Georg Friedrich Händel (1685-1759): The 16 Organ Concertos
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- เผยแพร่เมื่อ 28 มิ.ย. 2024
- 00:00 Concerto No 4 in F Op 4 No 4: Allegro - Andante - Adagio - Allegro (1)
15:30 Concerto No 10 in D minor Op 7 No 4: Adagio - Allegro - Adagio - Allegro (1)
29:45 Concerto No 16 in F: Ouverture: Grave, Allegro - Adagio - Allegro ma non troppo - Adagio - Andante - Allegro - Marche: Allegro (1)
48:53 Concerto No 8 in A Op 7 No 2: Ouverture: Grave - A tempo ordinario (Allegro) - Adagio - Allegro (2)
1:02:03 Concerto No 5 in F Op 4 No 5: Larghetto - Allegro - Alla Siciliana - Presto (2)
1:11:27 Concerto No 6 in B flat Op 4 No 6: Andante allegro - Larghetto - Allegro moderato (2)
1:22:31 Concerto No 7 in B flat Op 7 No 1: Andante, Andante - Largo e piano - Bourrée: Allegro (2)
1:38:50 Concerto No 9 in B flat Op 7 No 3: Allegro - Adagio (solo) - Spiritoso - Menuet (3)
1:53:09 Concerto No 3 in G minor Op 4 No 3: Adagio - Allegro - Adagio - Gavotte: Allegro (3)
2:04:05 Concerto No 11 in G minor Op 7 No 5: Allegro ma non troppo, e staccato - Adagio - Andante larghetto, e staccato - Menuet (3)
2:16:27 Concerto No 14 in A: Largo e staccato - Andante - Grave - Allegro (3)
2:34:14 Concerto No 1 in G minor Op 4 No 1: Larghetto e staccato - Allegro - Adagio - Andante (4)
2:50:32 Concerto No 2 in B flat Op 4 No 2: A tempo ordinario, e staccato - Allegro - Adagio, e staccato - Allegro ma non presto (4)
3:00:05 Concerto No 13 in F "The Cuckoo and the Nightingale": Larghetto - Allegro - Larghetto - Allegro (4)
3:12:05 Concerto No 12 in B flat Op 7 No 6: Pomposo - Adagio - A tempo ordinario (4)
3:19:49 Concerto No 15 in D minor: Andante - Adagio (solo) - Allegro (4)
Rudolf Ewerhart
1) Baroque Organ of the Parish Church in Körbecke
2) Gabler Organ in Weingarten
3) Trinity Organ, by Karl Joseph Riepp, in Ottobeuren
4) Cabinet Organ of the Geertekerk in Utrecht
Collegium Aureum
Recorder: Günter Höller, Manfred Peters / Natural Horn: Toni Hammer, Erich Penzel
Baroque Oboe: Klaus Ebach, Frithjof Fest, Ingo Goritzki, Ad Mater, Hans Georg Renner, Christian Schneider, Alfred Sous / Baroque Bassoon: Werner Mauruschat, Otto Steinkopf
Violin: Franzjosef Maier, Franz Beyer, Werner Neuhaus, Wolfgang Neininger, Ruth Nielen, Gerhard Peters, Jan Reichow, Adelheid Schafer, Brigitte Seeger, Karl Steeb Günter Vollmer, Doris Wolff-Malm
Viola: Franz Beyer, Wilhelm Gerlach, Heinz Otto Graf, Ulrich Koch, Karlheinz Steeb
Violoncello: Alwin Bauer, Horst Beckedorf, Thomas Blees, Rudolf Mandalka, Angelica May
Viola da gamba: Johannes Koch / Violone: Heinrich Spiker
Double-Bass: Paul Breuer, Rudolf Detering
Even today the listener is captivated by the vitality charged with energy and by the fiery temperament, as well as the witty inspiration and festive dignity of the Organ Concertos of George Frideric Handel. Handel’s early biographer John Mainwaring is right when he says of his music that it adds to the “tender and beautiful melodies’ of the Italian masters “...even greater expressiveness, since he knew at the same time how to combine them with the full strong harmony of his fatherland.” Although Handel's style is rooted in the Central German cantoral practice of his homeland, his music is more strongly influenced by the impressions gained during his stay in Italy where he received decisive impulses that determined the form of the organ concerto. It was in Rome, in 1707, that he inserted a concertante part for organ within a large-scale work, his first oratorio, “Il Trionfo del Tempo.” But it was fortunate for the development of the style to full maturity that the master occupied himself with the actual form of the organ concerto only in 1735. This came about when, during performances of his oratorios, he inserted one of his organ concerts as entr’acte music and, on such occasions, could demonstrate his much-admired art of improvisation. According to contemporary reports, and the evidence shown in the manuscript and printed sources, we must assume that, in many places, the written notes only provided a bare outline which Handel himself each time filled out and enlivened by his imagination.
Hawkins gives a vivid description: “As to his performance on the organ, the powers of speech are so limited, that it is almost a vain attempt to describe it otherwise than by its effects... When he gave a concerto, his method in general was to introduce it with a voluntary movement on the diapasons, which stole on the ear in a slow and solemn progression; the harmony close wrought and as full as could possibly be expressed; the passages concatenated with stupendous art, the whole at the same time being perfectly intelligible, and carrying the appearance of great simplicity. This kind of prelude was succeeded by the concerto itself, which he executed with a degree of spirit and firmness that no one ever pretended to equal.” (Sir John Hawkins: General History of the Science and Practice of Music, 1776; modern reprint: Dover, N. Y., Vol. II, p. 912).
The form of Handel’s organ concertos is determined by the four-movement church sonata that also forms the basis of one type of concerto grosso. The point of departure for the treatment of the solo instrument is the organ without pedal or only a rudimentary one predominant in England and Italy. Often these instruments had only one manual with not too many stops. This explains the transparence of the organ part which, akin to the South German-Italian keyboard style, is set mostly in two parts and presumably is to be performed in this way.
The Concertos for Organ and Orchestra are unofficially numbered from 1 to 16. Handel’s first printed publication; the six Concertos, Op. 4, appeared in 1738, the second one, likewise containing six Concertos, was published in 1740. This second collection, carrying no opus number and being paid but scant attention in Handel literature, consists largely of arrangements of earlier orchestral and chamber music works. Only two of these concertos, in F major (now listed as No. 13) and in A major (No. 14) are true arrangements for organ, partly with new musical ideas. A third printed collection with six more concertos appeared posthumously in 1761 and bears the opus number 7. In 1797 Samuel Arnold published two additional concertos based on extant manuscripts: in D minor (No. 15) and F major (No. 16). The conventional numbering begins with the concertos with opus numbers followed by the remaining four.
Our recording of Handel’s sixteen Concertos was guided by the idea of presenting them in performances on several instruments of varying size and different type. Not only is the first Concerto of Opus 7 a work requiring a two-manual organ with pedal, but many movements of the other concertos demand such rapid alternation of forte and piano that it cannot be accomplished by mere withdrawal and addition of stops. In a letter to Charles Jennens, Jr. of September 30, 1749, Handel visualizes an instrument with seven registers without mixtures as the ideal chamber instrument. Yet, his concertos - with due caution in the choice of registers - can also be performed well and transparently on larger organs.
Since Handel’s organ style shows elements of the South German-Italian manner as well as characteristics of French technique of composition, it seemed proper to select for the interpretation of the concertos such differentiated instruments as the typically South German organ in Weingarten, the “Trinity’ organ in Ottobeuren with its French elements, the rustically solid Westphalian organ in Kérbecke and the chamber instrument in the Geertekerk of Utrecht. The wealth of forms and the variety of structure in Handel's organ concertos thus finds its logical parallel in the assignment to several instruments.
On March 23, 1735, Handel completed the manuscript of the Concerto in F major, Op. 4, No. 4. The four-movement work shows the typical earmarks of Handel’s organ style which eschews strict polyphonic writing and charms more by its easily remembered themes, playfulness and infectuous temperament. The first movement, based on a triadic theme from the opera Alcina, shows rudimentary beginnings of a sonata-like development. The Andante gives the solo instrument a chance for extended triplet figuration. The orchestra, marked by Handel pianissimo per tutto (sic) except for the final measures, only has a modest share. A brief Adagio is given entirely to the organ and, with a characteristic turn, leads into the final movement. After a fugal orchestral statement the organ takes over, disrupting the strict fugue form with virtuoso figuration.
Whereas the first series of organ concertos appeared in print as Op. 4 in 1738, Opus 7 containing an additional six concertos was published only after Handel’s death, in 1761. In the D Minor Concerto (No.4) from this cycle two contrasting groups are set against the organ at the outset. At first, divided celli and bassoons carry out the subdued beginning, later on the upper string instruments respond to the short organ episodes. A cadenza written out by the composer leads to the concluding tutti in which, for the first time, the entire orchestra plays together. The fanfare-like rising theme of the Allegro (in D major) is borrowed from Telemann’s Tafelmusik. In many places the movement gives the soloist an opportunity to improvise and spin on the melodic material fixed in the musical text. The thematic material of the final movement is well known from other works of Handel. Here, too, an organ cadenza loosens up the concertante structure.
The concerto in F Major, No. 16 in the unofficial count, represents an entirely different type - differing from the others in the number of movements, in character and in the treatment of the organ. It shares its musical substance with a double-choir orchestral Concerto (No. 3). In the organ concerto version, which has come to light only after Handel’s death, the parts of one wind choir are assigned to the keyboard instrument. This explains the rather slight solo part the organ plays. Horns, oboes and bassoons contribute to the festive splendor of this magnificent music. The work begins with an Overture in two sections. According to Handel’s instructions, a free recitative-like improvisation is to follow. The charm of the Allegro ma non troppo that follows is in the concertante alternation between a wind group and the organ supported by a bassoon. A short Adagio forms an effective contrast. The Andante favors the horns in their upper range. Thematic material and the elan of the movement are typical for Handel as we know him from his great festive works. Two short dance movements round out the concerto. The lively gigue-like hunting piece gives prominence to the horns, while the March, familiar from the oratorio Judas Maccabaeus, requires the compact tutti sound of the orchestra.
The well-preserved organ of the Catholic Parish Church in Kérbecke (near Soest in Westphalia) was built around 1770 by an unknown Westphalian organ builder and recently restored. It proved to be an instrument that approximates the sound of the organ used by Handel for the performance of his concertos, a small positive with few registers and small volume of sound. For the performance of all three Concertos we merely used the Unterwerk comprising nine registers.
The registration used for the Concerto, Op. 4, No. 4, may serve as an example:
Allegro: Gedackt 8’, Waldflòte 2’ Quinte 1 1/3’
Andante: Gedackt 8’, Prinzipal 4’ (only in the first and last measures), Gemshorn 4’
Adagio: Gedackt 8’
Allegro: Gedackt 8’, Prinzipal 4’, Waldflòte 2’, Quinte 1 1/3’, Oktave 1’
The Concerto in F major, Op. 4, No. 5, is an arrangement Handel made of the familiar Sonata for Recorder and Continuo, Op. 1, No. 11. To this four-movement work Handel added orchestral ritornellos which, in the new version, frame the strongly predominant organ part. Only the cantabile solo part of the third movement is surrounded throughout by the sound of strings, The two opening movements, a solemn Larghetto and a lively Allegro, are followed by two dance movements from the suite repertoire: a Siciliana and a richly embellished Gigue.
The last Concerto from Op. 4, No. 6, in B-flat major, was originally composed for the harpist Powell as a concerto for his instrument. In 1736 it was used as an interlude to the oratorio ‘Alexander’s Feast.” The woodwind section, in this case, consists of two recorders rather than the usual oboes. This orchestration and the limpid figuration of the solo instrument bestow upon this concerto, which follows the three-movement Italian concerto form, its delicate transparency. The peculiar characteristic of the first movement is the continued development by the organ of motifs derived from the main theme. The Larghetto impresses by its broad melody based on sarabande rhythm favored by Handel. In the minuet-like final movement the bass likewise shares in the figuration.
In both these concertos from Opus 4 only a modest role is assigned to the orchestra. Thus these works do not represent the progressive type of organ concerto as presented by Handel in other works.
The Concerto in B-flat major, Op. 7, No. 1, takes an exceptional position among Handel’s Concertos for organ and orchestra. Whereas, in all other concertos, the musical structure of the solo part is such that no pedal is required, this work not only demands an obbligato pedal but an instrument with at least two manuals. Influences of North German organ music can be felt, especially in the elaborate pedal part culminating in a virtuoso pedal trill. In form, too, this Concerto is an exception. The first two, rather extended movements, are series of variations over a basso ostinato which, after a few tutti chords, is fully stated by the organ for the first time in the fifth measure. In the first movement it is extensively varied in two-bar periods in B-flat major, F major and G minor. The second Andante expands the ostinato into an eight-bar group in triple meter and carries it through a total of seventeen variations, all in the principal key. In the third movement it is the strings’ turn to surround the melodic line of the organ with an ostinato motif. The work concludes with a lively Bourrée characterized by dotted rhythms. The master completed this Concerto, impressive by its unity, on February 17, 1740.
The second Concerto of Opus 7, in A major, was written three years later. A festive two-part Overture in French style opens the work. In the second part, an Allegro fugue, several counterpoints join the forceful theme. From one of these, the passagework of the organ develops, interrupted now and then by tutti episodes. A slow movement, not written down by Handel, forms the transition to the Allegro. Here the organ part consists of short pastoral sections over pedal points of the strings as well as solo triplet passages. This movement is likewise framed by sharply defined orchestral ritornellos.
The large organ of the Benedictine Abbey in Weingarten (Württemberg), built in 1737-1750 by Joseph Gabler, is one of the most magnificent and best preserved products of the South German organ builders’ art. With its 77 registers, distributed over four manuals and pedal, it exceeds the conception Handel had for his organ concertos. Besides, the ie a of keyboards and ranks of pipes, limited in the treble range, confronts the performer with unusual problems. Yet, it is fascinating to experience Handel’s music in this colorful spectrum, the more so since numerous points of contact exist between South German organ music and Handel’s writing for organ.
The series of organ concertos printed in 1761, i.e. two years after the death of the master, as Opus 7 contains as the Fifth Concerto a work in G minor. Of the four movements included in the printed edition, only the first two can be considered concerto movements in the proper sense, while the two concluding dances are orchestral movements. The first movement develops two themes of contrasting character. While the first subject with unison ending is reserved for the orchestra, the solo passages of the organ are based exclusively on the second, cantabile theme. A brief Adagio on the organ leads to the Andante introduced first by the organ and then by the orchestra with a two-measure unison subject which then, as an instrumental ostinato, goes on to accompany a series of organ variations. Becoming ever more intense, the figuration ends with a cadenza of the solo instrument. A Minuet in broad motion features the orchestra. The woodwinds that only now join the orchestra point up the curious division of this concerto which is perhaps due to a later revision. (In the published score a Gavotte follows, which, however, is merely a variant of the Gavotte in Opus 4, No. 3).
In the Concerto No. 14 in A major we encounter a unified work of irresistible elan. The opening Largo, in the rhythm of a French Overture, introduces the organ with a short cadenza before it is heard in alternation with the orchestra. In the solo passages the strange repeated notes attract attention; something not found elsewhere in Handel’s concertos. In the Andante, the orchestra, now complemented by woodwinds, presents a typical Handel ritornello that, later on, is divided between solo instrument and accompanying ensemble and, in the further course of the movement, serves as the framework for the varied and charming motion of the organ. A Grave starting on the subdominant and giving the organist an opportunity for embellishment leads into the finale, an Allegro of fiery temperament. The form, borrowed from the da capo aria, is unique among Handel’s concertos. The organ dominates, whether in playfully virtuoso passagework or in bloc-like alternation with the orchestra. This animated movement serves as a worthy conclusion to a magnificent concerto.
The Concerto in B-flat major, Op. 7, No. 3, in the opening movement already, gives the organ some extended solo episodes. The middle section brings charming alternation between organ and woodwinds as well as the strings reduced to a small group winding around the figurations of the organ. As a slow movement before the fugue, in place of the improvisation indicated by Handel, we have selected a “Sonata” with richly embellished treble part from the Aylesford manuscripts. The succeeding fugue is based on forceful triadic thematic material. Soon after the first solo the strict form is dissolved in loose figuration and the organ dominates with concertante passages. In the final Minuet the French manner has left its traces in form of dotted rhythms.
Of the otherwise quite well known works in this group, the Concerto in G minor, Op. 4, No. 3, seems to be played most seldom. The most likely reason is that the organ here has to relinquish its position of solo instrument in the two slow movements to a concertino of violin and cello, a change in instrumentation that gives this Concerto its individual note and places it somewhat outside its surroundings. The mostly two-part concertino supported by the continuo of the first Adagio is reinforced by the tutti only in a few places. The Allegro, known to the listener from other works of Handel, subsists on the willfully syncopated theme and the brilliant organ figuration leaving little chance for intervention to the orchestral tutti. After a brief interlude, the Gavotte, almost exclusively given over to the organ, concludes the Concerto.
In the venerable Trinity Organ, the larger one of the two organs of the Benedictine Abbey in Ottobeuren (Bavaria) built in the years 1754-1766 by Karl Joseph Riepp, an instrument was available for this recording that combines strong French elements with the characteristics of Swabian Baroque. Connoisseurs recognize the Riepp organs in Ottobeuren as perhaps the most beautiful Baroque organs and of the best workmanship. In this recording, the widely praised tonal beauty of this instrument for the first time benefits concertos by Handel. The noble principals, flutes and mixtures give special life to the brilliant power and ornamental playfulness of Handel’s music.
The collection of six Concertos, Opus 4, published in 1738, opens with the frequently performed Concerto in G minor. The introductory Larghetto uses sarabande rhythm for its spacious fanciful architecture. An Allegro in G major follows from whose unison theme the organ borrows the material for its brilliant figurations. A contrasting element is provided by a short episode in minor over a descending bass, appearing twice each time. Except for the connecting cadence, the third movement is for organ alone, and in the finale, an Andante with two variations, the organ intones the theme, accompanied only by the basses. At the beginning of the variations the organ expands the harmonic writing played by the orchestra by broken chords, garlands and scale passages and brings the Concerto to a radiant close.
The Concerto No. 13 in F major heads the second collection of organ concertos Handel had printed in 1740 without opus number, and which offers for the most part pure rearrangements of older instrumental works, Handel’s autograph of this Concerto is dated April 2, 1739. The arrangement is based on movements from the Trio Sonata, Op. 5, No. 6, and the Concerto Grosso, Op. 6, No. 9, which have been skillfully adapted to their new function as an organ concerto. In both Allegro movements room has been made for playful passages for the organ. In the second movement, clearly recognizable descriptive motifs have earned for the Concerto the nickname “Cuckoo and Nightingale.” The adoption of the concerto-grosso model in the third movement is of great tonal charm since now the concertino role falls to the keyboard instrument. A fugal Allegro concludes the Concerto in lively fashion.
In the Concerto in B-flat major, Op. 4, No. 2, the introductory measures are followed, in the style of a French overture, by an Allegro with a spacious theme that is taken over by the organ, but soon loses itself in playful figuration. In a brief subsidiary episode in minor echo effects are used. It is one of those fresh allegro movements of Handel in which the organ predominates while the orchestra contents itself with ritornellos and the reinforcement of final cadences. The organ writing excels by its free and formal clarity. The recitative-like Adagio, lightly supported by the orchestra, introduces a momentary pensive mood. The finale is dominated essentially by one motif and, as in many other works, has the character of a dance. The subdued ending of the movement, and with it of the entire concerto, comes as a surprise.
Written around 1740, but published only in the third collection, the Concerto in B-flat major, Op. 7, No. 6, hardly shows any special features. Only two movements are written out, the first of which, Pomposo, is derived from a theme of Telemann. Orchestra and solo instrument mostly alternate in regular succession, the organ persisting throughout in the same type of figuration while the accompanying instruments turn to various new ideas. Between the Pomposo and the concluding dance movement there is room for an organ improvisation. The solo passages of the finale are only sketched out to establish the tonality, but left to the performer to fill in. In the tutti sections treble and bass alternate with the main theme that dominates motifs, depends on a rich motivic play full of sequences without great climaxes. Compared to it, the witty Allegro with scattered syncopes gives a rather individualist impression. Since the strings - no wind instruments are used in this Concerto - only play the brief ritornello, the organ with lively triplet passages predominates in this gigue-like movement.
The Concerto in D minor, unofficially numbered 15, was published only in 1797 from Handel's autograph.
The one-manual cabinet organ in the Geertekerk in Utrecht (Holland), built probably not before 1760 by Johann Strumpfler of Amsterdam is, except for slight variants, identical with the organ Handel described as his ideal in the letter of 1749. The extremely transparent sound of this chamber instrument, gives an impression of the sound Handel had in mind when writing his concertos. Handel’s allegro movements can hardly be presented to better advantage than on this organ.
The G minor Concerto from Opus 4 was played with the following registration:
Larghetto: Holpyp 8', Prestsant 4’
Allegro: Holpyp 8', Octaaf 2'
Adagio: Holpyp 8'
Andante: Holpyp 8’, Prestant 4’, Prestant 8’ (from c’), Octaaf 2’ (divided), Octaaf 2’ added from measure 61, Prestant 4’ (divided), Tramble (Tremulant)
RUDOLF EWERHART
(Translated from the German by Herman Adler)
Musical Heritage Society (OR 305-308) 1971
QUE MÚSICA TAN MÁS HERMOSA GRACIAS POR COMPARTIRLA, SALUDOS DESDE SAN FELIPE DEL PROGRESO, ESTADO DE MÉXICO 🇲🇽. DIOS LOS BENDIGA SHALOM🙏.
I don't not wors for this wonderful pieces l only think in God thank you God for your love to the mans and all your creation.❤🇭🇳🇭🇳🇭🇳🙏
These are wonderful! Elevate my spirit to another level! They are excellent symphonies!!! Thank you, Thank you, Thank you!!! Greetings from Ciudad del Este, Paraguay. 🇵🇾🎶❤️🇵🇾🎶❤️🇵🇾🎶❤️🇵🇾🎶❤️
HANDEL IS THE BEST EVER !!! THIS MUSIC IS MAGNIFIQUE !!! HANDEL THE BEST !!!
ye bhe koi kehne ke baat hay
Handel mahaan hain ❤
Gracias por esta maravillosa colección barroca.
From Honduras 🇭🇳❤❤❤🇭🇳🇭🇳🇭🇳🇭🇳🇭🇳🙏🙏🙏
💝💝💝 TY
m,agrada molt Handel ❤
The 16th is my company’s theme song.
Гендель, это бриллиант эпохи барокко. Браво маэстро!
Rudolf Ewerhart 1928 -- 2022 ...grew up in Trier and sang in the choir of the Trier Cathedral Boys' Choir as a teenager. He studied church music as well as conducting and musicology in Cologne and Freiburg im Breisgau. In 1953 he received his doctorate in Cologne. In 1955 he took over a lectureship at the Episcopal Church Music School in Münster, which he held for 20 years and of which he was temporarily director. From 1972 to 1992 he taught organ and choral conducting at the Hochschule für Kirchenmusik of the Staatliche Musikhochschule Köln.
... In 2020, Ewerhart was awarded the Pontifical Order of St. Gregory by Bishop Stephan Ackermann on behalf of Pope Francis.
Since 1982, Ewerhart lived with his wife Helena in the late Baroque castle house in Wassenach, which he renovated himself, a noble residence of the Barons of Kolb built from 1772 to 1775. ... He built up a large collection of historical keyboard instruments there. ... The oldest instrument in his collection is a spinet from the first half of the 17th century ...
Ewerhart's research focused on Baroque music, where he recorded many works for the first time, including works by George Frideric Handel that he had tracked down himself. ... The complete recording of concertos for organ and orchestra by Handel with the Collegium Aureum for the German label Harmonia Mundi made him known worldwide as an organist. ...
El meu Handel que estudiava al Conservatori , violi ❤
Joyful baroque music
Чудесная-великолепная-очаровательная!!! Александр.
ara estic fent Armonia al Conservatori ❤
Гяндель великолеп конечно, музика чудова очень красивая ево!!! Очень он нравится,именно сочетание органа, клавесина и оркестрах!!! Александр Одессит.
aquest dilluns anire a classe de Armonia ❤
estic fent una petite composicio , de Armonia , per a la classe que tinc el dilluns al Conservatori ❤
Be , ho deixo , aixi , .....l, hi ensenyare a la profe de Armonia el dilluns ❤
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Great recording.... next time, please clean the vinyls before recording.