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Original
NCO production: February 1997
Il Trionfo del Tempo was the first of Handel's oratorios, and it was also the last. Its first version, from 1707, was the exciting and pioneering journey into a new genre from a composer well-established for his compositions in various genres. Just before his death, Handel adapted the work to an English text, calling it The Triumph of Time and Truth. This second version, dictated to his 'pupil' John Christopher Smith, has gained public recognition, unlike the first, which remains virtually unknown.
The 1707 version was visibly affected by the particular circumstances in which it was written. It belongs to the period of Handel's life when he was living in Rome, under the generous patronage of Cardinal Benedetto
Pamphilj. The oratorio was experiencing a sudden resurgence of interest as composers, forbidden by the Pope to produce operas for performance in the Holy See, turned elsewhere to produce dramatic entertainment. The work betrays its Italian origins in every aspect. In fact, it originally began with a Lullian overture, but Handel is reputed to have provided a new Italian one when
Corelli, who was leading the orchestra, walked out in protest against such a blatant French influence. This is especially apparent in the abundance of virtuosic writing, both for the voices and for the orchestra.
As a dramatic work, the oratorio is untypical, and involves more tableau presentation than dramatic or narrative tension. The drama is very much in evidence in the music, however, and as such the link with later works is a tangible one. The story involves the Four Elements, Beauty, Pleasure, Disillusion and Time, in a verbal struggle for dominance, weighing up the strengths and weaknesses of each.
As a result, the text is both philosophical and allegorical. Handel is tantalisingly ambiguous about the conclusion of the struggle, but Beauty, upon whom the final aria is bestowed, certainly seems to gain dominance.
Matthew
Heyse-Moore
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