Album insights
In the 18th century, Handel in London delved into English oratorio, drawing inspiration not only from biblical themes but also from classical mythology. Works such as Acis and Galatea, Parnasso in Festa, and Alexander's Feast showcased his interest in texts derived from Roman and Greek literature, alongside purely English pieces like Ode for St Cecilia’s Day and L’Allegro, il Penseroso ed il Moderato. Although not labeled oratorios, his secular works were staged in a similar concert style on theater platforms. Handel's venture in Dublin featuring oratorio-like concerts culminated in the premiere of Messiah, leading him to abandon Italian opera and focus on oratorio works performed mainly during Lent. Despite his enduring fascination with classical mythology, Handel shifted to biblical subjects after facing audience dissatisfaction with non-biblical content like Semele and Hercules. However, in a fateful project in 1749/50, he decided to present his final composition based on a classical myth - Alceste by Tobias Smollett.
The unfortunate Alceste project at Covent Garden Theater was planned for early 1750, adapting a mythological story popularized by Euripides about Alcestis and Hercules. Discord between John Rich and Smollett led to the project's abrupt end, leaving Handel with an hour of unperformed exceptional music. Repurposing this material, Handel conceived The Choice of Hercules in the summer of 1750, a one-act dramatic cantata in English, a unique addition to his works. The plot, sourced from a poetic retelling published in the 1740s and known through various adaptations in art and literature, particularly captivating both Handel and his contemporary artists. Handel creatively repurposed music from Alceste into The Choice of Hercules, culminating in a spirited and engaging trio at the production's climax.
Meanwhile, Maurice Greene, a prominent figure in English music during Handel's time, made his mark predominantly through choral compositions. Despite tensions between him and Handel, their paths occasionally crossed during London's music scene. Greene's ceremonial anthem Hearken unto me, ye holy children exemplifies his knack for composing captivating choral music. Structured with decorum and fugal elements, this anthem resonates with historical ties to King's College in Cambridge. Reflecting upon Greene's craftsmanship, his acquaintanceship with the royal musical affairs further highlights his significant role in the English music landscape.