Georg Friedrich Haendel Concerto grosso en do mineur, Op. 6 n° 8 Vidéos
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2024-05-01
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George Frideric Handel Slovak Philharmonic 2012
Provided to YouTube by The Orchard Enterprises Concerto Grosso in C Minor, Op. 6, No. 8: III. Andante allegro · Oliver von Dohnanyi · George Frideric Handel · Slovak Philharmonic Orchestra · Oliver von Dohnanyi Händel Concerto Grosso No. 8 ℗ 2012 Entertain Me Europe LTD Released on: 2012-03-22 Auto-generated by YouTube.
Collegium Musicum Bach George Frideric Handel Max Pommer 2010 New Bach Collegium Musicum
Provided to YouTube by NAXOS of America Concerto Grosso in C Minor, Op. 6, No. 8, HWV 326 · New Bach Collegium Musicum Leipzig Handel: Concerti Grossi, Op. 6, Nos. 1-12 ℗ 2010 Capriccio Released on: 2010-08-01 Conductor: Max Pommer Orchestra: New Bach Collegium Musicum Leipzig Composer: George Frideric Handel Auto-generated by YouTube.
Bernhard Forck Handel Akademie Alte Musik Berlin
A=415Hz Handel: Concerto grosso in C minor, Op.6 No.8, HWV 326 Bernhard Forck & Akademie für Alte Musik Berlin This is not a tutorial. Just enjoy playing the violin or following the notes with greatest artists.
Francesco Geminiani Corelli Purcell Mackintosh Wallfisch Woolley Weiss Turner Carolan 1687 1739 1762
00:00 Trio Sonata No 3 in F major (Geminiani´s own arrangement of his solo Sonata Op 1 No 9): Largo, Vivace - Andante - Allegro 08:51 Concerto Grosso ¨La Folia¨ (after Corelli´s Violin Sonata in D minor Op 5 No 12)* 19:45 Sonata in E minor, Op 1 No 3 (revised version, 1739): Adagio, Allegro, Adagio - Tempo giusto, Adagio - Allegro (1) 25:38 Trio Sonata No 5 in A minor (Geminiani´s own arrangement of his solo Sonata Op 1 No 11): Spiritoso - Andante - Allegro 31:51 Trio Sonata No 6 in D minor (Geminiani´s own arrangement of his solo Sonata Op 1 No 12): Andante - Allegro - Allegro 38:08 Sonata in A major, Op 4 No 12: Adagio, Presto - Presto - Presto (2) 43:00 Concerto Grosso in C minor, Op 7 No 2*: Grave, Allegro - Andante - Allegro The Purcell Quartet Catherine Mackintosh (2) & Elizabeth Wallfisch (1), violin Richard Boothby, cello / Robert Woolley, harpsichord *with The Purcell Band Pavlo Beznosiuk & Catherine Weiss, violin I Henrietta Wayne & Francis Turner, violin II Alan George (concertino) & Risa Browder (ripieno, in Op 7 No 2), viola Barry Guy, violone / Lucy Carolan, organ Geminiani’s first publication was a set of sonatas for violin and continuo (1716). It was dedicated to Baron Kielmansegge, George I’s chamberlain (otherwise known to musical history for his organization of the famous water party with Handel’s music). Geminiani’s reward for the dedication was the opportunity to play at court, where he was accompanied by Handel. Both Handel and Geminiani shared the need to return to their early works. Handel would sometimes transfer whole movements from one work to a new one with minimal change, but more often took just an idea from a previous work (or one by someone else) to set his imagination working. Geminiani more systematically revised complete publications. In 1739 he produced another version of opus 1 which he dedicated to Dorothy, Countess of Burlington, a distinguished patroness of music. Subsequently, he arranged the sonatas as trio sonatas, and also issued parts for ripieno violins and bass so that they could be played as concertos. The 1739 versions recorded here differ from the 1716 versions chiefly in the degree of ornamentation. Some of it is detailed, and it is not clear whether Geminiani is trying to make explicit the manner in which the earlier versions might have been performed, or whether he is indicating a change of taste over the quarter-century between the editions. Some of the additions are in a French style which would probably have been foreign to the composer in 1716. Occasionally, as at the opening of the solo sonata Op 1 No 3, the later version is simpler. His didactic propensity (he was later to produce an important instruction book, The Art of Playing on the Violin) is shown by the indication of fingering. Opus 4 was also published in 1739, and has a violin part in the style of the revised opus 1, though the bass parts clearly reveal the conservative nature of Geminiani’s style. Geminiani’s first concerto publications can be considered as homage to Corelli, or perhaps an attempt to profit from their popularity. In 1726 and 1727 he issued arrangements of Corelli’s sonatas for violin and continuo opus 5 as concerti grossi. The last of these comprises twenty-four variations on La Folia, a dance theme of Iberian origin which had become popular as the basis for elaboration. In Geminiani’s setting, Corelli’s virtuosic violin part is mostly unchanged, but a second solo violin part is ingeniously added and the whole work is shaped by the contrast between tutti and solo. Geminiani made one change to Corelli’s orchestral disposition, adding a viola to the solo group. This does not, as used to be thought, enable the concertino group to function without a harpsichord—the cello part is still figured and this recording properly uses two keyboard instruments—but it gives a fuller texture. This feature appears in opus 2 and opus 3 (1732) and was retained in opus 7 (1746). That set is dedicated to the Academy of Ancient Musick. Geminiani’s preface claims that the dedication lacks the usual pecuniary motivation: From the Time of my first appearance in London, to the hour, I have enjoy’d the Happiness of your Countenance and Favour; and such has been ever my sense of it, that I thought it highly deserving my best Acknowledgements. The second concerto follows the normal Corellian pattern of two pairs of linked slow and fast movements. The solo sonatas, however, are more varied in pattern and the composer seems to have tried to link each into an uninterrupted whole with short adagio links between movements. Clifford Bartlett
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