The recorded catalog of 18th-century English theatrical music is so Handel-heavy that it’s easy to get the impression that Georg Frederic was the only notable name contributing to the lively operatic scene in London during the 1700s. However, as we discover on this very fine program from the Hungarian period-instrument ensemble Capella Savaria, a host of names–such as Arne, Smith, Fisher, and Erskine–also graced the billboards and entertained audiences during the English capital’s busy, flourishing theatrical seasons.
Of course, in their full-fledged stagings, not all the operatic efforts of these now lesser-known composers were successes–in fact, many were only moderately popular, and others were outright failures. But, as in the cases exhibited here, many of the overtures (and often other orchestral interludes as well) were hits that survived on the concert stage long after the work that spawned them was forgotten.
J.C. Smith was a student of Handel–and his music displays all the familiar characteristics of his teacher. This isn’t a bad thing–at least in the context of music designed purely for enjoyment. After all, who knew how to write great tunes, catchy rhythms, and lively fugues better than Handel? And you’ll never hear music more audience-friendly than Smith’s overtures to his Shakespeare operas The Fairies (based on A Midsummer Night’s Dream) and The Tempest. Best is his music for The Enchanter, which shows a far more individual, forward-looking style. Even more striking is J.A. Fisher’s overture to The Syrens, with its overtly dramatic character, scurrying strings, and effective use of winds and horns.
T.A. Erskine’s overture to The Maid of the Mill is remarkably Haydn-esque in its symphonic posture and thematic richness that cries out for a more developed context. But as we might expect, it is the most recognized name of the bunch, Thomas Arne, who provides the most memorable and theatrically viable music, invariably charged with energy and brimming with good ideas guaranteed to hold the interest of every paying customer. All of this is played with requisite spirit, clean articulation, and a genuine feel for the music’s true purpose: entertainment. The well-balanced, bright, clearly defined sound does full justice to these light but never fluffy or frivolous works. This is one of the more delightful musical hours I’ve spent in a long time. [6/10/2003]
