Submitted to British Society for Eighteenth Century Studies
Oxford Philomusica Summer Baroque 2013
GF Handel arr Mendelssohn: Acis and Galatea, Christ Church Cathedral Choir, 6 July 2013
Oxford Philomusica (OP), in residence at the University of Oxford, runs throughout the year a very full programme of classical music with something to suit all tastes from the greatest international performers to intimate chamber concerts, featuring players from their own ranks. Their major problem is that most of their concerts are held in the Sheldonian Theatre, where, to many, the excellent acoustics and setting in no way compensate for the extreme discomfort of the seating at extortionate prices (not the fault of the concert promoters); either one is crowded in on hard wooden benches or occupies one of the few chairs at floor level too close to the players and on eye- level with the midriffs of the soloists. There have been few occasions on which memories of the music have suppressed those of the discomfort. It is a great tribute to OP that they are able on so many occasions to fill the auditorium.
Thanks to the courtesy of OP this is the second year I have been able to attend and report to BSECS on concerts in their Summer Baroque season. This year it started with performances in Cheltenham and in Bristol juxtaposing The Four Seasons of Vivaldi with that of Argentinian Astor Piazzolla. Despite the strong advocacy of OP and the Oxford Chamber Music Society, who gave the same programme some years ago in St Mary’s Church in Oxford I find it difficult to accept that the South American composer has a legitimate place in the classical concert repertoire. Of the six Oxford concerts four were held in the Sheldonian and I was able to attend two of them.
Acis and Galatea, first performed in an English version as a masque by Handel around 1720, underwent various changes during his life. It was given on this occasion in an arrangement for soloists, chorus and orchestra by Felix Mendelssohn in the style common for the performance of baroque music until the mid-twentieth century when the movement for authentic sound started. It is a style which suits the charming, luscious romanticism of the words (based on Ovid and attributed to John Gay) and the music. There are four characters. The sea-nymph Galatea has encountered the shepherd Acis and they have become infatuated, despite the warnings of Acis’ buddy Damon about the possible consequences. The Cyclops Polyphemus has his eye on Galatea and, challenged by Acis, kills him. Galatea is reminded by the chorus that she has divine powers which she then uses to turn Acis into a fountain, giving her a permanent reminder of their joy.
The performers entered the full house, two rows of Christ Church Cathedral choristers at the back, the orchestra in front, with the soloists waiting their turns to the sides. Men and boys were immaculately clad in black trousers and shirtsleeves with bowties but, for some reason which requires an explanation, there was no dress code for the ladies who appeared in everything from full-length evening gowns to informal jacket and trousers, most inappropriate in the elegant surroundings of the Theatre. The soloists were Benjamin Hulett (Acis), Jeni Bern (Galatea), Tyler Clarke (Damon) and David Soar (Polyphemus). The conductor was Stephen Darlington.
The performance begins with a scene-setting chorus: Oh, the pleasures of the plains, Happy nymphs and happy swains, Harmless, merry, free and gay, Dance and sport the hours away. Galatea appears, played here with flashing eyes and seductive voice, summoning Acis followed by Damon, warning: Shepherd, what are thou pursuing? Heedless, running to thy ruin. The shorter Part One ends with a joyful duet: Happy we, What joys I feel, What charms I see, the Happy, Happy, Happy theme being taken up by the chorus. This is just like the reaction of family and friends of someone who has just established a long term relationship through internet dating. (Perhaps this is the way today’s nymphs and shepherds get together!) Part two is blacker. It starts with Polyphemus in a ferocious recitative: I rage – I melt – I burn –for love of Galatea, followed by one of Handel’s best known lollipop arias: O ruddier than the cherry David Soar delivers these, displaying a magnificent bass voice varying from long sustained unwavering notes in the recit to lighter lyrical vein in the aria. Polyphemus’ wooing of Galatea continues unsuccessfully until the confrontation with Acis. In a final aria Galatea sings: Heart, the seat of soft delight, Be thou now a fountain bright., followed by the Chorus: Galatea dry thy tears, Acis now a god appears….
In every way this was a marvellous performance, every syllable clear. The text is an utter delight – it is hard not to quote it at length!. The chorus and orchestra gave a stylish rendering of the score - though it was the style of Mendelssohn which might offend some baroque purists. We left echoing the chorus Happy we, What joys we feel.
13 July 2013
Oxford Philomusica Summer Baroque 2013
GF Handel arr Mendelssohn: Acis and Galatea, Christ Church Cathedral Choir, 6 July 2013
Oxford Philomusica (OP), in residence at the University of Oxford, runs throughout the year a very full programme of classical music with something to suit all tastes from the greatest international performers to intimate chamber concerts, featuring players from their own ranks. Their major problem is that most of their concerts are held in the Sheldonian Theatre, where, to many, the excellent acoustics and setting in no way compensate for the extreme discomfort of the seating at extortionate prices (not the fault of the concert promoters); either one is crowded in on hard wooden benches or occupies one of the few chairs at floor level too close to the players and on eye- level with the midriffs of the soloists. There have been few occasions on which memories of the music have suppressed those of the discomfort. It is a great tribute to OP that they are able on so many occasions to fill the auditorium.
Thanks to the courtesy of OP this is the second year I have been able to attend and report to BSECS on concerts in their Summer Baroque season. This year it started with performances in Cheltenham and in Bristol juxtaposing The Four Seasons of Vivaldi with that of Argentinian Astor Piazzolla. Despite the strong advocacy of OP and the Oxford Chamber Music Society, who gave the same programme some years ago in St Mary’s Church in Oxford I find it difficult to accept that the South American composer has a legitimate place in the classical concert repertoire. Of the six Oxford concerts four were held in the Sheldonian and I was able to attend two of them.
Acis and Galatea, first performed in an English version as a masque by Handel around 1720, underwent various changes during his life. It was given on this occasion in an arrangement for soloists, chorus and orchestra by Felix Mendelssohn in the style common for the performance of baroque music until the mid-twentieth century when the movement for authentic sound started. It is a style which suits the charming, luscious romanticism of the words (based on Ovid and attributed to John Gay) and the music. There are four characters. The sea-nymph Galatea has encountered the shepherd Acis and they have become infatuated, despite the warnings of Acis’ buddy Damon about the possible consequences. The Cyclops Polyphemus has his eye on Galatea and, challenged by Acis, kills him. Galatea is reminded by the chorus that she has divine powers which she then uses to turn Acis into a fountain, giving her a permanent reminder of their joy.
The performers entered the full house, two rows of Christ Church Cathedral choristers at the back, the orchestra in front, with the soloists waiting their turns to the sides. Men and boys were immaculately clad in black trousers and shirtsleeves with bowties but, for some reason which requires an explanation, there was no dress code for the ladies who appeared in everything from full-length evening gowns to informal jacket and trousers, most inappropriate in the elegant surroundings of the Theatre. The soloists were Benjamin Hulett (Acis), Jeni Bern (Galatea), Tyler Clarke (Damon) and David Soar (Polyphemus). The conductor was Stephen Darlington.
The performance begins with a scene-setting chorus: Oh, the pleasures of the plains, Happy nymphs and happy swains, Harmless, merry, free and gay, Dance and sport the hours away. Galatea appears, played here with flashing eyes and seductive voice, summoning Acis followed by Damon, warning: Shepherd, what are thou pursuing? Heedless, running to thy ruin. The shorter Part One ends with a joyful duet: Happy we, What joys I feel, What charms I see, the Happy, Happy, Happy theme being taken up by the chorus. This is just like the reaction of family and friends of someone who has just established a long term relationship through internet dating. (Perhaps this is the way today’s nymphs and shepherds get together!) Part two is blacker. It starts with Polyphemus in a ferocious recitative: I rage – I melt – I burn –for love of Galatea, followed by one of Handel’s best known lollipop arias: O ruddier than the cherry David Soar delivers these, displaying a magnificent bass voice varying from long sustained unwavering notes in the recit to lighter lyrical vein in the aria. Polyphemus’ wooing of Galatea continues unsuccessfully until the confrontation with Acis. In a final aria Galatea sings: Heart, the seat of soft delight, Be thou now a fountain bright., followed by the Chorus: Galatea dry thy tears, Acis now a god appears….
In every way this was a marvellous performance, every syllable clear. The text is an utter delight – it is hard not to quote it at length!. The chorus and orchestra gave a stylish rendering of the score - though it was the style of Mendelssohn which might offend some baroque purists. We left echoing the chorus Happy we, What joys we feel.
13 July 2013