Organ concertos, Op. 4 (Handel)


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Popular posts from this blog. When Handel moved his company from the King's Theatre to the newly built theatre in Covent Garden, in autumn , organs appeared explicitly for the first time in his operas. The danced prologue Terpischore HWV 8b performed there contains sumptuous scoring for alto recorders, violins, violas and pizzicato cellos with the bass and treble lines doubled by organs; Handel marked the score, " Les orgues doucement, e la Teorbe ".

In March the London Daily Post and General Advertiser announced that Handel had decided to incorporate in later performances of Deborah "a large new Organ, which is remarkable for the Variety of Curious Stops, being a new Invention, and a great Improvement of that Instrument.

In the s London theatre audiences were constantly clamouring for novelty and displays of virtuosity on the musical stage.

Handel's Italian opera company had to compete with the full range of spoken drama as well as popular musical entertainment, including English ballad operas such as the highly successful Beggar's Opera and the pantomimes and burlesques produced by John Rich.

Between and the composer Thomas Arne with his son and John Frederick Lampe briefly ran an English opera company devoted to full-length operas in the English language. Of these entertainments, Italian opera demanded the highest expenditure and posed the highest risks.

Between and these financial difficulties were brought to a head by the establishment of a new rival Italian opera company, the Opera of the Nobility , set up ruthlessly to court Handel's potential audience.

Formed by members of the disbanded Royal Academy of Music , to which Handel had previously belonged, it succeeded in poaching almost all of his principal singers, including the celebrated castrato Senesino and the bass singer Antonio Montagnana. Whereas Handel's company was supported by the king George II and his wife, the Opera of the Nobility had the patronage of their son Frederick, Prince of Wales , an open sign of deep-seated disagreements within the royal family.

It was during the second season of rivalry in , when competition between the two companies had become fiercest, that Handel first introduced his organ concertos.

By that stage the Opera of the Nobility had assembled a star-studded cast which now additionally included the castrato Farinelli and the soprano Francesca Cuzzoni. Performances of Hasse 's Venetian opera Artaserse played to packed houses and Farinelli became the toast of the town. Later in the season they even revived one of Handel's own operas Ottone , albeit in a heavily bowdlerised form, again with Farinelli as a guaranteed audience drawer.

Artaserse and other operas including Porpora 's new opera Polifemo , a precursor of Handel's pastoral masque Acis and Galatea , vied for the audience of Handel's three new works — the operas Ariodante and Alcina , part of the trilogy based on Ariosto 's romantic epic Orlando Furioso , and the oratorio Athalia. Handel's opera company was obliged to leave the King's Theatre after the season, because of a lack of support from former directors of the Royal Academy of Music.

Handel was engaged to give two performances every week, usually on Wednesday and Saturday, during the season. During the first season there were three important features of the company's artistic activities:.

The King and Queen attended a large number of performances, essentially snubbing the Opera of the Nobility supported by their son. In November and December , Handel presented various opera revivals and a newly composed opera-ballet Terpsichore. However the combination of dance and opera seria was not sufficient to attract the opera going public.

In January Ariodante opened, but, despite the quality of the music and a visible royal presence, was no more successful. It was in March that Handel started his first oratorio season, featuring the organ concertos HWV The timing of the performances avoided conflicts with events in other London theatres and the local papers advertised the "new Concertos on the Organ.

Handel fared better with his new opera Alcina which had an extended run, again with royal approval and attendance. There was, however, public disapproval of Marie Sallé's performance en travesti as Cupid in the ballet sections.

Farinelli's impact on London opera-goers was without precedent: Handel had unsuccessfully attempted to hire Farinelli for his own company during a visit to Venice in , so impressed was he by his brilliant castrato voice.

In London Farinelli continued to pull the crowds to the Opera of the Nobility, despite Handel's insertions in his operas of dance interludes by Marie Sallé , the leader of the resident dance troupe at Covent Garden. In early the first performances of Ariodante took place. The sequel Alcina was completed soon afterwards. At the same time Handel was preparing revised versions of his oratorios Esther and Athalia.

During this period Handel prepared the 16 movements of the four organ concertos HWV , of which 10 are reworkings of previous compositions with the remaining 6 largely newly composed. HWV , completed in March , contains the most new material, although even there the ritornello of the first movement is a borrowing from Act 1 of Alcina. It featured in the April performances of Athalia at Covent Garden.

Lord Shaftesbury , personal friend of Handel, Handel completed Alexander's Feast in January It was first performed at Covent Garden on 19 February as a celebration of Saint Cecilia , the patron saint of Music. In its original form it contained three concertos: There were 11 performances of the work in its first form: In April Handel suffered a stroke , or rheumatic palsy , resulting in temporary paralysis in his right hand and arm.

After brief signs of a recovery, he had a relapse in May, with an accompanying deterioration in his mental capacities. In Autumn the fatigued Handel reluctantly followed the advice of his physicians and went to take the cure in the spa town of Aix-la-Chapelle. All the symptoms of his "disorder" soon vanished, although there were to be recurrences of the condition in and Alexander's Feast was performed 25 times in Handel's lifetime and was printed in by John Walsh.

It was subsequently revised in , and , with the suppression of the two concertos Op. For the final performances in , Handel could not himself perform because of his failing eyesight. The Countess of Shaftesbury relates that she saw "the great though unhappy Handel, dejected, wan and dark, sitting by, not playing the harpsichord.

The concertos were first published in by John Walsh for solo keyboard, the solo part combined with a simplified reduction of the orchestral accompaniment.