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Concerto Grosso Op. 6/5 HWV 323

Georg Frideric Handel (b. 1685 - d. 1759)

Composer
Georg Frideric Handel (b. 1685 - d. 1759)
Composition Year
1739
Work Movements
Presto-Largo
Artists
Camerata Øresund (Ida Lorenzen [violin], Tinne Albrechtsen [violin], Alison Luthmers [vioin], Rastko Roknic [viola], Hanna Loftsdóttir [cello], Joakim Peterson [double bass], Dohyo Sol [lute], Magdalena Karolak [oboe], Marcus Mohlin [harpsicord]) [baroque ensemble]

Programme Note Writer:
©

The third movement of Handel’s Grand Concerto Op.6/5 is a lively and light-hearted Presto in 3/8 time and binary form. It is dominated by a busy semiquaver motif that runs through the dance-like piece.  It is followed by a short slow Largo in 3/2 time governed by the concertino parts with with the two solo violins in eloquent counterpoint. The movement adheres strictly to the pattern set by Corelli in that each episode for soloists is followed by a tutti response highlighting the  contrasts of soloist and orchestra.

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Concerto Grosso Op. 6/5 HWV 323

Composer: Georg Frideric Handel (b. 1685 - d. 1759)
Performance date: Thursday 5th July 2018
Venue: St. Brendan's Church, Bantry, Co Cork, Ireland

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Composer Georg Frideric Handel (b. 1685 - d. 1759)
Work Title Concerto Grosso Op. 6/5 HWV 323
Composition Year 1739
Work Movements Presto-Largo
Artist(s) Camerata Øresund (Ida Lorenzen [violin], Tinne Albrechtsen [violin], Alison Luthmers [vioin], Rastko Roknic [viola], Hanna Loftsdóttir [cello], Joakim Peterson [double bass], Dohyo Sol [lute], Magdalena Karolak [oboe], Marcus Mohlin [harpsicord]) [baroque ensemble]
Performance Date Thursday 5th July 2018
Performance Venue St. Brendan's Church, Bantry, Co Cork, Ireland
Event Handel Coffee Concert
Duration 00:05:24
Recording Engineer Ciaran Cullen, RTÉ
Instrumentation Category Baroque Ensemble
Instrumentation baroque ensemble

The third movement of Handel’s Grand Concerto Op.6/5 is a lively and light-hearted Presto in 3/8 time and binary form. It is dominated by a busy semiquaver motif that runs through the dance-like piece.  It is followed by a short slow Largo in 3/2 time governed by the concertino parts with with the two solo violins in eloquent counterpoint. The movement adheres strictly to the pattern set by Corelli in that each episode for soloists is followed by a tutti response highlighting the  contrasts of soloist and orchestra.