Robert Crowe Il Furioso - Handel: The Complete Amen, Alleluia Arias (2017)
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Robert Crowe Il Furioso - Handel: The Complete Amen, Alleluia Arias (2017)

Artist: Robert Crowe, Il Furioso
Title: Handel: The Complete "Amen, Alleluia" Arias
Year Of Release: 2017
Label: Toccata Classics
Genre: Classical, Baroque Era, Sacred
Quality: flac lossless
Total Time: 00:57:44
Total Size: 244 mb
WebSite:

Tracklist
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01. Amen No. 1 in F Major, HWV 270 - Robert Crowe
02. Intavolatura di tiorba, Op. 1, Sonata No. 9 in D Minor: II. (Andante) - David Dolata
03. A Hymn on Divine Musick "What Art Thou" - Robert Crowe
04. Amen, Alleluia in G Major, HWV 273 - Robert Crowe
05. Amen, Alleluia in G Minor, HWV 271 - Robert Crowe
06. Amen, Alleluia in A Minor, HWV 274 - Robert Crowe
07. Intavolatura di tiorba, Op. 1, Sonata No. 10 in G Major: I. Grave - Victor Coelho
08. Intavolatura di tiorba, Op. 1, Sonata No. 10 in G Major: II. Allegro - Victor Coelho
09. Intavolatura di tiorba, Op. 1, Sonata No. 10 in G Major: III. Allegro - Victor Coelho
10. Amen, Alleluia in F Major, HWV 276 - Robert Crowe
11. A Divine Song on the Passion of Our Saviour - Robert Crowe
12. Amen, Alleluia in D Minor, HWV 269 - Robert Crowe
13. Intavolatura di tiorba, Op. 1, Sonata No. 9 in D Minor: Ib. (Andante) - David Dolata
14. Amen, Alleluia in F Major, HWV 277 - Robert Crowe
15. Pieces for the Braamcamp Handel-Clay Clock: No. 3, Minuet (From HWV 436) - Juvenal Correa-Salas
16. Pieces for the Braamcamp Handel-Clay Clock: No. 4, Variation (From HWV 436) - Juvenal Correa-Salas
17. A Divine Hymn - Robert Crowe
18. Pieces for the Braamcamp Handel-Clay Clock: No. 10, 6th Air - Juvenal Correa-Salas
19. Amen, Alleluia in D Minor, HWV 272 - Robert Crowe
20. Intavolatura di tiorba, Op. 1, Sonata No. 11 in A Minor: III. (Andante) - David Dolata
21. Amen, Alleluia in C Major, HWV 275 - Robert Crowe
22. Amen in F Major, HWV 270 (Ornamented) - Robert Crowe

Over a period of some twenty years, from the late 1720s, Handel composed a series of virtuoso arias using only the words Allelujah and Amen as his texts. They were probably for use in private worship, and take their place in the tradition of Divine Song established by Purcell and other composers. Here they receive their first recordings, set in a context of contemporary sacred song and instrumental music, with theaccompaniment provided by the beguiling sound of two theorbos and chamber organ. They are heard here in the extraordinarily dramatic timbres of a male-soprano voice perhaps as close as modern listeners can come to the vocal acrobatics of the castrati who so amazed their own audiences.

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