The final movement is a short dance-like allegro for full orchestra in 3 8 time and binary form , reminiscent of the keyboard sonatas of Domenico Scarlatti. The seventh concerto is the only one for full orchestra: it has no solo episodes and all the movements are brief. 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 central expressive largo in G minor and 3 4 time, reminiscent of the style of Bach, is harmonically complex, with a chromatic theme and closely woven four-part writing. 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. 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. Both movements were transposed from G to F: the allegro an animated but orthodox fugue; the minuet starting unusually in the minor key, but moving to the major key for the eight bar coda.
The final gigue in binary form was left over from Op. The tenth Grand Concerto in D minor has the form a baroque dance suite , introduced by a French overture : this accounts for the structure of the concerto and the presence of only one slow movement. The first movement, marked ouverture — allegro — lentement , has the form a French overture. The dotted rhythms in the slow first part are similar to those Handel used in his operatic overtures.
The subject of the allegro fugue in 6 8 time, two rhythmic bars leading into four bars in semiquavers, allowed him to make every restatement sound dramatic.
The fugue leads into a short concluding lentement passage, a variant of the material from the start. The Air, lentement is a sarabande -like dance movement of noble and monumental simplicity, its antique style enhanced by hints of modal harmonies.
The following two allegros are loosely based on the allemande and the courante. The scoring in the first allegro , in binary form , is similar in style to that of allemandes in baroque keyboard suites.
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Il pastor fido was first performed at the Queen's Theatre, Haymarket , London in , and revived at the same theatre — by then called the King's — in May and again later that year.
As well as revising the main text, Handel added a ballet, Terpsicore. Most of Beecham's suite is drawn from first and third of Handel's original scores. This score, which extensively reused the music of Beecham's earlier suites, was arranged while he was in the US between and It is not known to be connected with any proposed ballet, and featured in his concert programmes in America. It was published in Beecham recorded only the Gavotte and Scherzo from Amaryllis. The full suite was recorded by the Royal Philharmonic Orchestra, conducted by Yehudi Menuhin in Beecham's last suite from Handel was arranged for a projected ballet, to be entitled The Great Elopement.
Set in 18th-century Bath , it depicts the love affair and elopement of the playwright Richard Brinsley Sheridan and Elizabeth Linley daughter of the composer Thomas Linley , in the elite society of Bath, presided over by the dandy Beau Nash.
The suite was first heard in a broadcast by the American Broadcasting Symphony Orchestra, conducted by Beecham, on 7 April The first concert performance followed five days later, by the Rochester Philharmonic under Beecham. For the first ten years or so of its existence the suite was programmed and recorded as The Great Elopement. In the mids, Beecham altered the title to Love in Bath , under which title he made his final recording of the work.
The music is almost all taken from Handel operas.8. Hornpipe 9. Allegro Allegro Hornpipe Menuet Aria Lentement (Loure) Allegro Menuet Menuet Allegro Cantabile Coro (Menuet) Recorded by Erato in Digital transfer by F. Reeder.