Thomas Arne (1710-1778): 6 Favourite Concertos for the Organ, Harpsichord or Piano Forte скачать в хорошем качестве

Thomas Arne (1710-1778): 6 Favourite Concertos for the Organ, Harpsichord or Piano Forte

00:00 Concerto No 1 in C major for Harpsichord solo, 2 trumpets, 2 horns, timpani, 2 oboes, bassoon, strings & organ continuo: Largo ma con spirito, Andante - Allegro - Minuetto 13:33 Concerto No 2 in G major for Organ solo, 2 oboes, bassoon, strings & harpsichord continuo: Allegro - Slow - Moderato - Allegro - Giga (Allegro con spirito) 25:16 Concerto No 3 in A major for Piano solo, 2 oboes, bassoon & strings: Con spirito - Con spirito - Minuetto - Moderato 42:03 Concerto No 4 in B flat major for Organ solo, 2 oboes, bassoon, strings & harpsichord continuo: Largo, ma con spirito - Minuetto - Giga (Moderato) 53:36 Concerto No 5 in G minor for Harpsichord solo, 2 oboes, bassoon, strings & organ continuo: Largo, Allegro con spirito - Adagio - Vivace 1:05:49 Concerto No 6 in B flat major for Piano solo, 2 oboes, bassoon, & strings: Allegro moderato - Largo, Veloce - Allegro - Minuetto The Parley of Instruments Baroque Orchestra - Paul Nicholson, keyboard & director Violin 1: Andrew Manze (leader), Frances Turner, William Thorp, Helen Orsler Violin 2: Judith Tarling, Nicolette Moonen, Pam Monks, Paul Denley Viola: Jane Compton, Jane Rogers / Cello: Mark Caudle, Helen Verney Bass: William Hunt / Oboe: Gail Hennessy, Cherry Forbes / Bassoon: Noel Rainbird Horn: Raul Diaz, Gavin Edwards / Trumpet: Stephen Keavy, Michael Harrison Timpani: Charles Fullbrook / Continuo: Peter Holman Harpsichord: J & A Kirckman (London, 1778) Organ: Noel Mander, after 18th century models Piano: Michael Cole, after Americus Backers (London, 1772) Recorded 26-28 June 1991, All Hallows, Gospel Oak, London, United Kingdom The keyboard concerto seems to have been invented independently by Handel and J S Bach. Handel wrote an experimental movement for organ and orchestra as early as 1707 in his Roman oratorio Il Trionfo del Tempo e del Disinganno, but evidently only produced his first complete organ concerto in the early 1730s. Bach, meanwhile, had written his first experimental harpsichord concerto, the fifth of the Brandenburg Concertos, around 1720. The two types of concerto, English and German, were quite different in conception, and remained so for much of the eighteenth century. The German type was nearly always written for harpsichord, and was modelled on the three-movement solo violin concertos of Vivaldi. Indeed, most of Bach’s harpsichord concertos are simple adaptations of existing works, the solo violin part transcribed more or less literally for the right hand of the harpsichord. The Handelian keyboard concerto, by contrast, was written first and foremost for the organ, though the harpsichord was always advertised in editions as an alternative. The organ had traditionally played a much more important role in secular music in England than in other countries, and large numbers of the English type of chamber organ – a small, usually single-keyboard instrument without pedals – were installed in concert rooms, theatres and private houses. The English keyboard concerto also differed from the Continental type in that it was modelled largely on the Corellian concerto grosso. This meant that Handel and his contemporaries rarely kept to the three-movement form, but often wrote as many as six or seven short contrasted sections, and felt free to include dances, sets of variations, fugues and even improvisatory solo movements. Also, the relationship between keyboard and orchestra tends to be less predictable: sometimes they alternate, like the concertino and ripieno of a concerto grosso, sometimes the strings accompany a florid right-hand part, as usually happens in the solo sections of Bach’s harpsichord concertos. Sometimes, as in the first movement of Arne’s Concerto No 4, the keyboard even accompanies solos in the orchestra, and the relationship becomes virtually as complex and flexible as in a Classical piano concerto. The history of the English organ concerto really begins with the publication of Handel’s Op 4 in 1738. Within two years the first imitations appeared, by Henry Burgess and Charles Avison, and by the 1750s there was a considerable repertory available, though some of it consisted of simple arrangements of string concertos – several of Handel’s Op 6 were pressed into service, as were John Stanley’s Op 2 of 1742. At first, English organ concertos tended to be solidly Handelian in style, though some composers began to look abroad for models during the 1740s and ’50s – William Felton to Vivaldi, for instance, and Thomas Chilcot to Domenico Scarlatti. The range of idioms available to English composers increased in the 1760s when J C Bach popularized a galant type of keyboard concerto, though only the best composers, such as Stanley and Arne, had the imagination and technique to take advantage of the range of possibilities on offer. By then, too, the harpsichord and even the piano had become common alternatives to the organ.