Georg Friedrich Händel Florindo Videos
Letzte Aktualisierung
2024-04-16
Aktualisieren
George Frideric Handel Anja Harteros Johann Sebastian Bach Domenico Scarlatti 1685 1697 1703 1705 1707 1708 1709 1710 1711 1712 1727 1739 1742 1750 1751 1759 2011
Full Title: Alcina: Act II, Scene 1 - Ah, mio cor! by George Frideric Handel Vocals: Anja Harteros George Frideric Handel (born Georg Friedrich Händel on 23 February 1685 - died on 14 April 1759) was a German, later British, Baroque composer who spent the bulk of his career in London, becoming well-known for his operas, oratorios, anthems, and organ concertos. Born the same year as Johann Sebastian Bach and Domenico Scarlatti, Handel is regarded as one of the greatest composers of the Baroque era, with works such as Messiah, Water Music, and Music for the Royal Fireworks remaining steadfastly popular. One of his four coronation anthems, Zadok the Priest (1727), composed for the coronation of George II, has been performed at every subsequent British coronation, traditionally during the sovereign's anointing. Handel’s father did not want him to study music; he wanted him to be a lawyer. Although Handel's father died in 1697, Handel enrolled at the University of Halle in 1703. He studied law for a year because his father wanted him to do so. After that year, Handel was unhappy studying law. He decided to stop studying law and become a musician. He became organist at the Protestant Cathedral in Halle. The next year he moved to Hamburg where he got a job as violinist and harpsichordist in the orchestra of the opera-house. Here his first two operas, Almira and Nero, were produced early in 1705. Two other early operas, Daphne and Florindo, were produced at Hamburg in 1708. Handel was becoming a good opera composer, but he wanted to learn more, so he went to Italy in 1707. He spent four years there. His opera Rodrigo was produced in Florence in 1707, and his Agrippina at Venice in 1709. Agrippina was very popular and had 26 performances. It made Handel famous. He also had three oratorios produced in Rome. He wrote sacred music (church music) and other pieces in an operatic style, e.g. Dixit Dominus (1707). In 1710 Handel became Kapellmeister (music director) to George, Elector of Hanover, who would soon be King George I of Great Britain. The Elector agreed that Handel could have an immediate leave of 12 months so that he could go to London. He visited London for eight months. His opera Rinaldo was performed in 1711. It was the first time an Italian opera had been performed in England. It was an immediate success. Handel returned to Hanover in the summer of 1711 and spent a year writing chamber and orchestral music because there was no opera in Hanover. He was also trying to learn English. In 1712 the Elector allowed him to make another visit to England. In England he had patrons (rich people who gave him money). He had a yearly income of £200 from Queen Anne (while Bach earned as little as eighty pounds in a year). He was having a lot of success, and so stayed in England instead of returning to his job in the Hanover Court. In April 1739, age 54, he had a stroke. It was probably this which left his right arm paralysed for a while so that he could not perform, but he made an excellent recovery after six weeks at a health spa in Aix-la-Chapelle. At this time he started to write oratorios instead of operas. In 1742 his oratorio Messiah was first performed in Dublin. Surprisingly, it was not successful in London until 1750 when it was performed in aid of the Foundling Hospital Chapel. Handel performed it every year there, which brought the hospital about £600 for each performance. Handel spent most of his time in these later years composing and producing oratorios. Judas Maccabaeus was particularly popular. The singers for these oratorios were English and Italian. They were not world-famous virtuosos but singers whom Handel had trained himself. In August, 1750, on a journey back from Germany to London, Handel was seriously injured when his carriage overturned. In 1751 he started to lose his eyesight. He died, in 1759, in London. The last concert he went to was his own Messiah. More than 3,000 mourners went to his funeral. He was buried with full state honours in Westminster Abbey. Handel never married, and kept his personal life very private. He left £20,000 which was a lot of money for those days (Approximately 2800000 pounds today) His niece inherited most of his money. He also left some of it to friends, servants, relations and charities. His autographs (the original copies of the music that he wrote) are now mostly in the British Museum. 2011 ARTHAUS MUSIK
Valencia, Palau de la Música - May 27th 2014 Accademia Barocca Italiana | Italian Baroque Academy Violins I: Luca Giardini, Gian Andrea Guerra, Paolo Costanzo Violins II: Paolo Cantamessa, Margherita Zane, Sebastiano Airoldi Viola: Valentina Soncini Cello: Marcello Scandelli Double Bass: Davide Nava Theorbo: Simone Vallerotonda Harpsichord & Direction: Stefano Molardi
Holman Rondeau Wallfisch Butterfield Richard Campbell Hennessy Elizabeth Kenny George Frideric Handel Zachow Johann Mattheson Reinhard Keiser Lully Johann Sigismund Kusser 1678 1700 1703 1705 1706 1708
00:00 Suite from the opera Almira, HWV 1 (1705) Reconstructed by Peter Holman Ouverture - Courante - Bourrée - Menuet - Rigaudon - Rondeau - Sarabande - Gigue - Chaconne 13:34 Suite in G minor, possibly from the opera Nero, HWV 453 (1705) Reconstructed by Peter Holman: Ouverture - Entrée - Menuet I/II - Chaconne 23:02 Oboe Concerto in G minor, HWV 287 (?1703-5): Grave - Allegro - Sarabande (Largo) - Allegro* 31:03 Suite from Florindo & Daphne, HWV 336, 352-4 (?1705-6): Ouverture - Sarabande - Gavotte - Menuet - Allemande, Bourrée, Allemande - Menuet - Allemande - Coro - Allemande, Rigaudon, Allemande 47:05 Overture in B flat major from the opera Rodrigo, HWV 5 (?1706): Ouverture - Gigue - Sarabande - Matelot - Menuet - Bourrée - (Air) - Menuet - Passacaille The Parley of Instruments - Peter Holman, conductor Violin, Concertmistress – Elizabeth Wallfisch Violin [1] – Adrian Butterfield, Stephen Jones, Theresa Caudle Violin [2] – Fiona Duncan, Helen Orsler, Judy Tarling, William Thorp Viola – Duncan Druce, Paul Denley Viol [Bass] – Helen Gough, Katharine Sharman, Mark Caudle, Richard Campbell Oboe – Frank de Bruine (*), Gail Hennessy / Bassoon – Sally Jackson Theorbo, Lute [Archlute], Guitar [Baroque] – Elizabeth Kenny, William Carter Harpsichord – Gary Cooper, Peter Holman George Frideric Handel arrived in the city of Hamburg in the spring or early summer of 1703 at the age of eighteen. He had been trained by F W Zachow, the leading composer of his home town Halle, had studied law at the University of Halle, and had served a year as the organist of that town’s Calvinist cathedral. According to the Hamburg composer, singer and theorist Johann Mattheson, who became his friend, he was already ‘strong at the organ’, but ‘knew very little about melody’: ‘he knew how to compose practically nothing but regular fugues’. Hamburg quickly broadened Handel’s musical outlook. Then as now, it was an important commercial and cultural centre and possessed the only commercial opera house in Germany, founded in 1678. Handel obtained a post as a violinist in the opera orchestra, and quickly came under the influence of Reinhard Keiser, the leading Hamburg opera composer. By the beginning of 1705 he had written two operas for the opera house, Almira and Nero, first performed on 8 January and 25 February respectively. Handel subsequently wrote a third opera for Hamburg, though for some reason it was not performed before he left for Italy in the autumn of 1706; it was staged at the Hamburg opera house in January 1708 as two separate works, called Florindo and Daphne. The Hamburg opera style was remarkably eclectic. Like some of Keiser’s operas, Almira has a libretto in a mixture of Italian and German, and its music mixes Italian, German and French elements in more or less equal measure. The French influence is largely confined to the orchestral music: Hamburg operas tended to have spectacular ballets in the French manner, and the Hamburg orchestral idiom was largely modelled on Lully’s writing for the French court orchestra, the Vingt-quatre violons. Keiser’s operas contain a good deal of Lullian orchestral writing, and Johann Sigismund Kusser, his predecessor at the Hamburg opera house, published orchestral suites in the French style and was one of the most prominent members of the group of German composers known today as Les Lullistes. This album brings together a selection of the delightful orchestral music in the French style that Handel wrote in Hamburg, some of it recorded for the first time. Following the practice of French orchestras of the time and their German imitators, we have used large bass violins tuned in B flat on the bass line instead of the more modern Italianate combination of cellos and double basses, and we have assumed that oboes and bassoons should play in the more vigorous movements even where they are not specified. The continuo section, of two harpsichords and two theorbos (whose players also employ archlutes and baroque guitars on occasion), is typical of that used in opera houses around 1700. Peter Holman
Georg Friedrich Haendel Haddad Knecht Hamburgische Staatsoper Staatsoper 1685 1708 1759 2006
GEORG FRIEDRICH HAENDEL [1685-1759] DER BEGLUCKTE FLORINDO (HWV 3) Dramma in musica Libretto: anonymous Hamburg, Hamburgische Staatsoper, 1708 Suite for strings and basso continuo in B flat major (HWV 354) I. Menuet in B flat major (HWV 455) - 0:05 III. Sarabande in F major (HWV 455) - 1:18 IV. Gavotte in G minor (HWV 455) - 3:53 Jonathan Guyonnet, Paolo Cantamessa, Sebastiano Airoldi, Paolo Costanzo, Jean-Marc Haddad, Guillaume Humbrecht, Elisa Imbalzano, Yuki Koike, Marco Piantoni, Alessia Turri, Margherita Zane (violin I & II) Chiara Zanisi (alto viola) David Glidden, Krishna Nagaraja (tenor viola) Wouter Werschuren (baroque bassoon) Felix Knecht, Francesco Galligioni, Claudia Poz, Carlo Zanardi, Eva Sola (violoncello) Ludovic Coutineau (double bass) Stefano Molardi (harpsichord & positive organ) I Virtuosi delle Muse / Stefano Molardi (conductor) 2006 Divox Antiqua CDX-70602 - DDD (http•••) [on authentic instruments]
Nicht mehr?
Jeden Tag sucht soclassiq nach neuen Artikeln, Videos, Konzerten und so weiter über klassische Musik und Oper, ihre Künstler, Veranstaltungsorte, Orchester....
Florindo ? Wir haben noch nicht viele Inhalte zu diesem Thema gesammelt, aber wir suchen weiter.
oder
- Die größten Opern
- Wesentliche Arbeiten: barockzeit
- Indizes (in alphabetischer Reihenfolge): F...