Sacred raptures cheer my breast, No. 6 from Oratorio Solomon, Act 1 (HWV67)

He chose a mournful Muse Soprano. He sung Darius Great and Good. With downcast Looks Soprano. Behold Darius, great and good Chorus. The mighty master smil'd to see Tenor. Softly sweet, in Lydian measures Soprano. War, he sung, is toil and trouble Soprano. The many rend the skies Chorus. The Prince, unable to conceal Soprano. Now strike the Golden Lyre Tenor, Chorus. Revenge, revenge, Timotheus cries Bass. Give the Vengeance due Tenor.

The Princes applaud with a furious Joy Tenor. Thais led the way Soprano, Chorus. Thus long ago Tenor. Let old Timotheus yield the Prize Tenor, Bass. Let old Timotheus yield the Prize Chorus. Cecilia's Day, HWV From harmony, from heav'nly harmony Tenor - Accompanied: When nature, underneath a heap Tenor. From harmony, from heav'nly harmony Chorus. What passion cannot Music raise Soprano. The trumpet's loud clangour Tenor, Chorus.

The soft complaining Flute Soprano. Sharp Violins proclaim Tenor. Orpheus could lead the savage race Soprano. But bright Cecilia rais'd the wonder high'r Soprano. As from the pow'r of sacred lays Chorus. The sons of Israel do mourn Chorus. When the ear heard him Soprano 1, Alto 2, Tenor, Bass 1.

How is the mighty fall'n! Their bodies are buried in peace Chorus. The people will tell of their wisdom Chorus. They shall receive Soprano 2, Alto 2, Tenor, Bass 1.

The merciful goodness of the Lord Chorus. Now there arose a new king over Egypt Tenor. And the children of Israel sigh'd Alto 1, Chorus. Then sent he Moses, his servant Tenor.

praise the lord with harp and tongue no 35 from oratorio solomon act 3 hwv67 Manual

They loathed to drink of the river Chorus. Their land brought forth frogs Alto 1. He spake the word Chorus. He gave them hailstones for rain Chorus. He sent a thick darkness over all the land Chorus. He smote all the first-born of Egypt Chorus. But as for his people Chorus. Egypt was glad when they departed Chorus.

He rebuked the Red Sea Chorus. And Israel saw that great work Chorus. Moses and the children of Israel sung this song Chorus. The Lord is my strength and my song Soprano 1, Soprano 2. He is my God Chorus. The Lord is a man of war Bass 1, Bass 2. The depths have cover'd them Chorus. Thy right hand, O Lord is become glorious in power Chorus. And with the blast of thy nostrils Chorus. The enemy said, I will pursue, I will overtake Tenor. Thou didst blow with the wind Soprano 1.

Who is like unto Thee, O Lord Chorus. Thou in thy mercy has led forth Alto 1, Tenor. The people shall hear Chorus. Thou shalt bring them in Alto 1. The Lord shall reign for ever and ever Chorus. For the horse of Pharaoh Tenor. And Miriam the prophetess Tenor. Sing ye to the Lord Soprano 2, Chorus. Ouverture Concerto grosso, Op.

Sinfonia from Act III

Hence, loathed Melancholy Tenor. Hence, vain deluding Joys Il Penseroso: Come, thou Goddess fair and free Soprano. Come rather, Goddess, sage and holy Soprano. Haste thee, nymph Tenor. Haste thee, nymph Chorus. Come and trip it Tenor, Chorus. Come, and trip it Chorus. Come, pensive Nun Il Penseroso. Come, but keep thy wonted state Soprano.

There, held in holy passion still Soprano. Join with thee Chorus. If I give thee honour due Soprano. Mirth, admit me of thy crew Soprano. First and chief, on golden wing Soprano. If I give thee honour due L'Allegro: Mirth, admit me of thy crew Bass. Oft, on a plat of rising ground Soprano. Far from all resort of mirth Soprano. Let me wander not unseen Tenor. Straight mine eye Soprano. Mountains, on whose barren breast Bass. Or let the merry bells ring round Soprano. And young and old come forth to play Chorus. Sometimes let gorgeous Tragedy Soprano.

But oh, sad virgin Soprano. Thus, Night, oft see me Soprano. Populous cities please me then L'Allegro: There let Hymen oft appear Tenor. Me, when the Sun begins to fling Il Penseroso: Hide me from Day's garnish eye Soprano. I'll to the well-trod stage anon Il Allegro: And ever against eating cares Soprano. Orpheus self may have his head Soprano. These delights if thou canst give Tenor. These delights if thou canst give Chorus.

But ley my due feet never fail Il Penseroso: Th'event was worse than I foresaw". No time for lamentation now". English Chamber Orchestra, John Nelson. Lucky omens bless our rites. The morning lark to mine accords his note. See she blushing turns her eyes. Hymen, haste, thy torch prepare. Why dost thou thus untimely grieve? Again auspicious flashes rise.

Thy aid, pronubial Juno, Athamas implores! O Athamas, what toture hast thou borne! Turn, hopeless lover, turn thy eyes. Your tuneful voice my tale would tell. Too well I see, thou wilt not understand me. Iris, impatient of thy stay. There from mortal cares retiring.

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No more - I'll hear no more! Hence, Iris, hence away. Oh sleep, why dost thou leave me? Let me not another moment. Lay your doubts and fears aside. You are mortal and require time to rest. How engaging, how endearing. I must with speed amuse her. Now Love that everlasting boy invites. Prepare then, ye immortal choir. Bless the glad earth.

Leave me, loathsome light. More sweet is that name. My racking thoughts by no kind slumbers freed.

Thus shap'd like Ino. O ecstasy of happiness. Myself I shall adore. Be wise, as you are beautiful. Conjure him by his oath. Thus let my thanks be pay'd. Rich odours fill the fragrant air. Come to my arms. Speak what you desire. By that tremendous flood, I swear. You'll grant what I require? No, no, I'll take no less. Ah, whither is she gone?

Above measure is the pleasure, which my revenge supplies. Ah me, too late I now repent. Of my ill-boding dream.

Solomon, HWV67

Oh, terror and astonishment. How I was hence remov'd. Despair no more shall wound me. See from above the belling clouds descend. Apollo comes, to relieve your care. Happy shall we be. Les Musiciens du Louvre, Marc Minkowski. How soon the flatterer hope". Some villain has belied". Marc Minkowski, Les Musiciens du Louvre. Solomon "Next the tortur'd soul release".

Solomon and Israelites "Thus rolling surges rise". Queen of Sheba "Thy harmony's divine, great king". Zadok "Thrice happy king, to have achiev'd". Zadok "Golden columns, fair and bright". Solomon "Gold now is common on our happy shore". Solomon "How green our fertile pastures look". Queen of Sheba "May peace in Salem ever dwell! Queen of Sheba "Will the sun forget to streak". Solomon "Adieu, fair queen, and in thy breast". Queen of Sheba, Solomon "Ev'ry joy that wisdom knows".

It is weak across the board! The choir needs to find a new director on the basis of this weak performance. God help the soloists who must have felt strangled at birth in the midst of such ineptitude - though to be fair none of them compete with those on the nearest rival using as did Handel a female lead set from Gardiner. Gardiner comes in for a fair amount of flack in reviews, but in this work he sounds compared with Reuss and McCreesh, musical and committed. At the end of the day, the two junior conductors compared with him, or two highly illustrious Handelians from the first "authentic" wave - Simon and Somary - know all about effects and nothing about musical performance, their approach simulating pace and drama, while entirely lacking depth or polish.

Despite being heavily abridged go for the Gardiner version which is better sung, conducted, played and recorded by a large measure to this Reuss version. If you, must have a version played on "historical" instruments in THAT key, then McCreesh on Archiv, is preferable to this HM Reuss set, though in terms of the orchestral playing which like Reuss leans towards psychomania wherever there is a presto or vivace, at least is brought under tightly controlled discipline I am assuming of an experienced and firm handed choir master and control in the choruses which are taken in a very measured and clear way with some drive and passion.

Personally, I can't get my head around a feminine Solomon and since there is a thoroughly splendid recording with Shirley-Quirk - the intrinsically "go to" English baritone of the 60s and 70s - much better than the tedious blaring of Diaz for Somary - my all-time fab Solomon remains with Simon and the HSNY on RCA.

It's about time an enterprising label such as First Hand Records licensed the master tapes and rebirthed this marvelous version - with the choral glories of this oratorio achieved in a way that Reuss has little comprehension - into the light of the digital age. That would be something for Zadok to sing about! I must say that I disagree with the previous Amazon reviewer's opinion of this recording. I have not compared any of the other recordings of this very fine oratorio, either the recent recordings conducted by Budday and McGegan or the "classic" recordings by Gardiner and McCreesh, all of which have received strong reviews, but I can say that, as Richard Wigmore Gramophone, December concluded not long after McGegan's and Reuss's recordings came out, this is a very fine recording that stands with the best, and which, in Wigmore's judgement, in some ways surpasses the others.

The prominence of Sarah Connolly, Susan Gritton, Carolyn Sampson, and Mark Padmore in the Handel and other Baroque repertory need hardly be pointed out, and in this recording none of them falls short of her or his usual high standards. Conductor Daniel Reuss may not yet have the Handelian credentials of the likes of Rene Jacobs, who shook the Baroque music world in with his incredible recording of Saul, but Harmonia Mundi would not have taken Reuss and the Akademie fur Alte Musik Berlin on board to produce their follow-up to Saul if they were not very sure they could achieve equally high standards.

If Reuss has gone off to Estonia, it may be because Estonia is a country with one of the finest choral traditions in the world.