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Handel: L'Allegro, il Penseroso, ed il Moderato CD, Import

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  • 演奏: Susan Gritton, Claron McFadden, Lorna Anderson, Paul Agnew, Neil Davies
  • オーケストラ: The King's Consort
  • 指揮: Robert King
  • 作曲: George Frideric Handel
  • CD (1999/10/12)
  • ディスク枚数: 2
  • フォーマット: CD, Import
  • レーベル: Hyperion
  • ASIN: B000026CVB
  • EAN: 0034571172835
  • 他のエディション: CD
  • おすすめ度: この商品の最初のレビューを書き込んでください。
  • Amazon 売れ筋ランキング: 音楽 - 812,779位 (音楽の売れ筋ランキングを見る)
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  1. OVERTURE [Grave]: Allegro - Lentement - Allegro Moderato
  2. PART ONE: Accompagnato - Hence, loathed Melancholy
  3. Accompagnato - Hence, vain deluding Joys
  4. Air - Come, thou goddess fair and free
  5. Air - Come rather, goddess, sage and holy
  6. Air - Haste thee, nymph, and bring with thee
  7. Air - Come and trip it as you go
  8. Accompagnato - Come, pensive nun, devout and pure
  9. Air - Come, but keep thy wonted state
  10. Accompagnato - There, held in holy passion still
  11. Recitative - Hence, loathed Melancholy!
  12. Air - Mirth, admit me of thy crew
  13. Accompagnato - First and chief, on golden wing
  14. Air - Sweet bird, that shun'st the noise of Folly
  15. Recitative - If I give thee honour due
  16. Air - Mirth, admit me of thy crew
  17. Air - Oft on a plat of rising ground
  18. Air - Far from all resort of mirth
  19. Recitative - If I give thee honour due
  20. Air - Let me wander not unseen
  21. Air - Straight mine eye hath caught new pleasures
  22. Accompagnato - Mountains, on whose barren breast
  23. Air - Or let the merry bells ring round


  1. PART TWO: Accompagnato - Hence, vain deluding Joys
  2. Air - Sometimes let gorgeous tragedy
  3. Air - But O, sad virgin, that thy pow'r
  4. Air - Thus, Night, oft see me in thy pale career
  5. Chorus - Populous cities please me [us] then
  6. Air - There let Hymen oft appear
  7. Accompagnato - Me, when the sun begins to fling
  8. Air - Hide me from Day's garish eye
  9. Air - I'll to the well-trod stage anon
  10. Air - And ever against eating cares
  11. Air - Orpheus' self may heave his head
  12. Air - These delights if thou canst give
  13. Recitative - But let my due feet never fail
  14. Chorus - There let the pealing organ blow
  15. Air - May at last my weary age
  16. Fugue - Organo ad libitum il soggetto della fuga seguente
  17. Chorus - These pleasures, Melancholy, give
  18. PART THREE: Accompagnato - Hence! boast not, ye profane
  19. Air - Come, with native lustre shine
  20. Accompagnato - Sweet Temp'rance in thy right hand bear
  21. Air - Come, with gentle hand restrain
  22. Recitative - No more short life they then will spend
  23. Air - Each action will derive new grace
  24. Duet - As steals the morn upon the night
  25. Chorus - Thy pleasures, Moderation, give



Handel's oratorios may be loaded with wonderful music, but their librettos have tended to draw some sniping. It's true that some of them can be rather banal, but others are very impressive--the biblical texts Charles Jennens assembled for Messiah and Israel in Egypt, for example, and John Dryden's ode Alexander's Feast. One particularly inspired idea Handel's colleagues had was to take excerpts from John Milton's poems "L'Allegro" (about the joys of sophisticated hedonism) and "Il Penseroso" (about the joys of contemplative solitude) and interweave them to make a sort of musical debate. At Handel's request, Jennens wrote a concluding section titled "Il Moderato," which unites the two opposing temperaments under the guidance of "Sweet Temp'rance." The result is one of Handel's most colorful scores, with such treats as a robust aria with hunting horns, a laughter chorus, a gentle duet for soprano and cello, and arias and choruses with featured parts for trumpets, organ, and even the tinkling bells of a carillon. Not to mention "Sweet bird," one of the very greatest "birdsong" arias, in which a flute imitates a bird and a soprano imitates the flute. How odd, then, that this is only the second recording of L'Allegro in 20 years. Luckily, it's a good one. Conductor Robert King and his orchestra and choir do their work well, certainly, but it's the soloists who make this performance special. Lorna Anderson does a lovely "Sweet bird" with a particularly good trill; soprano Susan Gritton sounds sweeter and more eloquent than ever; and the fabulous tenor Paul Agnew uses an amazing range of tone colors, from angelic purity to intimidating harshness. All in all, this L'Allegro is good enough to silence any grumbling about what took Hyperion so long to record it. --Matthew Westphal