1 LP - 6.42349 AW - (p) 1978

1 CD - 8.42349 ZK - (c) 1984

Georg Friedrich Händel (1685-1759)

Ode for St. Cecilia's Day
49' 28"

1. Ouverture (Larghetto e staccato - allegro; Menuet)

2. Recitativo (Tenor) "'From Harmony, from heav'nly Harmony"
8' 45" | A1
3. Accompagnato. Larghetto e piano (Tenor) "When Nature underneath a heap"
4. Chorus. Largo "From Harmony, from heav'nly Harmony" 3' 51"
5. Aria. Adagio-Andante (Soprano) "What passion cannot Music raise and quell!" 8' 39"
6. Aria (Tenor) - Chorus "The Trumpets loud clangor excites us to arms" 3' 53"
7. March 1' 47"
8. Aria. Andante (Soprano) "The soft complaining Flute" 4' 39"
9. Aria. Allegro (Tenor) "Sharp Violins proclaim" 4' 30"
10. Aria. Larghetto e mezzo piano (Soprano) "But oh! what art can teach" 4' 00"
11. Aria. Alla Hornpipe (Soprano) "Orpheus could lead the savage race" 1' 47"
12. Accompagnato. Largo (Soprano) "But bright Cecilia raid's the wonder high'r" 0' 35"
13. Chorus. Grave - Un poco più Allegro "As from the pow'r of sacred lays" 6' 59"

Felicity Palmer, Sopran

Anthony Rolfe Johnson, Tenor

Bachchor Stockholm / Anders Öhrwall, Leitung

CONCENTUS MUSICUS WIEN (mit Originalinstrumenten)

- Alice Harnoncourt, Violine - Leopold Stastny, Traversière
- Walter Pfeiffer, Violine - Jürg Schaeftlein, Oboe

- Peter Schoberwalter, Violine - Paul Hailperin, Oboe
- Wilhelm Mergl, Violine - Milan Turkovic, Fagott

- Anita Mitterer, Violine - Otto Fleischmann, Fagott
- Ingrid Seifert, Violine - Hermann Schober, Naturtrompete

- Veronika Schmidt, Violine - Richard Rudolf, Naturtrompete
- Richard Motz, Violine - Kurt Hammer, Pauken

- Gerold Klaus, Violine (1,3,5,6,7,8,9,10,11,12)

- Micaëla Comberti, Violine (1,3,5,6,7,8,9,10,11,12)

- Alison Bury (4,6,14)

- Christin Buchner, Violine (4,6,14)

- Kurt Theiner, Viola

- Josef de Sordi, Viola

- Friedrich Hiller, Violoncello (1,3,5,6,7,8,9,10,11)

- Nikolaus Harnoncourt, Violoncello

- Wouter Möller, Violoncello (4,6,14)

- Eduard Hruza, Violone

- Herbert Tachezi, Orgel und Cembalo

- Johann Sonnleitner, Cembalo (4,6,14)

- Toyohiko Satoh, Theorbe

Nikolaus Harnoncourt, Gesamtleitung
Luogo e data di registrazione
Festsaal der Freien Waldorfschule, Brema (Germania) - ottobre 1977
Casino Zögernitz, Vienna (Austria) - febbraio 1978
Registrazione live / studio
Producer / Engineer
Prima Edizione CD
Teldec "Das Alte Werk" - 8.42349 ZK - (1 cd) - 49' 28" - (c) 1984 - AAD
Prima Edizione LP
Telefunken "Das Alte Werk" - 6.42349 AW - (1 lp) - 49' 28" - (p) 1978

The Roman martyr Cecilia, whose veneration and festive day (22nd November) have been observed since the 5th century, became the patron saint of music in the 14th or 13th century and in particular music as god-given "harmonia", representing the harmony of the world. As verified hy pictures since the 14th century, the organ became the attribute of the saint as the specific instrument most perfectly embodying the Christian concept of harmony. In Raffael's famous painting the broken instruments lying on the floor provide eloquent evidence of how superior the organ was to them, and how very much it had become a symbolic instrumental the beginning of the 16th century. With such a traditional background it was inevitable that the festivities connected with the saint were observed with far-reaching musical functions. It was at least also for this purpose that Cecilian associations were formed, initially tn Rome towards the end of the 16th century and later in other countries, including England in the wake of the fresh blossomming of church and court music in the Restoration under Charles II, since the founding of the London St. Cecilia Society in 1683. The anthem as the preferred genre of courtly festive and homage music was transferred to the Cecilian feast. The writing and composing of Cecilian odes became a favourite task in English court circles attracting such great composers as Purcell (l692) and Handel, and such insignificant ones as Jeremiah Clark and Thomas Clayton. The continuity of the ode to St. Cecilia as an "institution" surpassing all political changes is clearly underlined by the two works which the greatest English poet of that epoch, John Dryden. wrote for the 22nd Novembre. The "Ode for St Cecilia`s Day" was written in 1687, two years after Dryden's conversion to Roman Catholicism and at the height of power of the Caholic King James II. "Alexanders Feast", a classical scholarly variation of the Cecilian theme, was written ten years later, that is to say after the "Glorious Revolution". For a whole century both poems were  accepted as the definitive classical Cecilian texts. Handel set both of them to music.
Ludwig Finscher
English translations by Frederick A. Bishop

Nikolaus Harnoncourt (1929-2016)
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