List of compositions by George Frideric Handel


George Frideric Handel (23 February – 14 April ) was a German–English Baroque composer who is famous for his operas, oratorios and concerti grossi.

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The latest Tweets from Handel and Haydn (@handelandhaydn). Period Instrument Orchestra and Chorus based in Boston, performing Baroque and Classical Music since Harry Christophers, Artistic Director. Boston, MA.

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Song Title Popularity 1 Handel: Scipione Hwv 20 - Original Version - Scoglio d'immota fronte. Lotario - Sommo rettor del cielo, d'una torbida sorgente. Agrippina, HWV 6 - Pensieri. Alexander Balus English Oratorio - Calm thou Convey me to some peaceful shore. By placing your order, you agree to our Terms of Use. DDD Number of Discs: Share your thoughts with other customers. Write a customer review.

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Unlike many others, I am not particularly crazy about Fleming's vocal quality, but that may be because almost all of these pieces are very familiar to me, "imprinted" on my brain by other singers, which perhaps makes it hard to hear them sung differently. The selection of arias is an encyclopedia of Handel's writings for soprano male and female , and includes only a few justly famous warhorses, the rest being less often performed gems.

I found myself especially warming to "D'una torbida" from Lotario, a piece I have not heard before, so Fleming's performance of that will probably imprint on me. Her "Ritorna, o caro" from the more familiar Rodelinda is absolutely ravishing.

Few who love fine singing and want to hear more of Handel's diverse art would be disappointed with this disc. Renee Fleming, who may come to the public as a more accomplished singer of the bel canto repertoire, may not seem to be at home with the Baroque repertoire at first, but after a few rounds with this CD, you will find her intepretation of Handel arias to be very intuitive and intimate.

Although Handel arias don't demand the special expressiveness associated with the bel canto repertoire, Renee Fleming sings these selection of gems in such a way that you will find yourself wondering if she had ever sung opera seria all her life.

And surprisingly, we find her singing a string of Rodelinda's at the Met following the release of this CD! Her ability to inflect a variety of vocal colors in the role provides a fresh insight into Handel's music. From the English to the Italian pieces, each one is sung in a very tasteful and refined manner. Her diction is excellent as well, her Italian always clear and distinct, and her English sounds absolutely natural.

Her "Let the Bright Seraphim", I believe can be ranked among the great recordings of Dame Joan Sutherland and Kiri te Kanawa, who sang this beautiful aria from Samson to near perfection. Image Unavailable Image not available for Colour: See all 2 formats and editions Hide other formats and editions Amazon Price. Audio CD, Jan 1 "Please retry". LP Record "Please retry". Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1. Customers who bought this item also bought.

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With The English Concert at the ready, Pinnock's Handel is continuously stimulating, and hardly less than persuasive. Regal, ebullient and melancholy, in turns, his performance elucidates as well as entertains. Doubtless, much thought went into Pinnock's innumerable fascinating directorial decisions and musical interrelationships.

Quite impressive in particular is his attention to baroque authenticity and detail, with riveting emphasis on the clarity and positioning of period instruments. The striking use of antiphonal brass, the affectionate counterpoint between woodwinds and strings, and the ongoing concertante intimacy is thoroughly beguiling. Remarkable also is the truly exceptional sound world given Pinnock's captivating interpretation and, of course, the superlatively inspired playing of The English Concert.

Obviously, original instruments is the only way to go when it comes to baroque music, and compared to the recordings of, say, Gardiner and Harnoncourt, this one is stodgy and, as Mr. Libbey put it, "business-like.

The Harnoncourt recording, on the other hand, may be a little too mannered and fast at times, but Gardiner finds a good middle ground. For a different presentation of this classic work, try this performance by the English Concert.

Performed on instruments of the period and with an orchestra setting more appropriate of the Baroque period, this recording will not fail to please. The recording is fully digital, adding to its splendor. If you are accoustomed to more modern orchestras and instruments, the recording may be odd at first, but rest assured that the beauty of its sound will slowly seduce your senses.

Despite its age, this remains to my mind the best performance in existence. The CD conversion is so good that I can only tell the difference between the vinyl version which I also have and the CD version by the clicks and pops on the black disc - and before any vinyl-head argues, the turntable is a Linn Sondek with the top Ekos arm!

This digital recording conducted by Pinnock is definitive enough for me. On period instruments no less! That is innovative in a 20th Century sense I suppose! Eloquently delivered with a strange simplistically it is quite an euphoric experience.