Volume 1 of the series "Handeliana Hallensis" shows three different facets of George Frederick Handel's compositional work. The 22 movements known by the name of "Water Music" belong to Handel's most popular orchestral pieces. The composer however did not leave any autographs. Subsequent copies and prints do not always include all of the movements and sometimes they are presented in different orders. Some of the individual movements were probably created at different times. The suite performed on this album demonstrates the tonal contrasts in the overture and the diverse sonatas and dances. Handel could have discovered the form of the concerto grosso, in which a solo concertino was contrasted with the orchestra, in Italy. He had been composing special concerts for organ and in one case for harp and orchestra since 1735 in order to offer these between acts of his oratorio performances. He therefore wrote new concerts in concerto grosso form or compiled them from existing movements for the 1739/40 season in the Lincoln's Inn Fields Theater. The sixth concerto in G minor which can be heard on this album is one of the totally new compositions. Although this was like several others inspired by Corelli, it can be seen to be more innovative in harmony, rhythm, and texture.
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Volume 1 of the series "Handeliana Hallensis" shows three different facets of George Frederick Handel's compositional work. The 22 movements known by the name of "Water Music" belong to Handel's most popular orchestral pieces. The composer however did not leave any autographs. Subsequent copies and prints do not always include all of the movements and sometimes they are presented in different orders. Some of the individual movements were probably created at different times. The suite performed on this album demonstrates the tonal contrasts in the overture and the diverse sonatas and dances. Handel could have discovered the form of the concerto grosso, in which a solo concertino was contrasted with the orchestra, in Italy. He had been composing special concerts for organ and in one case for harp and orchestra since 1735 in order to offer these between acts of his oratorio performances. He therefore wrote new concerts in concerto grosso form or compiled them from existing movements for the 1739/40 season in the Lincoln's Inn Fields Theater. The sixth concerto in G minor which can be heard on this album is one of the totally new compositions. Although this was like several others inspired by Corelli, it can be seen to be more innovative in harmony, rhythm, and texture.
