The Concerti Grossi, Op. 6, or Twelve Grand Concertos,
HWV 319–330, are 12 concerti grossi by George
Frideric Handel for a concertino trio of two violins
and violoncello and a ripieno four-part string
orchestra with harpsichord continuo. First published by
subscription in London by John Walsh in 1739, in the
second edition of 1741 they became Handel's Opus 6.
Taking the older concerto da chiesa and concerto da
camera of Arcangelo Corelli as models, rather than the
later three-movement Venetian...(+)
The Concerti Grossi, Op. 6, or Twelve Grand Concertos,
HWV 319–330, are 12 concerti grossi by George
Frideric Handel for a concertino trio of two violins
and violoncello and a ripieno four-part string
orchestra with harpsichord continuo. First published by
subscription in London by John Walsh in 1739, in the
second edition of 1741 they became Handel's Opus 6.
Taking the older concerto da chiesa and concerto da
camera of Arcangelo Corelli as models, rather than the
later three-movement Venetian concerto of Antonio
Vivaldi favoured by Johann Sebastian Bach, they were
written to be played during performances of Handel's
oratorios and odes. Despite the conventional model,
Handel incorporated in the movements the full range of
his compositional styles, including trio sonatas,
operatic arias, French overtures, Italian sinfonias,
airs, fugues, themes and variations and a variety of
dances. The concertos were largely composed of new
material: they are amongst the finest examples in the
genre of baroque concerto grosso.
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. The
work (HWV 319) was mostly newly composed. The first
movement was a complete reworking of a first draft of
the overture for Imeneo, Handel's penultimate Italian
opera, composed over a prolonged period from 1738 to
1740.
The fugal fourth movement (Allegro) 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.
Although originally written for a small String Chamber
orchestra, I created this arrangement for Clarinet
Quartet (3 Bb Clarinets & Bass Clarinet). Thank you to
Dr. Leonard Anderson for Clarinet-specific technical
assistance.
