Handel: Organ Concerto in F major, HWV 292 | Transcribed for solo organ and performed by J. Guillou

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George Frideric Handel: Organ Concerto in F major, Op. 4 No. 4, HWV 292
00:00 Organ Concerto in F major, HWV 292: I. Allegro
05:14Organ Concerto in F major, HWV 292: II. Andante
10:40 Organ Concerto in F major, HWV 292: III. Adagio
12:09 Organ Concerto in F major, HWV 292: IV. Allegro
Transcribed for solo organ and performed by Jean Guillou

George Frideric Handel (1685–1759) invented the organ concerto as a public entertainment form almost single-handedly. The genre arose from a practical necessity: during the intervals of his oratorio performances at London theatres, Handel would seat himself at the organ and improvise, showcasing Handel's legendary gifts as an improviser within a framework of elegant Baroque architecture. Eventually these interludes became formalized into composed concertos that became enormously popular with audiences.

Handel published his first set of organ concertos in 1738, and HWV 289 opens the collection with characteristic assurance. The concertos were written largely as interval entertainments for his oratorio performances in London — Handel himself would improvise at the organ between the acts — and they carry that spirit of confident, public-facing invention throughout.

Organ Concerto in F major, Op. 4 No. 4, HWV 292 has a more classic overture, with an at length first movement (Allegro) that offers one of many examples of good humor and vital drive of Handel’s speech (it comes from a chorus of Alcina). It contains the expected cadence, appearing at bar 101, designed as an exploration of another possible drama of all main and secondary motifs previously developed, offering the magic of their new combination before the traditional return to the cosa accompanied by the orchestra. The second movement is a richly developed Andante, the longest of its kind in the sixteen Concertos.Its writing allows, in the transcription, a dialogue between four different sound plans. Follows a short but expressive Adagio, a form in which Handel never fails. The last movement is an explosion of joy and life, and takes the form of an irresistible fugato, nevertheless favoring the momentum of the sentence and the vital flow of the speech more than the daunting complexity of a too dense counterpoint.
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