Iona Brown, Academy of St. Martin-in-the-Fields - George Frideric Handel: 12 Concerti Grossi, Op.6 (1983)
Iona Brown, Academy of St. Martin-in-the-Fields - George Frideric Handel: 12 Concerti Grossi, Op.6 (1983)
EAC | FLAC | Image (Cue & Log) ~ 817 Mb | Total time: 47:07+62:12+59:13 | Scans included
Classical | Label: Philips | # 410 048-2 | Recorded: 1981
EAC | FLAC | Image (Cue & Log) ~ 817 Mb | Total time: 47:07+62:12+59:13 | Scans included
Classical | Label: Philips | # 410 048-2 | Recorded: 1981
This is the second recording which the Academy of St Martin in the Fields has made of Handel's 12 Concerti grossi, Op. 6. The first was directed by Neville Marriner whereas the new one is directed by Iona Brown. handel assembled his twelve ''grand concertos'', as he called them, during the autumn of 1739 and they were published by subscription in the following year. Their stylistic terms of reference are marvellously diverse and, in this respect they represent an apotheosis of what had become, by the 1730s, an old-fashioned form of concerto writing on the continent. Variety in form, ingenuity of thought and Handel's own unmistakeable personality ensure that in no other sense can these satisfying concertos be regarded as archaic.
These new perfomances are splendidly alive and have a freshness of approach. There are small stylistic details in the Academy performances which may not suit everyone—echoed or repeated phrases are sometimes freely ornamented as, for instance, they are in the finale of the Concerto No. 1; harpsichord realisations may occasionally seem both a little too florid and a little too prominent as, indeed, they struck me in the first Allegro of Concerto No. 3—but the crispness of ensemble, excellence of intonation, largely transparent textures, and an overall spirit of ebullient warmth make this set an appealing one. Freedom of embellishment is one of the characteristics of the Academy's approach which distinguish this set from many if not all of its rivals. I never found it tasteless though sometimes questioned the necessity for it. The positive qualities, however, far outweigh any negative ones and it is the strength of this playing, the alertness of approach and the admirable lack of self-conscious mannerisms with which they explore Handel's music that have struck me most favourably. The Polonaise of Concerto No. 3 is admirably done with effective strongly pointed emphasis on its dance derivation; the Minuet which ends the Concerto No. 5 is beautifully poised with a pleasing stress on the sighing viola line in the last of its variations. I recall that that was a feature of the old Boyd Neel recording of this work (Decca LXT5042, 7/55). The Academy end this movement, by the way, with a return to the opening Menuet statement. The andante of Concerto No. 7 comes off well; sometimes it is taken too slowly to make much sense of the music. I found the ''Andante allegro'' of the Concerto No. 8 too heavy and a little aggressive; there was not enough contrast between 'concertino' and 'ripieno' here. 'Ripieno' also intruded too forcefully in the contrapuntal concertino violin passage towards the end of the Siciliano. Concerto No. 9 perhaps revealed in its concertino sections some of the most fluent and persuasive ornamentation to be found in this set but the captivating D major finale of Concerto No. 10 is too beefy for me and lacked both poise and sensibility; its fine French Overture opening, though, is admirably robuts. Iona Brown's own ad lib passages in Concerto No. 11 are convincing and, in general, this Concerto is, perhaps, one of the most successful.
For anyone not wholly convinced by the validity of the period instrument approach with its own quite different sonorities, this new set should hold pleasure in store; I am inclined to place it at the top of the list of recordings of these concertos played on modern instruments at modern pitch. Performances of this calibre require no justification or apologia at all.– Nicholas Anderson
Performer:
Academy of St Martin in the Fields
Conductor - Iona Brown
Tracklist:
George Frideric Handel (1685-1759)
12 Concerti Grossi, Op.6
CD1:
Concerto grosso in G major, Op. 6/1
01. A Tempo giusto
02. Allegro
03. Adagio
04. Allegro
05. Allegro
Concerto grosso in F major, Op. 6/2
06. Andante larghetto
07. Allegro
08. Largo - Adagio - Larghetto andante, e piano
09. Allegro, ma non troppo
Concerto grosso in E minor, Op. 6/3
10. Larghetto
11. Andante
12. Allegro
13.Polonaise (Andante)
14. Allegro, ma non troppo
Concerto grosso in A minor, Op. 6/4
15. Larghetto affettuoso
16. Allegro
17. Largo, e piano
18. Allegro
CD2:
Concerto grosso in D major, Op. 6/5
01. (Larghetto, e staccato)
02. Allegro
03. Presto
04. Largo
05. Allegro
06. Menuet (un poco larghetto)
Concerto grosso in G minor, Op. 6/6
07. Larghetto e affetuoso
08. Allegro, ma non troppo
09. Musette (Larghetto)
10. Allegro
11. Allegro
Concerto grosso in B flat major, Op. 6/7
12. Largo
13. Allegro
14. Largo, e piano
15. Andante
16. Hornpipe
Concerto grosso in C minor, Op. 6/8
17. Allemande (Andante)
18. Grave
19. Andante allegro
20. Adagio
21. Siciliana (Andante)
22. Allegro
CD3:
Concerto grosso in F major, Op. 6/9
01. Largo
02. Allegro
03. Larghetto
04. Allegro
05. Menuet
06. Gigue
Concerto grosso in D minor, Op. 6/10
07. Ouverture
08. Allegro
09. Air (Lento)
10. Allegro
11. Allegro
12. Allegro moderato
Concerto grosso in A major, Op. 6/11
13. Andante larghetto, e staccato
14. Allegro
15. Largo, e staccato
16. Andante
17. Allegro
Concerto grosso in B minor, Op. 6/12
18.Largo
19. Allegro
20. Larghetto, e piano
21. Largo
22. Allegro
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Iona Brown / Handel - 12 Concerti Grossi Op.6 (Disc 1)
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Exact Audio Copy V1.3 from 2. September 2016
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Iona Brown / Handel - 12 Concerti Grossi Op.6 (Disc 2)
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Exact Audio Copy V1.3 from 2. September 2016
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Iona Brown / Handel - 12 Concerti Grossi Op.6 (Disc 3)
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==== Log checksum 7581C12D0A3C609845F6D520976E9AD6F50B70E57FAB0033B3C5766A7A549923 ====
Iona Brown, Academy of St. Martin-in-the-Fields - George Frideric Handel: 12 Concerti Grossi, Op.6 (1983)
Thanks to the original releaser