Musique de Cour

Conquered lands, kingdoms, history, love stories - such a lush inheritance we have from the Great Kings and Dukes. However, many of rulers were not only talented politicians, warlords, usurpers, also they were quite good composers. For example, Richard I of England, Henry VIII, Louis XIII had left a music heritage for us (which is not really bad, indeed). His contribution to music, as a composer, made Philippe II, Duke of Orleans. A few words about the Duke. According to me, he was handsome and very well educated, talented and smart, he was good at art and war questions. Philippe II, Duke of Orleans was a son of Philippe I, Duke of Orleans (brother of the King of France, Louis XIV) and Elizabeth Charlotte, Madame Palatine. Parents of Philippe II took a good care about his education, including music. His teachers were: André Campra, Charles Hubert Gervais, Antoine Forqueray; his teacher in composition was Marc-Antoine Charpentier. It was Charpentier who helped the Duke with his fi

Opera Platée - Aux langueurs d'Apollon Daphne se réfusa Opera Dardanus - Quand l'aquilon fougueux (prologue) Opera Anacreon - Tendre amour (scene 3) Opera Les Indes Galantes - Feuillages verts naissez Opera Les Indes Galantes - Regnez Author: Alisia Holainen

1. Acis & Galatée - Qu'une injuste fierté (Chaconne) (act 2, scene 5) 2. Amadis - Toi, qui dans ce tombeau, aria of Arcabonne (act 3, scene 3) 3. Amadis - Que vois-je ! Ô spectacle effroyable? - Oriane's aria (act 4, scene 4) 4. Armide - Enfin, il es en ma puissance. Armida's aria (act 2, scene 5) 5. Atys - Espoir si cher et si doux (act 3, scene 8) 6. Cadmus et Hermione. Hermione's aria from act 2, scene 5 Author: Alisia Holainen

Music of Handel was quite know in Dublin. There, they played some of composer’s compositions, including oratorios and church music. We remember, that the last Handel’s opera Deidamia (premiered - January 10, 1741) - had failed. So, this failure was the main reason why Handel, in 1741, accepted the invitation to make his next concert season in Dublin. Handel was invited to Dublin by governor-general in Ireland - William Cavendish, 3rd Duke of Devonshire. Lord Cavendish loved Handel’s music, probably, before to invite Maestro to Dublin, he met him many times in London. Handel left to Ireland around 4th of November and on November 18, composer arrived to Dublin. Irish audience met Maestro with the great enthusiasm. Local newspaper wrote about upcoming Handel’s concerts in pompous phrases, emphasizing that funds from some of the concerts would be used for charity. ***William Cavendish wasn’t only a politician, but also Maecenas and benefactor. He negotiated with the composer abou

Madrigal Madrigal (it. Madrigale from Latin matricale ). Form of vocal chamber music, the number of voices varies from two to eight, and most frequently from three to six; the musical form reflecting the structure of the poem. Usually, the main subject of madrigal is love story. Madrigal was really popular during Renaissance period. Motet Motet (French motet from Latin motetus ) - style of vocal composition with polyphonic structure. Typically, it is a Latin religious choral composition, yet it can be a secular composition or a work for soloist and instrumental accompaniment, in any language, with or without a choir. Chanson Chanson - French song of Medieval and Renaissance period. Usually, it was written for one solois and one instrument. Almost all chansons were written in Rondo, ballad or virelai form. Main subject - courtly love. Chanson was favourite genre of troubadours in 13 - 14th century. Organum Organum is an early Medieval form of plainsong, or plainc

Giovanni Carestini - great singer-castrato, opera star of Handel’s era. Carestini was born in 1704, in Italy near Ancona. It is known, that he studied singing with the great castrato - Antonio Bernacchi. In 1721 Carestini had his debut in Rome, in Scarlatti’s opera La Griselda. Carestini had soprano voice, which was quite high with the range of two full music octaves. Giovanni Carestini started his collaboration with Maestro Handel in 1733. In fact, he replaced Senesino , who, by that moment, left Royal Academy. Carestini worked with Handel only two seasons, but how lush and colorful were the roles which Carestini sang during this short period: Ruggiero in Alcina and the title role in Ariodante. Carestini was successful, the public in London loved him, but after 2 seasons of collaboration with Handel, singer’s career began to decline. In spite of the fact, that in 1733 Giovanni Carestini was successful among London public, in 1740 (when he came back to England again), the sin