The Second Concerto, again in Bb, recalls the older Suite form in its use of five short movements. The scoring here is even more modest than in No. 1: two oboes, a single bassoon and strings. Two violins run off with most of the virtuoso honors in the opening Vivace, with a striking main theme growing out of octave leaps. The beautiful Largo has a tender oboe tune, supported by arpeggio chords in the lower strings, while the third movement Allegro is a brilliant, four-voiced double fugue. The two final segments are cast in the courtly dance forms of the Minuet and Gavotte, crowning the Concerto in highly gracious fashion. The Third Concerto, in G, is frequently billed as an Oboe Concerto (and indeed, the entire Opus 3 is not infrequently published with that designation). The solo oboe offers the only color contrast to the string ensemble, but musical interest remains high, thanks to Handel’s sure gift for melody, and the fugal elements which dominate the scene much of the time. The finale is one of Handel’s most elaborate and effective fugues - and no less beguiling because it is strictly a copy of an earlier harpsichord piece. The F Major Concerto, No. 4, is often considered the jewel of the Opus 3. Again here, parts were collated from earlier works, but Handel has skillfully fused them into a unified and wonderfully satisfying whole. The scoring duplicates that of the Second Concerto, which is to say that it uses two oboes, bassoon and strings. The opening movement is in the slow-fast-slow format of the French Overture (and appropriately so, since as mentioned previously, it served as the Overture to Handel's opera “Amadigi”). A gentle Andante, in minuet rhythm, gives the solo oboe another chance to shine; then comes an Allegro, its striding gait quite reminiscert of the ¨Water Music¨, and the Concerto ends with another sparkling Minuet, complete with solo bassoon in ihe trio section. No. 5 in D minor starts off with an Andante and Allegro, coupled in the manner of a Prelude and Fugue. (These two movements, similarly linked, previously functioned as the Overture to Handel’s second Chandos Anthem). A short, extremely lovely Adagio paves the way for another Allegro ma non troppo movement in free contrapuntal style, and the Concerto winds up with a bright, sunny piece in the style of a French Bourrée. The Sixth Concerto, in D Major, is the shortest, and its two movements (both swiped from earlier compositions) inevitably suggest that Handel threw it together to complete the requisite set of six concerti. Both movements are Allegros, the first gay and sprightly, the second a little more sturdy and sober in effect. The latter also betrays its origin as part of a movement in the Third Suite for Harpsichord - for the first and only time in all the Opus 3, Handel gives an extended solo part to the keyboard instrument. The “Seventh” Concerto is Handel’s reworking of thematic materials from the F Major Concerto, No. 4. Dating from 1734, it is no mere arrangement, but rather a different musical conception altogether, even to the extent of having alternate movement markings. As does No. 4, No. 7 begins with a majestic Largo in the style of the French Overture, but the movement is much shorter and more compact. Then comes a sturdy Allegro, another, more elaborate Largo, and the Allegro Finale, with its bright dance rhythms. This recording, incidentally, is the first American disc performance of the Seventh Concerto, and thus the present album is also the first really complete set of Handel’s Concerti Grossi, Opus 3. TELEMANN: OBOE CONCERTO IN F MINOR Georg Philipp Telemann wrote music as if there were no tomorrow. Since he wound up with an unusually large number of tomorrows after all (dying in 1767 at the ripe old age of 86), he quite possibly produced a greater bulk of pieces than any composer before or since. Handel, who knew him quite well, said that Telemann could toss off an eight-part motet as easily as anybody else could write a letter, and indeed Georg Philipp himself was quoted as saying that “a proper composer should be able to set a placard to music”. Certainly, his output is staggering by any standard. He wrote some 3000 cantatas and church motets. He wrote 40 operas and 44 Passions. He wrote oratorios and Installation Numbers for Preachers. He wrote Water Music and Table Music and Captains’ Music. He wrote funeral services and wedding music and coronation anthems and birthday odes. The list goes on and on, but why labor the point? Far more essential is the fact that Telemann was not only a prolific composer, but an inventive, highly imaginative one as well. This ingenious spirit is most clearly evident in Telemann's frequent use of pictorial, humorously descriptive music. Probably the most famous of his pieces in this vein is “Don Quixote”. It seems pretty pale alongside the similarly titled orchestral portrait by Richard Strauss (after all, Strauss used a wind machine while poor Telemann had to make do with a rush of 16th notes), but as a creation of the early 18th century, it is nothing short of remarkable. The Concerto for Oboe, Strings and Harpsichord is a graceful, gracious score in standard Baroque style. A fairly extended orchestral tutti establishes the brisk pace, and the solo oboe maintains it with agile figurations. The slow movement, Largo e piano isn’t as soft and slow as all that. It has, though, an exquisite cantabile melody, spun over an accompaniment that manages to suggest rhythmic vitality and harmonic repose at the same time. The Finale is a typical Telemann Vivace - light, bright and vastly entertaining. Notes by ROBERT SHERMAN Monitor Records (MC 2100/1) 1966

🎼🎶Handel’s music is the missing piece of one soul😇💖✨

La música de Händel es simplemente maravilloso y sublime!! 💯

The star of the baroque era , a very good performance with many instruments

I felt cozy listening to this inspirational performance . This fabulous performance is comfortable to the ear and the mind From Tokyo of the Land of the Rising Sun 🇯🇵

So beautiful. Both soothing and exciting. I am tired of the scratchy sounds of so-called authentic performances with no warmth or lyricism. But this performance is different - spirit, warmth, humanity. I think we are close here to the heart of the composer.

The music of a true romantic poet and high high level of gentlaman in all tones in line and turning swawes. A compliment to all listener what he offers us. We like this. We like gentlemens in our modern hard times to and gentleladys too like kind of needing them and they makes lifes so amusing free from anger. So healing loading lifes amusing batteries.

hermosas piezas de uno de los mas grandes musicos de la historia y uno de los mas representativos del periodo Barroco

Es una brillantes inconmensurable de los GROSSO de G. F. HAENDEL EL.Britanico Aleman por excelencia, el. Cual sus grandes obras las basa en los ecelsos Oratorios, ca tatas y motetes como el. Gran Meshia y la co jugá ion de sus grandes Óperas bi licas y épicas. JLVS COYOS AN CD MÉXICO El ANAHUAC

I thank God in Christ Jesus for the music of George Frederick Handel and also Johann Sebastian Bach. These men were especially blessed of their Creator and they remain a wonderful blessing to posterity. Glory to God is the highest! Glory to the Holy One of Israel!

Starting at 7:12, can't get more Handel than that

Exquisite playing. Every note in the score expressively and sensitively articulated. Unlike so many "historically informed" performances, where half the written music goes unheard.

Autnentic and interesting

Hermosa melodía willi christello

The concerto at 52:15 is considered spurious. Nevertheless I find it quite beautiful.

Handel is so underrated, this is being corrected, I am sure....

Is anyone able to identify the Art work?

Si no fuera por handel no escucharia a handel.

Ads at 12:06, 17:09

Yes. This. Music. Is. Peaceful. To. Bad. This. Time. Nobody. Interrested. In. Composing. New. Classical. Master. Pieces. The. Copycat. All. Kinds. Of. Music. To. Get. Wealthy. Its. Not. Out. Of. Style. We. Do. Read. The. Bible. Correct. So. Please. Composer s. Just. Do. It. O. K. God. Bless. All. The. Readers. And. Music. Lovers. Of. Any. Nice. This. Type. Music