大象传媒

The English Concert directed by Kristian Bezuidenhout perform choral, instrumental and theatre music by Handel and Purcell.

Reading the chauvinistic tub-thumping of 'Why, why are all the muses mute?' is a dispiriting experience. But in combination with Purcell's ravishing music, the undistinguished, sycophantic text designed to flatter King James II is elevated to a level far beyond anything its anonymous author had a right to expect, including one of Purcell's finest ground bass arias, 鈥楤ritain, thou now art great鈥�.

James Bridges' prodigal extravagance left little of any lasting consequence but for the music he commissioned from Handel. It includes the masque Acis and Galatea and the oratorio Esther, written to be performed at his opulent mansion at Cannons, near Edgeware. And for the church on his estate, the Duke of Chandos also commissioned the 11 Chandos Anthems. In these Psalm settings for voices, wind, and strings, Handel often ingeniously recycles some of his older works to make new-minted music with all his customary brilliance for word-setting, including here, texts from Psalm 89.

Presented live from Wigmore Hall by Hannah French.

Handel: Concerto Grosso in D minor (Op 6, Nr 10)
Purcell: Why, why are all the muses mute? (Welcome song for King James II) (Z 343)

8.20 pm
Interval

8.40 pm
Purcell: Overture from The Gordion Knot Untied (Z 597)
Hornpipe from King Arthur (Z 628)
Slow Air from The Old Bachelor (Z. 607)
First Act Tune from The Virtuous Wife (Z 611)
鈥淗ow Blessed are Shepherds鈥� from King Arthur, Z. 628
Curtain Tune from Timon of Athens (Z 632)
Handel: Chandos Anthem No. 7 鈥楳y song shall be alway鈥� (HWV 252)

Anna Dennis & Miriam Allan (soprano)
James Hall (countertenor)
David de Winter (tenor)
Matthew Brook & Ashley Riches (bass)
The English Concert
Kristian Bezuidenhout (harpsichord/director)