Music from Rinaldo (414.01)

Music from Rinaldo (414.01) (Rinaldo was Handels first opera to be written for the London stage, first performed at the Queens Theatre in 1712. It is a heroic story set in the time of the First Crusade (1096–1099) and includes the theatrical mix of love, war, sorcery, mermaids, monsters and spectacular scenery and effects including descending chariots and clouds, boats and disappearing gardens. The whole thing ends happily with good triumphing over evil and love conquering all. It was a tremendous public success and played a major role in establishing Handels reputation as the leading composer among his contemporaries. Notwithstanding this reception, the expense of this spectacular production led to legal actions against the the manager of the theatre from unpaid craftsmen resulting in his license being revoked nine days after the premiere. However, the opera was played at the theatre in most subsequent seasons until 1716–17, receiving 47 performance. Handel dominated the opera scene in England for the next several decades but of his 42 musical dramas it was Rinaldo that was the most frequently performed work during his lifetime., This suite consisits of the 4 movement Overture, instrumental sinfonias and marches, the famous aria "Lascia chio pianga", and the Final Chorus. Performance note: Ist trumpet is for E flat trumpet. 4th trumpet requires a Flugel Many expression matrks have been added in order to suggest a stylistic approach. Feel free to amend these at your discretion. Overture: The hairpins in the first section are to encourage a lightness of style - not sostenuto - and should not be taken too literally; the dynamic is generally forte but there should be an airy texture with vigourous but elegant rhythm. The Allegro should remain lightly articulated throughout but with some character shaped into the fugal theme. The Largo should feel like a free recitative by the horn player, who can alter the suggested ornamentation at his/her discretion, over a rich, sustained but pulsing harmony. The final Allegro should be very bouncy and cheeky, in the style of a country dance. Prelude to Scene 7: Very light but clean ariculation is essential throughout. The dynamics suggested will give a chance to exhibit virtuoso quiet playing on the repeat. Lascia ChIo Pianga: Play with controlled expression. Suggestions have been made for the shape and style of the repeated opening bar - long notes with a slight emphasis on the first and a gentler second, (which should not be clipped - think through the rest). If the dynamics suggested do not suit your taste then feel free to amend them. Ensure, though, that at whatever dynamic is chosen the melodic line, and accompanying harmonies, are dolce and never either forced in the louder dynamics or pinched in the softer ones. Sinfonia; Act III: The opening should be maestoso, a similar style to the opening of the Overture. The Allegro should be clean and rhythmic. Make sure that all the echoing entries begin in time and keep up in the lively tempo. The thunder roll in the bass drum can be of any sensible length. If not available these bars becoma a pregnant GP March 1; March 2 These can be played segue an, if available, percussion will help the martial manner. If unavailable, omit the percussion lead-ins. Play with a clean and precise articulation and noble style. Final Chorus: Play lightly and with elegance.)