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Ton Koopman, The Amsterdam Baroque Orchestra - George Frideric Handel: Concertos pour orgue (1986)

Posted By: ArlegZ
Ton Koopman, The Amsterdam Baroque Orchestra - George Frideric Handel: Concertos pour orgue (1986)

Ton Koopman, The Amsterdam Baroque Orchestra - George Frideric Handel: Concertos pour orgue (1986)
EAC | FLAC | Image (Cue & Log) ~ 888 Mb | Total time: 73:11+69:43+63:04 | Scans included
Classical | Label: Erato | 2292-45394-2| Recorded: 1984

Whilst Handel was renowned in his lifetime as a virtuoso organist, his art was based on improvisation. He left no developed oeuvre of keyboard pieces which would give us an idea of his full capabilities as an organist. His organ concertos are actually theatre pieces, developed by Handel to support his oratorio performances. Handel brought in an organ to act as continuo in the choruses and developed the idea of an organ concerto as a way of adding extra novelty. At the oratorios, the audience could not rely on novelty and virtuoso display from the latest Italian singers so Handel’s performances on the organ were a sort of substitute.
All of the concertos probably started out life with a pretty sketchy organ part, leaving Handel to invent at will and simply control the orchestra with a nod of the head or an extended trill on the organ. Luckily for us, from the 1730s Handel started to develop more of an interest in publishing instrumental music as a way of disseminating his music. He helped John Walsh with the publication of the Op. 3 Concerti Grossi though he did not actually prepare them for publication. Then in 1738 Walsh published the Op. 4 organ concerti that Handel had prepared for publication. The organ parts are probably only the merest simulacrum of what he would have performed live but they are the nearest thing we have. More importantly, they are from Handel’s own hand.
Walsh attempted to publish a second set of concertos in 1740 but Handel was too busy to work on them and only managed to deliver two concertos. Walsh filled the set out with arrangements for organ of Handel’s concerti grossi.
The Op. 7 concertos were not published until 1761 and were assembled by his assistant John Christopher Smith junior. It is here that the organist’s ingenuity is taxed as Smith and Walsh made no attempt to try and recreate what Handel would have played, so that the Op. 7 concertos are littered with ad libitum passages.
The Op. 4 and the Op. 7 concertos had a many and varied origin. Most were premiered at one of the oratorio concerts, but most were assembled from previous movements. This was not unusual in Handel’s oeuvre; he spent his entire working life re-using his own - and other people’s - works in his art.
This set from Ton Koopman and the Amsterdam Baroque Orchestra has become a touch-stone in the performance of Handel organ concerti. In fact, Brilliant’s recent edition, with Christian Schmitt as organ soloist, uses the new Barenreiter Edition which incorporates Ton Koopman’s suggestions for the ad libitum passages.
On these discs Koopman does something that few contemporary organists could probably manage: he improvises the movements in correct period style. The results are entirely convincing and introduce a sense of virtuosity and bravura lacking from some other more recent sets such as the one from Brilliant.
Handel’s organs were not large by our standard, though Op. 7 no. 1 does call for pedals. It must be borne in mind that his organ had to be transported into the theatre. This gives rise to a problem for performers because, if the organist is to play on an instrument similar to one Handel might have known, then they must be accompanied by similar scale orchestral forces. Koopman has taken a pragmatic view of the choice of organ and picked one from a later period that seems to fit the style of organ which Handel himself described. The results, as presented here, are entirely convincing.
Use of an historic organ means, of course, that we get moments of clatter during some passages but this is not overly intrusive. Use of a church organ means that these pieces are recorded in a church acoustic, but the recording is not overly resonant and no detail is lost.
Returning to these recordings after a gap, I found myself noticing things I had taken for granted before. Most noticeably the speeds seem rather on the steady side; perhaps this is the price we pay for Koopman’s virtuosity on the keyboard.
There is also the issue of the continuo instrument. Koopman plays the orchestral continuo on the organ, creating a homogeneous sound which can be appealing. This gives the concerti the feel of a concerto grosso rather than the 19th century combative display concerto. Other discs that I have listened to provide a separate harpsichord continuo. We are not sure exactly what Handel did; some commentators postulate that in ‘Saul’ he acquired a keyboard which enabled him to control both harpsichord and organ. Be that as it may, the sound-world created by using a harpsichord does make a difference. It increases the contrast in timbres between the solo organ and the orchestral ritornelli. Whether you like it or not is down to personal taste.
The performance of the Amsterdam Baroque Orchestra is impeccable. Their crisp articulation and rhythmic bounce match Koopman’s playing style. I just wish that time and space could have been found to have included the other stray organ concertos so that this set was well and truly complete.
This double remains is a major milestone in the performance of Handel’s organ concertos and it is one to which I have returned regularly since it was first issued. Many people will have the set already. When listening to more recent sets I have often expressed the opinion that I prefer to return to Ton Koopman so I welcome the re-issue of this set at an affordable price.
–Robert Hugill

Performer:
The Amsterdam Baroque Orchestra
Ton Koopman, orgue & direction

Tracklist:
George Frideric Handel (1685-1759)
CD1:
Concerto Op. 7 N°1 Si Bémol Majeur
01. Andante
02. Andante
03. Largo
04. Allegro
05. Adagio (Ad Libitum)
06. Allegro (Bourée)
Concerto Op. 7 N°2 La Majeur
07. Ouverture
08. A Tempo Ordinario
09. Largo (Ad Libitum)
10. Allegro
Concerto Op. 7 N°3 Si Bémol Majeur
11. Allegro
12. Fuga (Ad Libitum)
13. Spiritoso
14. Menuet 1 & 2
Concerto Op. 7 N°4 Ré Mineur
15. Adagio (2 Organs)
16. Allegro
17. Adagio (Ad Libitum)
18. Allegro
Concerto Op. 7 N°5 Sol Mineur
19. Allegro Ma Non Troppo - Adagio
20. Andante
21. Menuet
22. Gavotte
CD2:
Concerto Op. 7 N°6 Si Bémol Majeur
01. Pomposo
02. Adagio (Ad Libitum)
03. A Tempo Ordinario
Concerto Op. 4 N°4 Fa Majeur
04. Allegro
05. Andante
06. Adagio (Ad Libitum)
07. Allegro
Concerto Op. 4 N°6 Si Bémol Majeur
08. Andante. Allegro
09. Larghetto
10. Allegro Moderato
Concerto Op. 4 N°3 Sol Mineur
11. Adagio
12. Allegro
13. Adagio
14. Allegro (Gavotte)
Concerto Op. 4 N°2 Si Bémol Majeur
15. A Tempo Ordinario
16. Allegro
17. Adagio
18. Allegro Ma Non Troppo
Concerto Op. 4 N°1 Sol Mineur
19. Larghetto
20. Allegro
21. Adagio
22. Andante
CD3:
Concerto Op. 4 N°5 Fa Majeur
01. Larghetto
02. Allegro
03. Alla Siciliana
04. Presto
Second Set N°1 Fa Majeur
05. Larghetto
06. Allegro
07. Larghetto
08. Allegro
Second Set N°2 La Majeur
09. Largo
10. Andante
11. Grave
12. Allegro
Arnold Edition N°1 Ré Mineur
13. Andante
14. Pastorale (Ad Libitum)
15. Allegro
Arnold Edition N°2 Fa Majeur
16. Allegro Ma Non Troppo
17. Adagio
18. Andante
19. Allegro
20. Marche


Exact Audio Copy V1.3 from 2. September 2016

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Ton Koopman / Handel - Organ Concertos (Disc 1)

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Exact Audio Copy V1.3 from 2. September 2016

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Ton Koopman / Handel - Organ Concertos (Disc 2)

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Exact Audio Copy V1.3 from 2. September 2016

EAC extraction logfile from 24. November 2019, 17:54

Ton Koopman / Handel - Organ Concertos (Disc 3)

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==== Log checksum FB89C350F2A6CF880C4545E8882F824586FFA0EE12512A5BF3AF0E9F97476B66 ====

Ton Koopman, The Amsterdam Baroque Orchestra - George Frideric Handel: Concertos pour orgue (1986)

Thanks to the original releaser