Concerto Grosso No. 12 in F Major, Op. 6, No. 12 (Violin 2 Part)

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Get fast, free shipping with Amazon Prime. Get to Know Us. English Choose a language for shopping. Not Enabled Word Wise: Not Enabled Screen Reader: Enabled Would you like to tell us about a lower price? Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. AmazonGlobal Ship Orders Internationally. Amazon Inspire Digital Educational Resources. Amazon Rapids Fun stories for kids on the go. As Charles Burney wrote in , "In the adagio , while the two trebles are singing in the style of vocal duets of the time, where these parts, though not in regular fugue, abound in imitations of the fugue kind; the base, with a boldness and character peculiar to Handel, supports with learning and ingenuity the subject of the two first bars, either direct or inverted, throughout the movement, in a clear, distinct and marked manner.

The fugal fourth movement has a catchy subject, first heard completely from the soloist. Despite being fugal in nature, it does not adhere to the strict rules of counterpoint, surprising the listener instead with ingenious episodes, alternating between the ripieno and concertino; at the close, where a bold restatement of the theme would be expected, Handel playfully curtails the movement with two pianissimo bars. The last concerto-like movement is an energetic gigue in two parts, with the soloists echoing responses to the full orchestra.

This four-movement concerto resembles a sonata da chiesa. From the original autograph, Handel initially intended the concerto to have two extra movements, a fugue in the minor key as second movement and a final gigue ; these movements were later used elsewhere in the set. The opening andante larghetto is noble, spacious and flowing, with rich harmonies. The responses from the concertino trio are derived from the opening ritornello.

They alternate between a graceful legato and more decisive dotted rhythms. It has been suggested that the three unusual adagio cadences interrupted by pauses prior to the close indicate that Handel expected cadenzas by each of the soloists, although the surviving scores show no indication of this. The second movement is an allegro in D minor in a contrapuntal trio sonata style.

The animated semiquaver figure of the opening bars is played in imitation or in parallel thirds as a kind of moto perpetuo. The third movement is unconventional. It alternates between two different moods: There is an apparent return to orthodoxy in the fourth movement which begins with a vigorous fugue in four parts, treated in a conventional manner.

It is interrupted by contrasting interludes marked pianissimo in which a slow-moving theme, solemn and lyrical, is heard in the solo strings above repeated chords. This second theme is later revealed to be a counterpoint to the original fugal subject. In the opening larghetto in E minor the full orchestra three times plays the ritornello, a sarabande of serious gravity. The three concertino responses vere towards the major key, but only transitorily. The dialogue is resolved with the full orchestra combining the music from the ritornello and the solo interludes. The profoundly tragic mood continues in the following andante , one of Handel's most personal statements.

There is an unexpected addition of a G-sharp in the last entry of the four-note theme in the bass as the movement draws to a close. The third movement is an allegro. Of all the Op. Although the charming and graceful fourth movement in G major is described as a polonaise , it has very few features in common with this popular eighteenth century dance form. The lower strings simulate a drone, creating a pastoral mood, but the dance-like writing for upper strings is more courtly than rustic.

The fourth concerto in A minor is a conventional orchestral concerto in four movements, with very little writing for solo strings, except for brief passages in the second and last movements. The first movement, marked larghetto affetuoso , has been described as one of Handel's finest movements, broad and solemn.

The melody is played by the first violins in unison, their falling appoggiatura semiquavers reflecting the galant style. Beneath them, the bass part moves steadily in quavers, with extra harmony provided by the inner parts. The second allegro is an energetic fugue, the brief exchanges between concertino and ripieno strictly derived from the unusually long subject. The sombreness of the movement is underlined by the final cadence on the lowest strings of the violins and violas. The largo e piano in F major is one of Handel's most sublime and simple slow movements, a sarabande in the Italian trio sonata style.

Above a steady crotchet walking bass, the sustained theme is gently exchanged between the two violin parts, with imitations and suspensions; harmonic colour is added in the discreet viola part. In the closing bars the crotchet figure of the bass passes into the upper strings before the final cadence. The last movement, an allegro in A minor, is a radical reworking of a soprano aria that Handel was preparing for his penultimate opera Imeneo. In the concerto, the material is more tightly argued, deriving from two fragmented highly rhythmic figures of 5 and 6 notes.

Although there are unmistakable elements of wit in the imaginative development, the prevalent mood is serious: In the coda, the first concertino violin restates the main theme, joined two bars later in thirds by the other solo violin and finally by repeated sustained pianissimo chords in the ripieno, modulating through unexpected keys. This is answered twice by two forte unison cadences, the second bringing the movement to a close. Charles Burney , [16].

The fifth grand concerto in the brilliant key of D major is an energetic concerto in six movements. It incorporates in its first, second and sixth movements reworked versions of the three-movement overture to Handel's Ode for St Cecilia's Day HWV 76 Larghetto, e staccato — allegro — minuet , composed in immediately prior to the Op. The minuet was added later to the concerto grosso, perhaps for balance: The first movement, in the style of a French overture with dotted rhythms and scale passages, for dramatic effect has the novel feature of being prefaced by a two bar passage for the first concertino violin.

The allegro , a vigorous and high-spirited fugue, differs very little from that in the Ode , except for three additional bars at the close.

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The composition, divided into easily discernible sections, relies more on harmony than counterpoint. A busy semiquaver figure runs through the dance-like piece, interrupted only by the cadences. The concertino parts dominate the movement, with the two solo violins in expressive counterpoint. Each episode for soloists is followed by a tutti response.

The delightful fifth allegro is written for full orchestra. The rollicking first subject is derived from the twenty third sonata in Domenico Scarlatti 's Essercizi Gravicembalo of The subsequent repeated semiquaver passage-work over a walking bass recalls the style of Georg Philipp Telemann. Handel, however, treats the material in a wholly original way: The final menuet , marked un poco larghetto , is a more direct reworking of the minuet in the overture to the Ode. The first statement of the theme is melodically pruned down, so that the quaver figure in the response gives the impression of a variation.

This warm-hearted and solid movement was added at a later stage by Handel, perhaps because it provided a more effective way to end the concerto than the brilliant fifth movement. The sixth concerto in G minor was originally intended to have four movements.

Concerti grossi, Op. 6 (Handel)

The autograph manuscript contains the sketch for a gavotte in two parts, which, possibly in order to restore an imbalance created by the length of the musette and its different key E-flat major , Handel abandoned in favour of two new shorter allegro movements. The musette thus became the central movement, with a return to the minor tonality in the concluding movements.

The first movement, marked Larghetto e affetuoso , is one of the darkest that Handel wrote, with a tragic pathos that easily equals that of the finest dramatic arias in his opera seria. Although inspired by the model of Corelli, it is far more developed and innovative in rhythm, harmony and musical texture. There are brief passages for solo strings which make expressive unembellished responses to the full orchestra. Despite momentary suggestions of modulations to the relative major key, the music sinks back towards the prevailing melancholic mood of G minor; at the sombre close, the strings descend to the lowest part of their register.

Concerti grossi, Op. 6 (Handel) - Wikipedia

The second movement is a concise chromatic fugue, severe, angular and unrelenting, showing none of Handel's usual tendency to depart from orthodoxy. The elegiac musette in E-flat major is the crowning glory of the concerto, praised by the contemporary commentator Charles Burney , who described how Handel would often perform it as a separate piece during oratorios.

In this highly original larghetto , Handel conjures up a long dreamy pastoral of some bars. Handel creates a unique dark texture of lower register strings over a drone bass, the traditional accompaniment for this dance, derived from the drone of the bagpipes. This sombre theme alternates with contrasting spirited episodes on the higher strings. The movement divides into four parts: The following allegro is an energetic Italianate movement in the style of Vivaldi, with ritornello passages alternating with the virtuoso violin solo.

It departs from its model in freely intermingling the solo and tutti passages after a central orchestral episode in D minor. The seventh concerto is the only one for full orchestra: The first movement is a largo , ten bars long, which like an overture leads into the allegro fugue on a single note, that only a composer of Handel's stature would have dared to attempt. The theme of the fugue consists of the same note for three bars two minims, four crotchets, eight quavers followed by a bar of quaver figures, which with slight variants are used as thematic material for the entire movement, a work relying primarily on rhythm.

The two final movements are a steady andante with recurring ritornellos and a lively hornpipe replete with unexpected syncopation. The eighth concerto in C minor draws heavily on Handel's earlier compositions. Its form, partly experimental. There are six movements of great diversity. The opening allemande for full orchestra is a reworking of the first movement of Handel's second harpsichord suite from his third set No. The short grave in F minor, with unexpected modulations in the second section, is sombre and dramatic.

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It is a true concerto movement, with exchanges between soloists and orchestra. The third andante allegro is original and experimental, taking a short four-note figure from Handel's opera Agrippina as a central motif. This phrase and a repeated quaver figure are passed freely between soloists and ripieno in a movement that relies on musical texture.

The siciliana is similar in style to those Handel wrote for his operas, always marking moments of tragic pathos; one celebrated example is the soprano-alto duet Son nata a lagrimar for Sesto and Cornelia at the end of act 1 of Giulio Cesare. Its theme was already used in the aria "Love from such a parent born" for Michal from his oratorio Saul eventually discarded by Handel and recurs in the aria "Se d'amore amanti siete" for soprano and two alto recorders from Imeneo , each time in the same key of C minor.

Some parts of the later thematic material seem like precursors of what Handel later used in Messiah in the pastoral symphony and in "He shall feed his flock". At the close, following a passage where the two solo violins play in elaborate counterpoint over a statement of the main theme in the full orchestra, Handel, in a stroke of inspiration, suddenly has a simple piano restatement of the theme in the concertino leading into two bars of bare and halting muted tutti chords, before a concluding reprise of the theme by the full orchestra.

The final allegro is a sort of polonaise in binary form for full orchestra. Its transparency and crispness result partly from the amalgamation of the second violin and viola parts into a single independent voice. 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 , 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.