oboe, 2 violins, (viola), cello, (theorbo) & claviorganum / harpsichord & organ
Corelli, Triosonata (2vlns, bc)
Händel, Triosonata (ob, vln, bc), HWV 390
Händel, Harpsichord suite in d, HWV 428, Prelude, Allegro, Allemande, Courante
Corelli, La Folia, op. 5/12 (vln, bc)
Händel, Oboe concerto, HWV 287 (ob, 2vlns, vla, bc)
– break –
Corelli, Triosonatea (2vln, bc)
Corelli, Sonata con Aboé (ob, 2vlns, bc) – WoO 4
Händel, Il trionfo del Tempo e del Disinganno, HWV 46a [E], Adagio from Sonata del Overtura
Händel, Harpsichord suite in d, HWV 428, Air met Doubles
Händel, Organ concerto “The Cuckoo and the Nightingale”, HWV 295
Programme – Encounters in Rome
Around the turn of the year 1706-7, at the age of 21, Georg Friedrich Händel (1685-1759) arrived in Rome. According to the memoires of Händel written by John Mainwaring (1760) “The fame of his musical achievements at Florence and at Venice had reached that metropolis long before him”. At that time in Rome, Arcangelo Corelli (1653-1713) was a musical star: by then in his fifties, he was already long established as the most important violinist and composer of instrumental music of the city, working for the most illustrious patrons such as Pietro Ottoboni, Benedetto Pamphili and Francesco Maria Ruspoli. As Händel soon worked for the same patrons, the two must often have shared the stage during Händel’s time in Rome in 1707 and 1708, certainly for the premieres of Händel’s oratorios Il trionfo del Tempo and La Resurrezi- one. At those occasions Corelli was concertmas- ter and Händel led from the harpsichord. During a rehearsal for the premiere of La Resurrezione, there was reportedly a dispute between Corelli and Händel regarding the performance of the French overture, a movement Corelli could not appreciate. Händel then played the ‘problematic passage’ himself, to which Corelli replied: ‘But, beloved Saxon, that music is in the French style, of which I understand nothing’, whereupon Händel composed an Italian overture. Apart from this clash, there is no other friction known between the two brilliant musicians. Händel provided Corelli magnificent solo parts in which he could shine and was clearly influenced by Corelli’s style, for example in his trio sonatas. The (musical) encounters of these two masters are the inspiration for this programme.
Their rich output of instrumental (chamber) music ensures that we were able to put together a beautiful, rich, varied and interesting programme. We are convinced that our well-considered, rich programme, which covers many different genres, composition styles, moods and affects, will be enjoyed by connoisseurs and enthusiasts alike. Among others, the well-known and virtuoso La Follia by Corelli, the imaginative oboe concerto and Handel’s playful organ concerto ‘The Cuckoo and the Nightingale’ will be heard. Lesser-known works, such as Corelli’s Sonata con Aboé, will also be featured.
The rich instrumentation, including claviorganum
An important aspect of Musica Gloria’s identity, and therefore of this project, is to immerse listeners in a rich variety of timbres. This project features all instrument groups for this repertoire (solo), leading to a diverse combination of (copies of) historical instruments. It is the warm sounds of those old instruments from roughly the 15th to 18th centuries that the members of the ensemble have fallen in love with. The instruments in this project are oboe, 2 violins, viola, cello, theorbo, guitar and claviorganum (a combination of harpsichord and organ). The rich basso continuo line-up will help ensure that the affects expressed by the soloists will be maximally supported and co-created. The most unique and striking feature of the instrumentation is, of course, the claviorganum, unjustly still relatively unknown to the public.. With this project, we want to bring this particular instrument closer to the public.