Henry Purcell - Alessandro Scarlatti - Francesco Geminiani - Antonio Vivaldi - Maurice Greene - John Eccles

Italophilia - Discovering the Italian Style in Handel's London

The Counterpoints

Label: Challenge Classics
Format: CD
Barcode: 0608917200034

Catalog number: CC 720003
Releasedate: 01-11-24

- Second disc of Counterpoints on Challenge Classics
- After a German disc (CC 72903), Counterpoints now investigate the Italian musical influences on English baroque music in the seventeenth and eighteenth century.
- Handel as the key figure for this CD, as he had connections to all three countries.
- About CC 72903, Toccata (DE): Thomas Triesschijn, with his seductive recorder sound, phrases extremely imaginatively and never superficially with virtuosity. He doesn't act as a bold soloist, but proves that he sees himself as an honest ensemble player. A thoroughly captivating recording!

This CD by The Counterpoints, entitled Italophilia: Discovering the Italian style in Handel’s London, investigates the Italian musical influences on English baroque music in the seventeenth and eighteenth century. Already in 1683, Henry Purcell (1659-1695) had written in the foreword of his Sonatas of three Parts that he had ‘faithfully endeavour’d a just imitation of the most fam’d Italian Masters’. In later years, the impact of these Italian Masters would only increase, reaching its apogee in the work of George Frideric Handel (1685-1759). This CD contextualizes Handel’s work with composers he influenced and was influenced by, both in England and Italy.

The Counterpoints have released an earlier CD on Challenge: Thomascantors in Dialogue (2022), focused on German composers. On Italophilia, the geographical focus shifts to Italy and England. As a consequent, there is a musical relocation, towards a different kind of expression, more contrast between lively and cantabile movements, and solo and tutti moments. Taking Handel as the key figure for this CD then is very fitting, as he had connections to all three countries. Finally, the vocal music and its narrative elements runs like a thread through the entire program. This reflects Handel’s oeuvre, in which vocal music also has a central place.