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Solomon (Handel)
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Solomon (Handel)
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{{Short description|Oratorio by George Frideric Handel}}{{Use dmy dates|date=April 2022}}{{italic title}}File:George Frideric Handel by Balthasar Denner.jpg|thumb|upright=1.1|George Frideric HandelGeorge Frideric HandelSolomon, HWV 67, is an oratorio by George Frideric Handel. The anonymous libretto â currently thought to have been penned by the English Jewish poet/playwright Moses Mendes (d.1758)Andrew Pink. âSolomon, Susanna and Moses : locating Handel's anonymous librettistâ. Eighteenth Century Music. Volume 12 / Issue 02 (September 2015) pp. 211-222.; accessed 6 April 2016 â is based on the biblical stories of the wise king Solomon from the First Book of Kings and the Second Book of Chronicles, with additional material from Antiquities of the Jews by ancient historian Flavius Josephus. The music was composed between 5 May and 13 June 1748, and the first performance took place on 17 March 1749, with Caterina Galli in the title role at the Covent Garden Theatre in London, where it had two further performances. Handel revived the work in 1759.WEB, G. F. Handel's Compositions,weblink The Handel Institute, 28 September 2013, dead,weblink" title="web.archive.org/web/20130924012912weblink">weblink 24 September 2013, The oratorio contains a short and lively instrumental passage for two oboes and strings in Act Three, known as "The Arrival of the Queen of Sheba", which has become famous outside the context of the complete work, and was featured at the 2012 London Olympics opening ceremony as James Bond (Daniel Craig) goes to meet the Queen at Buckingham Palace.WEB, Schwarm, Betsy, The Arrival of the Queen of Sheba,weblink Britannica.com, 28 April 2014, - the content below is remote from Wikipedia
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Background
missing image!
- Microcosm of London Plate 027 - Covent Garden Theatre edited.jpg -
Theatre at Covent Garden where Solomon was first performed
The German-born Handel had been resident in London since 1712 and had there enjoyed great success as a composer of Italian operas. His opportunities to set English texts to music had at first been more limited; he had spent the years 1717 to 1719 as composer in residence to the wealthy Duke of Chandos where he had written church anthems and two stage works, Acis and Galatea and Esther; and had composed vocal music to English words for various royal occasions, including a set of Coronation anthems for King George II in 1727, which had made a huge impact.WEB, Kemp, Lindsay, Programme Notes for Saul,weblink BBC, 28 September 2013, {{dead link|date=May 2018 |bot=InternetArchiveBot |fix-attempted=yes }} In 1731, a performance of the 1718 version of Esther, a work in English based on a Biblical drama by Jean Racine, was staged in London without Handel's participation and had proved popular, so Handel revised the work and planned to have it performed at the theatre where his Italian operas were being presented.However the Bishop of London would not permit a drama based on a Biblical story to be acted out on the stage, and therefore Handel presented Esther in concert form, thus giving birth to the English oratorio.BOOK, Burrows, Donald, Handel (Master Musicians Series), Oxford University Press, USA; 2 edition, 2012, 978-0-19-973736-9, {{rp|212}} Such was the success of his oratorios in English that eventually Handel abandoned Italian opera, his last being Deidamia in 1741, and produced a string of masterpieces of oratorio in English.{{citation|last=Hicks|first=Anthony|author-link=Anthony Hicks|year=2013|work=Grove Music Online|title=Handel, George Frideric|publisher=Oxford University Press}} {{Subscription required}}Opera seria, the form of Italian opera that Handel composed for London, focused overwhelmingly on solo arias and recitatives for the star singers and contained very little else; they did not feature separate choruses. With the English oratorios Handel had the opportunity to mix operatic arias in English for the soloists with large choruses of the type that he used in the Coronation anthems. The oratorios found a wider audience among more social classes than the aristocratic audience who had sponsored and enjoyed Handel's Italian operas.WEB, Martini, Joachim C., Programme notes for "Solomon" HWV 67,weblink www.naxos.com, Naxos Records, 29 April 2014, 31 May 2016,weblink" title="web.archive.org/web/20160531104940weblink">weblink dead, Solomon was widely recognised by commentators of the day as a eulogy for Georgian England, with the just and wise King Solomon representing King George II, and the mighty, prosperous kingdom of Israel reflecting the similarly happy state of England at the time of the work's premiere, in the view of its creators.BOOK, Lang, Paul Henry, George Frideric Handel, 2011, reprint, Dover Books on Music, 978-0-486-29227-4, However, a 21st-century commentator has noted that Solomon was not a great commercial success with London audiences of the time, possibly because of complexities and ambiguities in its portrayal of the central character King Solomon.- Microcosm of London Plate 027 - Covent Garden Theatre edited.jpg -
Theatre at Covent Garden where Solomon was first performed
Dramatis personae
(File:Gfrasi.jpg|thumb|Giulia Frasi, soprano, creator of several roles in Solomon){| class=wikitablecontralto>alto | Caterina Galli |
soprano>|Giulia Frasi |
Queen of Sheba> | |Giulia Frasi |
|Giulia Frasi |
mezzo-soprano>|Sibilla Gronamann (Mrs Pinto) |
Zadok, the High PriestZadok the Priest, HWV 258, is also the title of one of four Coronation Anthems (Handel)>Coronation Anthems written by Handel for the coronation of George II of Great Britain but apart from its name, the work is unconnected with the Solomon oratorio. | tenor | Thomas Lowe |
Levite> | Bass (voice type)>bass | Henry Theodore Reinhold |
| |
Chorus of priests, chorus of Israelites |
Synopsis
File:Workshop of Peter Paul Rubens -The Judgement of Solomon.jpg|thumb|The Judgement of Solomon after Peter Paul RubensPeter Paul RubensAct 1
The work begins with Solomon and his people celebrating the consecration of the Temple he has built in Jerusalem. Solomon rejoices in his married happiness to his one wife (unlike the biblical Solomon, who is stated to have had hundreds of wives and concubines),BOOK, Woodstra, Chris, All Music Guide to Classical Music: The Definitive Guide to Classical Music (All Music Guides), September 1, 2005, Backbeat Books, 0879308656, and promises to build his queen a palace for her. They express their love for each other and retire for the night as flower-scented breezes and nightingales' songs lull them to rest.WEB, Knapp, J. Merrill, Programme notes for "Solomon",weblink Opera Today, 28 April 2014,Act 2
The wisdom of Solomon is presented in the famous biblical story of two harlots who each claimed a single baby as her own. Solomon offers to solve the case by splitting the infant in half with his sword, but the real mother rejects this solution and offers to hand the child over to the other woman, as Solomon knew the true parent would do. The First Harlot and the chorus praise Solomon's judgement.Act 3
In Act Three we see a state visit from the Queen of Sheba to Solomon's kingdom. The king and his people entertain her with a musical masque of magnificent choruses depicting in turn the "lulling" sound of gentle music, the desire for military glory, the despair of an unhappy lover, and a storm which turns to calm. All celebrate the Israel of the wise ruler Solomon as a Golden Age of peace, happiness, and prosperity.List of musical numbers
Act Three begins with the very famous sinfonia known as "The Arrival of the Queen of Sheba".(Note: "Sinfonia" in this context means a purely instrumental piece. "Accompagnato" is a recitative accompanied by the orchestra, rather than by continuo instruments only, as in the passages marked "recitative".){{col-begin}}{{col-3}}- Act One
- 1. Overture
Scene 1: Solomon, Zadok, priests and chorus
2.Your harps and cymbals (chorus)
3.Praise ye the Lord (Levite â air)
4.With pious heart (chorus)
5.Almighty Power (Solomon â accompagnato)
6.Imperial Solomon (Zadok â recitative)
7.Sacred raptures (Zadok â air)
8.Throughout the land (chorus)
9.Blessâd be the Lord (Solomon â recitative)
10.What though I trace (Solomon â air)
Scene 2: To them the Queen
11.And see my Queen (Solomon â recitative)
12.Blessâd the day (Queen â air)
13.Thou fair inhabitant of Nile (Solomon, Queen â recitative)
14.Welcome as the dawn of day (Queen Solomon â duet)
15.Vain are the transient beauties (Zadok â recitative)
16.Indulge thy faith (Zadok â air)
17.My blooming fair (Solomon â recitative)
18.Haste to the cedar grove (Solomon â air)
19.When thou art absent (Queen â recitative)
20.With thee thâunshelterâd moor (Queen â air)
21.May no rash intruder ("Nightingale Chorus") (chorus)
{{col-break}}
- Act Two
- Scene 1: Solomon, Zadok, Levite, chorus of priests and Israelites
22.From the censer curling rise (chorus)
23.Praisâd be the Lord (Solomon â recitative)
24.When the sun oâer yonder hills (Solomon â air)
25.Great prince (Levite â recitative)
26.Thrice blessâd that wise discerning king (Levite â air)
Scene 2: To them an attendant
27.My sovereign liege (Attendant, Solomon â recitative)
Scene 3: To them the two harlots
28.Thou son of David (First harlot â recitative)
29.Words are weak (First and second harlot, Solomon â trio)
30.What says the other (Solomon, second harlot â recitative)
31.Thy sentence, great king (Second harlot â air)
32.Withhold, withhold the executing hand (First harlot â recitative)
33.Can I see my infant gorâd (First harlot â air)
34.Israel attend (Solomon â accompagnato)
35.Thrice blessâd be the king (First harlot, Solomon â duet)
36.From the east unto the west (chorus)
37.From morn to eve (Zadok â recitative)
38.See the tall palm (Zadok â air).
39.No more shall armed bands (First harlot â recitative)
40.Beneath the vine (First harlot â air)
41.Swell, swell the full chorus (chorus)
{{col-break}}
- Act Three
- 42.Sinfonia ("Arrival of the Queen of Sheba")
Solomon, Queen of Sheba, Zadok, chorus of Israelites
43.From Arabiaâs spicy shores (Queen of Sheba, Solomon â recitative)
44.Evâry sight these eyes behold (Queen of Sheba â air)
45.Sweep, sweep the string (Solomon â recitative)
46.Music spread thy voice around (Solomon and chorus)
47.Now a different measure (Solomon and chorus)
48.Then at once from rage remove (Solomon â recitative)
49.Draw the tear from hopeless love (chorus)
50.Next the torturâd soul release (Solomon â recitative)
51.Thus rolling surges rise (Solomon and chorus)
52.Thy harmonyâs divine (Queen of Sheba â recitative)
53.Pious king (Levite â air)
54.Thrice happy king (Zadok â recitative)
55.Golden columns (Zadok â air)
56.Praise the Lord (chorus)
57.Gold now is common (Solomon â recitative)
58.How green our fertile pastures look (Solomon â air)
59.May peace in Salem (Queen of Sheba â recitative)
60.Will the sun forget to streak (Queen of Sheba â air)
61.Adieu, fair queen (Solomon â recitative)
62.Evâry joy that wisdom knows (Queen of Sheba, Solomon â duet)
63.The name of the wicked (chorus)
{{col-end}}{{Listen|type=music|image=none|help=no|filename=Handel - Arrival of the Queen of Sheba.ogg|title=Arrival of the Queen of Sheba|description=performed by the Advent Chamber Orchestra with Humbert Lucarelli and Edino Biaggi on oboes}}
Musical features
Solomon is richly orchestrated by the standards of its day, calling for an orchestra of flutes, oboes, bassoons, horns, trumpets, timpani, strings, and basso continuo instruments. Many of the grand and varied choruses are in eight parts ("a double chorus") instead of the more usual four parts. The final number of Act I is the chorus âMay no rash intruderâ, usually called the Nightingale Chorus, with flutes imitating birdsong over a gentle rustling effect created by strings divided into numerous different parts. Act 3 begins with the very famous sinfonia known as "The Arrival of the Queen of Sheba", a bright and sprightly orchestral piece featuring oboes which has often been used outside the context of the oratorios as a processional piece. Sir Thomas Beecham is believed to have given the name "The Arrival of the Queen of Sheba" to this sinfonia{{citation needed|date=April 2021}}, perhaps in 1933 when he made a recording of it, or perhaps in 1955 when he recorded the oratorio in an abridged and re-orchestrated form.Solomon discography}}">Recordings{| class"wikitable"
!Year!Cast!Conductor, chorus and/or orchestra!LabelSolomon discography}} |1955 2005 digital remaster John Cameron (singer)>John CameronElsie MorisonAlexander YoungLois Marshall|Sir Thomas BeechamBeecham Choir SocietyRoyal Philharmonic Orchestra|EMI 2 CDs 5 86516 2 |1967 Saramae EndichPatricia BrooksAlexander Young (tenor)>Alexander YoungJohn Shirley-Quirk Vienna Volksoper>Vienna Volksoper Orchestra|RCA Red Seal Records, 19683 LPs LP LSC 6187 |June 1984,St John's, Smith Square,London, after performancesin Göttingen, Germany;incomplete|Carolyn WatkinsonNancy ArgentaBarbara HendricksJoan RodgersDella JonesAnthony Rolfe JohnsonStephen Varcoe|John Eliot GardinerMonteverdi ChoirEnglish Baroque Soloists|Philips digital recording3 LPs 289-412612-12 CDs 289-412612-23 MC 289-412612-4 |July and Aug. 1998,All Saints Church,Tooting, London|Andreas SchollInger Dam-JensenSusan GrittonPaul Agnew|Paul McCreesh, conductor Gabrieli Consort|CD:Archiv ProduktionCat:4596882 |2003|Michael ChanceNancy ArgentaLaurie ReviolJulian PodgerSteffen Balbach|Jürgen BuddayMaulbronn Chamber ChoirHannoversche Hofkapelle K&K Verlagsanstalt, 20042 CDs KuK 73 / {{ISBN>3-930643-73-1}} |2006|Mark PadmoreSarah ConnollySusan GrittonCarolyn Sampson|Daniel ReussAkademie für Alte Musik Berlin CD:Harmonia MundiCat:HMC 901949.50 |2006|Ewa WolakElisabeth SchollNicola WemyssKnut Schoch|Joachim Carlos MartiniFrankfurt Baroque OrchestraJunge Kantorei CD:NaxosCat:8.557574-75 |2007 Tim MeadDominque LabelleClaron McFaddenRoderick Williams Nicholas McGeganWinchester Cathedral ChoirFestspielorchester Göttingen CD:CarusCat:CARUS83242 |2022 Ana Maria Labin Gwendoline BlondeelChristopher Lowrey Leonardo GarcÃa AlarcónMillenium OrchestraChÅur de Chambre de Namur CD:RicercarCat:RIC449 Notes
{{reflist}}External links
- Libretto at Stanford University
- {{IMSLP2|work=Solomon, HWV 67 (Handel, George Frideric)|cname=Solomon}}
- Score, Deutsche Händelgesellschaft (German Handel Society), 1867
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