Free-scores.com : Haendel, Georg Friedrich - Air from Concerto Grosso for Woodwind Quartet (Quatuor à vent : Flûte, Hautbois, Clarinette et Basson)

CRITÈRES : Concerto Grosso in D minor, Op 6 No 10, Opus 6 No. 10 HWV 328 (2) (Haendel, Georg Friedrich)

Air from Concerto Grosso for Woodwind Quartet
Opus 6 No. 10 HWV 328
Georg Friedrich Haendel
Quatuor à vent : Flûte, Hautbois, Clarinette et Basson

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Compositeur	Haendel, Georg Friedrich (1685 - 1759)
Instrumentation	Quatuor à vent : Flûte, Hautbois, Clarinette et Basson
Partition centrale	Concerto Grosso in D minor, Op 6 No 10 (2 partitions)
Genre	Baroque
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - )
Date	1741
Droit d'auteur	Public Domain
	Ajoutée par magataganm, 02 Janv 2013
The Concerti Grossi, Op. 6, or Twelve Grand Concertos, HWV 319–330, are 12 concerti grossi by George Frideric Handel for a concertino trio of two violins and violoncello and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, in the second edition of 1741 they became Handel's Opus 6. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian...(+) The Concerti Grossi, Op. 6, or Twelve Grand Concertos, HWV 319–330, are 12 concerti grossi by George Frideric Handel for a concertino trio of two violins and violoncello and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, in the second edition of 1741 they became Handel's Opus 6. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, they were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concertos were largely composed of new material: they are amongst the finest examples in the genre of baroque concerto grosso. The tenth Grand Concerto in D minor has the form a baroque dance suite, introduced by a French overture: this accounts for the structure of the concerto and the presence of only one slow movement. The Air, lentement is a sarabande-like dance movement of noble and monumental simplicity, its antique style enhanced by hints of modal harmonies. Although originally written for a small String Chamber orchestra, I created this arrangement for Woodwind Quartet (Oboe, English Horn, Bb Clarinet and Bassoon).