Georg Friedrich Händel - Concerto Grosso Op. 6, nº 9 in F major HWV 327 -Academy of Saint Martin in the Fields - Neville Marriner.
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.
Concerto Grosso Op.6 No.9 in F major HWV 327
Movements:
00:00 I. Largo
01:29 II. Allegro
05:11 III. Larghetto
07:51 IV. Allegro
09:35 V. Menuet
10:55 VI. Gigue
The ninth concerto grosso is the only one that is undated in the original manuscript, probably because the last movement was discarded for one of the previously composed concertos. Apart from the first and last movements, it contains the least quantity of freshly composed material of all the concertos.
The opening largo consists of 28 bars of bare chords for full orchestra, with the interest provided by the harmonic progression and changes in the dynamic markings. Stanley Sadie has declared the movement an unsuccessful experiment, although others have pointed out that the music nevertheless holds the listener's attention, despite its starkness. Previous commentators have suggested that perhaps an extra improvised voice was intended by Handel, but such a demand on a soloist would have been beyond usual baroque performing practices.
The second and third movements are reworkings of the first two movements Handel's organ concerto in F major, HWV 295, often referred to as "The cuckoo and the nightingale", because of the imitation of birdsong. The allegro is skillfully transformed into a more disciplined and broader movement than the original, while retaining its innovative spirit. The solo and orchestral parts of the original are intermingled and redistributed in an imaginative and novel way between concertino and ripieno. The "cuckoo" effects are transformed into repeated notes, sometimes supplemented by extra phrases, exploiting the different sonorities of solo and tutti players. The "nightingale" effects are replaced by reprises of the ritornello and the modified cuckoo. The final organ solo, partly ad libitum, is replaced by virtuoso semiquaver passages and an extra section of repeated notes precedes the final tutti. The larghetto, a gentle siciliana, is similarly transformed. The first forty bars use the same material, but Handel makes a stronger conclusion with a brief return to the opening theme.
For the fourth and fifth movements, Handel used the second and third parts of the second version of the overture to his still unfinished opera Imeneo. Both movements were transposed from G to F: the allegro an animated but orthodox fugue; the minuet starting unusually in the minor key, but moving to the major key for the eight bar coda.
The final gigue in binary form was left over from Op.6 No.2 after Handel recomposed its closing movements.
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