LindoroRossini's video: Da capo ornaments Georg Friedrich Handel Giulio Cesare in Egitto 1724 Cara speme

≈ History ≈ {adapted from the Grove Dictionary} During the Baroque period reputations were made or lost on the ability of individuals to introduce decorations in their performances. One must note that markedly different idioms of decoration have developed by the 18th century in Italy, England and, most importantly, France/Germany where a select number of composers {e.g. Couperin and J.S. Bach} actually began writing their desired ornaments directly into the music. However, the prevailing fashion at the time seemed to be influenced by Italy, where it was generally felt that the music served as something of a blueprint, and could be constantly refreshed by improvised graces. Not only are ornament signs rare in Italian scores, but there is little comment on the subject in Italian treatises. Flautist Johann Quantz writes that "everything was left to the caprice of the performer", while writer Pier Francesco Tosi dismissed the tendency to indicate ornamentation as a "foreign infantile practice". "About 1620, a silence... settled on Italian ornamentation theory", - notes modern scholar Frederick Neumann. ≈ Music ≈ At this time the paragon of the noted paradigm in vocal terms - the da capo aria - gradually achieved supremacy. The basic gist of the form - a piece in ABA form to be elaborated on the repeat - seems clear, but the extent to which the ornamentation could be taken is debatable. The few rules that appear in contemporary literature are somewhat generic. "In the [repeat]... artful graces [must] be added by which the judicious may hear that the ability of the singer is greater", - notes Tosi, while also suggesting that there are possibilities for modest ornamentation in the initial statement of the A section and in the B section. German composer J.A. Hiller stresses that the same graces should not be used too close to one another or too often in succession. Quantz makes us consider each aria's character: "the plain air must be made more agreeable by... little essential graces, as the passion of the moment demands". It should be noted, however, that contemporary writers often take a wide view of ornamentation, embracing dynamic effects and types of articulation {e.g. staccato}. Some arias also provide opportunities for cadenzas just before the final cadence of the A section which could in practice be of inordinate length: "the throat is set a going, like a weather-cock in a whirlwind", - bemoans Tosi. The problem is that little practical advice as to what could be considered acceptable ornamentation is given by any other contemporary musical figure of Italianate opera, including the composer in question - Handel - who left just a few examples of decorated repeats, though Neumann concurs that "Handel in true Italian manner showed indifference to matters of detail by delegating most of the authority to the performer". It is with these basic notions that we approach Sesto's enchanting "Cara speme" from Handel's "Giulio Cesare" written for soprano Margherita Durastante, the composer's first important prima donna in Italy {title role in "Agrippina"} who followed him to London in the 1720s. Sesto's gentle hymn to hope attains perfectly understated simplicity, and its limited ornamentation is presented in three series of expressive figurations on the word "lusingar" to be sustained as unified lines. The aria is particularly difficult to ornament effectively, as the da capo demands a tender approach, and careless ornamentation could undermine its underlying sincerity. My main aim with this posting is to contrast the ornamentation used by modern performers over a period of almost 25 years to decorate this "plain air" and offer the listener an opportunity to independently consider what he or she would consider the most ideal solution. To this end I also offer my own general comments on the individual performances in the video annotations. ≈ Score ≈ The sheet music for the aria in question is readily available on IMSLP (P. 44-45): http://erato.uvt.nl/files/imglnks/usimg/2/24/IMSLP18997-PMLP35138-HG_Band_68.pdf ≈ Recordings ≈ 0:08 ~ 1985 Warner Apex, Ann Murray (mezzo-soprano) Concentus Musicus Wien/Nikolaus Harnoncourt. 2:24 ~ 1991 Harmonia Mundi, Marianne Rørholm (soprano) Concerto Köln/René Jacobs. 4:16 ~ 1992 Harmonia Mundi, Lorraine Hunt (m-s) Philharmonia Baroque Orchestra/Nicholas McGegan. 6:01 ~ 1995 Astrée, Eirian James (s) La Grande Ecurie/Jean-Claude Malgoire. 7:32 ~ 1998 Virgin, David Daniels (countertenor) Orchestra of the Age of Enlightenment/Roger Norrington. 9:14 ~ 2003 Archiv Production, Anne Sofie von Otter (m-s) Les Musiciens du Louvre/Mark Minkowski. 11:08 ~ 2007 Archiv Production, Magdalena Kožená Venice Baroque Orchestra/Andrea Marcon. 13:24 ~ 2010 MDG, Mary-Ellen Nesi (m-s) Orchestra of Patras/George Petrou. 15:59 ~ 2012 Naïve, Emöke Baráth (s) Il Complesso Barocco/Alan Curtis. Hope you'll enjoy =).