Georg Friedrich Händel
Il trionfo del Tempo e della Verità HWV 46b
Oratorio in 3 parts
Georg Friedrich Händel
Il trionfo del Tempo e della Verità HWV 46b
Oratorio in 3 parts
- Instrumentation Soloists (SSAAA), Mixed Choir (SATB) and Orchestra
- Composer Georg Friedrich Händel
- Series Hallische Händel-Ausgabe
- Editor Michael Pacholke
- Edition Score
- Publisher Bärenreiter Verlag
- Order no. BA10726-01
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Description:
In the almost six months from 14 August 1736 to 27 January 1737, George Frideric Handel had achieved unprecedented productivity in his operatic oeuvre with the composition of three operas. In addition, in March 1737 he created a largely new oratorio: "Il trionfo del Tempo e della Verità" ("The Victory of Time and Truth") HWV 46b, whose text corresponds largely to that of the oratorio "La Bellezza ravveduta nel trionfo del Tempo e del Disinganno" ("Beauty purified by the victory of time and illumination") HWV 46a of 1707. With "La Bellezza ravveduta", Handel had composed an allegorical and at the same time particularly dramatic oratorio right at the beginning of his oratorio work. There is no choir here that is prone to reflection. It is not only in the recitatives that the four allegories Bellezza (beauty), Piacere (pleasure), Tempo (time) and Disinganno (illumination) listen to each other and react to the ideas presented by the others.
In 1737, Handel took a pragmatic approach to the reworking of the oratorio material as "Il trionfo del Tempo e della Verità". For Lent, he needed a new full-length work for his audience at the Covent Garden Theatre, but a non-staged one-length work due to a ban on staged performances. He had excellent Italian vocal soloists, but they were notorious for their pronunciation in Handel's English oratorios and, of course, preferred to sing in Italian. So it was obvious for Handel to react to the ban on performances of his Italian operas during Lent in 1737 at extremely short notice with a new oratorio in Italian, but in the three-part "English" oratorio form he himself developed in 1732 in "Esther" HWV 50b. Unlike in Rome in 1707, he also had a choir in London in 1737, and the English oratorio with its high proportion of choirs, a general precedence of a concert-like over a dramatic arrangement and a frequent insertion of organ concertos that were at best loosely related to the plot was already established.
The new volume of the HHA offers both the version of the premiere of 1737 and all surviving early and late versions (the latter are all very special highlights) of individual pieces of music from "Il trionfo del Tempo e della Verità".
In 1737, Handel took a pragmatic approach to the reworking of the oratorio material as "Il trionfo del Tempo e della Verità". For Lent, he needed a new full-length work for his audience at the Covent Garden Theatre, but a non-staged one-length work due to a ban on staged performances. He had excellent Italian vocal soloists, but they were notorious for their pronunciation in Handel's English oratorios and, of course, preferred to sing in Italian. So it was obvious for Handel to react to the ban on performances of his Italian operas during Lent in 1737 at extremely short notice with a new oratorio in Italian, but in the three-part "English" oratorio form he himself developed in 1732 in "Esther" HWV 50b. Unlike in Rome in 1707, he also had a choir in London in 1737, and the English oratorio with its high proportion of choirs, a general precedence of a concert-like over a dramatic arrangement and a frequent insertion of organ concertos that were at best loosely related to the plot was already established.
The new volume of the HHA offers both the version of the premiere of 1737 and all surviving early and late versions (the latter are all very special highlights) of individual pieces of music from "Il trionfo del Tempo e della Verità".