This entertaining CD takes its name from a cantata, which forms one part of this recital devoted to the music of Georg Benda (1722-95), one of a distinguished family of Bohemian musicians who settled in Berlin in the 18th century and became part of the German enlightenment. Georg became Kapellmeister at Gotha in 1750 and gained widespread approval for his compositions and for his skill as a violinist, oboist and keyboard player. Mozart admired Benda’s music and carried two of his melodramas with him on his travels. Hyperion have put together a pretty record containing piano pieces (played here expertly on the fortepiano by Timothy Roberts), lieder and the above cantata for soprano or tenor by two of our best ‘chamber singers’ (which does not mean that they do not sing other genres, only that they excel in this kind of intimate sphere). It might be a good idea not to play the whole hour of music at one go but (say) to have half before dinner and half afterwards.
Emma Shapplin, neoclassical artist, author, composer, and producer, started her music career in classical music but then moved to hard rock. When she was 18, singer Jean-Patrick Capdevielle convinced her to return to taking classical lessons so as to improve her singing technique. She discovered that although rock had given her more artistic freedom and hedonistic lifestyle than classical music, it was still not enough for her, so she decided to create her own style. This became a combination of archaic opera and modern trance and/or pop music. Le Concert de Caesaria is the first live album by singer Emma Shapplin. It is a recording of Shapplin's first concert in Israel, a concert held in the ancient city of Caesaria in 1999.
Here is a side of Handel unfamiliar even to those knowledgeable about his music. Most of this CD is devoted to miscellaneous songs in English‚ many of them published in his time on song sheets‚ or in journals‚ or given to friends‚ or intended for use in the theatre. They are‚ generally‚ in a more popular vein than his familiar music‚ and often in the style used by such composers as Arne or Boyce‚ or lesser men‚ in their English songs. The best of them‚ to my taste‚ are the theatre songs: ‘I like the amorous youth’ is a specially charming piece‚ and ‘Love’s but the frailty of the mind’‚ a Congreve setting made for the admired actresssinger Kitty Clive‚ is an exquisite and touching little song‚ especially when sung as beautifully as it is here by Emma Kirkby.