Album insights
Initially, few works of the originally Saxon composer Handel have their lyrics written in his native language. During his early years under the tutelage of organist Zachow in Halle, some of his early sacred works were composed but are now lost. Only one of the four operas from his youthful period in Hamburg (1703–06) has survived. The limited existing youth works of Handel only hint at his genius; thus, it is presumed that his creativity truly blossomed later during a four-year stay in Italy (1706–10). There, Handel, known as "il caro Sassone," was highly respected and might have settled there if not for his devout Protestant beliefs. Despite attempts to convert him to Catholicism, he resisted. His first significant position was as the Kapellmeister at the court of the Elector of Hanover (1710–13). Mostly, during these three years, Handel built a freelance career in London. The only works definitively linked to his time in Hanover are a series of intriguing chamber duets and the grand cantata Apollo e Dafne, composed around 1710, all in Italian.
Handel only returned twice to the German language throughout his long career. Both projects were associated with the poet Barthold Heinrich Brockes, a prominent figure in Hamburg. Their acquaintance stemmed not just from Hamburg, but also their time in Halle. Brockes hosted weekly concerts in his Hallenser home, which likely initiated their lasting friendship. Around 1716, Handel set Brockes' Passionsoratorium to music. According to their mutual friend, Johannes Mattheson, Handel composed the work in England and sent it for performance in Hamburg. In 1721, a collection of Brockes' poems was published in Hamburg, serving as the text source for nine of Handel's arias.
Handel's later compositions in his native language delve into deep contemplation. Brockes, possibly sharing Handel's pietistic beliefs, expressed in these poems how God's boundless kindness is mirrored in the joy and beauty of His creation. Their collaboration likely aimed at a performance in Hamburg, demonstrating their enduring bond and musical connection.
Handel's proficient blending of Italian musical styles with reflective German rhetoric in the nine arias showcases his artistry. Each aria follows an operatic da capo structure, delving into themes from nature's beauty in the outer sections to deeper contemplation in the central passages.
In his chamber sonatas, Handel's choice of solo instrument and continuo accompaniment has been subject to speculation, with numerous sonatas assigned to the wrong solo instruments due to misprints in early editions published during his lifetime. Authenticating Handel's oboe sonatas is a challenge due to uncertainties surrounding their origins. His three sonatas written for the oboe exhibit his passion for the versatility and unique timbre of the instrument. The "Fitzwilliam" Sonata in B-flat major, a notable early work, reflects Handel's Italian influences from his Hannover period. The other two oboe sonatas originated during Handel's initial years in London, showcasing his exploration of sound and expression.
German: Viola Scheffel