George Frideric Handel - Concerto grosso B flat major op. 6 No. 7 HWV 325 | WDR Symphony Orchestra
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- Опубликовано: 14 июн 2024
- George Frideric Handel - Concerto grosso in B-flat major, op. 6 No. 7 HWV 325, performed by members of the WDR Symphony Orchestra under the direction of concertmaster José Maria Blumenschein. Recorded in early June 2021 at the WDR Funkhaus, Cologne.
00:00:00 I. Largo
00:01:09 II. Allegro
00:03:50 III. largo
00:07:00 IV. Andante
00:11:07 V. Hornpipe
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○ Introduction to the work
London in the 18th century was characterized by a unique musical life supported by aristocracy and bourgeoisie. Many artists, attracted by the possibilities of public concerts, flocked to the English metropolis from the European continent. In particular, musicians from Europe's number one music country - Italy - were welcomed with open arms.
George Frideric Handel was also drawn to London in 1712, having previously familiarized himself with the latest musical trends during a stay in Italy. In the field of orchestral music, the concerto grosso caused quite a stir at that time.
This refers to a concerto form in which the large orchestra - called tutti or ripieno - competes against a few soloists, the concertino. In Rome, Handel became acquainted with both this new musical genre and its most important representative, the violin virtuoso, composer and orchestra leader Arcangelo Corelli. He transferred the principle of the double choir, i.e. the alternating music-making in the old Venetian tradition, to the music for string orchestra.
music for string orchestra. Although Corelli published only six groups of works, his reputation as a pioneer preceded him even during his lifetime. His 12 Concerti grossi op. 6, published posthumously in Amsterdam in 1714, were regarded as the classical standard of Italian concert music and were taken as models by great 18th-century composers - including Bach, Vivaldi, Geminiani and Handel.
Corelli's music also dominated concert programs in London for decades, sometimes in surprising arrangements and instrumentations. George Frideric Handel and his publisher Walsh aimed at this market: in 1734 they published the Concerti grossi op. 3 and in 1739 the "Twelve Grand Concertos" op. 6. With the second collection op. 6, Handel sought direct comparison with Corelli's tone-setting concertos of the same opus number. With these they share the instrumentation (concertino: two violins and cello) and the stylistic orientation. Handel supplemented the pure string sound of the Concerti op. 6 with solo oboes in op. 3. In general, the concerto grosso knew no norm: it could be in three movements, as in Vivaldi's concertos, or have up to four or more movements, as in the church and chamber sonatas. As Handel's
Concerto op. 3 proves, the composer was also open to influences of the suite, which strings together dance movements - in Concerto No. 2, these are a sarabande (1st movement) and a gavotte
(5th movement). The Concerto op. 6 No. 7 also exudes dance-like cheerfulness, for example in the fifth movement "Hornpipe" (originally the name of a wind instrument), which is inspired by the rhythms of an Old English song.
(Text: Tilla Clüsserath) 
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i love the allegro's rhythmic motive. Completely disregarding pitch. Way ahead of its time!!!
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A very interesting piece of music. It seems a fugue on a single note!
What a stupendous concerto! Just amazing.The Allegro and jazzy Hornpipe are especially wonderful. All performed extremely well.
Thank you very much! 🥰
Beautiful sound ad energy!
haendel magnifica nella danza la sincronizzazione del ritmo sonoro. good job wdr
Grazie!
This concerto grosso sounds way ahead of its time. Händel was a predecessor of romanticism.
It's because GFH could communicate passion and literally any emotion through music, something which JSB only had a limited capability. Very often Bach just rumbles on with with marvellous thematic development but little heart and even somewhat bloodless. Handel however could electrify seemingly at will or create sumptuous vistas or rollicking celebrations with equal or more contrapuntal prowess and harmonic and structural underpinnings that let light shine through rather than dense and impenetrable polyphony. But that's probably just me. 😏
Certainly he harkens the Rococo.
@@AbdelOveAllhan Not just you.
Gorgeous....BRAVI from San Agustinillo, Oaxaca !
absolutely stunning! More "baroque" than any period-instrument-HIP-ensemble. What a drive and beauty in tone🙏
Thank you! ❤
I am a Rush and Metallica fan but I also love the baroque era composers.
Magnífica interpretación de este concierto .La técnica es perfecta y el sondo también . Gran fuerza y entusiasmo por todos los ejecutantes❤️ ❤️ ❤️
In this Opus 6, George Frideric Handel shows great formal and emotional variety. The sources of inspiration are often traditional and polyphony serious or mixed with amusement, solemnity of certain slow movements, written in the manner of a hymn to the sometimes tragic gravity of certain introductions demonstrating a collected and quasi-religious atmosphere. On the opposite side are pages with a more pleasant appearance, reflecting either dance and entertainment (echo effects), or even more generally the new instrumental music of the time. And how can we not be struck by the truly experimental side, rare in Handel, in this collection composed only in a few weeks. *Lucien*
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Good job! 👏 👏
Thanks!
@@WDRKlassik You're welcome! You have my support. I send you a big greeting 😍🤜🤛
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