2 LP - 6.35545 EX - (p) 1981
2 CD - 8.35545 ZA - (c) 1984

Georg Friedrich Händel (1685-1759)






Concerti grossi op, 3 Nr. 1-6






Concerto grosso I B-dur, op. 3 Nr. 1
9' 28" A1
Oboe I, II: Flauto (Blockflöte) I, II; Violino I, II, Viola I, II; Fagotto I, II; Violoncello, Violone, Cembalo I, II


- Allegro
2' 52"

- Largo 5' 03"

- Allegro 1' 33"

Concerto grosso II B-dur, op. 3 Nr. 2
11' 59" A2
Oboe I, II; Violino I, II concertino; Violino I, II, Viola; Fagotto; Violoncello I, II, Violone, Cembalo, Orgel


- Vivace
2' 07"

- Largo
2' 36"

- Allegro 2' 20"

- (Menuett)
1' 51"

- (Gavotte) 3' 05"

Concerto grosso III G-dur, op. 3 Nr. 3
7' 52" B1
Oboe; Violino concertino; Violino I, II, Viola; Fagotto, Violoncello; Violone; Cembalo


- Largo e staccato
0' 27"


- Allegro 2' 31"

- Adagio 0' 57"

- Allegro
3' 58"

Concerto grosso IVa F-dur, op. 3 Nr. 4a
12' 55" B2
Oboe I, II; Violino I, II, Viola; Fagotto, Violoncello; Violone; Cembalo


- Andante - Allegro
6' 16"

- Andante 2' 10"

- Allegro 1' 34"

- Minuetto I, II, alternativo
2' 55"

Concerto grosso IVb F-dur, op. 3 Nr. 4b
10' 22" C1
Oboe I, II; Violino I, II, Viola; Fagotto, Violoncello; Violone; Cembalo


- Largo 1' 45"

- Allegro 3' 21"

- Largo 3' 16"

- Allegro 2' 00"

Concerto grosso V d-moll, op. 3 Nr. 5
10' 24" C2
Oboe I, II; Violino I, II, Viola; Fagotto, Violoncello; Violone; Cembalo


- (Grave) 1' 45"

- Allegro 2' 31"

- Adagio 1' 39"

- Allegro ma non troppo
1' 39"

- Allegro 2' 40"

Concerto grosso VI D-dur/d-moll, op. 3 Nr. 6

7' 22" D1
- Vivace 2' 56"

- (Adagio) improvisiert
1' 10"

- (Allegro) 3' 16"

Concerto g-moll, Hwv 287

8' 45" D2
Oboe; Violino I, II, Viola; Violoncello, Violone, Cembalo



- Grave 2' 33"

- Allegro 1' 56"

- Sarabande - Largo
2' 16"

- Allegro 2' 00"





 
CONCENTUS MUSICUS WIEN (mit Originalinstrumenten)
Nikolaus Harnoncourt, Leitung
 
Luogo e data di registrazione
Casino Zögernitz, Vienna (Austria) - dicembre 1978, maggio 1980 e gennaio 1981 (Concerti op. 3 Nr. 1-6)
Palais Rasumowsky, Vienna (Austria) - marzo e aprile 1973 (Concerto g-moll)
Registrazione live / studio
studio
Producer / Engineer
-
Prima Edizione CD
Teldec "Das Alte Werk" - 8.35545 ZA - (2 cd) - 42' 47" + 37' 14" - (c) 1985
Prima Edizione LP
Telefunken "Das Alte Werk" - 6.35545 EX - (2 lp) - 42' 47" + 37' 14" - (p) 1981
Note
La registrazione del Concerto g-moll, Hwv 287 è la stessa già edita nel 1974 Telefunken SAWT 9618-A.

Comments on the Performance
It has been our aim to highlight the element of dialogue, the “musical speech pattern” by employing the phrasing appropriate to contemporary practice and by arranging the musicians in a way that enhances that dialogue. In other words, we have been generous with our phrasing, even where there are no corresponding indications in Handel’s score, because we are convinced that most composers of the day and Handel in particular relied upon the performers to articulate the musical figures. Of course trills and grace notes were added when required. We were very cautious about making “arbitrary changes", i.e. adding far-reaching ornamentation, which was only employed when the texture of the music warranted it. We take the view that in recordings, as opposed to live concerts, only the absolutely essential embellishments should be played because a record can be listened to more than once; spontaneity arising from the essence of the music cannot be repeated, and improvised ornaments all too easily acquire quasi-obbligato characteristics. The endings of some adagio sections call for ornamentation, e.d. at the end of the second movement of Concerto No. 1; on other occasions Handel seems to have aimed at a surprisingly abrupt ending. Were the opening movement or ending has a dotted rhythm in the manner of an overture, we have emphasised that rhythm in accordance both with contemporary practice and the mood of the piece in question (end of the first movement of Concerto No. 2; introduction to Concertos Nos, 4a and 5). In No. 2 the orchestra is divided into two, and occasionally into three sections. We have added the organ as a continuo instrument to those sections (wind nr strings) which assume the concertino role, and the harpsichord to the tutti (ripieno). No. 6 was certainly not performed in the manner in which it has been handed down to us. It consists of two fast movements, of which the first is in D major and the second in D minor, and they do not fit together at all well. It is reasonable to assume that the organist required for the last movement improvised a bridging adagio, such as Handel expressly called for in several of his organ concertos.
Nikolaus Harnoncort
Translation: Lindsay Craig

Nikolaus Harnoncourt (1929-2016)
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