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The initial calming of the winds is a remarkable unfurling of the tension of the stormy writing of the opening, reducing the energy of the music in a manner which suggests future depictions of nature by Haydn. The aria 'Dulcis amor' is a soothing dialogue between voice and instruments—classic, noble Handel in brilliant word-setting. An accompanied recitative 'O fortunata' separates this from the second, Andante-allegro-andante aria 'Date serta', whose rapid central section, again in a contrasting triple time, gives the listener a taste of the joy of the Alleluia as the winds rouse themselves once more. It might be the use of a walking bass in both of the arias which lends such an unmistakably Handelian dignity to the music. The final paean of just one word Alleluia allows the voice to have the upper hand of athleticism over the players, throwing in a high B at the end of the race.
from notes by Greg Murray © 2018
|Handel: Silete venti; Vivaldi: Nulla in mundo pax sincera|
One of England's leading Baroque sopranos, Grace Davidson is here joined by the Academy of Ancient Music in a programme of Handel and Vivaldi.» More