Guest
00:00 Concerto No. 1 in B flat major: Allegro - Largo - Allegro 09:25 Concerto No. 2 in B flat major: Vivace - Largo - Allegro - Minuet - Gavotte 19:59 Concerto No. 3 in G major: Largo e staccato - Allegro - Adagio - Allegro 28:39 Concerto No. 4 in F major: Largo, Allegro - Andante - Allegro - Menuet 39:40 Concerto No. 5 in D minor: Largo - Allegro - Adagio - Allegro ma non troppo - Allegro 51:12 Concerto No. 6 in D major: Vivace - Allegro Mainz Chamber Orchestra - Günter Kehr, conductor This series of six Concertos, unduly neglected in favor ot the far more celebrated 12 Concertos (Op. 6), was long known as the “Hautboy Concertos”. In fact, far from being Concertos for solo oboe, they merely include oboes (as well as flutes and bassoons) in their scoring, as opposed to Opus 6, written for strings only. As such, they come closest in conception to Bach's Brandenburg Concertos. Published in 1734, but probably written before 1720 (some may go back to the Hanover years 1711-12, but the main bulk was almost certainly composed in London), they show Handel at his very best. Less learned, much more loosely integrated than the Brandenburg Concertos, their qualities are of freshness, of graceful charm, of splendid and healthy vigor, of inexhaustible melodic and rhythmic invention: six masterpieces, among which it is hard to choose, the Second and Fourth perhaps winning the contest by a short head. Just as Handel departed from the Italian baroque tradition in his choice of instruments much more than he was to do in Opus 6, he casts his Opus 3 in very free formal moulds, the number of movements varying from two to six, some dance movements bringing elements from the Suite, and No. 4 even opening with a genuine tripartite “French Overture’. The first Concerto, in B flat major (first movement) and G minor (second and third movements ) is scored for 2 oboes, 2 bassoons and strings, plus 2 flutes in the slow middle movement. The scoring is very varied indeed, dividing even the violas (this happens in no other of the Six Concertos). The vigorous opening “Allegro moderato”, after a powerful unison theme, calls for a “concertino” of 2 oboes and one violin. The lovely slow movement, an expressive sarabande with solo flutes, brings the contrast of a duet for oboe and violin as its middle section. The closing Allegro varies its soloists for each appearance: first oboe and bassoon, then violin, and finally two bassoons. The second Concerto, also in B flat major, in each of its five movements except the second, requires two oboes, one bassoon and strings. This particularly fine work opens with a sturdy Vivace, characterized by its forceful octave leaps, and spotlighting two solo violins. Next comes a wonderful Largo in G minor, where the fine Handelian oboe tune is supported by two cellos dialoguing in expressive arpeggio figures. The ensuing Allegro, a double fugue in four parts, was also set by Handel as a harpsichord piece. The concerto closes with two dance-like movements: a gracious Minuet where 2 oboes, 2 violins and a cello concertize in the most lively fashion, and an attractive Gavotte followed by two variations. The scoring of the Third Concerto, in G major, is more modest, calling only for one oboe (or flute) and strings. Its three movements nevertheless contain much fine music. Five bars of Largo introduction lead to an Allegro starting like a fugue, but developing into a double concerto for oboe (or flute) and violin. The short Adagio, an expressive recitative for the solo optional woodwind, is but an introduction to the splendid fugue, one ot Handel’s most elaborate, and worthy to stand comparison with many a fugue of Bach, thanks to its infectiously gay subject and to its masterly craftsmanship. Number Four, in F major, may well be considered the finest of the set. In any case it stands out as the most imposing, and it is no surprise to learn that Handel actually used it as an Overture to his opera “Amadigi di Gaula” when it was revived in London in 1716. Like the Second Concerto, it is scored for two oboes, bassoon and strings. It begins with a grandiose “French” Overture in three sections, the slow beginning and closing parts showing all the charactertistic features of Lullist pomp and circumstance: dotted rhythms, impressive swiftly ascending scales, etc..., whereas the middle fugal section is built on one of Handel's most catching subjects. There follows a gentle Andante, a sort of slow minuet, where the solo oboe has its say. A loosely fugal Allegro, with lively concertizing parts for oboes, bassoon and two violins, and a gay Minuet (also a harpsichord piece) with a Trio featuring a solo bassoon, round off this beautiful Concerto.
