Handel Alexander's Feast
View record and artist detailsRecord and Artist Details
Composer or Director: George Frideric Handel
Label: Classics
Magazine Review Date: 10/1991
Media Format: CD or Download
Media Runtime: 116
Mastering:
DDD
Catalogue Number: 7016-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Alexander's Feast |
George Frideric Handel, Composer
(The) Sixteen (The) Sixteen Orchestra George Frideric Handel, Composer Harry Christophers, Conductor Ian Partridge, Tenor Michael George, Bass Nancy Argenta, Soprano |
| (16) Concertos for Organ and Strings, Movement: B flat, HWV294 (Op. 4/6) |
George Frideric Handel, Composer
Andrew Lawrence-King, Double harp George Frideric Handel, Composer Tragicomedia |
| (16) Concertos for Organ and Strings, Movement: G, HWV289 (Op. 4/1) |
George Frideric Handel, Composer
(The) Sixteen Orchestra George Frideric Handel, Composer Harry Christophers, Conductor Paul Nicholson, Organ |
Author:
Handel's Alexander's Feast is neither fish nor fowl, opera nor oratorio, yet wears the plumes and scales of both genres. It is in fact a St Cecilian ode, on a text by John Dryden sub-titled ''The Power of Music'', which was nevertheless first performed at Covent Garden on February 19th, 1736. Four singers (Anna Strada, Cecilia Young, John Beard and a German bass called Erhard) took principal parts on that occasion. Though not strictly a dramatic work, the characters of Alexander (the Prince), Timotheus (the court minstrel) and Thais (a Greek courtesan) figure prominently and a battle is waged near the end of the first part in which—in the words of the chorus—''Music won the cause''.
Three years ago Gardiner, with five soloists, the Monteverdi Choir and the English Baroque Soloists recordedAlexander's Feast for Philips, receiving critical acclaim in these pages. Now Harry Christophers, three soloists, The Sixteen and Tragicomedia offer an interesting alternative. Superficially, the two versions have much in common: stylish soloists (though different in number), superb choral and orchestral forces and delightful clarity of texture and lively pacing achieved by the two conductors. Beyond that there is an array of differences which will interest the specialist collector.
To begin with, Christophers includes not one but two of the additional works heard at the first performance. While Gardiner—logically enough—inserted the C major Concerto grosso known as 'The Concerto in Alexander's Feast' between the two parts, Christophers integrates Handel's Harp Concerto, sensitively performed by Andrew Lawrence-King and the recorders, lirone, archlute and organ of Tragicomedia, into the beginning of the first part—rather like a divertissement, taking its cue from a reference to the lyre in the text; then, aptly at the end of the second part, following the F major chorus (''At last divine Cecilia came''), Paul Nicholson serenely performs the G minor Organ Concerto (Op. 4 No. 1).
Christophers's use of only three soloists, a soprano, tenor and bass, where Gardiner found need additionally of a contralto and a countertenor, affects the timbre and hence the impact of several of the individual recitatives and arias, though there is often more to it than that. The accompanied recitative ''He chose a mournful Muse'' and following air ''He sung Darius, great and good'' are taken by Nancy Argenta in the new recording where Gardiner had sought out the darker tones of the contralto Carolyn Watkinson. Argenta's performance is deeply moving especially in the passage of sequences underscoring the final line of the text, ''With not a friend to close his eyes'' poignantly supported by the solo violinist, David Woodcock. While enjoying Watkinson's performance, I found Gardiner's string accompaniment to ''He sung Darius'' rather too highly articulated.
Gardiner chooses Handel's later version of ''Softly sweet in Lydian measures'', allocating the vocal line to the countertenor Ashley Stafford and the cello obbligato to the accomplished violinist Alison Bury. But if, in fact, one has gone part way in reconstructing the first performance, as Christophers does, the earlier version is more appropriate. Argenta and Jane Coe (cello) give a very poetic reading; the performance of the succeeding air (''War, he sung''), again by Argenta, is thrilling and vital, rivalling that of the tenor Nigel Robson's for Gardiner. Her spell-binding articulation (in ''The prince, unable to conceal his pain'') is much to be preferred to Donna Brown's less lyrical version (Gardiner). Christophers's occasional use of archlute accompaniment by Stephen Stubbs, as in ''With ravish'd ears the monarch hears'', adds an entirely appropriate luxuriant, festive touch.
Gardiner's orchestra—particularly in the Overture and in the large-scale accompaniments—is difficult to better, so polished has his command of Handel's style become. And yet Christophers, also a seasoned Handelian, creates the eerier effect in the dark accompaniment (violas, bassoons, cellos, double-basses and organ tasto solo) to ''Behold, a ghastly band''; the use of a bass voice contributes more effectively than Gardiner's contralto. That said, elsewhere—such as in the previous aria (''Revenge, Timotheus cries'')—there is little to choose between the clear and resonant singing of the basses, Michael George and Stephen Varcoe (Gardiner).
So, while very much admiring the Gardiner recording, I warmly recommend this new one by Christophers. Nancy Argenta's performance is particularly memorable and the choral singing of The Sixteen is a model of clarity that not even the polished forces of the Monteverdi Choir can rival. There are many instances in which the care of the recording engineers shines through. I especially enjoyed the way in which the horns are made to sound resonant but at a distance in ''Bacchus ever fair and young''.'
Three years ago Gardiner, with five soloists, the Monteverdi Choir and the English Baroque Soloists recorded
To begin with, Christophers includes not one but two of the additional works heard at the first performance. While Gardiner—logically enough—inserted the C major Concerto grosso known as 'The Concerto in Alexander's Feast' between the two parts, Christophers integrates Handel's Harp Concerto, sensitively performed by Andrew Lawrence-King and the recorders, lirone, archlute and organ of Tragicomedia, into the beginning of the first part—rather like a divertissement, taking its cue from a reference to the lyre in the text; then, aptly at the end of the second part, following the F major chorus (''At last divine Cecilia came''), Paul Nicholson serenely performs the G minor Organ Concerto (Op. 4 No. 1).
Christophers's use of only three soloists, a soprano, tenor and bass, where Gardiner found need additionally of a contralto and a countertenor, affects the timbre and hence the impact of several of the individual recitatives and arias, though there is often more to it than that. The accompanied recitative ''He chose a mournful Muse'' and following air ''He sung Darius, great and good'' are taken by Nancy Argenta in the new recording where Gardiner had sought out the darker tones of the contralto Carolyn Watkinson. Argenta's performance is deeply moving especially in the passage of sequences underscoring the final line of the text, ''With not a friend to close his eyes'' poignantly supported by the solo violinist, David Woodcock. While enjoying Watkinson's performance, I found Gardiner's string accompaniment to ''He sung Darius'' rather too highly articulated.
Gardiner chooses Handel's later version of ''Softly sweet in Lydian measures'', allocating the vocal line to the countertenor Ashley Stafford and the cello obbligato to the accomplished violinist Alison Bury. But if, in fact, one has gone part way in reconstructing the first performance, as Christophers does, the earlier version is more appropriate. Argenta and Jane Coe (cello) give a very poetic reading; the performance of the succeeding air (''War, he sung''), again by Argenta, is thrilling and vital, rivalling that of the tenor Nigel Robson's for Gardiner. Her spell-binding articulation (in ''The prince, unable to conceal his pain'') is much to be preferred to Donna Brown's less lyrical version (Gardiner). Christophers's occasional use of archlute accompaniment by Stephen Stubbs, as in ''With ravish'd ears the monarch hears'', adds an entirely appropriate luxuriant, festive touch.
Gardiner's orchestra—particularly in the Overture and in the large-scale accompaniments—is difficult to better, so polished has his command of Handel's style become. And yet Christophers, also a seasoned Handelian, creates the eerier effect in the dark accompaniment (violas, bassoons, cellos, double-basses and organ tasto solo) to ''Behold, a ghastly band''; the use of a bass voice contributes more effectively than Gardiner's contralto. That said, elsewhere—such as in the previous aria (''Revenge, Timotheus cries'')—there is little to choose between the clear and resonant singing of the basses, Michael George and Stephen Varcoe (Gardiner).
So, while very much admiring the Gardiner recording, I warmly recommend this new one by Christophers. Nancy Argenta's performance is particularly memorable and the choral singing of The Sixteen is a model of clarity that not even the polished forces of the Monteverdi Choir can rival. There are many instances in which the care of the recording engineers shines through. I especially enjoyed the way in which the horns are made to sound resonant but at a distance in ''Bacchus ever fair and young''.'
Handel Alexander's Feast
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