Händel: 9 Deutsche Arien Penelope Appleyard & Florisma

• Georg Friedrich Händel (1685 - 1759):
• 1 Singe, Seele, Gott zum Preise, HWV 206 05:36
• 2 In den angenehmen Büschen, HWV 209 04:07
• 3 Meine Seele hört im Sehen, HWV 207 05:41
• 4 Künft' ger Zeiten eitler Kummer, HWV 202 06:40
• 5 Süße Stille, sanfte Quelle, HWV 205 05:41
• 6 Die ihr aus dunkeln Grüften, HWV 208 05:49
• 7 Das zitternde Glänzen der spielenden Wellen, HWV 203 05:30
• 8 Süßer Blumen Ambraflocken, HWV 204 06:50
• 9 Flammende Rose, Zierde der Erden, HWV 210 05:49
• Total Runtime 51:43

Info for Händel: 9 Deutsche Arien

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of extracts from Barthold Heinrich Brockes’ poems Irdisches vergnügen in Gott (Earthly Delight in God) – remained unpublished until 1922, becoming known as one of the composer’s best kept secrets.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.

“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)

Penelope Appleyard, soprano Florisma

Penelope Appleyard
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.

She has performed at prestigious venues internationally from Mexico to Istanbul, and has worked with ensembles including The New London Consort, the Taverner Consort, the Monteverdi Choir, Wiener Akademie, The London Bach Singers and Feinstein Ensemble, Arcangelo, Armonico Consort, Ex Cathedra and the Royal Shakespeare Company, also appearing on numerous recordings. Roles have included Cupid (Venus and Adonis) Dorinda (The Tempest) Shepherdess and Siren (King Arthur) Bonvica (Bonduca) Pallas (Judgement of Paris) Second Woman (Dido and Aeneas) Mopsa (Fairy Queen) and Belinda (Dido and Aeneas) at Bridgewater Hall alongside Roderick Williams. Penelope appears regularly on the concert platform, engagements having included Bach’s B minor Mass at the Bologna Festival with David Roblou and Philip Pickett, Arne’s Alfred with Steven Devine, Monteverdi Vespers with Laurence Cummings and King Arthur for the Brighton Early Music Festival. She made her solo debut at Cadogan Hall in 2017 deputising for Dame Emma Kirkby. She has a particular love for chamber music and singing with instrumentalists. She has given recitals at Handel House with Julian Perkins, performed Purcell songs with the Orchestra of St John’s at St John’s Smith Square, regularly collaborates with lutenist Hector Sequera – with whom she has performed for the National Lute Society and Medieval and Renaissance Society – and is a member of the ensemble Dowland Works, led by Dame Emma Kirkby. She also sings with acclaimed a cappella group Apollo5. She co-founded historical chamber group Florisma, with whom she has recorded Handel’s ‘Neun Deutsche Arien’ for Convivium Records, to critical acclaim. She studies with Julie Kennard and Christine Cairns and has appeared in masterclasses with Catherine Bott, James Bowman, Michael Chance and Emily van Evera. Additionally she runs her own private vocal and flute teaching practice.

Florisma
are an exciting historical chamber ensemble featuring soprano voice with period instruments.

They have a creative, playful and personal approach to the music they perform, and are known for their sense of unity, “creating a rare feeling of intimacy around their performances.” They perform a varied repertoire of predominantly baroque music, are inventive with their programming and instrumentation, and aim to bring a real sense of energy and emotion to their audiences.

The ensemble was formed in 2011 by three early music students at the Birmingham Conservatoire, in order to receive historical chamber music coaching with baroque cellist Henrik Persson. The group had a distinctive sound and energy that was recognised early on, quickly going on to win first prize in the Birmingham Conservatoire’s Early Music Prize in which they were praised for their communication, expression and creative ornamentation. They appeared on the Conservatoire’s early music concert platform and received specialist guidance in French baroque music from Dr Shirley Thompson. All graduating with Distinctions in performance, they each went on to pursue performing careers, particularly involving historical music.

Since the group began they have added further instrumentalists to the line-up, providing more opportunities to be creative. Most recently this has included the addition of the baroque or ‘triple’ harp which has added an extra dimension to their performances, and they have enjoyed the opportunity to promote the use of this instrument in baroque repertoire.

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