GEORG FRIEDRICH HANDEL: an oboe and the adventures of a rare manuscript “[...] the oboe... for which [said he] I wrote like crazy a large amount of music...was my beloved instrument [...]” (1) Although in the extensive and diversified musical catalogue of George Friedrich Handel, vocal music plays undoubtedlya dominant role, the instrumental area (be it orchestral, chamber music, or for harpsichord) stands out as a constant presence, a red ribbon that ties a series of masterpieces such as the well-known Organ Concertos or the Concerti Grossi of the Opus 3 (published in 1734) and the Opus 6 (1740) to the pillars represented by the Water Music (Suite 1, 1715) and the Music for the Royal Fireworks (1749). Even if Handel had never written any vocal music, these works - music for dance, opera overtures, and various sonatas of excellent quality - complete a landscape that would be sufficient to place the name of the Saxon composer among those of the greatest musicians of all time. Beside the works mentioned above, all well served by musicology, press and even the music industry, there is a series of scores (some questionable, some certainly genuine) not well known to the public and also neglected by the specialists' research. Among these we will mention,and not by chance, at least three concerti in which the oboe soloist is the leading instrument. Two were printedin 1740 (composed in the key of B flat, we can find thematic materials related to the Chandos Anthems). The last one (in G minor) was published late in 1863, reporting 1703 as the date of composition (2). Within opera Handel also often gives special attention to the oboe. This favorite instrument is often elevated to the rank of strumento concertante. lt is the undisputed star of the Opus 3, which has often been called "Concerti for the oboe” since the middle of the eighteenth century. The Concerti Grossi of the Opus 3 were published in London in 1734 by the publisher John Walsh. The collection had a very curious genesis: at that time, Handel was the most fashionable composer in London, and the music written in the Italian style was very popular in England following the success of the school of Corelli and its standard-bearer there, Francesco Geminiani. Walsh asked the Saxon composer to devise a collection of concerti designed for a market increasingly eager for pieces composed in the Italian style. Pressed by his commitments, as always, Handel delivered into the hands of his publisher a bundle of manuscripts with various origins, some probably written in Florence rather than in Rome, during his longest Italian stay. The editing of the pieces was apparently made by the publisher himself. In order to reach the canonical number of six scores, the first edition contained also a composition of an unknown author: the Concerto No. 4, subsequently replaced by an original of the Saxon composer. This was a common practice at the time and should not shock us in any way. Besides, this does not detract from the sublime charm of these highly inspired pieces, created by one of the greatest musical geniuses of all time. In these, the knowledgeable will recognize immediately the (self-) quotations from the operas, the oratorios, and even the sacred and spiritual music of the Saxon. The same feeling applies from the very beginning of the wonderful Double concerto for oboe, bassoon, strings and basso continuo (Concerto doppio) that is offered here in the world premiere recording. The splendid manuscript, preserved in Kiev, ascribes with certainty the authorship of the work to Handel, bearing these words on the title page: “Concerto doppio di Signore Hándel”. In fact we have no definite information about either the date of its composition, or the authenticity of the attribution. The score, says Simone Toni, the author of the discovery, was part of a great German music collection (probably the one at the court of Frederick the Great of Prussia), which was plundered by the Russians after their invasion of Berlin, at the end of World War Il, like many others, such as the Sing-Akademie zu Berlin, that was recently returned. Therefore, along with many other works of art, the music attributed to Handel took the road of the Soviet Union, passing unnoticed in the turbulent last years of war. After its arrival in Kiev, with bureaucratic precision and contempt for the elementary rules of conservation of manuscripts, our Double Concerto was stamped on all its sheets of paper and then carefully boxed, waiting for more than sixty years until some scholar could return it to the concert halls. The first performance on original instruments in modern times highlights its freshness, as well as the striking ingenuity of the themes and the mastery which leads an expert hand to envision dense dialogues between the two soloists, who are required, in the fast tempi, to display a virtuosity which tests even the most experienced performers. The formal conception, with four movements, and the orchestra, whose structure closely resembles that typical for the Roman school of the early eighteenth century, lead us to place the score in the years when Handel was in Italy. There is no document showing the composition of this work by the Saxon, and as the title page is the only source to suggest him as the author of the Double Concerto, we must refrain from granting the Saxon an undoubted authorship of the work. Nevertheless, one is struck at first hearing by its rhythmic tension and by the extraordinary virtuosity demanded not only of the soloists, but also from the whole ensemble. All this, together with the composer's ability to expose the themes with such memorable clarity that can immediately assert themselves to the memory, are characteristics which justify including this work unknown as yet among the jewels of instrumental literature of the eighteenth century. 1 In: John Mainwaring, Memoirs of the Life of the Late George Frederic Handel (London 1760) 2 This is the training period in Saxony, an environment in which the young genius had experimented with a variety ofshapes and styles, before leaving for the Italian adventure. 3 The Sing-Akademie zu Berlin is one of the oldest public musical institutions of Europe. lts foundation, in the late eighteenth century, is due to Carl Christian Fasch. The composer, a friend of Carl Philipp Emanuel Bach, was also responsible for the original core of the Academy's Archive, a real treasure of manuscripts that today has reached to the staggering figure of five thousand scores even if after the World War II was considered lost forever. The rediscovery of a great number of stolen scores occurred in 1999, in Ukraine. At the end of 2001 - after protracted diplomatic negotiations - the restitution to the city of Berlin was possible. This return allowed to the Sing-Akademie to include again in its repertoire some splendid works of major composers, such as Bach family members. After just a few years of researches, in 2003 the Choral Society undertook the first performance in the modern times of some of the jewels found in its archives, and many of these works are still to be analyzed. Mario Marcarini
3 ปีที่แล้ว +8
La mejor medicina para los males es Händel😍. gracias por compartirlo¡¡💪👏👏
@@shin-i-chikozima Actually, This comment was by accident while listening. However, I didn't mean to post anything, I wish to say that this piece is one of my favourites!
Este 'concerto grosso', para ser atribuido (supongo que a su presunto autor o perpetrador), no está nada mal. Espero que el a veces genial Georg Friedrich Händel sea culpable de todos los cargos que se le atribuyen..
En el manuscrito encontrado dice "Sr Händel" y lo mas probable haya sido escrito en su epoca juvenil cuando estaba en Hamburgo y en Italia. El estilo es muy similar a sus otras composiciones de esa época.
@@renzo6490 Hogarth was great at bringing the seamier side of London during the almost endless reign of George III to life. His illustrations were the inspiration for Stravinsky's beautiful and risqué opera "The Rake's Progress."
GEORG FRIEDRICH HANDEL: an oboe and the adventures of a rare manuscript
“[...] the oboe... for which [said he] I wrote like crazy a large amount of music...was my beloved instrument [...]” (1)
Although in the extensive and diversified musical catalogue of George Friedrich Handel, vocal music plays undoubtedlya dominant role, the instrumental area (be it orchestral, chamber music, or for harpsichord) stands out as a constant presence, a red ribbon that ties a series of masterpieces such as the well-known Organ Concertos or the Concerti Grossi of the Opus 3 (published in 1734) and the Opus 6 (1740) to the pillars represented by the Water Music (Suite 1, 1715) and the Music for the Royal Fireworks (1749).
Even if Handel had never written any vocal music, these works - music for dance, opera overtures, and various sonatas of excellent quality - complete a landscape that would be sufficient to place the name of the Saxon composer among those of the greatest musicians of all time. Beside the works mentioned above, all well served by musicology, press and even the music industry, there is a series of scores (some questionable, some certainly genuine) not well known to the public and also neglected by the specialists' research. Among these we will mention,and not by chance, at least three concerti in which the oboe soloist is the leading instrument. Two were printedin 1740 (composed in the key of B flat, we can find thematic materials related to the Chandos Anthems). The last one (in G minor) was published late in 1863, reporting 1703 as the date of composition (2). Within opera Handel also often gives special attention to the oboe. This favorite instrument is often elevated to the rank of strumento concertante. lt is the undisputed star of the Opus 3, which has often been called "Concerti for the oboe” since the middle of the eighteenth century. The Concerti Grossi of the Opus 3 were published in London in 1734 by the publisher John Walsh. The collection had a very curious genesis: at that time, Handel was the most fashionable composer in London, and the music written in the Italian style was very popular in England following the success of the school of Corelli and its standard-bearer there, Francesco Geminiani. Walsh asked the Saxon composer to devise a collection of concerti designed for a market increasingly eager for pieces composed in the Italian style. Pressed by his commitments, as always, Handel delivered into the hands of his publisher a bundle of manuscripts with various origins, some probably written in Florence rather than in Rome, during his longest Italian stay. The editing of the pieces was apparently made by the publisher himself. In order to reach the canonical number of six scores, the first edition contained also a composition of an unknown author: the Concerto No. 4, subsequently replaced by an original of the Saxon composer. This was a common practice at the time and should not shock us in any way. Besides, this does not detract from the sublime charm of these highly inspired pieces, created by one of the greatest musical geniuses of all time.
In these, the knowledgeable will recognize immediately the (self-) quotations from the operas, the oratorios, and even the sacred and spiritual music of the Saxon. The same feeling applies from the very beginning of the wonderful Double concerto for oboe, bassoon, strings and basso continuo (Concerto doppio) that is offered here in the world premiere recording. The splendid manuscript, preserved in Kiev, ascribes with certainty the authorship of the work to Handel, bearing these words on the title page: “Concerto doppio di Signore Hándel”. In fact we have no definite information about either the date of its composition, or the authenticity of the attribution.
The score, says Simone Toni, the author of the discovery, was part of a great German music collection (probably the one at the court of Frederick the Great of Prussia), which was plundered by the Russians after their invasion of Berlin, at the end of World War Il, like many others, such as the Sing-Akademie zu Berlin, that was recently returned. Therefore, along with many other works of art, the music attributed to Handel took the road of the Soviet Union, passing unnoticed in the turbulent last years of war. After its arrival in Kiev, with bureaucratic precision and contempt for the elementary rules of conservation of manuscripts, our Double Concerto was stamped on all its sheets of paper and then carefully boxed, waiting for more than sixty years until some scholar could return it to the concert halls. The first performance on original instruments in modern times highlights its freshness, as well as the striking ingenuity of the themes and the mastery which leads an expert hand to envision dense dialogues between the two soloists, who are required, in the fast tempi, to display a virtuosity which tests even the most experienced performers.
The formal conception, with four movements, and the orchestra, whose structure closely resembles that typical for the Roman school of the early eighteenth century, lead us to place the score in the years when Handel was in Italy. There is no document showing the composition of this work by the Saxon, and as the title page is the only source to suggest him as the author of the Double Concerto, we must refrain from granting the Saxon an undoubted authorship of the work. Nevertheless, one is struck at first hearing by its rhythmic tension and by the extraordinary virtuosity demanded not only of the soloists, but also from the whole ensemble.
All this, together with the composer's ability to expose the themes with such memorable clarity that can immediately assert themselves to the memory, are characteristics which justify including this work unknown as yet among the jewels of instrumental literature of the eighteenth century.
1 In: John Mainwaring, Memoirs of the Life of the Late George Frederic Handel (London 1760)
2 This is the training period in Saxony, an environment in which the young genius had experimented with a variety ofshapes and styles, before leaving for the Italian adventure.
3 The Sing-Akademie zu Berlin is one of the oldest public musical institutions of Europe. lts foundation, in the late eighteenth century, is due to Carl Christian Fasch. The composer, a friend of Carl Philipp Emanuel Bach, was also responsible for the original core of the Academy's Archive, a real treasure of manuscripts that today has reached to the staggering figure of five thousand scores even if after the World War II was considered lost forever. The rediscovery of a great number of stolen scores occurred in 1999, in Ukraine. At the end of 2001 - after protracted diplomatic negotiations - the restitution to the city of Berlin was possible. This return allowed to the Sing-Akademie to include again in its repertoire some splendid works of major composers, such as Bach family members. After just a few years of researches, in 2003 the Choral Society undertook the first performance in the modern times of some of the jewels found in its archives, and many of these works are still to be analyzed.
Mario Marcarini
La mejor medicina para los males es Händel😍. gracias por compartirlo¡¡💪👏👏
Handel é alegria de viver!
I feel cozy listening to this work
555555555555555555555555555555555
@@maciejkrzywicki4594
This is unfathomable
@@shin-i-chikozima Actually, This comment was by accident while listening. However, I didn't mean to post anything, I wish to say that this piece is one of my favourites!
@@maciejkrzywicki4594
Thank you
Good luck!
🎼🎶music for fabulosity 🥰✨🐬thank U!
Excelente
💝💝💝 TY
Haendel! What's else?
A première écoute je pense que ce concerto ressemble beaucoup à du TELEMANN. ?
Ad at 4:40
a du Telemann dans le premier mouvement seulement !
¡Ah, que el que se le atribuía era el famoso Concerto Doppio, que a todas vistas no existe! Ya.
Bem raivoso o Juan Puelles!
Wonderful.
Tell me about this illustration (Hogarth: Southwark Fair). Like, what the heck is going on?
www.william-hogarth.de/Southwark.html
Superb stuff. Artwork on the money, too. Bravo.
Este 'concerto grosso', para ser atribuido (supongo que a su presunto autor o perpetrador), no está nada mal. Espero que el a veces genial Georg Friedrich Händel sea culpable de todos los cargos que se le atribuyen..
En el manuscrito encontrado dice "Sr Händel" y lo mas probable haya sido escrito en su epoca juvenil cuando estaba en Hamburgo y en Italia. El estilo es muy similar a sus otras composiciones de esa época.
Hogarth , illustrator ?
Hogarth : The Southwark Fair.
Well spotted !!
@@renzo6490 Hogarth was great at bringing the seamier side of London during the almost endless reign of George III to life. His illustrations were the inspiration for Stravinsky's beautiful and risqué opera "The Rake's Progress."