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Handel: Acis And Galatea / Marriner, Gomez, Tear, Langridge


Release Date: 02/02/1998 
Label:  Decca   Catalog #: 452973   Spars Code: n/a 
Composer:  George Frideric HandelThomas Augustine ArneWilliam BoyceJames Hook
Performer:  Robert TearJill GomezPhilip LangridgeBenjamin Luxon
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Number of Discs: 2 
Recorded in: Stereo 
Length: 2 Hours 24 Mins. 

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This CD is reissued by ArkivMusic.

Notes and Editorial Reviews

Marriner offers the published version of 1743 which his editor, Jane Glover, rather oddly describes as "the definitive version"... [T]he orchestral playing is outstandingly good. Inevitably Marriner's modern oboes sound a shade more assured in the Overture than Gardiner's eighteenth-century copies [DG]... Marriner's recording is less immediate and more reverberant and his soloists are much more operatic in their approach. Robert Tear makes more than his rival [on DG] of "Where shall I seek the charming fair" because he sounds genuinely worried at not knowing her whereabouts (Handel's accompaniment makes better sense like this), and almost lecherous about her later. "Love sounds the alarm" is really exciting, Read more not just another song. Similarly Benjamin Luxon, like Owen Brannigan on the old L'Oiseau-Lyre set, characterizes Polyphemus with much more humour than Willard White... On the Marriner discs I was delighted to hear Philip Langridge going into falsetto for the final high decorations in Damon's "Would you gain the tender creature", for this is what he would have done in Handel's day... There can be no best continuo playing, for Nicholas Kraemer is the excellent harpsichordist in both recordings. And I hesitate to pick the best recording. I prefer Gardiner in the opening chorus which he takes very steadily and lightly with enchanting effect, but not in "Happy we", which sounds rushed, or in "Wretched Lovers" which is not quite steady in rhythm and not quite in tune early on. Otherwise Gardiner's performance is wonderfully stylish and pleasing. Marriner's is more dramatic.

-- Gramophone [9/1978]
reviewing the original LP release
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Works on This Recording

1. Acis and Galatea, HWV 49 by George Frideric Handel
Performer:  Robert Tear (Tenor), Jill Gomez (Soprano), Philip Langridge (Tenor),
Benjamin Luxon (Baritone)
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
2. Look down, harmonious Saint, HWV 124 "The Praise of Harmony": Look down, look down by George Frideric Handel
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
3. Look down, harmonious Saint, HWV 124 "The Praise of Harmony": Sweet accents by George Frideric Handel
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
4. German Arias (9): no 6, Meine Seele hört im Sehen, HWV 207 by George Frideric Handel
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
Written: 1724-1727; London, England 
5. German Arias (9): no 4, Süsse Stille, sanfte Quelle, HWV 205 by George Frideric Handel
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
Written: 1724-1727; London, England 
6. Bacchus and Ariadne: The Faithless Theseus by Thomas Augustine Arne
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
7. Bacchus and Ariadne: Ah, Theseus, Theseus stay! by Thomas Augustine Arne
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
8. Bacchus and Ariadne: The jolly god who rules by Thomas Augustine Arne
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
9. Bacchus and Ariadne: Cease, lovely Nymph, to weep by Thomas Augustine Arne
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
10. Bacchus and Ariadne: With soft reluctance by Thomas Augustine Arne
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
11. Bacchus and Ariadne: Learn hence ye fond maidens by Thomas Augustine Arne
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
12. Fair Caelia love pretended: Fair Caelia love pretended by Thomas Augustine Arne
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
13. Fair Caelia love pretended: To all the sex deceitfull by Thomas Augustine Arne
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
14. Fair Caelia love pretended: But Caelia now repenting by Thomas Augustine Arne
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
15. Fair Caelia love pretended: How engaging, how endearing by Thomas Augustine Arne
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
16. Songs of Momus to Mars by William Boyce
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
17. The Lass of Richmond Hill by James Hook
Performer:  Robert Tear (Tenor)
Conductor:  Sir Neville Marriner
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Classical 
Written: 1789; England 

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