oboe, 2 violins, (viola), cello, (theorbo) & claviorganum / harpsichord & organ
Corelli, Triosonata (2vlns, bc)
Händel, Triosonata (ob, vln, bc), HWV 390
Händel, Harpsichord suite in d, HWV 428, Prelude, Allegro, Allemande, Courante
Corelli, La Folia, op. 5/12 (vln, bc)
Händel, Oboe concerto, HWV 287 (ob, 2vlns, vla, bc)
– break –
Corelli, Triosonatea (2vln, bc)
Corelli, Sonata con Aboé (ob, 2vlns, bc) – WoO 4
Händel, Il trionfo del Tempo e del Disinganno, HWV 46a [E], Adagio from Sonata del Overtura
Händel, Harpsichord suite in d, HWV 428, Air met Doubles
Händel, Organ concerto “The Cuckoo and the Nightingale”, HWV 295
The approach of the programme for this project is a musical confrontation between Corelli and Handel. Rumor has it that a love-hate relationship had developed between the two composers during Handel’s presence in Rome in 1707 and 1708. Anecdotes reveal that it caused a lot of fireworks. For instance: Corelli, already at the end of his career, is said to have refused to play an overture by the young Handel in the French style. As Corelli was also a magnificent violinist, the young Händel would also challenge him on that part. Once, Corelli walked off the stage because there was a high mi in the score! The two must have encountered each other often. Among other things, they worked together at premieres of oratorios by Handel, in which Corelli was the concertmaster and Handel led the orchestra from the harpsichord. They have probably never admitted it to each other, but we assume they found their collaborations very inspiring, entertaining and challenging. The fact remains that Handel’s music shows a huge influence by Corelli. Their rich output of instrumental (chamber) music ensures that we were able to put together a beautiful, rich, varied and interesting programme. Reason enough, therefore, to perform these two baroque masters side by side. They can often be heard separately, but the confrontation makes this production unique. We are convinced that our well-considered, rich programme, which covers many different genres, composition styles, moods and affects, will be enjoyed by connoisseurs and enthusiasts alike. Among others, the well-known and virtuoso La Follia by Corelli, the imaginative oboe concerto and Handel’s playful organ concerto ‘The Cuckoo and the Nightingale’ will be heard. Lesser-known works, such as Corelli’s Sonata con Aboé, will also be featured.
The rich instrumentation, including claviorganum
An important aspect of Musica Gloria’s identity, and therefore of this project, is to immerse listeners in a rich variety of timbres. This project features all instrument groups for this repertoire (solo), leading to a diverse combination of (copies of) historical instruments. It is the warm sounds of those old instruments from roughly the 15th to 18th centuries that the members of the ensemble have fallen in love with. The instruments in this project are oboe, 2 violins, viola, cello, theorbo, guitar and claviorganum (a combination of harpsichord and organ). The rich basso continuo line-up will help ensure that the affects expressed by the soloists will be maximally supported and co-created. The most unique and striking feature of the instrumentation is, of course, the claviorganum, unjustly still relatively unknown to the public.. With this project, we want to bring this particular instrument closer to the public.