Most music lovers have encountered George Frederick
Handel through holiday-time renditions of the Messiah's
"Hallelujah" chorus. And many of them know and love
that oratorio on Christ's life, death, and
resurrection, as well as a few other greatest hits like
the orchestral Water Music and Royal Fireworks Music,
and perhaps Judas Maccabeus or one of the other English
oratorios. Yet his operas, for which he was widely
known in his own time, are the province mainly of
specialists in Baroque music, ...(+)
Most music lovers have encountered George Frederick
Handel through holiday-time renditions of the Messiah's
"Hallelujah" chorus. And many of them know and love
that oratorio on Christ's life, death, and
resurrection, as well as a few other greatest hits like
the orchestral Water Music and Royal Fireworks Music,
and perhaps Judas Maccabeus or one of the other English
oratorios. Yet his operas, for which he was widely
known in his own time, are the province mainly of
specialists in Baroque music, and the events of his
life, even though they reflected some of the most
important musical issues of the day, have never become
as familiar as the careers of Bach or Mozart. Perhaps
the single word that best describes his life and music
is "cosmopolitan": he was a German composer, trained in
Italy, who spent most of his life in England.
This solo cantata for soprano and small orchestra was
written in 1707, during Handel's stay in Italy. He
wrote several of these little musical dramas for
performance at private evenings in the great houses of
various nobles, particularly in Rome (where opera was
not permitted). This is a comical text: The heroine is
not pining for love or lamenting an abandonment. She
is, rather, having a delicious last word as she sends
her wandering boy-friend packing. The musical action
begins just after the guy has stated that he will be
"faithful" and "constant." She answers: "You, faithful?
You, constant?" She goes on to list the various other
ladies he has romanced while seeing her: Filli of the
vivacious black eyes, Licori of the alluring lips,
Lidia of the blond tresses, and who knows how many
others. Following an opening "Sonata, " there are four
arias, each preceded by a recitative. It seems to have
been written for Margherita Durstanti, a soprano known
for her flashing temperament and bright, spirited
technique. The music, suitably, is both fiery and
spirited, and it is a delight when she concludes that
she will leave him and either find or new lover or at
least not be troubled by faithless men.
Although originally written for Chorus and Orchestra, I
created this arrangement for String Quartet (2 Violins,
Viola & Cello).
PARTITION