Georg Friedrich Händel (1685-1759): 7 Concerti Grossi, Opus 3
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- เผยแพร่เมื่อ 26 มิ.ย. 2024
- 00:00 Concerto Grosso No. 1 in B flat major: Allegro - Largo - Allegro
10:06 Concerto Grosso No. 2 in B flat major: Vivace - Largo - Allegro - (Menuet) - (Gavotte)
20:57 Concerto Grosso No. 4 in F major (1720): Overture (Andante, Allegro, Lentamente) - Andante - Allegro - Minuetto alternativo I/II/III
32:45 Concerto Grosso No. 5 in D minor: Andante - Allegro - Adagio - Allegro ma non troppo - Allegro
43:34 Concerto Grosso No. 3 in G major: Largo e staccato - Allegro - Adagio - Allegro
52:15 Concerto Grosso No. 7 (No. 4 Bis-1734, attrib. Händel): Largo - Allegro - Largo - Allegro
1:04:23 Concerto Grosso No. 6 in D major: Vivace - Allegro
Collegium Musicum de Paris - Roland Douatte, direction
Oboes: Pierre Pierlot, Jacques Chambon, Jean Debray, Claude Maissoneuve
Bassoon: Paul Hongne / Violins: Jean-Pierre Wallez, Nicole Laroque
Violoncellos: Michel Renard, Germaine Quellier Fleury / Harpsichords: Huguette Dreyfus, Laurence Boulay
1:09:33 Concerto in F minor for Oboe, Strings & Harpsichord (Georg Philipp Telemann, 1681-1767):
Allegro - Largo e piano - Vivace
Gunter Passin, oboe - Cologne Chamber Orchestra - Helmut Müller-Brühl, conductor
The first time Handel packed up and left his native Germany, he was heading not for England, but the sunnier climes of Italy. There he tarried from late 1706 on through early 1710, composing secular cantatas in Florence, displaying his abilities as a virtuoso organist in Rome, studying vocal canzonets in Naples, writing operas in Venice. The young Handel thoroughly absorbed the Italian style during those formative years, and when he moved to London, he carried it with him.
Soon he had transferred the Italian opera idiom to the English stage, and in his two great sets of Concerti Grossi (Opus 3 and 6), he showed how much he had learned from the instrumental masters Corelli, Vivaldi and the rest. The twelve concerti in Opus 6, in fact, are precisely modeled in form and content after those of Corelli, with two violins and cello comprising the permanent solo ensemble, against the larger orchestra of strings. Derivative as it is, though, the music is shot through with Handel’s distinctive personality; the sweetness of Italian melody is nicely tempered by the bluff, hearty energy of the English temperament.
The concerti of Opus 3 have these same qualities, but add also a far greater variety of instrumental colors and combinations. The scoring is expanded to include oboes, flutes and bassoons, and the shifting timbres, the unusual blendings of solo instruments - changing from movement to movement of the same piece, and sometimes even within a single section - lend an air of unexpected modernity to the music. In this sense, Handel's Opus 3 is much closer in spirit to Bach's celebrated Brandenburg Concerti, than to the original Corelli models.
It is intriguing to consider that for all their apparent unity of design and texture, the original six concerti were actually composed separately, over a period thought by some musicologists to span more than twenty years. What's more, many of the movements were quietly borrowed from all sorts of earlier works. Handel, of course, was always adept at self-plagiarism, but he outdid himself in Opus 3. Thus we find that the first movement of the Concerto No. 4 had previously done service as the Overture to “Amadigi”, the first movement of No. 6 was lifted bodily from a Sinfonia in the opera “Ottone”, there is a duplication of material from the Organ Concerti, a Birthday Ode, one of the Chandos Anthems, and so on. Romantics may find a vague sort of poetic propriety in the reuse of sections from a few of the Harpsichord Suites: Handel originally wrote the Suites as study lessons for the Princess Anne (and her sister Caroline), while the first group performance of all the Opus 3 Concerti reputedly took place during the wedding celebrations of Anne and the Prince of Orange.
The First Concerto, in Bb Major, is scored for two each of oboes, bassoons and flutes, with string orchestra and cembalo. It opens with a vigorous Allegro, as the oboes join with a solo violin in energetic conversation with the rest of the strings. New colors are added in the second movement, a Largo, notably that of the two flutes, who play only in this slow movement, and seem bound to make the most of it. The bassoons also take a more prominent role here, and there are fascinating contrasts between solo and tutti strings (including divided viola parts). A peppy little Rondo (Allegro) closes out the piece, the main theme returning four times in different keys, while various solo instruments, including two celli, take turns at providing the connecting episodes. - เพลง
The Second Concerto, again in Bb, recalls the older Suite form in its use of five short movements. The scoring here is even more modest than in No. 1: two oboes, a single bassoon and strings. Two violins run off with most of the virtuoso honors in the opening Vivace, with a striking main theme growing out of octave leaps. The beautiful Largo has a tender oboe tune, supported by arpeggio chords in the lower strings, while the third movement Allegro is a brilliant, four-voiced double fugue. The two final segments are cast in the courtly dance forms of the Minuet and Gavotte, crowning the Concerto in highly gracious fashion.
The Third Concerto, in G, is frequently billed as an Oboe Concerto (and indeed, the entire Opus 3 is not infrequently published with that designation). The solo oboe offers the only color contrast to the string ensemble, but musical interest remains high, thanks to Handel’s sure gift for melody, and the fugal elements which dominate the scene much of the time. The finale is one of Handel’s most elaborate and effective fugues - and no less beguiling because it is strictly a copy of an earlier harpsichord piece.
The F Major Concerto, No. 4, is often considered the jewel of the Opus 3. Again here, parts were collated from earlier works, but Handel has skillfully fused them into a unified and wonderfully satisfying whole. The scoring duplicates that of the Second Concerto, which is to say that it uses two oboes, bassoon and strings. The opening movement is in the slow-fast-slow format of the French Overture (and appropriately so, since as mentioned previously, it served as the Overture to Handel's opera “Amadigi”). A gentle Andante, in minuet rhythm, gives the solo oboe another chance to shine; then comes an Allegro, its striding gait quite reminiscert of the ¨Water Music¨, and the Concerto ends with another sparkling Minuet, complete with solo bassoon in ihe trio section.
No. 5 in D minor starts off with an Andante and Allegro, coupled in the manner of a Prelude and Fugue. (These two movements, similarly linked, previously functioned as the Overture to Handel’s second Chandos Anthem). A short, extremely lovely Adagio paves the way for another Allegro ma non troppo movement in free contrapuntal style, and the Concerto winds up with a bright, sunny piece in the style of a French Bourrée.
The Sixth Concerto, in D Major, is the shortest, and its two movements (both swiped from earlier compositions) inevitably suggest that Handel threw it together to complete the requisite set of six concerti. Both movements are Allegros, the first gay and sprightly, the second a little more sturdy and sober in effect. The latter also betrays its origin as part of a movement in the Third Suite for Harpsichord - for the first and only time in all the Opus 3, Handel gives an extended solo part to the keyboard instrument.
The “Seventh” Concerto is Handel’s reworking of thematic materials from the F Major Concerto, No. 4. Dating from 1734, it is no mere arrangement, but rather a different musical conception altogether, even to the extent of having alternate movement markings. As does No. 4, No. 7 begins with a majestic Largo in the style of the French Overture, but the movement is much shorter and more compact. Then comes a sturdy Allegro, another, more elaborate Largo, and the Allegro Finale, with its bright dance rhythms. This recording, incidentally, is the first American disc performance of the Seventh Concerto, and thus the present album is also the first really complete set of Handel’s Concerti Grossi, Opus 3.
TELEMANN: OBOE CONCERTO IN F MINOR
Georg Philipp Telemann wrote music as if there were no tomorrow. Since he wound up with an unusually large number of tomorrows after all (dying in 1767 at the ripe old age of 86), he quite possibly produced a greater bulk of pieces than any composer before or since.
Handel, who knew him quite well, said that Telemann could toss off an eight-part motet as easily as anybody else could write a letter, and indeed Georg Philipp himself was quoted as saying that “a proper composer should be able to set a placard to music”. Certainly, his output is staggering by any standard. He wrote some 3000 cantatas and church motets. He wrote 40 operas and 44 Passions. He wrote oratorios and Installation Numbers for Preachers. He wrote Water Music and Table Music and Captains’ Music. He wrote funeral services and wedding music and coronation anthems and birthday odes. The list goes on and on, but why labor the point? Far more essential is the fact that Telemann was not only a prolific composer, but an inventive, highly imaginative one as well.
This ingenious spirit is most clearly evident in Telemann's frequent use of pictorial, humorously descriptive music. Probably the most famous of his pieces in this vein is “Don Quixote”. It seems pretty pale alongside the similarly titled orchestral portrait by Richard Strauss (after all, Strauss used a wind machine while poor Telemann had to make do with a rush of 16th notes), but as a creation of the early 18th century, it is nothing short of remarkable.
The Concerto for Oboe, Strings and Harpsichord is a graceful, gracious score in standard Baroque style. A fairly extended orchestral tutti establishes the brisk pace, and the solo oboe maintains it with agile figurations. The slow movement, Largo e piano isn’t as soft and slow as all that. It has, though, an exquisite cantabile melody, spun over an accompaniment that manages to suggest rhythmic vitality and harmonic repose at the same time. The Finale is a typical Telemann Vivace - light, bright and vastly entertaining.
Notes by ROBERT SHERMAN
Monitor Records (MC 2100/1) 1966
🎼🎶Handel’s music is the missing piece of one soul😇💖✨
I felt cozy listening to this inspirational performance .
This fabulous performance is comfortable to the ear and the mind
From
Tokyo of the Land of the Rising Sun 🇯🇵
La música de Händel es simplemente maravilloso y sublime!! 💯
The star of the baroque era , a very good performance with many instruments
The music of a true romantic poet and high high level of gentlaman in all tones in line and turning swawes. A compliment to all listener what he offers us. We like this. We like gentlemens in our modern hard times to and gentleladys too like kind of needing them and they makes lifes so amusing free from anger. So healing loading lifes amusing batteries.
So beautiful. Both soothing and exciting. I am tired of the scratchy sounds of so-called authentic performances with no warmth or lyricism. But this performance is different - spirit, warmth, humanity. I think we are close here to the heart of the composer.
Lovely lyricism.
Es una brillantes inconmensurable de los GROSSO de G. F. HAENDEL EL.Britanico Aleman por excelencia, el. Cual sus grandes obras las basa en los ecelsos Oratorios, ca tatas y motetes como el. Gran Meshia y la co jugá ion de sus grandes Óperas bi licas y épicas. JLVS COYOS AN CD MÉXICO El ANAHUAC
hermosas piezas de uno de los mas grandes musicos de la historia y uno de los mas representativos del periodo Barroco
Autnentic and interesting
I thank God in Christ Jesus for the music of George Frederick Handel and also Johann Sebastian Bach. These men were especially blessed of their Creator and they remain a wonderful blessing to posterity. Glory to God is the highest! Glory to the Holy One of Israel!
Exquisite playing. Every note in the score expressively and sensitively articulated. Unlike so many "historically informed" performances, where half the written music goes unheard.
Likes Handel?
Please listen:th-cam.com/video/Lf_MkZnEE1s/w-d-xo.html
Thanks
Starting at 7:12, can't get more Handel than that
Hermosa melodía willi christello
Handel is so underrated, this is being corrected, I am sure....
The concerto at 52:15 is considered spurious. Nevertheless I find it quite beautiful.
Si no fuera por handel no escucharia a handel.
Is anyone able to identify the Art work?
'Rich's Glory or his Triumphant Entry into Covent-Garden', circa 1732. A satire on director and theatre manager John Rich's new Theatre Royal in Covent Garden, Westminster, London, which opened in 1732. Poet and dramatist John Gay is carried into the theatre on a porter's back, (right). Rich, dressed as Harlequin, drives a carriage pulled by satyrs. In the distance is St Paul's Church, designed by Inigo Jones. From Old and New London: A Narrative of Its History, Its People, and Its Places. Westminster and the Western Suburbs, by Edward Walford, Vol. III. [Cassell, Petter, Galpin & Co., London, Paris & New York, 1881]. Artist Unknown.
@@calefonxcalectric Thank you very much! I appreciate you taking the time to respond. Quick question: Did you already know the work? If you didn't, how did you go about identifying it? Thanks!
No, I did not. I just looked for a suitable image for the video considering the music´s epoch. Information came with it.
Ads at 12:06, 17:09
Yes. This. Music. Is. Peaceful. To. Bad. This. Time. Nobody. Interrested. In. Composing. New. Classical. Master. Pieces. The. Copycat. All. Kinds. Of. Music. To. Get. Wealthy. Its. Not. Out. Of. Style. We. Do. Read. The. Bible. Correct. So. Please. Composer s. Just. Do. It. O. K. God. Bless. All. The. Readers. And. Music. Lovers. Of. Any. Nice. This. Type. Music