HANDEL. La Reurrezione. Edith Gabry, Anne ® Marie Töpler-Marizy (sopranos), Emmy Lisken (contralto), Alfred Fackert (tenor), Erich Wank (bass), MUnster Santini Chamber Choir and Orchestra conducted by Rudolf Ewerhart. Turnabout TV37114-5S (two records, rias, £598). First issued as Vox monoVUX20I2 1/63).

Handel composed his first oratorio, La Resurrezione, in 1708, to be performed in Rome at the residence of his (and many other people's) patron, the Prince Ruspoli. The libretto by Carlo Sigismondo Capece is cleverly devised to serve both as a relation of the biblical events surrounding the resurrection and to provide some kind of commentary on it—the former is dealt with in music for Mary Magdalene, Mary Cleophas and St John the Evangelist, the latter in music for an Angel and Lucifer. In accordance with the Italian tradition, relevant to oratorio as well as opera, the role of the chorus is slight; they have nothing more than a short number at the end of each of the two acts. The work, though early, is unmistakeable; Handel's musical personality was already well formed. There are brilliant trumpet arias, fiery and aggressive ones for Lucifer (traditionally a bass), pathetic ones for the two- Marys (who also share an attractive duet), several lighter dance-like movements, simile arias in the operatic manner to introduce variety of expression, and a good deal of music scored with particular attentiveness for (one presumes) the unusual assortment of artists available at the Ruspoli establishment. One aria, for example, is most exquisitely laid Out for flute, viola da gamba and theorbo with tenor voice; another has six-part strings supporting a soprano; another adds recorders to muted violins and enriches the inner textures with a viola da gamb& part, again with soprano voice. One senses in all this a young composer, full of fresh ideas, stretching his musical muscles. There is scarcely an inferior item in the entire work. La Resurrezione is a much under-rated and underperformed piece. Handel himself doubtless was aware of its merits, for he drew on it several times in later years, notably for his first London opera, Rinaldo.

This recording of it follows not the standard text familiar from the Chrysander edition but a revised one, with what are probably Handel's own improvements, found in the Santini library at Minster in West Germany (from where this recording emanates) some 20 years ago. The beginning in particular is much superior, with a good Overture (lacking in the other version) and a striking sequence of numbers in which the tonalities and moods strengthen the contrast between the utterances of the Angel and those of Lucifer. More regrettably, the recording omits a splendid aria for Mary Cleophas, a vigorous simile aria about shipwrecks and safety. Still, it is the only recording to be had, and it gives a very fair idea of the work. In sound, and in approach, the performance is dated; the phrasing and textures are typical of German performances of the 1950s or l%Os, and the effect is sometimes a shade pedestrian, a consequence in particular of the overweighted, excessively legato continuo line. But I would not wish to put anyone off. Much of the orchestral playing is on a high level, and none of the solo singing is less than very adequate. The female voices are not greatly distinguished, and sometimes are tested by the numbers that require agility; the contemplative music goes better. Fackert shows a soft-grained tenor in St John's role, and Wenk an appropriately blustery bass in Lucifer's. The Handelian will recognize and relish much of the music here (not only pieces that Handel selfborrowed, but others that represent embryonic versions of more familiar pieces); and he will not want to be without this recording. S.S.