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When Handel arrived in Italy he became acquainted with several musical genres which were particularly popular there, the chamber cantata, the oratorio and the serenata. Soon he started to compose his own works in those genres. These works were substantial and he would use them - or material from them - for compositions he should write in his English period.
Handel composed a large number of cantatas, usually - as was the tradition in Italy - for soprano with basso continuo. A number of cantatas were later reworked for alto, and that was mainly due to Elizabeth Legh, one of his great admirers in England who also became his pupil. These cantatas are often sung by male altos, but in the booklet of this recording Dinko Fabris claims they are first recorded here with a female alto. He suggests all cantatas - with the exception of La Lucrezia - were adapted by Handel to suit Elizabeth Legh's voice.
Handel composed a large number of cantatas, usually - as was the tradition in Italy - for soprano with basso continuo. A number of cantatas were later reworked for alto, and that was mainly due to Elizabeth Legh, one of his great admirers in England who also became his pupil. These cantatas are often sung by male altos, but in the booklet of this recording Dinko Fabris claims they are first recorded here with a female alto. He suggests all cantatas - with the exception of La Lucrezia - were adapted by Handel to suit Elizabeth Legh's voice.
contents:
Dolc' e pur d'amor l'affanno, HWV 109a
Siete rose ruggiadose, HWV 162
Qualor crudele, si ma vaga Dori, HWV 151
Fra pensieri quel pensiero, HWV 115
Stance di piu soffrire, HWV 167
La Lucrezia (O Numi Eterni), HWV 145
Sonia Prina, Contralto
Sfera Armoniosa
dir. Mike Fentross
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