G.F. Handel - Solomon
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Recordings from live performance of Solomon in St James' Church, Piccadilly, London, March 2009. Solomon: Michal Czerniawski, 1st woman: Anna Devin, 2nd woman: Rebecca van den Berg. Solomon Choir & Orchestra, dir. Jonathan Sells
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your magnificent performance of Solomon on Saturday evening was an exceptional experience, in a lifetime (85) of wide experience musically Audience member
Project overview
It is from Handel's great oratorio, Solomon, that the collective first took its name - indeed, our logo is taken from the autograph score. It was an early aim of ours to perform this masterpiece - no easy task for a new ensemble with limited funding and resources. However, after a performance of Messiah in Cambridge (our first official concert), we felt ready to take on Solomon, and the concert in London will always remain in our 'collective' memory as a triumphant and pregnant event. Since then we have explored a wide range of repertoire, but the oratorios of Handel will always feel like 'home' for us. Our latest madcap adventure, 'a chamber Messiah', takes this home repertoire to another level.
Handel's mighty double-choir oratorio, first performed in 1749, is much less well known than it should be. We also feel that its scale and vigour reflect the ambition and energy of Solomon's Knot. While there are many beautiful arias (e.g. 'Will the sun forget to streak') and striking Symphonies (such as the so-called 'Arrival of the Queen of Sheba'), it is really the chorus(es) that has the main role here. They vividly describe the action as the story progresses, colouring soft pastoral scenes through to bombastic explosions of religious fervour.
Voices have been and always will be a central part of Solomon's Knot, and we seek to create as direct a connection as possible between the singers and musicians on the concert platform and the people in the audience. Handel's Solomon gives us a great opportunity to explore this communication. In addition, in our first performance we used Solomon as an opportunity to explore the possibilities of expanding the boundaries of the concert hall. Together with "The Temple Dancers", headed by Lizzie Sells, we gave the performance a more theatrical frame. We are keen to explore these possibilities further, should the opportunity arise.
Project repertoire & personnel
George Frideric Handel (1685-1759) Solomon HWV67
2 soprano soloists ~ counter-tenor/mezzo solo ~ tenor solo ~ bass solo
8 sopranos ~ 6 altos ~ 6 tenors ~ 6 basses
8 violins ~ 4 violas ~ 2 celli ~ double bass ~ 2 flutes ~ 2 oboes ~ 2 bassoons ~ 2 horns ~ 2 trumpets ~ timpani ~ harpsichord ~ chamber organ
[optional: 5 dancers]
Performances
March 2009: St James' Church, Piccadilly, London
Project overview
It is from Handel's great oratorio, Solomon, that the collective first took its name - indeed, our logo is taken from the autograph score. It was an early aim of ours to perform this masterpiece - no easy task for a new ensemble with limited funding and resources. However, after a performance of Messiah in Cambridge (our first official concert), we felt ready to take on Solomon, and the concert in London will always remain in our 'collective' memory as a triumphant and pregnant event. Since then we have explored a wide range of repertoire, but the oratorios of Handel will always feel like 'home' for us. Our latest madcap adventure, 'a chamber Messiah', takes this home repertoire to another level.
Handel's mighty double-choir oratorio, first performed in 1749, is much less well known than it should be. We also feel that its scale and vigour reflect the ambition and energy of Solomon's Knot. While there are many beautiful arias (e.g. 'Will the sun forget to streak') and striking Symphonies (such as the so-called 'Arrival of the Queen of Sheba'), it is really the chorus(es) that has the main role here. They vividly describe the action as the story progresses, colouring soft pastoral scenes through to bombastic explosions of religious fervour.
Voices have been and always will be a central part of Solomon's Knot, and we seek to create as direct a connection as possible between the singers and musicians on the concert platform and the people in the audience. Handel's Solomon gives us a great opportunity to explore this communication. In addition, in our first performance we used Solomon as an opportunity to explore the possibilities of expanding the boundaries of the concert hall. Together with "The Temple Dancers", headed by Lizzie Sells, we gave the performance a more theatrical frame. We are keen to explore these possibilities further, should the opportunity arise.
Project repertoire & personnel
George Frideric Handel (1685-1759) Solomon HWV67
2 soprano soloists ~ counter-tenor/mezzo solo ~ tenor solo ~ bass solo
8 sopranos ~ 6 altos ~ 6 tenors ~ 6 basses
8 violins ~ 4 violas ~ 2 celli ~ double bass ~ 2 flutes ~ 2 oboes ~ 2 bassoons ~ 2 horns ~ 2 trumpets ~ timpani ~ harpsichord ~ chamber organ
[optional: 5 dancers]
Performances
March 2009: St James' Church, Piccadilly, London