A concert recording from the minster
at abbey Maulbronn, Sept. 27th & Sept. 28th, 2003

George Frideric Handel
S O L O M O N
Oratorio in three acts
An historically accurate performance
in English

Michael Chance
altus ~ Solomon
Nancy Argenta
soprano ~ Solomon´s Queen, First Harlot
Laurie Reviol
soprano ~ Queen of Sheba, Second Harlot
Julian Podger
tenor ~ Zadok
Steffen Balbach
bass ~ Levite

Hannoversche Hofkapelle (on period instruments)
Maulbronn Chamber Choir
Conductor: Juergen Budday

2 CDs, DDD, EUR 33,-
ISBN 3-930643-73-1, EAN 42 6000591 026 1
© by K&K Verlagsanstalt anno 2004

Performance & Opus

This recording is part of a cycle of old testament oratorios by G. F. Handel and is one of the many concerts performed at Maulbronn monastery over the past years. The series combines authentically performed baroque oratorios with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically authentic performance. The music is exclusively performed on reconstructed historical instruments, which are tuned to the pitch customary in the composers lifetime (a = c. 415 Hz). The two four-voice choirs are placed separately, allowing the listener to experience the complexity of the choir parts with more transparency making the unique stereophony of this work more concrete.

In the summer months of 1748 Handel composed the two oratorios Solomon and Susanna for the ensuing season. He started on Solomon on 5th May 1748 and terminated the score on 13th June 1748 with the devotion S.(Soli) D.(Deo) G.(Gloria). The work is considered a link to Handel's later oratorios. His earlier oratorios are coloured with political affairs and allusions, as in his famous oratorio Judas Maccabaeus, inspired by the Scottish rebellion of 1745. Solomon depicts a wise and god-fearing ruler, with Solomon's court presenting the image of an ideal society. The central theme of the libretto has its origin in narratives from the Old Testament: the Book of Kings (1st Kings 1-11) and the Chronicles (2nd Chr. 1-9), among others. Despite this, one ascribes this oratorio not only aspects of the Judeo-Christian tradition, but also a pantheistic world view, in which God is to be found in all aspects of life. The different qualities of King Solomon are demonstrated and celebrated in the various acts of the oratorio. It is often suggested that Handel wished to extol the golden age of England and its ruler, George II who had granted him English nationality. Handel praised the glory of England and its monarchs with this oratorio by equating them with Israel and King Solomon. He used a, for that time, very large orchestra and was able to use the unparalleled expressive possibilities in his depiction of "pomp and circumstance". The oratorio is not distinguished with a dramatic plot, but rather contains juxtaposed pictures and scenes. The ensuing static impression that emerges is balanced by the richness of colour in the individual tableaus. The different scenes and events allow Handel to use his whole palette of compositoric expression. Differentiated instrumentation, large choral pieces, soloistic elements and sensitive musical character studies demonstrate Handels great artistic ability. With two choirs and seven eight-voice choir parts he exhausts all at that time existing composition possibilities. By casting Solomon with a countertenor he uses opera's tradition of elevating heroes abounding with nearly supernatural strength and wisdom into the superhuman by using feminine voices.

In the first act, Solomon appears as a God-fearing King, celebrating the finishing of the temple in Jerusalem with his people, following which we see the love to his wife, his generosity, his gentleness and fidelity. Powerful, jubilant choirs bear witness to the court's splendour and glory. The passage in the text "till distant nations catch the song" from the choirs' With pious heart is composed very vividly by Handel. The numerous fugal entries mirror the different nations that spread God's message. The act ends with the royal couple's retreat into the bedchamber accompanied by a soft background choir. Nightingales (flutes) and warm breezes (deep rustling of the violins and violas) enhance the twilight atmosphere.

In the second act, the famous story of Solomon's wise judgment is told. A servant brings the petition of two dissenting women who are seeking the King's judgment. It is revealed that both women have given birth to a son. It is asserted that one of the sons died in the night and the mother swapped her dead son with the other woman's child. Both now claim to be the true mother and denote the other a liar. In this difficult situation, Solomon uses a clever ruse. He proclaims the child should be cut in two and each woman should be given one half. While one of the women consents, the other woman desperately asks him to spare her innocent child. She would rather let the other woman have him than to see him die. Thus Solomon recognizes in her sorrow and despair the true love of a mother and returns the child to her. The musical high points in this act are primarily the portrayals of the main figures, with distinctive motifs being assigned to each individual. Hard, syncopated rhythms characterize the envy, the inner turbulence and the wickedness of the childless woman, whereas the other woman, seeing her child in great danger, is accompanied by dotted figures in the bass line, which form the basic atmosphere of gnawing fear. Dissonant suspensions and modulations increase this fearful tension, until the difficult decision "take him all" leads to a resolution in major with a simultaneous, descending, mournful bass line. The characters join Solomon to form a musically masterful trio. Handel is able to elaborate and illuminate their characteristics in an unparalleled way.

With the arrival of the Queen of Sheba, the final act of the oratorio demonstrates Solomon's "foreign policy" ability. Choir pieces expressing the most diverse human emotions are performed for her entertainment, allowing Handel to demonstrate his full range of composing skills. Possibly Handel deliberately wished to incorporate the four tempers in these chorals for the Queen of Sheba: sanguine Music, spread thy voice around, choleric Shake the dome, melancholic Draw the tear from hopeless love and phlegmatic Thus rolling surges rise... and all is calm again. In the choral Shake the dome, the two choirs confront each other like two armies in battle and are further roused by the extreme dotted rhythms of the strings. The audience experiences the choirs from the standpoint of the Queen of Sheba and is thus drawn into the happenings in a way analogous to the Greek dramas. The Queen of Sheba shows herself to be impressed with the choirs' tonal versatility and Solomon's court. The following choral, Praise the Lord with harp and tongue, exalting not only God but also and above all Solomon, is one of Handel's most magnificent works for two choirs and is thus sometimes used as the final chorale. Here, however, there follows the farewells of the two rulers and the oratorio finishes with the moral essence, "The name of the wicked shall quickly be past; but the fame of the just shall eternally last".

Artists

Michael Chance - Countertenor (Solomon)
Michael Chance's carrier began, as did so many of his colleagues, in King's College, Cambridge, as male alto in England's conceivably most famous choir. Today he is one of the world's most sought after countertenors not only for opera but also for oratorios and songs and is a visiting Professor at the Royal College of Music, London. He performs often in Paris, Amsterdam, Stuttgart and Berlin, and has also been in America, Japan and Australia many times. Frieder Bernius, Frans Brüggen, John Eliot Gardiner and Trevor Pinnock are just some of the conductors that he works with regularly. A specialty of Michael Chance's are the song evenings he gives with the Gamben-Consort Fretwork, Nigel North und Roger Vignoles, in which he sings pieces for voice and lute from mainly english composers of the Renaissance and present day.

Nancy Argenta - Soprano (Solomon´s Queen, First Harlot)
The Canadian singer counts for many as "the supreme Handel soprano of our age". She started her musical studies in British Columbia where she graduated in 1980 from the University of Western Ontario. Her teachers included Sir Peter Pears, Gérard Souzay and Vera Rozsa with whom she occasionally still works. Her repertoire stretches from the 17th century to today and includes songs, oratorios and Opera. She is a frequent guest of many international festivals such as those in Aix-en-Provence, Aldeburgh, Bath, Berlin, Göttingen, New York and Vienna.

Laurie Reviol - Sopran (Queen of Sheba, Second Harlot)
The Canadian born soprano studied piano and voice in Toronto. She also completed an artistic study in the field of historic performance practices at the College of Performing Arts in Frankfurt. She is a member of the Ensemble Leonarda. Opera engagements have taken her to Frankfurt, Bayreuth, Schwerin and Quedlinburg and also to Utrecht (Festival Oude Musziek), Vienna and to America (Boston Early Music Festival). She has worked with, among others, Erin Headley, Michael Schneider, Stephen Stubbs und Paul O'Dette. Laurie Reviol is also a passionate jazz singer.

Julian Podger - Tenor (Zadok)
In 1987 he received a choral scholarship to study music at Trinity College, Cambridge. Today, Julian Podger is a much asked for oratorio soloist. He has recorded the arias of Bach's St. John Passion with the Scholars Baroque Ensemble and regularly performs as Evangelist. He has appeared regularly as a soloist for Paul McCreesh, Christopher Hogwood, John Eliot Gardiner and with Musica Antiqua Köln under Reinhard Goebel. He is also a member of one of the word's leading medieval ensembles, Gothic Voices, under Christopher Page, and a regular member of the Gabrieli Consort, London Baroque, the Tallis Scholars and the Harp Consort.

Steffen Balbach - Bass (Levite)
studied church music at the College of Church Music, Esslingen. He was full time cantor of the ev. Christuskirche in Donaueschingen. He completed his vocal studies at the Freiburg Conservatory with the highest possible point count. Since then, he has sung the bass and baritone parts of countless oratorios, cantatas and masses. In 2001 he reached the final round of the renowned international vocal competition Belvedere in Vienna. Stefan Balbach works with the choir of Radio Bavaria and the Gewandhaus-Kammerchor, Leipzig. He has been a member of the National Opera, Stuttgart since 2002.

Hannoversche Hofkapelle
The Hannoversche Hofkapelle maintains the tradition of the historic court orchestras and performs with both chamber and symphonic instrumentation. The fact that its members also play in other european Baroque formations, helps forge the sound of the ensemble. The repertoire of the Hannoversche Hofkapelle not only incorporates Baroque music in all its forms, but also Romantic pieces and Classical works, especially Mozart's operas. The continual involvement with the music of the 17th and 18th century has allowed each of the Hofkapelle's musicians to become a master of his instrument. From this emerges the expressive and elegant playing that allows the Hannoversche Hofkapelle to secure its position.

Maulbronn Chamber Choir
The Maulbronn Chamber Choir was founded by its director Jürgen Budday in 1983 and is one of the best choirs in Germany today. The ensemble compiles a sacred and secular a-cappella programme every year, its focal point being 19th and 20th century literature. First prize at the Baden Wuerttemberg Choir Competition in 1989 and 1997, second prize at the Third German Choir Competition in Stuttgart in 1990, and a victory at the Fifth German Choir Competition in Regensburg in 1998 document the chamber choir's extraordinary musical standard. The Maulbronn Chamber Choir has received, among others, invitations to the Ettlingen Palace Festival, the chamber music series of the Dresden Philharmonic, the cloister concerts at the Walkenried Convent, the First International Festive Days of Clerical Music in Rottenburg, and the European Music Fest in Passau. The choir has also made a name for itself internationally. The 1983 debut tour through the USA with concerts in, among others, New York and Indianapolis, and the participation at the Festival of Music in New Harmony, Indiana, as well as concert tours through numerous European countries, Israel, Argentina (1993 and 1997), South Africa, and Namibia (2001) were all greeted with similar enthusiasm by the public and critics alike. The third tour through South America followed in autumn 2003 with concerts in Argentina and Uruguay.

Jürgen Budday
is director of church music and artistic director of the concert series at the monastery of Maulbronn, of the cantor choir and of the Maulbronn Chamber Choir. He studied music pedagogy, church music and musicology at the academy of music in Stuttgart and since 1979, has taught at the Evangelisch-theologisches Seminar in Maulbronn. For his teaching and artistic activity he has received the Bundesverdienstkreuz am Bande and the Bruno-Frey-Preis of the Landesakademie Ochsenhausen. Since 2002, Jürgen Budday has also held the chair of the choral committee of the Deutscher Musikrat. Several concert recordings have been made under his artistic direction that have received international recognition and high praise from critics. These have included the Handel oratorios Jephtha, Samson, Judas Maccabaeus and Saul with Emma Kirkby, Michael Chance, Nancy Argenta and Stephen Varcoe.

About the edition

Concerts from Maulbronn Monastery, a UNESCO's World Heritage Site:
The abbey, founded by Cistercian monks in the year 1147, is the only completely preserved mediaeval complex north of the Alps. In 1994, it was the 13th German site added to the list of UNESCO World Heritage Sites and is thus in the illustrious company of such great monuments as the Egyptian pyramids and the Taj Mahal. The internationally renowned monastery concerts have occurred since 1968. The performances take place in the unparalleled atmosphere of the abbey's premises (monastery church, cloister gardens and lay refectory). Under the arches illuminated by romantic candlelight, 25 concerts are held every year. This series presents a selection of some of the most beautiful works of sacred and secular music.

The Edition
"What makes the European atmosphere so impressive? By which means can the European heritage be defined? Where do the roots of European culture lie? Within the context of our documentary series ‘Maulbronn Monastery Edition’, we investigate these questions by documenting great works of European music with live excerpts from one of the most authentic sites this side of the Alps. I have personally experienced the perfect acoustics and architectural beauty of the concert site and was greatly impressed. A publisher has no choice but to endeavour to preserve these cultural gems for future generations."

Josef-Stefan Kindler