Laurence Cummings - Handel: Joshua, HWV 64 (2009)
Artist: London Handel Orchestra and Chorus, Laurence Cummings
Title: Handel: Joshua, HWV 64
Year Of Release: 2009
Label: Somm Recordings
Genre: Classical
Quality: FLAC (image + .cue, log, scans)
Total Time: 01:58:33
Total Size: 564 MB
WebSite: Album Preview
Tracklist:Title: Handel: Joshua, HWV 64
Year Of Release: 2009
Label: Somm Recordings
Genre: Classical
Quality: FLAC (image + .cue, log, scans)
Total Time: 01:58:33
Total Size: 564 MB
WebSite: Album Preview
Disc 1:
01. Joshua, oratorio, HWV 64: Part 1. Introduzione. A tempo di Ouverture
02. Joshua, oratorio, HWV 64: Part 1. Scene 1. Chorus. Ye sons of Israel, ev'ry tribe attend
03. Joshua, oratorio, HWV 64: Part 1. Scene 1. Recitative. Behold, my friends, what vast rewards are giv'n
04. Joshua, oratorio, HWV 64: Part 1. Scene 1. Aria. O first in wisdom, first in pow'r!
05. Joshua, oratorio, HWV 64: Part 1. Scene 1. Recitative. Matrons, and virgins, with unwearied pray'r
06. Joshua, oratorio, HWV 64: Part 1. Scene 1. Aria. Oh! who can tell, oh! who can hear
07. Joshua, oratorio, HWV 64: Part 1. Scene 1. Recitative. Caleb, attend to all I now prescribe
08. Joshua, oratorio, HWV 64: Part 1. Scene 1. Solo and Chorus. To long posterity we here record
09. Joshua, oratorio, HWV 64: Part 1. Scene 1. Accompagnato. So long the memory shall last
10. Joshua, oratorio, HWV 64: Part 1. Scene 1. Air. While Kedron's brook to Jordan's stream
11. Joshua, oratorio, HWV 64: Part 1. Scene 2. Recitative. But, who is he? - tremendous to behold!
12. Joshua, oratorio, HWV 64: Part 1. Scene 2. Aria. Awful, pleasing being say
13. Joshua, oratorio, HWV 64: Part 1. Scene 2. Recitative. Joshua, I come commission'd from on high
14. Joshua, oratorio, HWV 64: Part 1. Scene 2. Accompagnato. Leader of Israel, 'tis the Lord's decree
15. Joshua, oratorio, HWV 64: Part 1. Scene 2. Recitative. To give command, prerogative is thine
16. Joshua, oratorio, HWV 64: Part 1. Scene 2. Air. Haste, Israel, haste
17. Joshua, oratorio, HWV 64: Part 1. Scene 2. Chorus. The Lord commands, and Joshua leads
18. Joshua, oratorio, HWV 64: Part 1. Scene 3. Accompagnato. In these blest scenes
19. Joshua, oratorio, HWV 64: Part 1. Scene 3. Recitative. 'Tis Achsah's voice
20. Joshua, oratorio, HWV 64: Part 1. Scene 3. Accompagnato. Hail, lovely virgin of this blissful bow'r!
21. Joshua, oratorio, HWV 64: Part 1. Scene 3. Aria. Hark, 'tis the linnet and the thrush!
22. Joshua, oratorio, HWV 64: Part 1. Scene 3. Recitative. Oh Achsah! form'd for ev'ry chaste delight
23. Joshua, oratorio, HWV 64: Part 1. Scene 3. Duet. Our limpid streams with freedom flow
24. Joshua, oratorio, HWV 64: Part 1. Scene 3. Trumptets flourish
25. Joshua, oratorio, HWV 64: Part 1. Scene 3. Recitative. The trumpet calls; now Jericho shall know
26. Joshua, oratorio, HWV 64: Part 1. Scene 3. Aria. May all the host of Heav'n attend him round
Disc 2:
01. Joshua, oratorio, HWV 64: Part 2. Scene 1. Recitative. 'Tis well; six times the Lord hath been obey'd
02. Joshua, oratorio, HWV 64: Part 2. Scene 1. A solemn march during the circumvention of the Ark of the Covenant
03. Joshua, oratorio, HWV 64: Part 2. Scene 1. Solo and Chorus. Glory to God! - The nations tremble
04. Joshua, oratorio, HWV 64: Part 2. Scene 1. Recitative. The walls are levell'd
05. Joshua, oratorio, HWV 64: Part 2. Scene 1. Aria. See, the raging flames arise
06. Joshua, oratorio, HWV 64: Part 2. Scene 1. Aria. To vanity and earthly pride
07. Joshua, oratorio, HWV 64: Part 2. Scene 2. Recitative. Let all the seed of Abrah'm now prepare
08. Joshua, oratorio, HWV 64: Part 2. Scene 2. Solo and Chorus. Almighty Ruler of the skies
09. Joshua, oratorio, HWV 64: Part 2. Scene 3. Recitative. Joshua, the men dispatch'd by thee
10. Joshua, oratorio, HWV 64: Part 2. Scene 3. Chorus. How soon our tow'ring hopes are cross'd!
11. Joshua, oratorio, HWV 64: Part 2. Scene 3. Recitative. Whence this dejection?
12. Joshua, oratorio, HWV 64: Part 2. Scene 3. Air and Chorus. We with redoubled rage return
13. Joshua, oratorio, HWV 64: Part 2. Scene 4. Aria. Heroes, when with glory burning
14. Joshua, oratorio, HWV 64: Part 2. Scene 4. Recitative. Indulgent heav'n hath heard my virgin pray'r
15. Joshua, oratorio, HWV 64: Part 2. Scene 4. Air. As cheers the sun the tender flow'r
16. Joshua, oratorio, HWV 64: Part 2. Scene 5. Recitative. Sure I'm deceiv'd, with sorrow I behold
17. Joshua, oratorio, HWV 64: Part 2. Scene 6. Aria. Nations, who in future story
18. Joshua, oratorio, HWV 64: Part 2. Scene 7. Recitative. Brethren and friends, what joy this scene imparts
19. Joshua, oratorio, HWV 64: Part 2. Scene 7. Flourish of warlike instruments
20. Joshua, oratorio, HWV 64: Part 2. Scene 7. Recitative. Thus far our cause is favour'd by the Lord
21. Joshua, oratorio, HWV 64: Part 2. Scene 7. Flourish of warlike instruments
22. Joshua, oratorio, HWV 64: Part 3. Scene 1. Chorus. Hail, mighty Joshua, hail!
23. Joshua, oratorio, HWV 64: Part 3. Scene 1. Aria. Happy, oh, thrice happy we
24. Joshua, oratorio, HWV 64: Part 3. Scene 1. Recitative. Caleb, for holy Eleazer send
25. Joshua, oratorio, HWV 64: Part 3. Scene 1. Aria. Shall I in Mamre's fertile plain
26. Joshua, oratorio, HWV 64: Part 3. Scene 1. Chorus. For all these mercies we will sing
27. Joshua, oratorio, HWV 64: Part 3. Scene 1. Recitative. O Caleb, fear'd by foes, by friends ador'd
28. Joshua, oratorio, HWV 64: Part 3. Scene 1. Air. Place danger around me
29. Joshua, oratorio, HWV 64: Part 3. Scene 2. Chorus. Father of mercy, hear the pray'r we make
30. Joshua, oratorio, HWV 64: Part 3. Scene 2. Recitative. In bloom of youth, this stripling hath achiev'd
31. Joshua, oratorio, HWV 64: Part 3. Scene 2. Duet. See the godlike youth advance!
32. Joshua, oratorio, HWV 64: Part 3. Scene 2. Chorus. See, the conqu'ring hero comes!
33. Joshua, oratorio, HWV 64: Part 3. Scene 3. Recitative. Welcome, my son, my Othniel, good and great
34. Joshua, oratorio, HWV 64: Part 3. Scene 3. Aria. Oh! had I Jubal's lyre
35. Joshua, oratorio, HWV 64: Part 3. Scene 3. Recitative. While life shall last
36. Joshua, oratorio, HWV 64: Part 3. Scene 3. Duet. O peerless maid, with beauty blest
37. Joshua, oratorio, HWV 64: Part 3. Scene 3. Recitative. While lawless tyrants, with ambition blind
38. Joshua, oratorio, HWV 64: Part 3. Scene 3. Chorus. The great Jehovah is our awful theme
The performance preserved on this recording is built around half an aria. When Handel revived Joshua for the first time in 1752, he rewrote the B section of Achsah’s act I aria “Hark! ’tis the linnet and the thrush.” All other recordings have used the revised version as printed in Chrysander’s score (with inaccuracies, according to this recording’s notes). In all other respects, the score is the same as that used in other recordings.
Laurence Cummings leads a very good performance. He sets reasonable tempos and is alive to what dramatic life Handel was able to infuse into the rather static libretto. Among the best recordings of Joshua , Cummings is the only conductor who correctly observes the details of historical performance practice. Both Robert King (Hyperion) and Peter Neumann (MDG) frequently (and incorrectly) use organ (usually accompanied by theorbo or lute) in place of the harpsichord in recitatives and arias. Cummings does not even use a theorbo or lute, and we have no evidence that Handel used such an instrument in his performances after 1739.
Cummings uses a rather small orchestra by Handelian standards. Strings are 4/4/2/2/1, and the orchestra can occasionally sound a little thin, for example in the march near the beginning of act II. But for the most part the orchestra sounds full enough; King (7/6/3/3/2) and Neumann (6/5/3/2/2) with their larger groups never sound underpowered. Because this is a live performance, there is the very occasional small lack of precision in ensemble, but this is not really a problem. The occasional stage noise is the only other hint that this is a live production; the audience is extremely quiet, except for the applause at the end of each act.
The London Handel Singers are also the smallest of the choral groups in the major recordings, with a mixed ensemble of 18 singers. King’s all-male chorus numbers 30, while Neumann uses a mixed chorus of 28. All three groups are excellent.
Cummings has assembled an outstanding set of soloists. All cope well with the florid music they are given to sing. Allan Clayton, though not quite as elegant as John Mark Ainsley for King, is a forceful Joshua; James Gilchrist for Neumann is also outstanding. Catherine Manley as Achsah is sweet and supple of voice, as are her competitors, Emma Kirkby for King and Myung-Hee Hyun for Neumann. Handel wrote the role of Othniel for a female contralto, and Cummings is the only one of the three conductors to cast a female in the role. Alexandra Gibson begins a bit tentatively, but she soon settles down to provide a good performance. I prefer her singing to that of James Bowman for King. Alex Potter for Neumann is also good, but I confess to a preference for natural voices. George Humphreys is the best of the three basses; though all are good, Michael George for King is somewhat wooly-voiced, while Konstantin Wolff for Neumann is not quite as smooth in coloratura as the other two. The small tenor role of the Angel is given to a boy treble in King’s recording.
Laurence Cummings leads a very good performance. He sets reasonable tempos and is alive to what dramatic life Handel was able to infuse into the rather static libretto. Among the best recordings of Joshua , Cummings is the only conductor who correctly observes the details of historical performance practice. Both Robert King (Hyperion) and Peter Neumann (MDG) frequently (and incorrectly) use organ (usually accompanied by theorbo or lute) in place of the harpsichord in recitatives and arias. Cummings does not even use a theorbo or lute, and we have no evidence that Handel used such an instrument in his performances after 1739.
Cummings uses a rather small orchestra by Handelian standards. Strings are 4/4/2/2/1, and the orchestra can occasionally sound a little thin, for example in the march near the beginning of act II. But for the most part the orchestra sounds full enough; King (7/6/3/3/2) and Neumann (6/5/3/2/2) with their larger groups never sound underpowered. Because this is a live performance, there is the very occasional small lack of precision in ensemble, but this is not really a problem. The occasional stage noise is the only other hint that this is a live production; the audience is extremely quiet, except for the applause at the end of each act.
The London Handel Singers are also the smallest of the choral groups in the major recordings, with a mixed ensemble of 18 singers. King’s all-male chorus numbers 30, while Neumann uses a mixed chorus of 28. All three groups are excellent.
Cummings has assembled an outstanding set of soloists. All cope well with the florid music they are given to sing. Allan Clayton, though not quite as elegant as John Mark Ainsley for King, is a forceful Joshua; James Gilchrist for Neumann is also outstanding. Catherine Manley as Achsah is sweet and supple of voice, as are her competitors, Emma Kirkby for King and Myung-Hee Hyun for Neumann. Handel wrote the role of Othniel for a female contralto, and Cummings is the only one of the three conductors to cast a female in the role. Alexandra Gibson begins a bit tentatively, but she soon settles down to provide a good performance. I prefer her singing to that of James Bowman for King. Alex Potter for Neumann is also good, but I confess to a preference for natural voices. George Humphreys is the best of the three basses; though all are good, Michael George for King is somewhat wooly-voiced, while Konstantin Wolff for Neumann is not quite as smooth in coloratura as the other two. The small tenor role of the Angel is given to a boy treble in King’s recording.
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