Handel 6 Organ Concertos Op.4 No.1 4-1 HWV 289 G minor 韓德爾 管風琴 協奏曲 ヘンデル オルガン Score Sheet 譜 谱 【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Handel 6 Organ Concertos Op.4
No.1 4-1 HWV 289 in G minor
韓德爾 管風琴 協奏曲 作品4
韩德尔 管风琴 协奏曲 作品4
Händel Concerto para Órgano Op.4
ヘンデル オルガン協奏曲 作品4
Organ 管風琴 Órgano オルガン
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Handel #Concerto #Grosso

00:00 I Larghetto e staccato
05:03 II Allegro
10:28 Adagio
11:40 III Andante

Handel Organ Concerto Op.4
No.1 4-1 HWV 289 in G minor
No.2 4-2 HWV 290 in B-flat major
No.3 4-3 HWV 291 in G minor
No.4 4-4 HWV 292 in F major
No.5 4-5 HWV 293 in F major
No.6 4-6 HWV 294 in B-flat major

The Handel organ concertos, Op. 4, HWV 289–294, are six organ concertos for chamber organ and orchestra composed by George Frideric Handel in London between 1735 and 1736 and published in 1738 by the printing company of John Walsh. Written as interludes in performances of oratorios in Covent Garden, they were the first works of their kind for this combination of instruments and served as a model for later composers.

Handel's six organ concertos were published in 1738 by John Walsh as the composer's Opus 4. The four concertos HWV 290–293 had been written to be played in the intervals of performances of his oratorios Esther, Deborah and Athalia in March and April 1735 in the newly opened theatre of John Rich in Covent Garden; the other two concertos HWV 289 and 294 served the same purpose in February and March of the following year for performances at the same venue of Alexander's Feast HWV 75, Handel's setting of John Dryden's ode.
The performances of Esther and Deborah were revivals, while Athalia was a reworking for its first London performance of a work first heard in Oxford in the summer of 1733. The violinist Festing and the composer Arne reported to the musicologist Charles Burney that Handel had included organ solos in the Oxford performances: he had "opened the organ in such a manner as astonished every hearer" and "neither themselves, nor any one of their acquaintance, had ever before heard such extempore, or such premeditated playing, on that or any other instrument."
Handel's prowess as an organist had already been demonstrated in Rome in 1707 in a contest with the composer Domenico Scarlatti, when his playing on the organ was rated higher than Scarlatti's playing on the harpsichord; his reputation as a great organist had already been established during his one-year position as cathedral organist in Halle in 1702. Handel's organ concertos thus have a special place in his oeuvre. They paved the way for Mozart and Beethoven, who like Handel achieved fame in their lifetimes as composers and performers of their own concertos.
In the sinfonias of some of his cantatas, Johann Sebastian Bach had already introduced concerto movements for organ and orchestra. However, Bach's organs in both Weimar and Leipzig were large organs with double keyboards and pedals, powerful instruments that could only dominate a baroque orchestra. Bach's organ writing in the sinfonias lacks the complexity of his writing for solo organ; it is in two parts, as if for harpsichord, with the bass line doubling the continuo. The small English chamber organs at Handel's disposal, with a single keyboard and no pedals, produced a softer sound that could be properly integrated with a small orchestra, making possible a unique form of concerto close to chamber music.
The precise reasons why Handel introduced this new musical form, the concerto for chamber organ and orchestra, have been discussed in detail by Cummings (2007). He concludes that Handel, faced by financial difficulties in mounting Italian opera, exacerbated by a newly established opera company in fierce competition for an audience, decided to showcase himself as a virtuoso composer-performer, thus providing a rival attraction to the celebrated castrato Farinelli, the glittering star of his competitors.


HWV 289
This concerto in G minor and major is a chamber work of "flawless lucidity and grace". The opening stately larghetto in G minor has two different ritornello themes for organ and strings marked forte, with ornamented piano responses from the organ, like the solo voice in an operatic aria. Its unconventional free form and solemn mood are forward looking, with elements that prefigure the slow movements of Beethoven's piano concertos. The following allegro in G major has brilliant virtuosic semiquaver passages for the organ, punctuated by orchestral tuttis, each reprise of the three part imitative ritornello offering a surprise. A short adagio in E minor leads into a delicately scored minuet in G major with two variations. The echo responses of the upper strings are marked piano or pianissimo and the organ is sometimes accompanied only by a continuo.
The last movement is a minuet and variations expanded from the Trio Sonata in F, Op. 5, No. 6.