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George Frideric (or Frederick) Handel (1685 – 1759) was a German-British Baroque composer well-known for his operas, oratorios, anthems, concerti grossi, and organ concerti. He was born in Halle, Germany and spent his early life in Hamburg and Italy before settling in London in 1712, where he spent the bulk of his career and became a naturalised British subject in 1727.He was strongly influenced both by the middle-German polyphonic choral tradition and by composers of the Italian Baroque. In t...
George Frideric (or Frederick) Handel (1685 – 1759)
was a German-British Baroque composer well-known for
his operas, oratorios, anthems, concerti grossi, and
organ concerti. He was born in Halle, Germany and spent
his early life in Hamburg and Italy before settling in
London in 1712, where he spent the bulk of his career
and became a naturalised British subject in 1727.He was
strongly influenced both by the middle-German
polyphonic choral tradition and by composers of the
Italian Baroque. In turn, Handel's music forms one of
the peaks of the "high baroque" style, bringing Italian
opera to its highest development, creating the genres
of English oratorio and organ concerto, and introducing
a new style into English church music. He is
consistently recognized as one of the greatest
composers of his age.
Arianna in Creta ("Ariadne in Crete", HWV 32) is an
opera seria in three acts by George Frideric Handel.
The Italian-language libretto was adapted by Francis
Colman from Pietro Pariati's Arianna e Teseo, a text
previously set by Nicola Porpora in 1727 and Leonardo
Leo in 1729. The opera was first given at the King's
Theatre in London on 26 January 1734 and then presented
in a revised version with dances added for Marie Sallé
at Covent Garden Theatre on 27 November of the same
year.
As with all Baroque opera seria, Arianna in Creta went
unperformed for many years, but with the revival of
interest in Baroque music and historically informed
musical performance since the 1960s, Arianna in Creta,
like all Handel operas, receives performances at
festivals and opera houses today. Among other
performances, Arianna in Creta was staged by the London
Handel Festival in 2014 and performed in concert by the
Handel Festival, Halle in 2018.
Long before the action of the opera, King Minos of
Crete fought a war with King Aegeus of Athens, who had
killed Minos' baby son and carried away his baby
daughter. The girl, however, had been brought up by an
ally of Athens', King Archeus of Thebes, in the belief
that she was his own child. Athens had to pay tribute
to Crete as a term of ending the war – once every
seven years seven Athenian youths and seven Athenian
maidens had to be sent to Crete to be devoured by the
Minotaur, a half-man, half-bull monster that lurked in
a labyrinth from which escape was all but impossible.
The human sacrifice of Athenians can only be ended by a
hero slaying the Minotaur and defeating the Cretan
warrior Tauride. The Athenian hero Teseo is on the way
to Crete, resolved to do this and end his peoples'
suffering, and to join with Arianna, whom he loves, and
whom Minos has demanded as a hostage to ensure that the
Athenian young people will be sent for sacrifice.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Arianna_in_Creta).
Although originally written for Opera, I created this
arrangement of the Aria: "Al' Fine Amore" (At last,
love) from "Arianna in Creta" (HWV 32 Act II No. 6) for
Flute & Piano.
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