Texte paru dans: / Appeared in:
Pentatone |
||||
Appréciation d'ensemble / Overall evaluation :
 |
||||
|
Reviewer: Nicholas
Anderson
Handel composed his masterpieces
in concerto form in the autumn of 1739 and, in the following year, they were
published as Twelve Grand Concertos, Op. 6. Corelli’s concertos, long popular in
England, must have been in Handel’s mind – his concertino group likewise
consists of two violins and a cello. These performances furthermore include the
surviving oboe parts, and by extension bassoon, which Handel added to four of
the concertos. The Akademie für Alte Musik Berlin, under leader Bernhard
Forck, offers a lively and lightly
articulated account of the first six of the Op. 6 concertos. Handel’s terms of
reference are impressively wide, embracing features of the French overture and
dance suite and of both Roman (Corelli) and Venetian (Vivaldi) styles. At every
turn we are confronted by a level of musical inspiration equal to Bach’s
Brandenburg Concertos. These players seem effortlessly to reach the heart of the music, evidently aware that great music requires neither attention-seeking tweaks nor any need to play to the gallery. The A minor Concerto admirably displays the expressive tenderness of the players, while the D major piece illustrates the livelier side of Handel’s coin. Concertos Nos 7-12 are
sure to follow, and I greatly look forward to them.
| ||||
|
||||
|
|
|
|||
|
|
|
|||
|
Cliquez l'un ou l'autre
bouton pour découvrir bien d'autres critiques de CD |
||||
