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> Handel / Egarr "Concerti Grossi Op. 3, Sonata a 5", SACD

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post 16/06/2009, 13:02
Сообщение #1


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Handel / Egarr "Concerti Grossi Op. 3, Sonata a 5" SACD
Academy of Ancient Music
Paul Hillier (dir.)

Handel / Egarr "Concerti Grossi Op. 3, Sonata a 5" , SACD

Гибридный SACD 5.1

Recorded January 2006
at St John's Smith Square,
London, England

Violin I
Pavlo Beznosiuk
Rebecca Livermore
Persephone Gibbs
Violin II
Pauline Nobes
William Thorp
Joanna Lawrence
Trevor Jones
Rachel Byrr
Joseph Crouch
Imogen Seth Smith
Double Bass
Judith Evans
Rachel Brown
Rachel Brown
Kary Bircher
Frank de Bruine
Lars Henriksson
Alastair Mitchell
Philip Turbett
Richard Egarr
harpsichord & organ
Paula Chateauneuf
archlute & baroque guitar
    No. 1 in B-flat major / G minor
  1. I. --- 2:48
  2. II. --- 4:07
  3. III. --- 1:23

    No. 2 in B-flat major
  4. I Vivace 1:55
  5. II Largo 2:23
  6. III Allegro 2:15
  7. IV --- 1:23
  8. V --- 3:21

    No. 3 in G major
  9. I Largo, e staccato - Allegro 3:24
  10. II Adagio 3:02
  11. III Allegro 3:41

    No. 4 in F major
  12. I --- 6:33
  13. II Andante 2:05
  14. III Allegro 1:38
  15. IV Allegro 2:38

    No. 5 in D minor
  16. I --- 1:42
  17. II Fuga. Allegro 2:17
  18. III Adagio 1:25
  19. IV Allegro, ma non troppo 1:35
  20. V Allegro 2:40

    No. 6 in D major / D minor
  21. I --- 3:43
  22. Improvisation 2:00
  23. II Allegro 3:22

    Sonata a 5 (HWV 288)
  24. I Andante 3:43
  25. II Adagio 1:27
  26. III Allegro 3:46

Executive Producer: Robina G. Young
Sessions Producer & Editor: Brad Michel
Recording Engineers: Brad Michel & Chris Barrett
DSD Engineer: Chris Barrett

Harmonia Mundi (HMU 807415), 2007
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post 16/06/2009, 13:24
Сообщение #2


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После Бранденбургских концертов Баха еще и этот диск - это ли не праздник? Почти в каждом произведении Генделя - "тот самый" уход из мажора в минор, который я очень-очень люблю, и уход обратно из минора в мажор (этот уже нравится чуть меньше). Ну да что там! Я сидел и упивался музыкой, и приятнейшим фоном шел мажор, и вслушивался в минорные тона, и все это в общем и целом - прекрасно, и для души! Звук отличный, микс с упором на переднюю линию, тылы чуть слышны, но мне показалось, что немного больше они отрабатывают, чем на диске Баха...
Очень рекомендую это издание. Качество - выше всяких похвал, микс - "не более необходимого".
Девять. Диск всегда будет под рукой. НМ - спасибо!

"...так он, чего доброго, примется за чтение стихов ... или, еще того хуже, сам станет поэтом, а я слыхала, что болезнь эта прилипчива и неизлечима." © М.Сервантес, "Дон Кихот"
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post 17/06/2009, 22:09
Сообщение #3


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Цитата( БУКЛЕТ )
ANYONE PERFORMING HANDEL'S Concertos Op. 3 has to tackle a basic problem - the musical text. The edition published by John Walsh in 1734 is by no means perfect, and is regarded with musicological head-scratching. There are no complete autograph manuscripts to help show us the way with these works. Today Walsh is generally held in low esteem, criticised for shoddy editions, and equally shoddy business practices. I believe there is more value and trust in these texts, and in the man, than is usually given credit.

Perhaps with a fresh look at the hugely important set of relationships in Handel's London life - those with the various publishers of his scores - we can unearth something more musically positive. By far the most crucial and interesting collaboration for us is that which Handel formed with the firm of John Walsh, and which spanned Handel's entire time in England. The story of the Walshes and the early English publications of Handel is essential to gain some understanding of the worrisome text of Op. 3.


The 3 documents that preface these notes show the bare-faced, public facts behind a perhaps much more juicy, private story of the relationship between Handel and two generations of the music publishers both named John Walsh. It is a curious fact that although Handel and the Walshes collaborated for nearly 5 decades, not one letter between them appears to have survived. The untold story then, particularly for the interesting years just before Handel's Royal Privilege ran out in 1734, can only be fantasized about. For the sake of Handel's ( )p. 3, and the Walshes' reputation, I will attempt a little fantastic narrative.

Handel's sensational success with Rinaldo on 24th February, 1711 changed the path of English music. The twenty-six-year-old birthday-boy led a superb cast of mostly Italian stars at this première. The extent to which he took London by storm is amply demonstrated by the many repeat performances, and the extraordinarily swift appearance of the first edition of the music: within 2 months of the première, Handel had been courted by John Walsh Snr., and together they had the scores of songs and instrumental music from the opera ready to sell. The addition in the advertisement of the words 'Compos'd and exactly corrected by Mr. George Friderick Hendell' may give us the first taste of the personal story here. The elder John Walsh (1665?—1736) had few publishing rivals in London at the beginning of the eighteenth century. He was a shrewd businessman who used the most up-to-date (and cheapest) printing techniques. His association with and apparent 'piracy' of editions by the Amsterdam publisher Estienne Roger have gained him, both then and now, a fairly bad reputation. In respect to Walsh's publication of Rinaldo, the eighteenth-century writer on music Sir John Hawkins accused him of profiteering to the tune of £1,500. Although the accusation proved untrue, Walsh's name has suffered ever since.

Handel, it seems, must have been of a different mind: his personal involvement with the Rinaldo publication is highly indicative of this. Even during the years of Handel's Royal Privilege, contact with the elder Walsh, and then John Jnr. (1709-66) from 1730 onwards as he began to take over the firm, was maintained. The Royal Privilege (see p. 4) was, in effect, a copyright law granted to composers in an attempt to reduce the printed piracy of their scores. Although not entirely effective, it gave Handel Royal authority to choose his publisher - a not inconsiderable weapon for negotiating fees, one would assume. Walsh was by far the most frequent recipient of Handel's favour in this regard - even if most of the publications were arrangements for the German Flute! What a piece of immaculate timing it was that within five months of Handel's Privilege expiring (June 1734), Walsh Jnr. is ready and able to advertise (see p. 5) in the "Craftsman" the complete sets of parts for Opp. 1, 2 and 3. Not only these works are on offer, however, but an incredible feast of Handel, including:

V.     Thirty Overtures... in seven Parts...
VI.     The Water Musick...
VIII.     Nineteen Operas compleat. Printed in Score.
IX.     Esther...and the Mask of Acis and Galatea.
XI.     Two Books of celebrated Lessons for the Harpsichord.

There was, no doubt, some musical preparation and deal-making involved in advance of this announcement. Walsh continued to furnish Handel with further editions of his music until, and even after the composer's death. Upon Walsh Jnr.'s death in 1766, the Public Advertiser estimated his fortune at £40,000.

The Op. 3 Concertos first appeared as part of the flood of Handel publications by Walsh in 1734. His editions of these six concertos (and indeed of Opp. 1, 4 and 7) are now usually criticised for their inaccuracy, and their value demeaned further by questioning their authorisation by Handel. The first criticism is perhaps justified, although these Walsh parts (which we used for the recording) are easily corrected by anyone with half an ear. After all, these are the parts that musical parties and performers other than Handel would have used at the time. Perhaps even the original Academy of Ancient Music (founded in 1726) which met at The Crown and Anchor in The Strand (presumably only a staggering distance from Walsh's main outlet) would have played from them. The second charge is more complex. As no complete autograph manuscripts for the Op. 3 concertos are extant (unlike the later Concerti grossi Op. 6) musicology has gone into overdrive to arrive at some Frankenstein-like 'Urtext' version of them, comparing odd movements that survive from earlier works. It cannot be denied that these concertos were 'cobbled together' to form a set. The question of who that cobbler was is crucial, but unfortunately cannot be answered with certainty. We mustn't forget that Op. 3 was the first set of concertos by Handel to be published, and would therefore be an event of some import. It should be easy enough simply to accept that the compilation and edition of the Op. 3 concertos (for whatever reason) seems to have been a rush job, and that quality control over the musical text was not 100%. The question remains, would Handel really have allowed his long-time publisher and trusted source of income to put out these works without his involvement and blessing? No court case or heated exchange of letters ensued. Further publications by Walsh came on a very regular basis. Handel even granted Walsh a fourteen-year monopoly only five years later in 1739.

Whatever the real story, the six Concertos of Op. 3 contain a wealth of colour and richness of invention that superbly represent Handel's output up to the 1730s. The delicious wind sonorities of the First Concerto; the rich string textures and oboe cantabile of the Second. Then the unusual arrangement and voicing of the Third - here we opted for the flute (rather than oboe) as the solo instrument, as Handel gives us the choice. French sonority is explored to the full in the Fourth, and the Fifth seems to have some untold operatic plot as a subtext. As to the Sixth and last Concerto: only two movements? – one in the major, one in the minor?... and with a solo organ part in the second and (more importantly) last movement of the set?... Surely another Walsh hatchet job? Ah, now suspicious reader, what better way to insinuate and subliminally prepare the public for the next Opus - the six Organ Concertos of Op. 4. In the spirit of these organ concertos I have added an 'ad libitum' (i.e. improvised) middle movement for the Sixth Concerto of Op. 3.

After the heavy intrigues of the London main courses, we offer a lively Italian dessert to close the disc. Handel's Sonata a 5 was written in Rome in 1707. It is a fantastic and hugely under-exposed masterpiece from the twenty-two-year-old genius, fired by his time spent in that amazing musical playground. The autograph manuscript (which survives) poses one question. The score indicates that the oboes should play with the 'tutti' first and second violins (and therefore presumably the bassoons with the bass). I suspect Handel added these directions to the manuscript much later, when in London, perhaps needing some extra music at short notice - or perhaps after a little too much port wine. The writing, particularly in the outer two (of the three) movements, is very 'string' specific, containing many repeated notes, and the lines also exceed the range of the oboes in many places. More clues as to the 'string' nature of the work come from its title, scoring and first three measures. The title 'Sonata' is perhaps a little odd for a work which seems to be a concerto. The term 'a5' refers to the number of parts: solo violin, first and second 'tutti' violins (apparently doubled by oboes), viola, and bass. So why 'Sonata ? The answer is presented to us musically in the first three bars. We hear the opening of a violin sonata - this is almost immediately interrupted by a repetition and amplification of the material by a 'concerto grosso,' the string orchestra. This first phrase of the 'Sonata' is given explicit scoring instructions by Handel: solo violin with a bass marked 'cembalo' - that is solo cembalo. The phrase is then repeated by the 'tutti' - the bass line being carefully marked so. This textural division and dialogue is present throughout the work's outer movements.

This fabulous work is a simple, and wonderfully inspiring aural representation of Handel's collaboration in 1707 with the great Corelli in Rome - the famous string 'concerto grosso' following the great Duo's every musical twist, turn and desire.


Это ранняя работы автора, как бы предтеча его более фундаментальному шестому опусу  с Большими концертами, да и четвертому с органом. Конечно же ощущается влияние Вивальди, иногда в мелодиях, иногда в музыкальных построениях. Хотя это нисколько не умаляет работы самого автора. Главное, хотя исполняет и не очень большой состав – два десятка музыкантов (солидный для своего времени), создается ощущение не зальной камерности музыки, а пленэрности, открытого пространства. Такое предвкушение будущих знаменитых пленэрных концертов. И даже лирические минорные части с очень симпатичным гобоем не впадают в меланхолию, а звучат живо и весело.
Многоканальностью представлена вся глубина оркестра. Он выдвинут к слушателю так, что на уровне фронтов расположен второй ряд музыкантов. Зал почти не ощущается, этим то и подчеркивается пространственная открытость произведения.

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