Organ Concertos No. 1-4 CD6

Abstract

This was Handel's first organ concerto, one of six works contained in his Op. 4 set. Despite the low opus number, the collection was not an early effort—the composer was about 50 when he produced the works. Cast in four movements, this Organ Concerto in G minor has an unusual structure, with slow markings for the first, third, and fourth movements. Yet the finale, despite its Andante tempo, is much livelier than that marking would normally suggest. The opening panel, marked Larghetto, e staccato, opens dramatically in the orchestra, the music moving at a deliberate but emphatic gait. The organ presents a subdued, somewhat ethereal theme in the upper ranges, as if to tame the angry character of the orchestra. Further exchanges between organ and orchestra continue in this manner throughout the movement. The ensuing Allegro opens with a lively, chipper theme in the orchestra. The organ then takes it up, exhibiting much color and virtuosity here and throughout. The Adagio third movement is solemn and gentle, while the Andante finale begins on organ with a lively, joyous tune. The orchestra then plays its rendition of the theme and there follows many interesting exchanges between organ and orchestra. Handel's keyboard writing here is dazzling and quite showy, capping this 15-minute work with many technical challenges. The year 1735 was a remarkable one in the career of Handel: two of his finest operas premiered then, Ariodante (January 8) and Alcina (April 16), and the composer began writing his masterful series of organ concertos, beginning with the six that make up the Op. 4 set. This B flat major effort, like most in the set, is cast in four movements, with two brief panels alternating with two vigorous, more substantial Allegros. The first movement, marked A tempo ordinario, e staccato, lasts less than a minute and features a bright, moderately paced orchestral introduction. The ensuing Allegro starts in the orchestra again, but now with vigor in its sunshine. The organ enters with its rendition of the jovial theme in brilliantly colorful writing, and thereafter alternates its solo passages with orchestral ones, rarely sharing the spotlight. The ensuing Adagio, e staccato offers ethereal, dreamy music from the organ in a movement that lasts less than a minute. The playful finale, marked Allegro, ma non presto, features unhurried but lively music from both the orchestra and organ, again with the two in generally alternating roles and with the organ displaying much brilliant, often virtuosic writing.