Haendel Concerti Grossi op 3 Alte Music Berlin

The Akademie für Alte Musik Berlin kickstarts their Handel trilogy with this recording of the first six concerti grossi op. 6. Originally designed as attractive interludes to English oratorio performances, Handel’s concerti grossi soon gained fame as the most appealing orchestral music of the baroque era. Written in London in 1739, towards the end of his career, Handel paid tribute to the immensely popular concerti grossi of Corelli while simultaneously proving his mastery incorporating all musical styles of his times. Led by their concertmaster Bernhard Forck, the players of the Akademie für Alte Musik Berlin demonstrate why many consider them the best baroque ensemble of today. This first installment will be followed by the last six concerti grossi op. 6, as well as a recording of the concerti grossi op. 3.

The Akademie für Alte Musik Berlin continue their Handel trilogy with this recording of the last six concerti grossi of the composer’s Op. 6. Originally designed as attractive interludes to English oratorio performances, Handel’s concerti grossi soon gained fame as some of the most appealing orchestral music of the baroque era. With these pieces, written in London towards the end of his career, Handel paid tribute to the immensely popular concerti grossi of Corelli while simultaneously proving his mastery, incorporating all musical styles of his times into his work.

The Concerti Grossi Opus 3 by George Frideric Handel are probably the most famous and most frequently performed work of the composer. And although these pieces are so often presented, the ensemble Silete Venti! conducted by Corrado Rovaris, develope from the six Concerti something unique thanx to their Italian heritage.

Richter actually made a full set of recordings for Handel's Concerti Grossi. The Munich Bach Orchestra, who almost played exclusively for Richter, maintained its essential baroque flur throughout all the pieces, under the impeccable conducting of Richter. The different string sections played as if they were in a chorus, each minute part played in fully melodious and engaging manner, while the ensemble as a whole displayed all the required congeniality and harmoniousness essential of the baroque style. The rhythms are enlivened while contrasts striking, and you will seldom find Handel's works played in such grand style as did Richter and the Munich Bach Orchestra here.

John Eliot Gardiner and his period instrument ensemble produce a lovely, smooth sound in these very well played performances, which use Handel's versions for strings and winds. Balances are fine; playing and recording collaborate to produce a treasurable clarity in which every line registers. –Leslie Gerber … Handel's epic oratorio, Israel in Egypt, here in a gripping performance by John Eliot Gardiner and the Monteverdi Choir and Orchestra, was a failure during Handel's lifetime. This was perhaps because of its immense variety of compositional techniques and forms.

The Basel Chamber Orchestra , which plays without a fixed conductor, is one of the most sought after ensembles of its kind in Europe. The musicians play Early Music on historic instruments and also perform a wide variety of Baroque works. In addition to their intense interest in the music of the past, the Basel Chamber Orchestra is involved in the world of contemporary music, and they commission new compositions every year.

…the organ solo is played outstandingly well by Aline Zylberajch… Minkowski is no stranger to Handel and his recordings of the composer's operas Amadigi and Teseo have been warmly acclaimed. So it is not surprising to find plenty to enjoy in his interpretations of the Op. 3 concertos. The playing is spirited, and the obbligato contributions often dazzling; and there are some novel ideas, too, which I found effective. In the third concerto of the set, for instance, Minkowski uses a descant recorder in the outer movements, where flute or treble recorder are generally favoured…

After Handel, Geminiani was among the most prominent foreign musicians to settle in England during the first half of the 18th century. His most celebrated collection of concertos was published in 1732 as his Op. 3. Charles Burney rated them highly and it is easy to see why: they are beautifully crafted pieces modelled, to some extent, on those of his teacher, Corelli. But, in addition to the two violins and cello which form the typical concertino/solo group of the Corellian concerto grosso, Geminiani added a viola to make up a quartet. He was not quite the first to do this, but he was the first to integrate the solo and grosso elements with such finesse.

What we know as ‘Handel’s Opus 3’ is most likely little more than a brazen attempt by the London publisher John Walsh to make some quick money.

First of all, we can see that the form of the “Concerto Grosso” is almost absent in this collection, with a succession of movements more often reminiscent of the Dance Suite, the Overture or even the Concerto for several instruments. The featured soloists range from Violins, Cellos, Oboes, Bassoons, Flutes and even the Organ. But what most disconcerts and bewilders the scholar is the compositional technique.