The encounters of masters Georg Friedrich H�ndel and Arcangelo Corelli are the inspiration for this programme. Musica Gloria is a young and vibrant early music ensemble, directed by Beniamino Paganini and Nele Vertommen. The ensemble aims to move listeners with affectionate, lively, colourful and historically informed performances on (copies of) historical instruments. The ensemble does not shy away from performing both well-known masterpieces and unjustly unknown compositions.
Around the turn of the year 1706-7, at the age of 21, Georg Friedrich H�ndel (1685-1759) arrived in Rome. At the same time in Rome, Arcangelo Corelli (1653-1713) was a musical star: by then in his fifties, he was already long established as the most important violinist and composer of instrumental music of the city.
As H�ndel soon worked for many of Corelli's patrons, the two must often have shared the stage during H�ndel's time in Rome in 1707 and 1708, certainly for the premieres of H�ndel oratorio's Il trionfo del Tempo and La Resurrezione. At those occasions Corelli was concertmaster and H�ndel led from the harpsichord.
Musica Gloria has performed for leading organisations including AMUZ, BOZAR, Concertgebouw Brugge, Klara, MAfestival, Musica Antica, and Mubafa. Recordings released already include 'Fasch's Oboe' and 'The Bachs and The Flute'.
Beniamino Paganini (b. 1994) is a passionate traverso player, harpsichordist and ensemble leader. He obtained master degrees for traverso, harpsichord and 'Maestro al Cembalo', as well as a bachelor's degree in musicology, all awarded with great distinction.
Nele Vertommen (b.1999) was already fascinated by early music at the age of five. She obtained her master's degree in baroque oboe in the class of Marcel Ponseele with highest honours, for which she was awarded a prize by the artistic foundation 'Horlait-Dapsens'.
What a joy this record is! [�] It really is superb programming, and the performances are perfectly on point. [�]. Musica Gloria proves that Corelli really provided perfectly proportioned gems. Their unhurried way with the penultimate movement (Adagio), just letting the lines slowly tumble over one another, is miraculous. Tuning is here, as everywhere, perfect. � Classical Explorer
