Alexander's Feast HWV 75, Ode for St. Cecilia's Day HWV 76
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- Ouverture
- Recitative (Tenore): ‘Twas at the royal feast
- Air (Tenore) and Chorus: Happy, happy, happy pair!
- Recitative (Tenore): Timotheus plac’d on high
- Accompagnato (Soprano): The song began from Jove
- Chorus: The list’ning crowd admire the lofty sound
- Air (Soprano): With ravish’d ears
- Recitative (Tenore): The praise of Bacchus
- Air (Basso): Bacchus, ever fair – Chorus: Bacchus’ blessings are a treasure
- Recitative (Tenore): Sooth’d with the sound
- Accompagnato (Soprano): He chose a mournful muse
- Air (Soprano): He sung Darius great and good
- Accompagnato (Soprano): With downcast looks the joyless victor sate
- Chorus: Behold Darius, great and good
- Recitative (Tenore): The mighty master smil’d to see
- Arioso (Soprano): Softly sweet, in Lydian measures
- Air (Soprano): War, he sung, is toil and trouble
- Chorus: The many rend the skies
- Air (Soprano): The Prince, unable to conceal his pain
- Chorus: The many rend the skies
- Accompagnato (Tenore): Now strike the golden lyre; Chorus: Break his bands of sleep; Accompagnato (Tenore): Hark! hark! – the horrid sound
- Air (Basso): Revenge, Timotheus cries
- Accompagnato (Tenore): Give the vengeance due
- Air (Tenore): The princes applaud with a furious joy
- Air (Soprano): Thais led the way; Chorus: The princes applaud with a furious joy
- Accompagnato (Tenore): Thus long ago; Chorus: At last divine Cecilia came
- Recitative (Tenore, Basso): Let old Timotheus yield the prize
- Chorus: Let old Timotheus yield the prize
- Ouverture – Menuet
- Recitative (Tenore): From harmony, from heav’nly harmony; Accompagnato (Tenore): When nature, underneath a heap
- Chorus: From harmony, from heav’nly harmony
- Air (Soprano): What passion cannot Music raise
- Air (Tenore) and Chorus: The Trumpets loud clangor
- La Marche
- Air (Soprano): The soft complaining Flute
- Air (Tenore): Sharp Violins proclaim
- Air (Soprano): But oh! what art can teach
- Air (Soprano): Orpheus could lead could lead the savage race
- Accompagnato (Soprano): But bright Cecilia rais’d the wonder high’r
- Chorus: As from the pow’r of sacred lays
Compléments
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Texte numérique (sans notes), licence d'impression incluse, fichier html, paroles, traduction allemandefichier html, paroles, traduction allemande (Extrait)Ouvertüre – Menuett
1. Rezitativ (Tenore) Aus Harmonie, aus heil’ger Harmonie
erwuchs dies Weltall, endlos weit.2. Accompagnato (Tenore) Als formlos die Natur noch war
und ganz verworren lag,
sich selbst noch kaum bewußt,
klang wie Musik des Schöpfers Wort:
„Erstarrte Welt, wach’ auf!“
Da ordneten sich Kalt und Heiss,
und Feucht und Trocken schieden sich,
gehorchend der Musik.3. Chor Aus Harmonie, aus heil’ger Harmonie
erwuchs dies Weltall, endlos weit:
Von Harmonie zu Harmonie
durchlief die Schöpfung aller Töne Klang
zur letzten Stufe, die da war der Mensch.4. Arie (Soprano)
...
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Texte numérique (sans notes), licence d'impression incluse, fichier html, paroles, originalfichier html, paroles, original (Extrait)
Ouverture – Menuet
1. Recitative (Tenore) From harmony, from heav’nly harmony This universal frame began.
2. Accompagnato (Tenore) When nature underneath a heap
of jarring atoms lay,
and could not heave her head,
the tuneful voice was heard from high,
arise ye more than dead.
Then cold, and hot, and moist, and dry,
in order to their stations leap,
and Music’s pow’r obey.3. Chorus From harmony, from heav’nly harmony
this universal frame began:
from harmony to harmony
through all the compasss of the notes it ran,
the diapason closing full in man.4. Air (Soprano)
...
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Texte numérique (sans notes), licence d'impression incluse, fichier html, Texte introductif, françaisfichier html, Texte introductif, français (Extrait)Avant-propos de l’édition Carus 10.372
Markus Schwering>
Traduction : Sylvie CoquillatDepuis le 15ème siècle, sainte Cécile, martyr romaine dès débuts du christianisme, fait l’objet d’un culte, les protestants en faisant même plus tard la protectrice de la musique d’église. D’un point de vue historique, la synthèse religieuse et musicale qu’elle incarne et qui est glorifiée dans la légende n’a aucune substance. Ce qui n’affecte en rien le culte cécilien – depuis des siècles, le 22 novembre fut et est célébré comme jour de sa commémoration par une fête de sainte Cécile accompagnée de prestations musicales. C’est aussi le cas à l’époque de Haendel à Londres. Depuis 1683, une Musical Society organise les festivités correspondantes, qui comprennent chaque fois la représentation d’une œuvre nouvelle avec référence thématique adéquate. Lorsque Haendel compose Alexander’s Feast et l’Ode for St. Cecilia’s Day, il s’inscrit donc dans une
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Erster Teil
1. Ouvertüre
2. Rezitativ (Tenore) Es war beim Königsfest, als Persien gewonnen war
durch Philipps kriegerischen Sohn.
In erhabener Pracht
saß der göttergleiche Held
auf seinem Herrscherthron,
umringt von seiner tapfern Feldherrn Schar,
die Ros’ und Myrten froh bekränzt,
wie sie durch ihren Sieg verdient.
Zur Seite ihm die liebliche Thais saß
geschmückt wie eine Braut des Morgenlandes,
in jugendlichem Glanz und stolzer Freude.3. Arie (Tenore) und Chor Glücklich, glücklich, glücklich Paar!
Allein der Tapfere verdient die Schöne.4. Rezitativ (Tenore) Timotheus, der erhöht
unter den Sängern sitzt
...
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First Part
1. Ouverture
2. Recitative (Tenore) ’Twas at the royal feast, for Persia won
by Philip’s warlike son.
Aloft in awful state
the god-like hero sate
on his imperial throne;
his valiant peers were plac’d around,
their brows with roses and with myrtles bound.
So should desert in arms be crown’d.
The lovely Thais by his side
sate like a blooming Eastern bride,
in flow’r of youth, and beauty’s pride.3. Air (Tenore) and Chorus Happy, happy, happy pair!
None but the brave deserves the fair.4. Recitative (Tenore) Timotheus plac’d on high,
amid the tuneful quire,
...
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Compositeur
Georg Friedrich Händel
| 1685-1759Georg Friedrich Händel a démontré très tôt ses capacités de composition universelle exceptionnelles. Après s'être installé à Londres en 1712, il y créa - nommé Composer of Musick for His Majesty's Chapel Royal en 1723 - de nombreux chefs-d'œuvre pour la cour royale ainsi que ses grandes séries d'opéras : pendant des années, il connut des succès triomphants avec des opéras chantés par des interprètes d'exception ou avec des sérénades, plus tard aussi avec des oratorios comme "Saul" ou "Israel in Egypt". Au fil des années, la renommée de Haendel s'est étendue bien au-delà de son lieu de travail ; certaines de ses œuvres chorales, notamment le "Messiah", disposent d'une tradition d'exécution qui ne s'est jamais démentie et sont chantées par des chœurs du monde entier. Plus d'information sur la personne
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L'auteur de l'avant-propos
Markus Schwering
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Ensemble
Kölner Kammerchor
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Ensemble
Collegium Cartusianum
The period instrument ensemble Collegium Cartusianum, founded in 1988 as successor to the Barockorchester Koln, has a repertoire ranging from Monteverdi to Brahms. The ensemble’s participation in the complete recording of Wolfgang Amadeus Mozart’s masses conducted by Peter Neumann earned it an outstanding reputation, subsequently confirmed by many concerts, radio broadcasts and CD recordings. As well as collaborating with the Kolner Kammerchor, the Collegium Cartusianum has also received international acclaim for its performances of J. S. Bach’s Orchestral Suites as well as Mozart and Beethoven symphonies. With Mozart’s Il Re Pastore, Mendelssohn’s St. Paul and Elijah, and Dvo?ak’s Requiem the orchestra has extended its repertoire to include opera and romantic works. It has appeared at many leading festivals in Europe and Japan, recently at the Leipzig Bach Festival with a Handel-Bach program, with Handel’s Serenata Aci, Galatea e Polifemo in Krakow and Essen at the second “Fest fur Alte Musik” in Cologne in February 2012. Plus d'information sur la personne
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Chef d'orchestre
Peter Neumann
| 1940-2025In recent years Peter Neumann, born in Karlsruhe, has made a name for himself particularly as a conductor of Handel’s music. This is demonstrated both by the concert series “250 Years Handel Oratorios” which he initiated – performing nine music dramas in accordance with Handel’s concert schedule of 1749–1752 – and by his numerous CD recordings. He has performed masterworks from vocal and orchestral music in the European musical capitals and at many renowned festivals, ranging from Monteverdi’s L’Orfeo and Vespers for the Blessed Virgin (Palais Garnier, Paris) through J. S. Bach’s passions (last in Moscow, Oslo and Versailles) and Mass in B minor (BBC Proms) to Debussy’s Le Martyre de Saint Sébastien at the MusikTriennale in Cologne. 2010, Peter Neumann and his ensembles Kolner Kammerchor and Collegium Cartusianum were guests at the Rheingau Music Festival with Schumann’s Das Paradies und die Peri and at the Schumann Festival in Dusseldorf as well as the Leipzig Bach Festival in 2011. In June 2012 he made his highly acclaimed debut at the Cologne Opera with Handel’s Alcina. As a guest conductor, Neumann has collaborated with, among others, ChorWerkRuhr, the Netherlands Chamber Choir, the SWR Vokalensemble Stuttgart, the NDR Choir, the Schola Cantorum Tokyo, the Concertgebouw Orchestra Amsterdam, the Jerusalem Symphony Orchestra, the Junge Deutsche Philharmonie and Concerto Koln. Highlights of his extensive discography include the complete recording of Mozart’s masses (Gramophone “Crown of Crowns”), Schutz’s Musical Vesper, Schumann’s Missa sacra (Diapason d’Or) and recordings of Bach’s St. John Passion and Handel’s Alexander’s Feast and Brockes Passion (Carus). Plus d'information sur la personne
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Solist - soprano
Simone Kermes
Internationally Simone Kermes is one of the most sought after sopranos for dramatic roles. Her unusually large vocal range predestined her for the virtuoso works of the baroque masters, but also for soprano roles and arias of Mozart, Haydn and Beethoven. Artistic engagements have taken her to the largest, most famous concert halls in the world. She has given solo concerts in such venues as Carnegie Hall, Tchaikovsky Hall in Moscow, and the Palau de la music in Barcelona. In addition to many radio and television productions she has recorded many CDs. She has received numerous awards for her solo albms, including the annual prize of the German Record Critics, the Diapason d’Or, BBC music choice, Gramophone Disc of the month and the ECHO Classic award. Plus d'information sur la personne
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Solist - ténor
Virgil Hartinger
Virgil Hartinger studied at the Mozarteum in Salzburg, the Eastman School of Music and the Oberlin Conservatory in the USA, and has taken part in master classes with Thomas Hampson, Ernst Haefliger and Richard Miller. He has worked with conductors including Jamie Laredo, Ton Koopman, Peter Neumann, Paul O’Dette, Reinhard Goebel, Christophe Coin and Sigiswald Kuijken. His repertoire ranges from the renaissance to contemporary works in concert and operatic repertoire. While still studying, he began a busy concert schedule which has taken him to the Salzburg Festival, the Folle Journée in Nantes and Lisbon, the Concertgebouw (Amsterdam), Theâtre des Champs Élysées (Paris), Prinzregententheater (Munich) and Carnegie Hall. Plus d'information sur la personne
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Solist - basse
Konstantin Wolff
Konstantin Wolff studied with Donald Litaker at the Hochschule für Musik in Karlsruhe. He won the Felix Mendelssohn Bartholdy Prize from the Stiftung Preußischer Kulturbesitz, was awarded a scholarship by the German National Academic Foundation and made his opera debut in 2005 at the Opera National de Lyon under William Christie in Monteverdi’s L’incoronazione di Poppea. His concert repertoire ranges from the early baroque to the 20th century. He has performed with conductors including Gerd Albrecht, Alun Francis, Riccardo Chailly, Ton Koopman, René Jacobs, Claudio Abbado, Sir Simon Rattle and Nicholas McGegan. His first solo CD, a recording of Lieder to texts by Victor Hugo, has been enthusiastically received. Plus d'information sur la personne
Critiques
George Pratt
BBC Music Magazine, September 2009
[...] Peter Neumann, inzwischen ein Händel-Spezialist unter den Dirigenten, macht hier die Musik des Jubilars ungemein lebendig. Da agiert ein Solistentrio mit der stimmlich und gestalterisch überragenden Sopranistin Simone Kermes, [...] Da begeistert der Kölner Kammerchor als Ensemble homogen gemischter, zugleich gut durchhörbarer Stimmen. Dazu musiziert das Collegium Cartusianum auf Originalinstrumenten sensibel, stiltreu und angenehm schlank. [...]
Karsten Blüthgen
Neue Chorzeit, September 2009
[...] Hörenswert sind das farbenreich eingesetzte Continuo mit Laute, Cembalo und Orgel und die hervorragenden Solisten: [...]
Musica Sacra, Heft 5/2009
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