This interpretation is so mesmerising. My star of this all has to be the cellist that plays the intro for What passion cannot music raise and quell. So much soul in that performance, you could tell it came straight from a place of deep devotion to the work. Splendid! 14:11
Once again, John. Butt and The Dunedin Consort prove their mastery of Handel’s work. Their 1742 version of Messiah, Esther and Acis and Galatea provide more evidence of their absolute devotion to baroque music and I personally look forward to many more such recordings.
00:04 Obertura: Larghetto e staccato-allegro-minuet 06:29 Recitativo (tenor): From harmony, from heavenly harmony 09:33 Coro: From harmony, from heavenly harmony 13:08 Aria (soprano): What passion cannot music raise and quell! 20:38 Aria (tenor) and Chorus: The trumpet's loud clangour 24:12 March 25:57 Aria (soprano): The soft complaining flute 31:27 Aria (tenor): Sharp violins proclaim their jealous pangs 35:32 Aria (soprano): But oh! What art can teach 41:17 Aria (soprano): Orpheus could lead the savage race 42:54 Recitative (soprano): But bright Cecilia raised the wonder higher 45:57 Grand Chorus with (soprano): As from the power of sacred lays
One of Handels greatest works, performed by the dunedin consort under the direction of john butt, his recordings of galatea and messiah are truly outstanding as well, for this work there are also an outstanding recording by the english concert under trevor pinnock and also a much older one with the philharmusica of london conducted by britten, wich of course is on modern instruments
This is a section of a larger performance, which used to be entirely on youtube. At the start of this performance, and before the Ode for St Cecilia's day section, the Consort plays an absolutely wonderful baroque piece, and I can't find it anywhere. Anyone that has seen this piece, could you tell me what it was??
NEVER, EVER, heard SUCH an ACCURATE EXECUTION, MARK! The SPINNING WHEEL MECHANISM under the Obligato Court Dance Mode, BACH took use of exactly same musical mechanism, whereas I did NOT find it in VIVALDIS OEVRE, Not surprisingly SO, for A GERMAN composer Handel to be, For sure, it was NOT ALL ITALIAM RENAISSANCE heading the |FRONTLINES of BAROQUE NUSICOLOGY, Maybe Italian influences have been somewhat OVERestimated.:
Handel's Ode to St. Cecilia's Day seems to owe the greatest debt to Gottleib Muffat, with material from five pieces being reworked into the score. Not only were themes reused in their entirety, but also counter subjects and continuing phrases were put to use by Handel. No wonder Handel wrote it in six days!
In the flute aria for soprano (The soft complaining flute), the singer has a no controlled vibrato instead of the written ornementation (trill), it is ugly…and in Aria (tenor) and Chorus: The trumpet's loud clangour, at measure 44, the timpani player improvise instead of the text (measure 43 too, but it is logical) and co:mpletly break the surprise effect of Händel. And generally the timpani players do that absurd error to be the little star of this aria (which is written to make the tenor, timpani and trumpet at first place). But to be the star you must analyze the text and understand it, which seems not the case here… Deetails deetails…The Devil is in the deetails. Ian Bostridge, on the contrary sings this with intelligence and his wonderful voice !
Bostridge must have sung this a hundred times, but still can't memorize it. What a disservice to the English tradition of memorization. Colorless singing by Bostridge, too. Who the heck would sing the word, "moist," and not make something of it?
![George Frideric Handel - Concerto grosso Op.6 n.11 A major [1739]](http://i.ytimg.com/vi/DixtrNMOyKA/mqdefault.jpg)
Heavenly musical presentation. God bless you all performers 🎉
This interpretation is so mesmerising. My star of this all has to be the cellist that plays the intro for What passion cannot music raise and quell. So much soul in that performance, you could tell it came straight from a place of deep devotion to the work. Splendid! 14:11
Haendel at his best, if ever he was not. Thank you for sharing this beauty, keep up the good work, and best greetings from Spain!
"And music shall untune the sky" - it gets me every time, great poetry and great music.
this part of The Poem sounds better here ruclips.net/video/AdvITsSz95o/видео.html
Sí
I used to listen to this when I was young.
Sta Cecília, Pray for us! ❤
Simplemente hermoso
What a wonderful performance of an outstanding work. Thank you, Dunedin Consort and soloists.
Wow! Amazing!
Magnificent performance of a great work ! Thank you !..........
Once again, John. Butt and The Dunedin Consort prove their mastery of Handel’s work.
Their 1742 version of Messiah, Esther and Acis and Galatea provide more evidence of their absolute devotion to baroque music and I personally look forward to many more such recordings.
00:04 Obertura: Larghetto e staccato-allegro-minuet
06:29 Recitativo (tenor): From harmony, from heavenly harmony
09:33 Coro: From harmony, from heavenly harmony
13:08 Aria (soprano): What passion cannot music raise and quell!
20:38 Aria (tenor) and Chorus: The trumpet's loud clangour
24:12 March
25:57 Aria (soprano): The soft complaining flute
31:27 Aria (tenor): Sharp violins proclaim their jealous pangs
35:32 Aria (soprano): But oh! What art can teach
41:17 Aria (soprano): Orpheus could lead the savage race
42:54 Recitative (soprano): But bright Cecilia raised the wonder higher
45:57 Grand Chorus with (soprano): As from the power of sacred lays
Absolutely beautiful.
Wonderful performance!! 👏👏👏
Amazing performance!!!
45:58 to the end. Glorious!
Excellent performance
bravi!!!
One of Handels greatest works, performed by the dunedin consort under the direction of john butt, his recordings of galatea and messiah are truly outstanding as well, for this work there are also an outstanding recording by the english concert under trevor pinnock and also a much older one with the philharmusica of london conducted by britten, wich of course is on modern instruments
Händel ist einer der grössten.
This is a section of a larger performance, which used to be entirely on youtube. At the start of this performance, and before the Ode for St Cecilia's day section, the Consort plays an absolutely wonderful baroque piece, and I can't find it anywhere. Anyone that has seen this piece, could you tell me what it was??
The first instrumental part of the concert is the opening of Purcell's ode "Come ye sons of art" Z323
Händel + Dryden = Light physics
There's a section in the overture that I'm not familiar with from other performances... Very fitting and very Handelian -- but where is it from?
NEVER, EVER, heard SUCH an ACCURATE EXECUTION, MARK! The SPINNING WHEEL MECHANISM under the Obligato Court Dance Mode, BACH took use of exactly same musical mechanism, whereas I did NOT find it in VIVALDIS OEVRE, Not surprisingly SO, for A GERMAN composer Handel to be, For sure, it was NOT ALL ITALIAM RENAISSANCE heading the |FRONTLINES of BAROQUE NUSICOLOGY, Maybe Italian influences have been somewhat OVERestimated.:
that Soft Complaining Flute...
한국 핸델교 교인들은 핸델님이 남겨주신 송가에 감읍합니다. 너무나 너무나 고결한 선율이여 나의 주님 핸델이시여 !!!
Handel's Ode to St. Cecilia's Day seems to owe the greatest debt to Gottleib Muffat, with material from five pieces being reworked into the score. Not only were themes reused in their entirety, but also counter subjects and continuing phrases were put to use by Handel. No wonder Handel wrote it in six days!
Which 5?
Can someone tell me the name of the tenor please?
It looks like Dr Ian Bostridge to me.
@@paulsmith5752 Thank you.
12:22
In the flute aria for soprano (The soft complaining flute), the singer has a no controlled vibrato instead of the written ornementation (trill), it is ugly…and in Aria (tenor) and Chorus: The trumpet's loud clangour, at measure 44, the timpani player improvise instead of the text (measure 43 too, but it is logical) and co:mpletly break the surprise effect of Händel. And generally the timpani players do that absurd error to be the little star of this aria (which is written to make the tenor, timpani and trumpet at first place). But to be the star you must analyze the text and understand it, which seems not the case here… Deetails deetails…The Devil is in the deetails. Ian Bostridge, on the contrary sings this with intelligence and his wonderful voice !
Bostridge must have sung this a hundred times, but still can't memorize it. What a disservice to the English tradition of memorization. Colorless singing by Bostridge, too. Who the heck would sing the word, "moist," and not make something of it?
I TOTALLY AGREE! completely ruined it for me.
I love the piece and I love the performance but damn, find us another tenor please XD
Pöööööķ
religion is a good excuse to do nothing , when others work hard ! and billions human beings suffer !
Is Music to do nothing?