When back in 2003 Rachel Podger’s recording of Vivaldi’s 12 violin concertos Op.4 ‘La Stravaganza’ Vivaldi: La Stravaganza – Podger/Arte Dei Suonatori was released it was universally acclaimed & quickly went on to garner numerous awards from many sections of the music press including Gramophone, Stereophile & The Absolute Sound as well as winning a Diapason d’Or. It is also interesting to note that even on SA-CD.net more than 100 people have recommended that recording. In the intervening years Rachel Podger has widened her recorded repertoire to make further highly regarded recordings of works by Bach, Haydn & Mozart, but she has now made a triumphant return to Vivaldi with this wonderful set of the composer’s 12 Violin Concertos Op.9 known as ‘La Cetra’ .
McGegan's recording is of considerable documentary interest in that a separate section at the conclusion of each of the three parts of Messiah - there are three discs accordingly - is reserved for the many alternative versions of arias, accompanied recitatives and choruses which Handel himself used or at least approved in performances during the 1740s and 1750s. In this way, the booklet explains, the listener can select which version of the work he/she wants to listen to at any given time. About six versions are possible from the 18 alternative tracks provided on the three CDs. By following a table printed in the back of the booklet (a few minutes' mental gymnastics are initially required) you can programme your CD player to replace particular arias with others.
It is only a short while since I reviewed a suite of dances from Rameau's opera, Nais. Now, hard on the heels of that disc (also conducted by McGegan, Harmonia Mundi, 7/95) comes a reissue of the entire work, albeit with judicious cuts. Nais was commissioned to celebrate the Treaty of Aix-la-Chapelle in 1748, and first performed the following year. Thus it was a vocal counterpart to Handel's Music for the Royal Fireworks, both pieces marking the conclusion of the War of the Austrian Succession. The present recording was made in 1980 following performances at London's Old Vic Theatre and at Versailles under the auspices of Lina Lalandi's enterprising English Bach Festival.
George Frideric Handel (1685 - 1759): Susanna. Oratorio. First performed 1749. Complete version including all the music that Handel later deleted. Performed by Lorraine Hunt and Jill Feldman, soprano, Drew Minter, countertenor, Jeffrey Thomas, tenor, David Thomas and William Parker, bass; the U.C. Berkely Chamber Choir; the Philharmonia Baroque Orchestra, San Francisco, conducted by Nicholas McGegan. Recorded live in September, 1989, at the Hertz Hall at the University of California.
The London Baroque's traversal of the Baroque trio sonata across its various developments over time and into diverse national styles enters somewhat arcane territory here with a program of English trio sonatas of the 18th century. The program is chronological, at least by publication (the Op. 5 set of trio sonatas by Handel, though published in 1759, was assembled from earlier music from a variety of genres), and the pieces represented run from one of the first English examples of the trio sonata to Classical-style music in which the harpsichord continuo is almost superfluous.