Händel - Concerto grosso _ WDR Sinfonieorchester 亨德爾 - 大協奏曲 _ 西德廣播交響樂團
Händel - Concerto grosso _ WDR Sinfonieorchester
亨德爾 - 大協奏曲 _ 西德廣播交響樂團
18,854 views Premiered Aug 15, 2021 WDR FUNKHAUS WALLRAFPLATZ
George Frideric Handel - Concerto grosso in B-flat major, op. 3 No. 2 HWV 313, performed by members of the WDR Symphony Orchestra under the direction of concertmaster José Maria Blumenschein. Recorded in early June 2021 at the WDR Funkhaus, Cologne.
觀看次數：18,854 首演：2021年8月15日 西德廣播交響樂團 瓦爾拉夫廣場
喬治·弗里德里希·亨德爾 - 降B大調大協奏曲，作品3，第2號，HWV 313，由西德廣播交響樂團成員在首席小提琴手何塞·瑪麗亞·布魯門斯切因的指揮下演奏。錄製於2021年6月初，錄製於科隆西德廣播交響樂團。
George Frideric Handel - Concerto grosso B flat major op. 3 No. 2 HWV 313
喬治·弗里德里希·亨德爾 - 降B大調大協奏曲，作品3，第2號，HWV 313
00:00 I. Vivace
01:48 II. Largo
04:11 III. allegro
04:12 IV. Moderato
08:00 V. Allegro
00:00 第一樂章 活潑
01:48 第二樂章 廣板
04:11 第三樂章 快板
04:12 第四樂章 中板
08:00 第五樂章 快板
Introduction to the work:
London in the 18th century was characterized by a unique musical life supported by aristocracy and bourgeoisie. Many artists flocked to the English metropolis from the European continent, attracted by the possibilities of public concerts. In particular, musicians from Europe's number one music country - Italy - were welcomed with open arms.
作品簡介：
18世紀的倫敦，其音樂生活獨具特色，並受到貴族和資產階級的推崇。眾多藝術家從歐洲大陸湧入這座英國大都市，被公共音樂會的魅力所吸引。尤其受到歐洲第一音樂強國——義大利——音樂家的熱烈歡迎。
George Frideric Handel was also drawn to London in 1712, having previously familiarized himself with the latest musical trends during a stay in Italy. In the field of orchestral music, the concerto grosso caused quite a stir at that time.
This refers to a concerto form in which the large orchestra - called tutti or ripieno - competes against a few soloists, the concertino. In Rome, Handel became acquainted with both this new musical genre and its most important representative, the violin virtuoso, composer and orchestra leader Arcangelo Corelli. He transferred the principle of the double choir, i.e. the alternating music-making in the old Venetian tradition, to the music for string orchestra.
music for string orchestra. Although Corelli published only six groups of works, his reputation as a pioneer preceded him even during his lifetime. His 12 Concerti grossi op. 6, published posthumously in Amsterdam in 1714, were regarded as the classical standard of Italian concert music and were taken as models by great 18th-century composers - including Bach, Vivaldi, Geminiani and Handel.
喬治·弗里德里希·亨德爾也於1712年來到倫敦，此前他在意大利逗留期間，熟悉了當時最新的音樂潮流。在管弦樂領域，大協奏曲（concerto grandso）在當時引起了不小的轟動。
這是一種協奏曲形式，由一支大型樂隊（稱為“全體”或“全體”）與幾位獨奏家（稱為“協奏曲”）競爭。在羅馬，亨德爾結識了這種新興的音樂類型及其最重要的代表——小提琴演奏家、作曲家兼樂隊指揮阿爾坎傑洛·科雷利。他將雙合唱的原則，即威尼斯古老傳統的交替音樂創作，移植到弦樂團的音樂中。
弦樂團的音樂。儘管科雷利只出版了六組作品，但他作為先驅者的聲譽在他生前就已廣為人知。他死後於1714年在阿姆斯特丹出版的十二部大協奏曲（作品6），被視為義大利音樂會音樂的古典標準，並被包括巴赫、維瓦爾第、傑米尼亞尼和亨德爾在內的18世紀偉大作曲家奉為典範。
Corelli's music also dominated concert programs in London for decades, sometimes in surprising arrangements and instrumentations. George Frideric Handel and his publisher Walsh aimed at this market: in 1734 they published the Concerti grossi op. 3 and in 1739 the "Twelve Grand Concertos" op. 6. With the second collection op. 6, Handel sought direct comparison with Corelli's tone-setting concertos of the same opus number. With these they share the instrumentation (concertino: two violins and cello) and the stylistic orientation. Handel supplemented the pure string sound of the Concerti op. 6 with solo oboes in op. 3. In general, the concerto grosso knew no norm: it could be in three movements, as in Vivaldi's concertos, or have up to four or more movements, as in the church and chamber sonatas. As Handel's
Concerto op. 3 proves, the composer was also open to influences of the suite, which strings together dance movements - in Concerto No. 2, these are a sarabande (1st movement) and a gavotte
(5th movement). The Concerto op. 6 No. 7 also exudes dance-like cheerfulness, for example in the fifth movement "Hornpipe" (originally the name of a wind instrument), which is inspired by the rhythms of an Old English song.
(Text: Tilla Clüsserath)
科雷利的音樂也主宰了倫敦音樂會的節目長達數十年，有時其編曲和配器令人驚喜。喬治·弗里德里希·亨德爾和他的出版商沃爾什瞄準了這個市場：他們於1734年出版了大協奏曲（作品3），並於1739年出版了“十二部大協奏曲”（作品6）。第二部作品集（作品7）韓德爾試圖將作品6與科雷利同號的定調協奏曲直接比較。它們與科雷利的協奏曲在樂器組成（協奏曲：兩把小提琴和一把大提琴）和風格取向上是一致的。韓德爾在作品3中以雙簧管獨奏補充了作品6中純粹的弦樂音色。一般來說，大協奏曲沒有固定的樂章：它可以像維瓦爾第的協奏曲一樣有三個樂章，也可以像教堂奏鳴曲和室內奏鳴曲一樣有四個或更多的樂章。正如亨德爾的協奏曲作品3所證明的那樣，作曲家也樂於接受組曲的影響，組曲將舞蹈動作串聯在一起——在第二協奏曲中，這些動作是薩拉班德舞曲（第一樂章）和加沃特舞曲（第五樂章）。第六號交響曲第7號也散發著舞蹈般的歡快，例如第五樂章「Hornpipe」（最初是一種管樂器的名稱）的靈感就源自於一首古英語歌曲的節奏。
（作詞：蒂拉·克呂塞拉斯）
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