Arioso: Deh, piangete, o mesti lumi (Cornelia) » MIDI | Recitativo: Vola, vola, mio cor, al dolce incanto (Cesare, Nireno) » MIDI | Recitativo: Non ha in cielo il Tonante (Cesare, Cleopatra) » MIDI | Recitativo: Giulio, che miri? (Cesare) » MIDI | Recitativo: Cieli, e qual dalle sfere (Cesare, Nireno) » MIDI | Recitativo: Da Cleopatra apprenda (Nirreno, Cesare) » MIDI | Recitativo: Eseguisti, o Niren, quanto timposi? (Cleopatra, Nireno) Duetto: Son nata a lagrimar / Son nato a sospirar (Cornelia, Sesto) » MIDI | Recitativo: Madre! / Mia vita! / Addio. Aria: Tu sei il cor di questo core (Achilla) » MIDI | Recitativo: Cornelia, in quei tuoi lumi (Achilla, Cornelia, Sesto) » MIDI | Recitativo: Sire, con Sesto il figlio questa e Cornelia (Achilla, Tolomeo, Cornelia, Sesto) » MIDI | Recitativo: Cesare, alla tua destra (Tolomeo, Cesare, Achilla) » MIDI | Recitativo: Vegli pure il Germano (Cleopatra) » MIDI | Recitativo:Ma che! Vile e negletta (Cornelia, Cleopatra, Sesto, Nireno) Arioso: Nel tuo seno, amico sasso (Cornelia) » MIDI | Recitativo: Ferma Cleopatra (Nireno, Cleopatra) Aria: Tutto puo donna vezzosa (Cleopatra) » MIDI | Recitativo: Cleopatra, vincesti (Nireno, Cleopatra) » MIDI | Recitativo: Qui nobile donzella (Curio, Cesare, Cleopatra) Accompagnato: Alma del gran Pompeo (Cesare) » MIDI | Recitativo: Sire, signor! / Achilla! (Achilla, Tolomeo) » MIDI | Recitativo: Regni Cleopatra (Cleopatra, Nireno, Tolomeo) » MIDI | Recitativo: Vani sono i lamenti (Sesto)
Aria: Priva son dogni conforto (Cornelia) » MIDI | Recitativo: Gia torna in se (Curio, Sesto, Cornelia) » MIDI | Recitativo: La reggia Tolomeo toffre in albergo (Achilla, Cesare, Sesto, Cornelia, Curio) » MIDI | Recitativo: Questa e Cornelia (Cesare, Curio, Cornelia, Sesto) » MIDI | Recitativo: Curio, Cesare venne, e vide e vinse (Cesare, Curio) Coro: Viva, viva il nostro Alcide! (Egyptians) (From Burneys History about Handel, 1789)
perhaps the only great Fuguist exempt from pedantry. These characteristics have not universally been considered signs of inferiority. Sometimes allowed to relax into thematic statement accompanied by chordal texture, thematic statements are less recognizably grouped, episodes less clearly defined, thematic material less economically used. In general, Handel’s treatment of fugue is freer and less rigorous than Bach’s: the part-writing (at least of the keyboard fugues) is often loosely handled, the counterpoint is Handel’s most important contributions to the genre are probably those in the choruses of his oratorios, which differ in only small ways from the keyboardįugues (two of the six keyboard fugues of 1735, for instance, ended up arranged as choruses in Israel in Egypt). Of pieces designated ‘fugue’, the most prominent being the Six Fugues or Voluntarys for the Organ or Harpsichord issued by Walsh in 1735. Handel’s focus on opera and oratorio, and the relative paucity of keyboard music from his pen, result in a very small number In contrast to the almost universal esteem accorded Bach’s fugues since at least the early 19th century, those of Handel have been somewhat neglected. All composers: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z | MIDI/ZIP &
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