Handel's DeutscheArien was not a specific collection, more
a later assemblage of 'occasional' arias written between 1724
-1727. Handel was in England and busy with Italian opera. The Arias
proved to be the last settings of his mother tongue.
As a collection, and several at a time, they convey a most gracious portrayal
of his continuing powers of expression. There is variety in plenty, which
ideally needs a singer with understanding of the period and technique for
vocal embellishment. In Dorothea Röschmann these accomplishments flower
with sparkling technique and a fine perception of line. Her controlled vibrato
doesn't quite suit me, but that's says more about her musicianship
and less about mine [listen -- track 2, 3:36-4:31].
Handel's companion on this record is Telemann, solid, reliable,
a maker of nice tunes and nourishing 18th century musical gruel. Neither
does he refuse us a touch of cream. Two Overtures (E minor and G major)
collate four movements each to be played by this group of nimble players
from Akademie für Alte Musik Berlin.
Putting the performing skills responsible for this record together, nobody
with a nudge of interest in earlyish music should find the content or performances
drab, or on the other hand send out an agonising cry of protest at a lack
of authenticity [listen -- track 13, 6:17-7:17].
I have one small query for harmonia mundi: why is track eleven (one of
the arias) omitted in the contents list?
Copyright © 8 November 2000
Basil Ramsey, Eastwood, Essex, UK
CD INFORMATION - HARMONIA MUNDI HMC 901689
PURCHASE THIS DISC FROM AMAZON
PURCHASE THIS DISC FROM CROTCHET
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