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George Frideric Handel: Concerto Grosso, Op. 6, No. 9 , I (Largo) & II (Allegro) / Boston Baroque --

Photographs No. 1 & 3 by Julia Margaret Cameron (née Pattle; 11 June 1815 – 26 January 1879): British photographer. She became known for her portraits of celebrities of the time, and for photographs with Arthurian and other legendary or heroic themes.

No. 1: Portrait of Julia Prinsep Jackson, later Julia Stephen, Cameron's niece, favourite subject, and the mother of the author Virginia Woolf.

No. 3: ("Pomona") Alice Liddell (1852–1934)—who, as a child, was Lewis Carroll’s muse and frequent photographic model—posed for Cameron a dozen times in August and September 1872. Against a dense background of foliage and bedecked with flowers, the twenty-year-old Liddell was photographed by Cameron as the embodiment of fruitful abundance, Pomona, Roman goddess of gardens and fruit trees. (Metropolitan Musem of Art)

http://en.wikipedia.org/wiki/Julia_Margaret_Cameron

NOTE: Second to last photo shows cyclist Tillie Anderson, born April 23, 1875 in Skåne County, Sweden. She was widely recognized as a world champion cyclist, and won all but seven of the 130 races in which she competed. Anderson emigrated to the United States as a teenager in 1891 and found work as a seamstress. However she quickly turned to the new sport of women's bicycling and was a champion cyclist in almost all forms of the sport, particularly the favored six-day events of the era. At 18, The League of American Wheelmen named her the best female cyclist in the world, and she held the title of world champion until 1902, when women were banned from racing due to the perceived level of danger in the sport. For her achievements in cycling in both road and track events, Anderson was inducted into the United States Bicycling Hall of Fame in 2000.

http://en.wikipedia.org/wiki/Tillie_Anderson

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The Concerti Grossi, Op. 6, or Twelve Grand Concertos, HWV 319–330, are 12 concerti grossi by George Frideric Handel for a concertino trio of two violins and violoncello and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, in the second edition of 1741 they became Handel's Opus 6. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, they were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concertos were largely composed of new material: they are amongst the finest examples in the genre of baroque concerto grosso.

http://en.wikipedia.org/wiki/Concerti_grossi,_Op._6_(Handel)

George Frideric Handel (/ˈhændl/;[1] German: Georg Friedrich Händel; German pronunciation: [ˈhɛndl];[2] 23 February 1685 – 14 April 1759) was a German-born, British Baroque composer famous for his operas, oratorios, anthems and organ concertos. Born in a family indifferent to music, Handel received critical training in Halle, Hamburg and Italy before settling in London (1712), and became a naturalized British subject in 1727.[3] He was strongly influenced both by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.

http://en.wikipedia.org/wiki/George_Frideric_Handel

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