic rules of Israel and God, exemplified in Saul's recourse to the witch of Endor. Handel makes this witch a tenor, hence a man, and McCreesh identifies him to the High Priest by having only one tenor for both. The meaning is simple. God knows everything and is everywhere, and everything that exists is God's creation, even what is condemned by Israel's law. Yet we have to go beyond this simple religious fable and understand it is the national theme emerging in England that is really dealt with here. A king must be truthful, humane, law abiding, god fearing. A nation must support their king if he is what he should be. The king is the emblem of national identity. Thus Saul becomes the negative emblem of the Stuarts of old, and thus this opera is revolutionary, the continuation of the Glorious Revolution that has rid England of these Stuart kings. Yet the national identity of England can only be found in David's descendent known as Jesus, hence it can only be founded on Christianity.

Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne

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