Aci, Galatea e Polifemo (Conclusion) CD30

Abstract

Aci, Galatea e Polifemo (HWV 72) is the only serenata Handel composed in Italy, yet it is by no means isolated in his output. Il Parnasso in festa, performed in London 13 March 1734 for the wedding of Princess Anne with William of Orange, is classifiable as a serenata, and there are several other similar works, including the secular oratorio Il trionfo del tempo e del disinganno (Rome, 1707) and of course the well-known English Acis and Galatea (Cannons, 1718), a “masque” or “pastoral entertainment”. Serenatas were a frequent form of musical entertainment in noble households in Italy and soon also in Germany and England; the performers were usually accomplished vocal soloists, supported by an often substantial orchestra. Performances took place at night and often outdoors, in private gardens, or in a theatre, but without stage action; the characters might wear costume and there might be lavish decorations such as painted backdrops. The poetic texts were often allegorical or mythological, and the most usual function of the genre was to congratulate a patron on a happy occasion. Handel’s Neapolitan Aci, Galatea e Polifemo, for three soloists, is unusually dramatic for a serenata. The characters are strongly delineated in both text and music; there are dialogues (for example in the very first two lines), trialogues, monologues and asides, just as in a dramatic libretto. The action is itself a compelling drama: there is a mounting tension between the loving couple (Aci and Galatea) and the jealous monster (Polifemo), who finally kills Aci. A happy end is, however, imposed artificially, when all three soloists unite to sing a final chorus in praise of faithful love: the occasion for the performance was a wedding. Handel’s music is as rich and vivid as that of his cantatas, early operas and chamber duets: it paints the emotions and the background with both the vocal and the chosen instrumental forces. The extraordinary compass of Polifemo’s bass part is in itself an allegory of the mythical monster’s body, and Aci and Galatea present themselves in their soprano arias as graceful, passionate, young and genteel. Among the instruments, the oboe has many characterful solos, and the two trumpets add physical force and an outdoors feeling – as was proper for a serenata. The melodic invention is remarkable; the most intriguing motifs are falling or downward pointing. Although the composition was commissioned and written at short notice, Handel, fully familiar with the type of musical imagery expected here, could muster his best musical ideas. The work holds its own in comparison with the English Acis and Galatea, as it represents not only a drama, but also celebrates the beauty of Italian nature and culture.