℗ 2017 Convivium Records
Released September 1, 2017
Duration 51m 43s
Record Label Convivium Records
Catalogue No. CVI043
Genre Classical (Baroque Era)
 

Haandel: 9 Deutsche Arien

Penelope Appleyard, Florisma

Available in 192 kHz / 24-bit, 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
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1.1
Singe, Seele, Gott zum Preise, HWV 206
George Frideric Handel; Penelope Appleyard; Florisma
5:36
1.2
In den angenehmen Büschen, HWV 209
George Frideric Handel; Penelope Appleyard; Florisma
4:07
1.3
Meine Seele hört im Sehen, HWV 207
George Frideric Handel; Penelope Appleyard; Florisma
5:41
1.4
Künft' ger Zeiten eitler Kummer, HWV 202
George Frideric Handel; Penelope Appleyard; Florisma
6:40
1.5
Süße Stille, sanfte Quelle, HWV 205
George Frideric Handel; Penelope Appleyard; Florisma
5:41
1.6
Die ihr aus dunkeln Grüften, HWV 208
George Frideric Handel; Penelope Appleyard; Florisma
5:49
1.7
Das zitternde Glänzen der spielenden Wellen, HWV 203
George Frideric Handel; Penelope Appleyard; Florisma
5:30
1.8
Süßer Blumen Ambraflocken, HWV 204
George Frideric Handel; Penelope Appleyard; Florisma
6:50
1.9
Flammende Rose, Zierde der Erden, HWV 210
George Frideric Handel; Penelope Appleyard; Florisma
5:49
“This recording is a fresh voiced account of these wonderful pieces, full of energy and sparkle, featuring singing of lovely character with some delightful ornamentation. A welcome addition to the catalogue and a notable solo recording debut for this young artist.” - David Clegg (International Counter-tenor) Händel’s Neun Deutsche Arien – settings of extracts from Barthold Heinrich Brockes’ poems Irdisches vergnügen in Gott (Earthly Delight in God) – remained unpublished until 1922, becoming known as one of the composer’s best kept secrets. Their air of mystery makes them all the more beguiling. In style they are quietly theatrical, intimately elaborate, each boasting the kind of melodies that cry out for decoration, but always in a style reflective of their worshipful subject matter. Händel’s operatic writing is evident in his expressive lines and interplay with obbligato instruments, but overall these pieces are impactful through intricacies rather than extravagances and therefore have a rather more poetic flavour than an operatic one. The arias were composed individually between 1724 and 1726, and were probably intended for performance in Hamburg. A soprano “Blessed with a voice of pristine clarity”, Penelope Appleyard is becoming known for the purity and agility of her voice, and her stylish interpretations of historical repertoire. She graduated with Distinction from the Royal Birmingham Conservatoire and now performs as a soloist and consort singer, particularly in the field of early music.
192 kHz / 24-bit, 96 kHz / 24-bit PCM – Convivium Records Studio Masters
Track titlePeak (dB FS)RMS (dB FS)DR
Album average
Range of values
-1.28
-2.33 to -1.00
-24.99
-26.32 to -22.37
15
14 to 17
1
Singe, Seele, Gott zum Preise, HWV 206
-1.00-22.3714
2
In den angenehmen Büschen, HWV 209
-1.97-25.8414
3
Meine Seele hört im Sehen, HWV 207
-1.00-23.2815
4
Künft' ger Zeiten eitler Kummer, HWV 202
-1.22-25.7814
5
Süße Stille, sanfte Quelle, HWV 205
-1.00-25.2315
6
Die ihr aus dunkeln Grüften, HWV 208
-1.00-24.2715
7
Das zitternde Glänzen der spielenden Wellen, HWV 203
-2.33-26.0716
8
Süßer Blumen Ambraflocken, HWV 204
-1.01-26.3216
9
Flammende Rose, Zierde der Erden, HWV 210
-1.00-25.7717

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