Henry Purcell (1659-1695)
Ostinato pour clavecin seul en ré mineur, Z. D222
Sonate n° 10 en ré majeur

Alessandro Scarlatti (1660-1725)
Augellin, vago e canoro

John Eccles (1668-1735)
Air V (on a ground), extrait de "The Mad Lover"

Nicola Matteis (1650-1714)
Suite pour guitare et basse continue en sol majeur

Georg Friedrich Haendel (1685-1759)
Pensieri notturni di Filli (Nei doce dell' oblio) en fa majeur, HWV 134
Sonate en Trio en so mineur, op. 2 n° 1b, HWV 386b

Anonyme (Londres, 1706)
Tollets Ground

Francesco Geminiani (1687-1762)
Sonate n° 2 en ré mineur, op. 5, H 104

Antonio Vivaldi (1678-1741)
Concerto de chambre en fa majeur, RV 100

Maurice Green (1696-1755)
Farfaletta festosetta

The Counterpoints & friends

Kirsten Witmer, soprano
Thomas Triesschijn, flûte à bec
Matthea de Muynck, violon
Petr Hamouz, violoncelle
Anne-Linde Visser, violoncelle
Aljosja Mietus, clavecin
Giulio Quirici, théorbe, guitare

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.