Handel in Italy : Italian solo cantatas

Abstract

During the later years of the seventeenth century in Italy the form of the solo cantata with basso continuo became popular. Extra voices with obbligato instruments were often added to the basic formula, but the alternating pattern of recitative and aria remained more or less constant. the majority of Handel's cantatas date from the first decade of the eighteenth century and, more specifically, to his period in Italy between 1706 and 1710. Three of those in the new issue belong to that period whilst the fourth, Mi palpita il cor, suggests Anthony Hicks—in its version for soprano, oboe and continuo—dates from Handel's first years in England. Only recently have two complete copies of Alpestre monte turned up and this performance is, I believe, the first commercially recorded one. There is a wealth of expressive contrast to be found amongst Handel's chamber cantatas matched by an effective variety instrumentation. The texts which, characteristically, are concerned with the pain induced by fickle lovers, unrequited love and the like, contain numerous figures of speech which lend themselves to musical depiction. Handel seldom disappoints us in the subtlety with which he captures a mood or colours an image and his illustrations are, on occasion, strikingly vivid; one arresting effect occurs in the opening aria of the cantata, Tra le fiamme, where unusual orchestral trills seem to depict the rapidly fluttering wings of moths as they are singed by flame. If I mention that Daedalus and his fatally meddlesome son, Icarus, also feature in the text you will have some idea of the particular analogy applied here. From almost every standpoint this cantata struck me as being perhaps the most diverting of the four; but they are all strong works presented here in lively and stylish performances.

Emma Kirkby is admirably fluent and agile, discovering nuances both of text and music with her accustomed sensibility. Christopher Hogwood draws some fine playing from his orchestra and there are plenty of effective obbligato contributions, too. The music may not always reveal Handel at his most beguiling, perhaps, but arias such as ''Almen dopo il fato mio'' from Alpestre monte and the colourfully orchestrated arias of Tra le fiamme are utterly enchanting in their different ways.

To sum up, this is a splendid issue which takes its place alongside an altogether too slender library of convincingly-performed cantatas by Handel. The programme is well recorded and well presented but I experienced occasional moments of distortion on the LP. No sign of that on the CD, which is aurally superior only in this respect. Warmly recommended.