Nicholas McGegan

Biography

Born: January 14, 1950; Sawbridgeworth, Hertfordshire, England  
Nicholas McGegan has done more for the early music movement in America than nearly anyone else, and his tireless explorations of the byways of Baroque opera have put many fascinating works into the concert hall and onto recordings. He studied piano at London's Trinity College of Music, and learned to play the flute while he was there, but entertained no special desire to study historical performance. When he entered Corpus Christi College in Read more Cambridge, however, one of the courses required for a music degree was professor Nicholas Shackleton's acoustics course. This course often met in the professor's home, which contained both a large collection of eighteenth century wind instruments and a tenant named Christopher Hogwood. Hogwood, of course, was then one of the leading lions of the period-instrument Baroque movement in England, so McGegan could not have been in a better position to learn about it. Although he had been studying twentieth century music, one day he picked up a Baroque wooden flute and never looked back. During the 1970s, McGegan became one of the bright lights of England's starry period-instrument scene, playing the flute as well as harpsichord and fortepiano with all the major period instrument groups in England, especially Hogwood's Academy of Ancient Music. He became director of early music at the Royal College of Music in London in 1976.

In 1979, McGegan made the fateful decision to accept a three-month artist-in-residence position at Washington University at St. Louis. McGegan's teaching and performance caused quite a stir at the university, and numerous renewals of the initial term followed; McGegan has said that during this time he became "more American-based than European-based." In 1985, McGegan became music director of the Philharmonia Baroque Orchestra, which previously had been a players' cooperative without a leader. McGegan ended the orchestra's "Birkenstock period," but the ensemble still places a premium on collaboration and creativity under McGegan's direction. It has become the finest period instrument group in America and one of the finest in the world since McGegan took it over, going from giving 12 concerts a year on subscription to 50, and making numerous recordings under McGegan's direction.

In 2000, McGegan became Music Director Laureate of the PBO, which allows him to direct more international performances while staying involved with the PBO. One of the international positions this very busy conductor holds is Artistic Director of the Gottingen Handel Festival, the oldest festival for Baroque music in the world. He also performs and records quite often with Hungary's Capella Savaria. McGegan has also founded the Arcadian Academy, a chamber offshoot of the PBO, which records extensively and tours througout the U.S. and Europe. In addition, he serves as the Baroque Series Director for the St. Paul Chamber Orchestra and as an advisory board member for the University of Maryland Handel Festival and London's Handel House.

Despite, or perhaps because of, his academic credentials and background in period performance, McGegan's performances exemplify joy and fun, rather than sober scholarship. He has compared the PBO to a "jazz band" in terms of its ability to play together and play with spirit, and the comparison rings true when listening to the PBO live or on record -- or, indeed, when listening to any of McGegan's performances. Although he is primarily identified with Handel, he has played repertoire stretching into the nineteenth century, and has brought the same sense of fun to all of it. Read less
Italian Baroque Violin Sonatas Vol 1 / McGegan, Arcadian Academy
Release Date: 05/08/2001   Label: Harmonia Mundi  
Catalog: 3957067   Number of Discs: 1
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Matteis: Ayres for the Violin - Suites & Sonatas Vol II / McGegan
Release Date: 02/09/2011   Label: Harmonia Mundi  
Catalog: 907108   Number of Discs: 1
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There are 13 Nicholas McGegan recordings available.

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Biography

Born: January 14, 1950; Sawbridgeworth, Hertfordshire, England  
Nicholas McGegan has done more for the early music movement in America than nearly anyone else, and his tireless explorations of the byways of Baroque opera have put many fascinating works into the concert hall and onto recordings. He studied piano at London's Trinity College of Music, and learned to play the flute while he was there, but entertained no special desire to study historical performance. When he entered Corpus Christi College in Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Sonata in F Major, Book 3, No. 7-9: I. Preludio - Prestissimo
Sonata in F Major, Book 3, No. 7-9: II. Sarabanda - Adagio; Vivace
Sonata in F Major, Book 3, No. 7-9: III. Gavotta con divisione
Suite in A Minor, Book 2, No. 25-29: I. Alemanda ad imitatione d'un tartaglia
Suite in A Minor, Book 2, No. 25-29: II. Movimento incognito - Variatione
Suite in A Minor, Book 2, No. 25-29: III. Passaggio rotto
Suite in A Minor, Book 2, No. 25-29: IV. Fantasia - Violino solo senza basso
Suite in A Minor, Book 2, No. 25-29: V. Aria burlesca con molto bizzarie
Suite in G Minor, Book 3, No. 41-44: I. Preludio Grave - Adagio, Prestissimo (Prelude)
Suite in G Minor, Book 3, No. 41-44: II. Aria con Divisione per far la mano (A division Ayre)
Suite in G Minor, Book 3, No. 41-44: III. Corrente (Courant)
Suite in G Minor, Book 3, No. 41-44: IV. Aria sminuita per far la mano (An Ayre to make a hand)
Sonata in B-Flat Major, Book 2, No. 22-24: I. Fantasia à violino solo
Sonata in B-Flat Major, Book 2, No. 22-24: II. Pavana Armoniosa
Sonata in B-Flat Major, Book 2, No. 22-24: III. Il Russignolo
Almand's by Mr. Nicola Matteis: I. Slow
Almand's by Mr. Nicola Matteis: II. Almaine
Suite in C Minor, Book 3, No. 23-32: I. Preludio Allegro - Prestissimo; Malinconico - Adagio (A melancholique prelude)
Suite in C Minor, Book 3, No. 23-32: II. Aria con divisione - Presto (Ayre with division)
Suite in C Minor, Book 3, No. 23-32: III. Adagio
Suite in C Minor, Book 3, No. 23-32: IV. Minuetto (Minuett)
Suite in C Minor, Book 3, No. 23-32: V. Allegro; Adagio (Allegro)
Suite in C Minor, Book 3, No. 23-32: VI. Aria con Divisione "For the Flute" (Ayre with division)
Suite in C Minor, Book 3, No. 23-32: VII. Aria per Ballare, Vivace (A Ballett)
Suite in C Minor, Book 3, No. 23-32: VIII. Corrente ala maniera Francese (Courant after the French manner)
Suite in C Minor, Book 3, No. 23-32: IX. Aria - Adagio; Presto (A Slow Ayre)
Suite in C Minor, Book 3, No. 23-32: X. Jigg - Prestissimo
Sonata in E Major, Book 2, No. 30-32: I. Sonata
Sonata in E Major, Book 2, No. 30-32: II. Aria, Variata
Sonata in E Major, Book 2, No. 30-32: III. Corrente
Suite in D Major, Book 4, No. 43-46: I. Preludio
Suite in D Major, Book 4, No. 43-46: II. Aria Allegra
Suite in D Major, Book 4, No. 43-46: III. Sarabanda - Adagio
Suite in D Major, Book 4, No. 43-46: IV. Aria ò pur Rondeau - Prestissimo
Suite in F Major, Book 4, No. 30-32: I. Bizzarrie all'Umor Scozzese - Allegro (A Pretty Hard Ground after the Scotch Humour to make a hand)
Suite in F Major, Book 4, No. 30-32: II. Un poco di Grave - Adagio (An Easy Grave according to the French way)
Suite in F Major, Book 4, No. 30-32: III. Aria for the Flute - Presto (Ayre)
Sonata Nona (Book 7)
Sonata Nona (Book 7)
I. Preludio - Presto
II. Andamento con divisione
III. Aria facile - Presto
IV. Serio - Adagio
V. Aria in Passaggio - Prestissimo
VI. Corrente - Allegro
VII. Jigg - Allegro
VIII. Preludio a due corde
IX. Fuga - Allegro
X. Andamento Affetuoso
XI. Minuetto con sua divisione
I. Preludio in D la sol re - Prestissimo
II. Fuga in Fantasia - Presto
III. Grave - Adagio
IV. Ground in D la sol re - Allegro
I. Preludio in ostinatione
II. Passaggio rotto
III. Andamento malinconico
IV. Ricercata
V. Corrente da orecchie
VI. Corrente da piedi
VII. Sarabanda
VIII. Giga
IX. Fuga
I. Preludio semplice - Adagio
II. Motivo - Presto
III. Fuga a due corde
IV. Aria - Presto
V. Passaggio a solo
VI. Allegro - Prestissimo
VII. Ground
VIII. Aria Amorosa - Adagio
I. Preludio
II. Aria
III. Aria - Allegro
IV. Gavotta
I. Sonata - Adagio
II. Fuga
III. Vivace
IV. Fuga - Presto
V. Alemanda, per far la mano
VI. Aria
VII. Aria - Allegro
Overture
Act I Scene 1: Aria: Dimmi, o spene! (Elmira)
Act I Scene 1: Recitative: Oggi di Tracia (Elmira, Rossane)
Act I Scene 1: Aria: Godi, o spene (Elmira)
Act I Scene 1: Recitative: Avventurosa Elmira! (Rossane)
Act I Scene 1: Aria: Ma un dolce mio pensiero (Rossane)
Act I Scene 2: March
Act I Scene 2: Recitative: Questo de' miei trionfi (Floridante, Elmira)
Act I Scene 2: Aria: Alma mia (Floridante)
Act I Scene 3: Recitative: Giove, compensator (Rossane, Floridante, Elmira, Timante)
Act I Scene 4: Recitative: Oronte, il Re de Persi (Coralbo, Floridante, Elimira, Rossane)
Act I Scene 4: Recitative: Ch'io parta? (Floridante, Elmira)
Act I Scene 4: Aria: Ma pria vedro le stelle (Elmira)
Act I Scene 4: Recitative: Fammi bersaglio (Floridante)
Act I Scene 4: Aria: Sventurato (Floridante)
Act I Scene 5: Recitative: Cinto d'allori (Rossane, Oronte)
Act I Scene 5: Aria: Finche lo strale (Oronte)
Act I Scene 5: Recitative: Novo aspetto di cose (Rossane) ? Act I Scene 6: Recitative: Ma viene il prigionier (Rossane, Timante)
Act I Scene 6: Aria: Sospiro, e vero (Rossane)
Act I Scene 6: Recitative: Per quali vie lontane (Timante)
Act I Scene 6: Aria: Dopo il nembo e procella (Timante)
Act I Scene 7: Recitative: Al primo cenno (Floridonte, Oronte) - Act I Scene 8: Recitative: Padre, Signor (Elmira, Oronte, Floridante)
Act I Scene 8: Duet: Ah, mia cara (Elmira, Floridante)
Act II Scene 1: Recitative: Ecco il vago mio sol (Timante, Rossane)
Act II Scene 1: Aria: Lascioti, o bella (Timante)
Act II Scene 1: Recitative: O fortunati affetti miei (Rossane)
Act II Scene 1: Aria: Gode l'alma inamorata (Rossane)
Act II Scene 2: Recitatives: Difficil cosa ? Scene 3: Fedele Elmira! - Scene 4: Glicon, se sei ... (Rossane, Timante, Floridante, Elmira)
Act II Scene 4: Aria: Bramo te sola (Floridante)
Act II Scene 4: Recitative: Oronte un messo ... (Timante, Elmira, Rossane) - Act II Scene 5: Questo e il tempo ... (Oronte, Elmira)
Act II Scene 5: Aria: Barbaro! (Elmira)
Act II Scene 5: Recitative: Convien lasciar libero il corso (Oronte)
Act II Scene 5: Aria: Ma non s'aspetti (Oronte)
Act II Scene 6: Recitative: Ormai tutta silenzio (Rossane, Timante)
Act II Scene 6: Duet: Fuor di periglio (Rossane, Timante)
Act II Scene 7: Arioso e Recitativo: Notte cara - Parmi ascoltare (Elmira)
Act II Scene 8: Recitative: O facil porta (Floridante, Elmira) - Act II Scene 9: Recitative: Qual buona sorte (Oronte, Elmira, Floridante)
Act II Scene 9: Aria: Tacero (Floridante)
Act II Scene 9: Recitative: Guardia a costei (Oronte)
Act II Scene 9: Recitativo accompagnato: Sorte nemica (Elmira)
Act II Scene 9: Aria: Ma che vuoi piu da me (Elmira)
Act III Scene 1: Recitative: Giunsi allor (Timante, Rossane)
Act III Scene 1: Aria: No, non piangete (Timante)
Act III Scene 2: Recitative: O sventurati e vani (Rossane, Elmira, Coralbi)
Act III Scene 2: Aria: Se risolvi abbandonarmi (Rossane)
Act III Scene 2: Recitative: Or mi si svela (Coralbo, Elmira)
Act III Scene 2: Aria: Non lasciar (Coralbo)
Act III Scene 3: Recitative: Elmira, a te ... (Oronte, Elmira) - Act III Scene 4: Recitative: Numi, che aspetto ... (Floridante, Oronte, Elmira)
Act III Scene 4: Aria: Se dolce m'era gia (Floridante)
Act III Scene 4: Recitative: Si mora, si (Elmira)
Act III Scene 4: Aria: Vivere per penare (Elmira)
Act III Scene 5: Recitative: Nella vasta, citta (Timante, Rossane)
Act III Scene 5: Aria: Vanne, segui 'l mio desio! (Rossane)
Act III Scene 5: Recitative: Servasi alla mia bella (Timante)
Act III Scene 5: Amor commanda (Timante)
Act III Scene 6: Aria: Questi ceppi (Floridante)
Act III Scene 7: Recitatives: Misero amato ... - Scene 8: Tale non ... - Scene 9: S'uccida ... (Coralbo, Oronte, Timante, Elmira, Floridante)
Act III Scene 9: Aria: Si, coronar vogl'io (Elmira)
Act III Scene 9: Recitative: Ah! traditor Coralbo! (Oronte)
Act III Scene 9: Aria: Che veggio? (Oronte)
Act III Scene 9: Sinfonia
Act III Final Scene: Recitative: Fido e guerriero (Elmira, Floridante, Rossane, Timante)
Act III Final Scene: Aria: Mia bella (Floridante)
Act III Final Scene: Recitative: La cittade (Elmira)
Act III Final Scene: Chorus: Quando pena la costanza (All)
Sonata in B-Flat: I.
Sonata in B-Flat: II. Largo - Presto
Sonata in B-Flat: III. Adagio - Vivace
Sonata in B-Flat: IV. Allegro
Sonata IX in F: I. Allegro Moderato
Sonata IX in F: II. Canzona
Sonata IX in F: III. Grave
Sonata IX in F: IV. Allegro
1. Allegro
2. Largo
3. Allegro
Overture
Act I: Shake the cloud from off your brow - Banish sorrow
Act I: Ah! Belinda
Act I: Grief increases by concealing - When monarchs unite
Act I: Fear no danger to ensue
Act I: See, your Royal Guest appears - Cupid only throws
Act I: Pursue thy conquest, Love
Act I: To the hills and the vales - The Triumphing Dance
Act II: Prelude - Wayward sisters - Harm's our delight
Act II: Ruin'd ere the set of sun?
Act II: But ere we this perform
Act II: In our deep vaulted cell - Echo Dance of Furies
Act II: Ritornelle
Act II: Thanks to these lonesome vales
Act II: Oft she visits this lov'd mountain
Act II: Behold, upon my bending spear
Act II: Haste, haste to town
Act II: Stay, Prince - Jove's commands
Act II: Ritornelle
Act III: Prelude - Come away, fellow sailors
Act III: The Sailor's Dance
Act III: See the flags
Act III: Our next Motion - Destruction's our delight
Act III: The Witches' Dance
Act III: Your counsel all is urged in vain
Act III: Great minds against themselves conspire
Act III: With drooping wings ye Cupids Come
Act III, Thy hand, Belinda / When I am laid in earth (Dido)


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