G.F. HANDEL - Concerto Grosso Op. 6, nº 10 in D minor HWV 328 -ASMIF-Marriner

Georg Friedrich Händel - Concerto Grosso Op. 6, nº 10 in D minor HWV 328 -Academy of Saint Martin in the Fields - Neville Marriner.

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.

Concerto Grosso Op.6 No.10 in D minor HWV 328

Movements:

I. Ouverture
II. Allegro
III. Air
IV. Allegro
V. Allegro
VI. Allegro moderato

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. The second allegro is a longer, ingeniously composed movement in the Italian concerto style. There is no ritornello; instead the rhythmic material in the opening bars and the first entry in the bass line is used in counterpoint throughout the piece to create a feeling of rhythmic direction, full of merriment and surprises.

The final allegro moderato in D major had originally been intended for the twelfth concerto, when Handel had experimented with the keys of D major and B minor. A cheerful gavotte-like movement, it is in binary form, with a variation (or double) featuring repeated semiquavers and quavers in the upper and lower strings.

http://en.wikipedia.org/wiki/Concerti_grossi,_Op._6_(Handel)

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