Composer: George Frideric Handel
Performer: Bernhard Forck
Orchestra: Akademie für Alte Musik Berlin
Conductor: Bernhard Forck
Format: DSD128 (dsf tracks)
Label: Pentatone
Release: 2019
Size: 5.75 GB
Recovery: +3%
Scan: yes
Concerto grosso in G Major, Op. 6, No.1 (HWV 319)
01. I. A tempo giusto
02. II. Allegro
03. III. Adagio
04. IV. Allegro
05. V. Allegro
Concerto grosso in F Major, Op. 6, No. 2 (HWV 320)
06. I. Andante larghetto
07. II. Allegro
08. III. Largo
09. IV. Allegro, ma non troppo
Concerto grosso in E Minor, Op. 6, No. 3 (HWV 321)
10. I. Larghetto
11. II. Andante
12. III. Allegro
13. IV. Polonaise. Andante
14. V. Allegro, ma non troppo
Concerto grosso in A Minor, Op. 6, No. 4 (HWV 322)
15. I. Larghetto affetuoso
16. II. Allegro
17. III. Largo e piano
18. IV. Allegro
Concerto grosso in D Major, Op. 6, No. 5 (HWV 323)
19. I. Larghetto e staccato
20. II. Allegro
21. III. Presto
22.: IV. Largo
23. V. Allegro
24. VI. Menuet. Un poco larghetto
Concerto grosso in G Minor, Op. 6, No. 6 (HWV 324)
25. I. Largo affettuoso
26. II. A tempo giusto
27. III. Musette. Larghetto
28. IV. Allegro
29. V. Allegro
The Akademie für Alte Musik Berlin kickstarts their Handel trilogy with this recording of the first six concerti grossi op. 6. Originally designed as attractive interludes to English oratorio performances, Handel’s concerti grossi soon gained fame as the most appealing orchestral music of the baroque era. Written in London in 1739, towards the end of his career, Handel paid tribute to the immensely popular concerti grossi of Corelli while simultaneously proving his mastery incorporating all musical styles of his time. Led by their concertmaster Bernhard Forck, the players of the Akademie für Alte Musik Berlin demonstrate why many consider them the best baroque ensemble of today. This first installment will be followed by the last six concerti grossi op. 6, as well as a recording of the concerti grossi op. 3.
Handel wrote the first six Concerti Grossi published as op. 6 in just over two weeks, from September 29 to October 15, 1739 (the final six were completed before Hallowe’en). You can hear the rush of inspiration in these works in a way that few pieces of music can match. I think of Mozart’s piano concertos from the spring of 1785, and Schubert’s composition of Winterreise in February and October of 1827. Handel’s orchestral music sounds robust when it’s played like this, but I’ve heard more than a few versions of both op. 3 and op. 6 that were crippled by poor musical choices or stylistic axe-grinding, on both sides of the Historically Informed Practices divide. Bernhard Forck and his very fine Berlin musicians, supported by Pentatone’s fine engineers, let Handel’s inspiration flow unimpeded.