The "Concerto for Trumpet and Orchestra,” however, originates elsewhere - more specifically with one of the numerous arrangements to which movements from the Water Music were subjected from the outset. Examples appeared in 1720, and again in 1725 and 1729. Some movements were published separately as harpsichord pieces; others turned up in the middle of suites or collections, the rest of whose components had nothing to do with the Water Music. In the newspaper The Craftsman for May 12, 1733, the editor Daniel Wright presumed to announce "a choice of tunes called 'Water Piece’ by Handel, composed for a variety of instruments.” There is no extant example of this kind of piracy, but we do possess a republication done about 1740 by Wright’s successor, Jonathan Johnson. Whence our "Concerto,” which Wright contrived by tacking the opening allegro of the D major suite from The Water Music (No. 11 in the complete score) onto four other movements drawn from God knows where and of whose Handelian authenticity there is no proof. All five are arranged for trumpet and strings. Following Handel’s allegro, which will be immediately recognizable, one hears (also in D major) another allegro in 12/8 or jig-time, an air in 3/8 (in which the trumpet, from the time it enters, is accompanied only by the continuo), a third allegro in 4/4, and a marche. In the two last movements, the trumpet part, except for two bars of the marche, merely doubles the first violins. The Sonata in B-flat major for Violin and Orchestra goes back to about 1710. It is thus a score that bears the Italian stamp. Handel’s manuscript contains the notation "Sonata a cinque,” which means that it is for five parts or instruments and thus allows for as few as five players if one wishes. Actually the piece provides another example of the era’s imprecision not only about the forces to be employed but about the very terminology of instrumental music. To the degree that the violin concerto really comes into question here, Handel may have been influenced not so much by Corelli, who, though a virtuoso on the instrument, wrote no violin concertos, as by Giuseppe Torelli, who must be accorded the paternity of the genre, and whose Op. 8 was published in 1709, just after his death. But Handel’s score asserts its independence by its structural freedom, the three movements following the unusual sequence of slow-slow-fast. In the highly tuneful andante the soloist spends most of his time conversing with the first violins. Then comes a 3/2 adagio, an intermezzo played entirely in half-notes and quite baroque in feeling. Here the Corellian influence is manifest. The writing is vertical, harmonic, using long note-values (not excluding certain figurations to be played by the soloist); the whole consists simply of two scales - ascending chromatic followed by descending diatonic - and spans only twenty-four bars. Then the allegro comes bouncing in - and here virtuosity and the primacy of the soloist are afforded better treatment than elsewhere in the work, especially as the accompaniment is often relegated to the continuo alone. The three concertos for oboe and orchestra presented must not be confused with certain of the Op. 3 concerti grossi, first published by Walsh in 1733-4 and soon to become quite popular as "hautboy concertos” since they call for that instrument. Our three works are, however, genuine oboe concertos, and they date from the first beginnings of Handel’s career, almost certainly from his apprenticeship in Halle. Despite their early origin, the two in B-flat were not published until about 1741, once more by Walsh in the collection called "Select Harmony” (as Nos. 2 and 3 of Vol. IV, No. 1 being the famous concerto grosso known as "Alexander’s Feast”). As for the G minor, which was not published until the nineteenth century, it was written "At Hamburg in 1703.” Here again the terminology is flexible, for the three works are sometimes listed as "Concerti Grossi” (Nos. 8, 10, and 9 respectively). Together with the flute, the oboe was the preferred wind instrument of the eighteenth century. At first (in the late seventeenth century) considered noisy and ear-splitting (it was characterized as intense, as opposed to sweet), it did not enter the orchestra until the early 1700s. At that juncture, its possibilities having been taken into account, it was discovered to have a "singing” quality, and several commentators (e.g. Johann Mattheson) were shortly comparing it with the human voice. In England there was talk of "its charming sweetness of sound,” and in Germany some people swore they could not tell a singer accompanied by an oboe from two singers in duet. Handel’s three concertos, like those of Vivaldi from the same period, clearly take advantage of these various aspects of the oboe, though each time the details are varied. Concertos No. 8 in B-flat major is the most ear-catching, what with its limber introductory adagio, its vigorous allegro, its expressive expanded sicilienne, and its final vivace, which is really nothing more than a pretty minuet. The G minor concerto (No. 10), on the other hand, affects a more serious tone, in the pointed rhythm of the grave, the contrasts of its noble allegro (worthy of the Op. 6 concerti grossi), its largo sarabande, and the passion of its second allegro, which has curious thematic links with the opening grave. Finally the B-flat major concerto. No. 9, pays handsome tribute to polyphony. Its vivace most certainly is martial, with whiffs of French ouverture, but the ensuing allegro is a fugue. After a melodious andante, the work terminates in an allegro, characterized by very compressed writing, whose motifs answer to each other with competency and bound about spryly for our greater pleasure. MARC VIGNAL (Translated from the French by David Mason Greene)

Благодарю маэстро Евгения за такую очаровательную находку!

Just what the world needs today. Bright and shining and hopeful.

Ich danke ihnen für das schöne Trompeten Spiel und das ganze Ensemble wunderbar ❤❤❤❤❤ auch ein herzliche Gruß an Calefonx calectric Gruß aus dem schönen Schwarzwald von Joachim Ehlers aus dem schönen Schwarzwald von Schallstadt südlich von Freiburg

For anyone interested in the artwork, it’s called “A View of Greenwich from the River” by Giovanni Antonio Canal, or Canaletto (1697 - 1768).

💐Very BEAUTIFUL 🎻Sonata!👍🌟❤THANKS!🦋 I am delighted!😍❗

Can't go wrong when Maurice André is playing the trumpet ;o) Thank you for this 'cheer' on an otherwise 'dreary' day !

Brilliant. Thank you.

Beautiful 😌

Beautiful

Genial

Excelente obra de Haendel. Saudações do Brasil.

😊

....e non venitemi a dire che GFH è un artigiano dei reali inglesi. È invece un esploratore di una personale via melodica alla musica all,aria aperta. La sua musica sta tra le note non nelle note!

Splendido!