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Daniel Chorzempa, Jaap Schroder - Handel: Organ Concertos Vol. 1-4 (2004/2005) 4xSACD
No organ concertos without oratorios!
To exaggerate somewhat, Handel‘s organ concertos owe their existence to this simple formula. What can justify this statement? Subsequent to his physical and mental breakdown in 1737, Handel turned almost exclusively to the composition of oratorios. In order to offer his audiences something new, the composer thought up some extra musical attractions for his oratorio performances. And he finally came up with additional improvisations on the organ. Thus a new genre saw the light of day in the musical world both during the première of his oratorio Deborah, on March 17, 1733 and during the repeat of Esther: the organ concerto was born. Charles Burney‘s remarks with regard to these events, in which he describes the birth of the genre of the organ concerto, are nothing less than euphoric. Not only does he praise the prolificness of the pieces and the ease with which they can be followed, but also Handel‘s precise performance of "improvised fugues" and "chromatic pieces". The great success of these innovative interludes, which at first were of a mostly improvisatory character, induced Handel to regularly include organ concertos in his oratorio performances from 1735 onwards.
A total of 16 organ concertos have been left to us, collected in three editions published by John Walsh. The year 1738 saw the publication of his Opus 4 (HWV 289-294), which consists of six concertos and was written in 1735/36; followed two years later by another collection of six works (this time without opus number); and only in 1761 was his Opus 7 published, which dated from 1740-51 and consisted of a further six concertos. In general, the orchestral parts are written for oboes, strings and basso continuo.
SACD ISO (*.iso): DST 2.0, 5.0 (image) > 1-bit/2.8224 MHz
Classical | 54:40 + 62:55 + 65:43 + 55:04 | 11.55 GB
Tracklist:
No organ concertos without oratorios!
To exaggerate somewhat, Handel‘s organ concertos owe their existence to this simple formula. What can justify this statement? Subsequent to his physical and mental breakdown in 1737, Handel turned almost exclusively to the composition of oratorios. In order to offer his audiences something new, the composer thought up some extra musical attractions for his oratorio performances. And he finally came up with additional improvisations on the organ. Thus a new genre saw the light of day in the musical world both during the première of his oratorio Deborah, on March 17, 1733 and during the repeat of Esther: the organ concerto was born. Charles Burney‘s remarks with regard to these events, in which he describes the birth of the genre of the organ concerto, are nothing less than euphoric. Not only does he praise the prolificness of the pieces and the ease with which they can be followed, but also Handel‘s precise performance of "improvised fugues" and "chromatic pieces". The great success of these innovative interludes, which at first were of a mostly improvisatory character, induced Handel to regularly include organ concertos in his oratorio performances from 1735 onwards.
A total of 16 organ concertos have been left to us, collected in three editions published by John Walsh. The year 1738 saw the publication of his Opus 4 (HWV 289-294), which consists of six concertos and was written in 1735/36; followed two years later by another collection of six works (this time without opus number); and only in 1761 was his Opus 7 published, which dated from 1740-51 and consisted of a further six concertos. In general, the orchestral parts are written for oboes, strings and basso continuo.
SACD ISO (*.iso): DST 2.0, 5.0 (image) > 1-bit/2.8224 MHz
Classical | 54:40 + 62:55 + 65:43 + 55:04 | 11.55 GB
Tracklist:
