For the most English of German-born composers, these intimate arias composed between 1724 and 1726 were an ode to his origins. A concentrate of grace, with Les Arts Florissants stripped down to its chamber formation, and soloists Rowan Pierce and James Way.
Even before George Frideric Handel began his oratorio »Solomon«, he apparently knew that he would have more musicians than usual at his disposal for the premiere. And so Handel took every liberty in his composition, writing for a large wind section, additional strings and powerful double choirs. The subject is made for legendary (sonic) richness: Handel places the biblical King Solomon at the centre of the action and thus the most important stages in the life of the wise ruler – the first act opens with grandiose choruses of joy at the building of the temple in Jerusalem. The second act is full of drama, in which King Solomon has to decide between two women who are fighting over a child. In a touching aria, the composer reveals the real mother’s renounced love. And in the finale, none other than the Queen of Sheba appears to philosophise with King Solomon about the power of music.
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