Posted in Jennifer , Uncategorized Tagged antinous , antinous and hadrian , christopher sokolowski , clint borzoni , cory clines , edward ficklin , gavin geoffrey dillard , gay opera , grant youngblood , hadrian , la mama , michael weyandt , new music , new opera , new works forum , opera , opera america new works forum , operamission , queer opera , when adonis calls Leave a comment. The larghetto , a gentle siciliana , is similarly transformed. Indeed no instrumental composition that I have ever heard during the long favour of this, seemed to me more grateful and pleasing, particularly, in subject.
Please click here for video and audio footage of the excerpts performed. Before we launch HWVs 8 and 9, we decided to offer a series of free concerts of Handel opera pastiches at the 53rd Street Library , and ended up doing four one-hour pastiches throughout the Fall, one per month.
We covered 21 operas in four concerts, co-curated by countertenor Jordan Rutter and conductor Jennifer Peterson. Please scroll down for more photos and complete details of these amazing baroque opera adventures.
If you happen to represent any kind of educational institution or presenting organization, we are offering the team of Jennifer Peterson, Jordan Rutter, and Jeff Caldwell as a service to build a Handel pasticcio around your specific needs. We can make it happen with anywhere from one to twenty singers, and any number of instrumentalists. Please contact Jennifer at operamission if you think this sounds like fun.
Friday, June 1, from Posted in Jennifer , Uncategorized Tagged baroque gesture , baroque opera , baroque ornamentation , haendel , handel , handel aria , handel opera , handel warehouse , handel workshop , historical performance , open rehearsal , opera , opera workshop , operamission , ornamentation , performance practice Leave a comment. Posted in Jennifer Tagged french opera , goethe , massenet , opera , opera workshop , operamission , werther Leave a comment.
It is also reported by contemporaries that Handel would often play a slow and quiet voluntary for organ solo as a prelude to his concertos. After Handel's death, his amanuensis and personal assistant John Christopher Smith collaborated with the mechanical organ maker John Langshaw in transcribing a selection of Handel's works for chamber barrel organ. One barrel contained the concertos Op.
Cumming's inventory is all that survives of these organs, one having been destroyed in a fire in There is an existing set of barrels, however, for the chamber barrel organ made by Henry Holland around , now in the Colt Clavier Collection in Kent. These contain two concertos HWV and from Op. Two modern performing editions of the concertos by the organists and musicologists Peter Williams and Ton Koopman provide missing movements and give suggestions for the ad libitum passages, possibly too earthbound according to some commentators.
The recordings of the organists George Malcolm and Richard Egarr give further possibilities, which have so far not appeared in printed editions. From Wikipedia, the free encyclopedia. Abraham, Gerald , Handel: The ten concertos that had been newly composed all those apart from Nos. Two concertos were heard at the first performance of L'Allegro, il Penseroso ed il Moderato at the end of February; and two more in March and early April during revivals of Saul and Israel in Egypt.
The final pair of concertos were first played during a performance of L'Allegro on April 23, just two days after the official publication of the set.
The analysis of individual movements is taken from Sadie , Abraham and the notes by Hans Joachim Marx accompanying the recordings by Trevor Pinnock and the English Concert.
The first short movement of the concerto starts dramatically, solemn and majestic: This severe grandeur elicits a gentle and eloquent response from the concertino string trio, in the manner of Corelli, with imitations and passages in thirds in the violins. The orchestra and soloists continue their dialogue until in the final ten bars, there is a reprise of the introductory music, now muted and in the minor key, ending with a remarkable chromatic passage of noble simplicity descending to the final drooping cadence.
The second movement is a lively allegro. The material is derived from the first two bars and a half bar figure that occurs in sequences and responses.
Although it displays some elements of classical sonata form , the movement's success is due more to the unpredictable interchanges between orchestra and soloists.
The third movement is a dignified adagio, using similar anapaest figures to those in opening bars of the first movement. 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 , . 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. 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. 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.