Purcell:
Ground in d minor, Z.D222
Sonata No. 10 in D
Scarlatti:
Augellin, vago e canoro
Eccles:
Air from Mad Lover
Matteis:
Suite for guitar and b.c.
Handel:
Pensieri notturni di Filli (Nel dolce dell’ oblio), HWV 134
Trio Sonata Op. 2 No. 1b in b minor, HWV 386
Geminiani:
Sonata in d minor, No. 2 Op. 5
Vivaldi:
Concerto da Camera in F Major, RV 100
Greene:
Farfalletta festosetta

This CD by The Counterpoints, entitled Italophilia: Discovering the Italian style in Handel’s London, investigates the Italian musical influences on English baroque music in the seventeenth and eighteenth century. Already in 1683, Henry Purcell (1659-1695) had written in the foreword of his Sonatas of three Parts that he had ‘faithfully endeavour’d a just imitation of the most fam’d Italian Masters’. In later years, the impact of these Italian Masters would only increase, reaching its apogee in the work of George Frideric Handel (1685-1759). This CD contextualizes Handel’s work with composers he influenced and was influenced by, both in England and Italy. The Counterpoints have released an earlier CD on Challenge: Thomascantors in Dialogue (2022), focused on German composers. On Italophilia, the geographical focus shifts to Italy and England. As a consequent, there is a musical relocation, towards a different kind of expression, more contrast between lively and cantabile movements, and solo and tutti moments. Taking Handel as the key figure for this CD then is very fitting, as he had connections to all three countries. Finally, the vocal music and its narrative elements runs like a thread through the entire program. This reflects Handel’s oeuvre, in which vocal music also has a central place.