Liner notes by Reinhard Strohm and Marco Vitale from the 65-CD BRILLIANT CLASSICS Handel Edition CD37-38
ACI, GALATEA E POLIFEMO
Aci, Galatea e Polifemo (HWV72) is the only serenata Handel composed in Italy, yet it is by no means isolated in his output. Il Parnasso in festa, performed in London 13 March 1734 for the wedding of Princess Anne with William of Orange, is classifiable as a serenata, and there are several other similar works, including the secular oratorio Il trionfo del tempo e del disinganno (Rome, 1707) and of course the well-known English Acis and Galatea (Cannons, 1718), a “masque” or “pastoral entertainment”. Serenatas were a frequent form of musical entertainment in noble households in Italy and soon also in Germany and England; the performers were usually accomplished vocal soloists, supported by an often substantial orchestra. Performances took place at night and often outdoors, in private gardens, or in a theatre, but without stage action; the characters might wear costume and there might be lavish decorations such as painted backdrops. The poetic texts were often allegorical or mythological, and the most usual function of the genre was to congratulate a patron on a happy occasion. Handel’s Neapolitan Aci, Galatea e Polifemo, for three soloists, is unusually dramatic for a serenata. The characters are strongly delineated in both text and music; there are dialogues (for example in the very first two lines), trialogues, monologues and asides, just as in a dramatic libretto. The action is itself a compelling drama: there is a mounting tension between the loving couple (Aci and Galatea) and the jealous monster (Polifemo), who finally kills Aci. A happy end is, however, imposed artificially, when all three soloists unite to sing a final chorus in praise of faithful love: the occasion for the performance was a wedding.Handel’s music is as rich and vivid as that of his cantatas, early operas and chamber duets: it paints the emotions and the background with both the vocal and the chosen instrumental forces. The extraordinary compass of Polifemo’s bass part is in itself an allegory of the mythical monster’s body, and Aci and Galatea present themselves in their soprano arias as graceful, passionate, young and genteel. Among the instruments, the oboe has many characterful solos, and the two trumpets add physical force and an outdoors feeling – as was proper for a serenata. The melodic invention is remarkable; the most intriguing motifs are falling or downward pointing. Although the composition was commissioned and written at short notice, Handel, fully familiar with the type of musical imagery expected here, could muster his best musical ideas. The work holds its own in comparison with the English Acis and Galatea, as it represents not only a drama, but also celebrates the beauty of Italian nature and culture.
© Reinhard Strohm
During Handel’s travels in Italy in 1708, he spent some ten weeks in Naples, from about the beginning of May to the second week of July. He composed Aci, Galatea e Polifemo during his stay in the city. He was 23 years old. On completing the work Handel notated on the last page of the autograph: Napoli lì 16 di Giugnio.1708. d’Alvito. Although there is no firm evidence, it is likely that he composed the work for the wedding festivities of the fifth Duke of Alvito, Tolomeo Saverio Gallo, and Beatrice Tocco di Montemiletto, Princess of Acaja. The wedding was celebrated on 19 July 1708, one month after the completion of the work. John Mainwaring, Handel’s first biographer, wrote that the work was composed “at the request of Donna Laura”. Recent studies suggest that the mysterious “Donna Laura” was most probably Donna Aurora Sanseverino, Duchess of Laurenzano, and Beatrice Tocco’s aunt. The opening duet “Sorge il di, spunta l’aurora” seems to be a confirmation that Aurora Sanseverino herself commissioned the work. Handel himself performed the work only once, in July 1708. Aci, Galatea e Polifemo was performed again for the wedding of Pascale Gaetani d’Aragona, Aurora Sanseverino’s eldest son, with Maria Maddalena di Croy. The wedding took place on 6 December 1711, and according to Luigi Michele Mutio’s Lettera diretta a Vienna d’Austria al Sig. Silvio Stampiglia the performance took place on 9 December. Aurora Sanseverino’s letters about the preparations for the festivities give information about the musical performance, and reveal the name of the author of the libretto: his name is Nicola Giuvo, private secretary and literature adviser to the Duchess Aurora Sanseverino. A third performance took place in Palazzo Reale in Naples on 26 July 1713, for the name day of the daughter of the fourth Austrian Viceroy of Naples, Graf Wirich Philipp Lorenz von Daun. The orchestration of the work is very varied, with a different affect for every aria, and the text is perfectly rendered. It is a very demanding work for the singers and the orchestra. The range of Polifemo (Bass) is remarkable: a compass from D to a’, with extraordinary leaps of two and a half octave. An outstanding singer must have been available in Naples and the young Handel took full advantage of his abilities. Some researchers have concluded that the role of Polifemo was composed for Don Antonio Manna, a bass singer who served in the Royal Chapel of Naples and the Hofkapelle in Vienna.
The libretto is based on Ovid’s Metamorphoses (XIII, 738- 897). The Sicilian legend tells of the love between Acis, son of Faunus and the nymph Symaethis (a river in Sicily), and the sea nymph Galatea, daughter of Nereus and Doris. Their love was destroyed by the Cyclops Polyphemus, an ugly giant with one eye in the middle of his forehead. Polyphemus, son of Neptune, the God of the sea, was also in love with Galatea, who remained faithful to her beloved Acis. The Cyclops, in a jealous rage, crushed the young shepherd Acis with a rock. The gods, feeling pity for Galatea’s torment, changed Acis’ blood into a limpid river that flows eternally, allowing Acis to find eternal peace in Galatea’s arms.
The two lovers are joined in an infinite and immortal embrace. Today the river Aci flows underground near Acireale (Sicily) and surfaces in the “Miuccio”, a spring called by locals “u sangu di Jaci” (Acis’ blood). Nine towns and villages in that area bear the name of Acis (Aci in Italian), including Acireale, Acicastello, Aci Catena and Aci Trezza. On the coast of Aci Trezza are three tall, column-shaped islands. According to local legend, these great stones are the very same ones thrown at Ulysses by Polyphemus in Homer’s Odyssey.
Handel rarely prescribes the specific instrumentation of the basso continuo, but when he does give indications, he is always clear and precise. For Polifemo’s aria “Fra l’ombre e gli orrori” Handel asks for a Violone Grosso. This term has often been understood to mean the double bass.
This reading does not apply to Handel’s music composed in Italy. In his early Italian music Handel clearly shows that he knows the difference between Violoncello, Contrabasso and Violone Grosso, as he uses the three different names in his autographs, even within the same composition.
For example, in the oratorio “La Resurrezione” (Rome, 1708), he writes Violoni senza Cembalo for the aria “Ferma l’ali, sui miei lumi”. Four arias later, in “Naufragando va per l’onde”, we find Violoncelli senza Cembalo e Contrabassi. Handel also asks for Violone Grosso in the opening aria of the cantata “Tra le fiamme” HWV170 (Rome, 1707).
After comparing these compositions (written in 1707 and 1708) and carefully studying the original sources, I noticed that Handel asks specifically for violone when he wants to obtain a particular colour. He combines this instrument with flutes, viola da gamba and muted violins to create an exceptional affect related to the text.
The instrument used for Polifemo’s aria is a 12’ violone tuned G’-C-F-A-d-g, which is not transposing at the lower octave, like the double bass 16’. Playing the bass line at the written octave makes Polifemo the lowest voice of the ensemble at times, holding his low E-flat as a sustained pedal, while the violone plays its line above Polifemo’s note. Handel did not specify any particular instrumentation for the arias “Benché tuoni e l’etra avvampi” (B-section), “Dell’aquila l’artigli” and “Impara, ingrata, impara”. I decided to accompany these arias with harpsichord solo: this choice is supported by the presence of Handel’s typical virtuoso keyboard writing (broken chords, fast repeated notes and big arpeggios), which we often find in his harpsichord solo music.
Most probably Handel himself played these arias, in duet with the singers, delighting the fortunate audience with his exceptional ability at the harpsichord.
© Marco Vitale
HANDEL EDITION Extensive Liner Notes & Sung Texts – Brilliant Classics – 95050
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