George Frederick Handel Concerti Grossi (12), Op. 6, HWV 319-330 The six concerti grossi of George Frideric Handels Opus 3 (1734), however enjoyably variety-laden they may be, however charming their bizarre and motley construction may seem, will always pale in comparison with the superb volume of twelve pieces in the genre that first appeared under the title Twelve Grand Concertos for strings, Opus 6 some six years after the Opus 3 volume first emerged from publisher John Walshs printing press. Walsh was also the publisher of the Opus 6 group, but on this occasion--quite unlike the occasion of Opus 3--Walsh and the composer were working hand in hand. Opus 3 is really an assortment of already-composed Handel pieces that Walsh threw together into shapes that more or less approximate the concerto grosso norm of the day, some more successfully than others. The twelve concerti grossi of Opus 6, however, were all composed during October of 1739 (except the very first piece in the volume, which is dated September 29), the date of completion of each piece being noted very clearly by the composer; there is no question of the Opus 6 works being of the composer, by the composer, and, considering that he seems to have put the volume together solely for the purpose of making some much-needed money, for the composer. The traditional concerto grosso-style division of performing forces into a tutti group and a concertino group (or, in this case, a concertino pair--two violins) is made much more regularly in Opus 6 than in Opus 3, but the variety of architecture displayed throughout the volume is, if anything, even greater. Handel seems to take great pleasure in taking the accepted formal blueprint of the concerto grosso and turning it on its head: elements of the four-movement da chiesa form and of the dance-filled da camera variety are mixed together with little regard for tradition. Four movement-structure is decidedly not the norm in Opus 6. Handel originally scored Op. 6 for an ensemble of just strings; later, however, he added a pair of oboes to four of the concertos (Nos. 1, 2, 5, 6). The earliest of the twelve to be composed, Op. 6, No. 1 in G major, is built in five movements, the jubilant 6/8 meter Allegro finale coming across as something like frosting on top of the fugal fourth movement. Only Op. 6, No. 2 in F major and Op. 6, No. 4 in A minor follow the sonata da chiesa four movement, slow-fast-slow-fast pattern without variation. Op. 3, No. 3 in E minor interpolates a polonaise (surely a stunning thing to a mid-eighteenth century English audience!) into its five movement plan, while the virtuosic Op. 6, No. 5 in D is in six movements, opening with a joyous fanfare for solo violin and ending with a sparkling little diamond of a minuet. The Musette movement of Op. 6, No. 6 in G minor is a high spot in the volume. Op. 6, No. 7 in B flat major is in five movements, ending with an earthy Hornpipe that the classic da chiesa church sonata pattern would have no room for. The six movements of Op. 6, No. 8 in C minor include an Allemande and a Siciliana, while the similarly proportioned Op. 6, No. 9 in F major is a true concerto da chiesa to which a minuet and gigue have been appended at the end. The sixth and final movement of Op. 6, No. 10 in D minor, is actually in D major. Op. 6, No. 11 in A major again incorporates music from an organ concerto, while the spectacular Op. 6, No. 12 in B minor is highlighted by a glistening Larghetto in E major.
Posted on: Sat, 13 Dec 2014 14:00:51 +0000
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