Solomon : Act II (conclusion), Act III CD34

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Solomon : Act II (conclusion), Act III CD34

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dc.contributor.author George Frideric Händel es_ES
dc.contributor.other Justino Diaz / Bass es
dc.contributor.other Robert Tear / Tenor es
dc.contributor.other Michael Rippon / Bass es
dc.contributor.other Sheila Armstrong / Soprano es
dc.contributor.other Felicity Palmer / Soprano es
dc.contributor.other Harold Lester / Harpsichord & Organ es
dc.contributor.other Amor Artis Chorale es
dc.contributor.other John McCarthy / Chorus Master es
dc.contributor.other English Chamber Orchestra/Johannes Somary / Conducting es
dc.date.accessioned 2012-07-28T14:41:02Z
dc.date.available 2012-07-28T14:41:02Z
dc.date.issued 2012-07-28
dc.identifier.uri http://hdl.handle.net/123456789/1068
dc.description.abstract Solomon was one of two oratorios that Handel composed for the 1749 Lenten concert season in London (the other being Susannah); as was his habit, he composed the work during the relatively open months of the previous summer (May/June, 1748) when his energies were less divided by the presentation of concerts and operas. Textual similarities between Solomon and Susannah suggest their librettos—both of exceptional quality—were written by the same person; unfortunately there is no record of the author's identity. Both libretti were once thought to be the work of Thomas Morell—the author of Jeptha, Judas Maccabaeus, Theodora, and Joshua—but any close examination of the texts reveals irreconcilable stylistic disparities. Most of the text for Solomon was based on scriptural passages drawn from II Chronicles and I Kings; as the title of the work makes clear, the selected passages are those dealing with the renowned King Solomon. It is possible that Handel's choice of this subject matter was his tribute to King George II of England, a generous patron, and under whose rule England enjoyed a period of comparable prosperity; but—unlike Judas Maccabaeus, in which case Handel wrote letters specifically outlining his intended tribute to the victorious Duke of Cumberland—there is no textual evidence to establish this as fact. In portraying the biblical Solomon, the anonymous librettist chose to divide his work into three acts, each of which sheds a slightly different light on his subject. The first act evokes the sensual and poetic voice from the Song of Solomon; the king and his new wife express their mutual rapture and contentment. The Solomon portrayed here is fiercely devoted to his lone queen—far from faithful to scripture, in which he is said to have had many hundreds of wives, and half again as many concubines! The second act takes up Solomon's most famous action, namely his resolution of the dispute between two harlots, each of whom claims to be the rightful mother of a baby; by suggesting that he cut the child in half and give one part to each woman, he ferrets out their true intentions and justly resolves the case. Act three takes as its subject a visit by the Queen of Sheba. Solomon presents the wonders of his kingdom to her in the form of a musical masque. Handel's score is notable for the inclusion of a full array of brass instruments, and an unusually large complement of strings, both of which lend the score a particular opulence and richness; this is often highlighted by the composer's division of the chorus into five, or sometimes eight, parts. The opening sinfonia is of unusual scope for Handel's oratorios. It has been suggested that one of the most popular excerpts from Solomon, namely the entrance of the Queen of Sheba from the third act, was not actually composed for the work at hand, but rather was borrowed from another unfinished project. The first performance of Solomon took place on March 17, 1749, at Covent Garden and under the composer's direction. Although this was a reasonable success, and despite the consistently high quality of the libretto—drawing from Handel some of his most highly shaded melodies and characterizations—the work never gained the popularity enjoyed by a number of his other oratorios. In modern performance it is often subject to substantial cuts which, although they trim the length of performance from its full two-and-one-half hours, tend to compromise the carefully balanced structure of the work as a whole. es
dc.description.tableofcontents CD34-- Solomon Oratorio in three acts Act I Scene 2 (Conclusion); Recitative & Aria what says the other (Salomon, Second Harlot), Recitative & Aria Withhold (Firt Harlot), Recitative Israel, attend to what your king shall say (Salomon, First Harlot), Chorus From the east unto the west, Recitative & Aria From morn to eve I could (Zadok), Recitative & Aria No more shall armed bands (First Harlot), Chorus Swell, swell the full chorus-- Act III; Sinfonia-- Scene 1; Recitative & Aria From Arabia's spicy shores (Queen of Sheba, Salomon, Chorus), Aria Now a different measure try (Salomon,Chorus), Recitative Then at once from rage remove (Salomon, Chorus), Recitative Next the tortured soul release (Salomon), Recitative & Aria Thy harmony's divine, great king(Queen of Sheba), Recitative & Aria Thrice happy king (Zadok), Recitative & Aria May peace in Salem ever dwel (Queen of Sheba), Recitative & Aria Adieu, fair queen (Salomon and Queen of Shabe, Chorus)-- es
dc.format.medium 1 CD-Rom. (74:46 min.) Digital; 4 3/4 plg. es
dc.language.iso en es
dc.relation.ispartofseries A Handel Celebration es_ES
dc.rights Uninorte F.M.Estéreo es
dc.subject.lcc 698783456 es
dc.subject.lcsh Oratorio es_ES
dc.subject.lcsh Tenores (Cantantes) es_ES
dc.subject.lcsh Contratenores es_ES
dc.subject.lcsh Órgano, Música para es_ES
dc.subject.lcsh Clave, Música para es_ES
dc.subject.lcsh Sopranos (Cantantes) es_ES
dc.subject.lcsh Coros es_ES
dc.title Solomon : Act II (conclusion), Act III CD34 es
dc.title.alternative A Handel Celebration es
dc.title.alternative Salomón: Acto II (conclusión), Acto III es
dc.language.rfc3066 eng es
dc.rights.holder Sheridan Square Entertainment Inc es
dc.identifier.classification 5028421938776 es
dc.subject.cdu H.14 es


Files in this item

Files Length Size Format View Description
Salomon Act III Scene 1- Completo.wav 34:45 350.6Mb WAV audio wav
Salomon Act II ... Conclusion)- Completo.wav 858.5Mb WAV audio wav
1. Salomon Act ... alomon, Second Harlot).mp3 4:32 4.149Mb Unknown mp3
2. Salomon Act ... Withhold (Firt Harlot).mp3 5:15 4.795Mb Unknown mp3
3. Salomon Act ... Salomon, First Harlot).mp3 6:13 5.684Mb Unknown mp3
4. Salomon Act ... the east unto the west.mp3 3:07 2.853Mb Unknown mp3
5. Salomon Act ... to eve I could (Zadok).mp3 6:23 5.834Mb Unknown mp3
6. Salomon Act ... d bands (First Harlot).mp3 8:06 7.397Mb Unknown mp3
7. Salomon Act ... swell the full chorus.mp3 3:02 2.774Mb Unknown mp3
8. Salomon Act III- Sinfonia.mp3 3:16 2.996Mb Unknown mp3
9. Salomon Act ... heba, Salomon, Chorus).mp3 5:12 4.750Mb Unknown mp3
10 & 11. Salomo ... move (Salomon, Chorus).mp3 6:05 5.558Mb Unknown mp3
12. Salomon Act ... soul release (Salomon).mp3 4:13 3.860Mb Unknown mp3
13. Salomon Act ... t king(Queen of Sheba).mp3 1:17 1.181Mb Unknown mp3
14. Salomon Act ... ice happy king (Zadok).mp3 4:16 3.902Mb Unknown mp3
15. Salomon Act ... dwel (Queen of Sheba).mp3 5:41 5.190Mb Unknown mp3
16. Salomon Act ... ueen of Shabe, Chorus).mp3 8:20 7.613Mb Unknown mp3

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