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Fifteen years can certainly pass quickly.  Just ask Martin Pearlman and Boston Baroque.  They recorded the first six of the twelve concerti grossi from Handel's Op. 6 collection back in 1992. Now, they have finally had time to record the others.  


Handel composed his twelve concerti grossi with extraordinary speed. He completed the entire set within the space of one month. 

Handel was a wise entrepreneur. He knew how to keep pace with the marketplace. Concerti grossi by Corelli and Geminiani were popular in London at the time. Handel's publisher was convinced a similar set by Handel, England's top composer of the day, would be incredibly successful. Handel also knew these pieces would be a wonderful added attraction as intermission features during his oratorio performances.


Handel had no problem with recycling material from other composers, or from himself.  He borrowed from harpsichord music written by two of his contemporaries for the first six concertos in this set.  

Handel recycles more liberally from himself for the last six concertos featured on this recording. In the Andante allegro of the Concerto Grosso No. 8 in c minor, Handel borrows from an opera he wrote 30 years earlier titled "Agrippina."  The violins are somewhat agitated at the beginning of this movement, playing short, quick chords. An interesting contrast occurs when a calmer, smoother musical line enters underneath the anxious violins. 


On this recording, Boston Baroque substitutes an organ for the harpsichord that we often hear. The organ adds a softer, warmer touch to the opening Largo in the Concerto Grosso No. 9 in F major.  The bright second movement is a reworking from one of Handel's organ concertos known as "The Cuckoo and the Nightingale."  In this reworking, the cuckoo is somewhat camouflaged in the background.

 
The concerto I keep returning to is No. 11 in A major. The reason may be its familiarity. 

Handel's publisher was pressuring him to finish this set of concertos in 1739. To meet the encroaching deadline, Handel reworked most of his Organ Concerto in A major, which he performed for the first time earlier that year.  In the newly adapted orchestral concerto, Handel plays with the rhythm. The added bounce in the tempo makes this performance with Boston Baroque really sparkle. Additional violas also provide a layer of richness not heard in the original organ concerto. Only the second movement of this concerto features entirely new music, which Handel later recycled for another organ concerto. 


Boston Baroque is a high energy period instrument ensemble with a dazzling, inviting sound. With their technical expertise, effective use of dynamics, and vigorous tempos these classic concertos by Handel blossom into music that's fresh and enticing.  

It may have taken 15 years to produce, but this new recording was definitely worth the wait.

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Julie Amacher

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Six of George Frideric Handel's concerti grossi have just been issued by Boston Baroque, one of the world's leading period-instrument orchestras. Handel put his audience-pleasing flair into the Concerti, even as he recycled some of the music from his earlier works-or those of other composers.

New Classical Tracks: Boston Baroque Brings Richness and Energy to Handel

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