Concerti grossi, Op. 6 (Handel)

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new set of concertos for purchase by subscription under a specially acquired Royal License. There were just over 100 subscribers, including members of the royal family, friends, patrons, composers, organists and managers of theatres and pleasure-gardens, some of whom bought multiple sets for larger orchestral forces. Handel's own performances usually employed two continuo instruments, either two harpsichords or a harpsichord and a chamber organ; some of the autograph manuscripts have additional parts appended for oboes, the extra forces available for performances during oratorios. Walsh had himself very successfully sold his own 1715 edition of Corelli's celebrated

292: 1339:. In the concerto, the material is more tightly argued, deriving from two fragmented highly rhythmic figures of 5 and 6 notes. Although there are unmistakable elements of wit in the imaginative development, the prevalent mood is serious: the sustained melodic interludes in the upper strings are tinged by unexpected flattened notes. In the coda, the first concertino violin restates the main theme, joined two bars later in thirds by the other solo violin and finally by repeated sustained pianissimo chords in the ripieno, modulating through unexpected keys. This is answered twice by two 1611:. This sombre theme alternates with contrasting spirited episodes on the higher strings. The movement divides into four parts: first a statement of the theme from the full orchestra; then a continuation and extension of this material as a dialogue between concertino and ripieno strings, with the typical dotted rhythms of the musette; then a section for full orchestra in C minor with semiquaver passage-work for violins over the rhythms of the original theme in the lower strings; and finally a shortened version of the dialogue from the second section to conclude the work. 22: 2533: 1555: 1965: 1668: 1041: 874: 198: – the former for chamber organ and orchestra, the latter for harp, strings and continuo. In addition in January 1736 Handel composed a short and lightweight concerto grosso for strings in C major, HWV 318, traditionally referred to as the "Concerto in Alexander's Feast", to be played between the two acts of the ode. Scored for string orchestra with solo parts for two violins and violoncello, it had four movements and was later published in Walsh's collection 304: 1548:. Although inspired by the model of Corelli, it is far more developed and innovative in rhythm, harmony and musical texture. There are brief passages for solo strings which make expressive unembellished responses to the full orchestra. Despite momentary suggestions of modulations to the relative major key, the music sinks back towards the prevailing melancholic mood of G minor; at the sombre close, the strings descend to the lowest part of their register. 2549: 2564: 381: 5311: 2637:, a special organ was installed in the Abbey with displaced keyboards. Nevertheless, excerpts from four of his grand concertos (Nos. 1, 5, 6 and 11), originally conceived for baroque chamber orchestra, were performed at the first commemoration; Op. 6, No. 1, was played in its entirety at the fourth concert in Westminster Abbey. They were described in detail by the contemporary musicologist and commentator 2177: 988:

gentle and eloquent response from the concertino string trio, in the manner of Corelli, with imitations and passages in thirds in the violins. The orchestra and soloists continue their dialogue until in the final ten bars, there is a reprise of the introductory music, now muted and in the minor key, ending with a remarkable chromatic passage of noble simplicity descending to the final drooping cadence.

2517: 1194: 5332: 2662:, Richard Kleinmichel (1846–1941), Ernst Naumann (1832–1910), Adolf Rutthardt (1849–1934), F. L. Schubert (1804–1868) and Ludwig Stark (1831–1884). There also arrangements of several for piano solo by various composers, including Gustav Friedrich Kogel (1849–1921), Giuseppe Martucci (1856–1909), Otto Singer (1833–1894) and August Stradel (1860–1930), who arranged the whole set. 336:

The twelve concertos were produced in a space of five weeks in late September and October 1739, with the dates of completion recorded on all but No.9. The ten concertos of the set that were largely newly composed were first heard during performance of oratorios later in the season. The two remaining concertos were reworkings of organ concertos, HWV 295 in F major (nicknamed "

1113: 1722: 1104: 1713: 5322: 1059: 1050: 2073: 892: 853: 3671: 1757: 1740: 1704: 5358: 2064: 883: 2019: 1749: 1731: 1695: 2409: 2308: 2189: 1956: 1850: 1659: 1572: 1514: 1353: 1288: 1203: 1032: 865: 1686: 4074: 2010: 2037: 2001: 1835: 1077: 946: 928: 910: 1677: 1095: 964: 2054: 2028: 1992: 1982: 1068: 937: 919: 901: 1086: 955: 2591:, instead of implying, as it usually does, many parts, or a Concerto requiring a great band or Orchestra, had been here intended to express sublimity and dignity, it might have been used with the utmost propriety; for I can recollect no movement that is more lofty and noble than this; or in which the treble and the base of the 2046: 1974: 340:" because of the imitations of birdsong in the organ part) and HWV 296 in A major, both of which had already been heard by London audiences earlier in 1739. In 1740 Walsh published his own arrangements for solo organ of these two concertos, along with arrangements of four of the Op. 6 concerti grossi (Nos. 1, 4, 5 and 10). 1504:. The first statement of the theme is melodically pruned down, so that the quaver figure in the response gives the impression of a variation. This warm-hearted and solid movement was added at a later stage by Handel, perhaps because it provided a more effective way to end the concerto than the brilliant fifth movement. 2599:. Nor did I ever know such business done in so short a time; that movement contains but thirty-four bars, and yet nothing seems left unsaid; and though it begins with so much pride and haughtiness, it melts at last into softness; and, where it modulates into a minor key, seems to express fatigue, languor and fainting. 2445:. The busy semiquaver figure in the theme, passed constantly between different parts of the orchestra and the soloists, only adds to the overall sense of rhythmic and harmonic direction. Although superficially in concerto form, this movement's success is probably more a result of Handel's departure from convention. 2336:

The eleventh concerto was probably the last to be completed according to the date in the autograph manuscript. Handel chose to make this concerto an adaptation of his recently composed but still unpublished organ concerto HWV 296 in A major: in either form it has been ranked as one of the very finest

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The first short movement of the concerto starts dramatically, solemn and majestic: the orchestra ascends by degrees towards a more sustained section, each step in the ascent followed by a downward sighing figure first from the full orchestra, echoed by the solo violins. This severe grandeur elicits a

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The Musette, or rather chaconne, in this Concerto, was always in favour with the composer himself, as well as the public; for I well remember that HANDEL frequently introduced it between the parts of his Oratorios, both before and after publication. Indeed no instrumental composition that I have ever

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declared the movement an unsuccessful experiment, but others have pointed out that it nevertheless holds the listener's attention, despite its starkness. Previous commentators have suggested that perhaps an extra improvised voice was intended by Handel, although such a demand on a soloist would have

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The opening of this piece always impressed me with the idea of its being the most spirited and characteristic of all the music written by Handel, or any other composer, on Lulli's model of Opera Overture; which seems to require a convulsive, deliberate and military craft ... The finale, or minuet of

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The fugal fourth movement has a catchy subject, first heard completely from the soloist. Despite being fugal in nature, it does not adhere to the strict rules of counterpoint, surprising the listener instead with ingenious episodes, alternating between the ripieno and concertino; at the close, where

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The ten concertos that had been newly composed (all those apart from Nos. 9 and 11) received their premières during the performances of oratorios and odes during the winter season 1739–1740, as evidenced by contemporary advertisements in the London daily papers. Two were performed on 22 November, St

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to be performed during intervals in these masques and oratorios, as a feature to attract audiences: forthcoming performances of the new concertos were advertised in the London daily papers. Following the success of his organ concertos Op.4, his publisher John Walsh had encouraged Handel to compose a

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Here the permanent inspiration of Italy rises in all the freshness of his youth, with the added weight and gravity of years, to produce one of those tunes that speak to every degree and level of musical experience. There could be no more convincing testimony to Handel's greatness of mind and heart.

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fugue on a single note, that only a composer of Handel's stature would have dared to attempt. The theme of the fugue consists of the same note for three bars (two minims, four crotchets, eight quavers) followed by a bar of quaver figures, which with slight variants are used as thematic material for

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is noble, spacious and flowing, with rich harmonies. The responses from the concertino trio are derived from the opening ritornello. They alternate between a graceful legato and more decisive dotted rhythms. It has been suggested that the three unusual adagio cadences interrupted by pauses prior to

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in 1714. The later choice of the same opus number for the second edition of 1741, the number of concertos and the musical form cannot have been entirely accidental; more significantly Handel in his early years in Rome had encountered and fallen under the influence of Corelli and the Italian school.

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Because of changes in popular tastes, the season in 1737 had been disastrous for both the Opera of the Nobility and Handel's own company, which by that time he managed single-handedly. At the close of the season Handel suffered a form of physical and mental breakdown, which resulted in paralysis of

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in F major is one of Handel's most sublime and simple slow movements, a sarabande in the Italian trio sonata style. Above a steady crotchet walking bass, the sustained theme is gently exchanged between the two violin parts, with imitations and suspensions; harmonic colour is added in the discreet

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The composition of the concerti grossi, however, because of the unprecedented period of time laid aside for their composition, seem to have been a conscious effort by Handel to produce a set of orchestral "masterpieces" for general publication: a response and homage to the ever-popular concerti

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is a longer, ingeniously composed movement in the Italian concerto style. There is no ritornello; instead the rhythmic material in the opening bars and the first entry in the bass line is used in counterpoint throughout the piece to create a feeling of rhythmic direction, full of merriment and

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grossi of Corelli as well as a lasting record of Handel's own compositional skills. Despite the conventionality of the Corellian model, the concertos are extremely diverse and in parts experimental, drawing from every possible musical genre and influenced by musical forms from all over Europe.

638:, Handel's penultimate Italian opera, composed over a prolonged period from 1738 to 1740. In an influential study, musicologist Alexander Silbiger argues that in the last movement, "beginning with the opening figure, there is a series of almost literal quotations from the Sonata no. 2" of the 1212:

in E minor the full orchestra three times plays the ritornello, a sarabande of serious gravity. The three concertino responses veer towards the major key, but only transitorily. The dialogue is resolved with the full orchestra combining the music from the ritornello and the solo interludes.

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in Italian concerto form which forms the centre of the concerto. The ritornello theme, of deceptive simplicity and quintessentially Handelian, alternates with virtuosic gigue-like passages for solo strings, in each reprise the ritornello subtly transformed but still recognizable.

2629:. These concerts, repeated over the next few years and establishing an English tradition for Handel festivals in the nineteenth century and beyond, were on a grand scale, with huge choruses and instrumental forces, far beyond what Handel had at his disposal: apart from 2612:

Handel's twelve grand concertos were already available to the public through Walsh's 1740 solo organ arrangements of four of them and through the various editions of the full Opus 6 produced during Handel's lifetime. Twenty-five years after Handel's death, a

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is an energetic Italianate movement in the style of Vivaldi, with ritornello passages alternating with the virtuoso violin solo. It departs from its model in freely intermingling the solo and tutti passages after a central orchestral episode in D minor.

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The first movement was newly composed. The second and third movements are reworkings of the first two movements of the organ concerto in F major, HWV 295, "The Cuckoo and the Nightingale". The fourth and fifth movements are taken from the overture to

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of the fugue kind; the base, with a boldness and character peculiar to Handel, supports with learning and ingenuity the subject of the two first bars, either direct or inverted, throughout the movement, in a clear, distinct and marked manner."

1399:(1739) for much of its thematic material. The minuet was added later to the concerto grosso, perhaps for balance: it is not present in the original manuscript; the rejected trio from the overture was reworked at the same time for Op. 6 No. 3. 1930:

and in "He shall feed his flock". At the close, following a passage where the two solo violins play in elaborate counterpoint over a statement of the main theme in the full orchestra, Handel, in a stroke of inspiration, suddenly has a simple

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is an energetic fugue, the brief exchanges between concertino and ripieno strictly derived from the unusually long subject. The sombreness of the movement is underlined by the final cadence on the lowest strings of the violins and violas.

891: 1758: 1739: 1703: 89:, 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, 2018: 1685: 2036: 2000: 1076: 945: 927: 909: 1094: 963: 2055: 1983: 1256:, it has very few features in common with this popular eighteenth century dance form. The lower strings simulate a drone, creating a pastoral mood, but the dance-like writing for upper strings is more courtly than rustic. 2118:

is transformed into a more disciplined and broader movement than the original while retaining its innovative spirit. The solo and orchestral parts of the original are intermingled and redistributed in a novel way between

1489:. Handel, however, treats the material in a wholly original way: the virtuoso movement is full of purpose with an unmistakable sense of direction, as the discords between the upper parts ineluctably resolve themselves. 1374:

The fifth grand concerto in the brilliant key of D major is an energetic concerto in six movements. It incorporates in its first, second and sixth movements reworked versions of the three-movement overture to Handel's

1607:. The musette starts with a gravely beautiful main theme: Handel creates a unique dark texture of lower register strings over a drone bass, the traditional accompaniment for this dance, derived from the drone of the 93:, 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. 2127:. The cuckoo effects are transformed into repeated notes supplemented by extra phrases, exploiting the contrasted sonorities of solo and tutti players. The nightingale effects are replaced by reprises of the 1402:

The first movement, in the style of a French overture with dotted rhythms and scale passages, for dramatic effect has the novel feature of being prefaced by a two bar passage for the first concertino violin.

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is a short four-part fugue which concludes with the fugal subject replaced by an elaborated semiquaver version of the first two bars of the original subject. In the autograph score of the first of his

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The ninth concerto grosso is the only one undated in the original manuscript. Apart from the first and last movements, it contains the least quantity of freshly composed material of all the concertos.

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There is an apparent return to orthodoxy in the fourth movement which begins with a vigorous fugue in four parts, treated in a conventional manner. It is interrupted by contrasting interludes marked

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The second movement is a lively allegro. The material is derived from the first two bars and a half bar figure that occurs in sequences and responses. Although it displays some elements of classical

1922:, each time in the same key of C minor. The movement alternates passages for soloists and full orchestra. Some parts of the later thematic material seem like precursors of what Handel later used in 242:(1741), he abandoned Italian opera in favour of the English oratorio, a new musical genre that he was largely responsible for creating. The year 1739 saw the first performance of his great oratorio 2399:

minor. It incorporates the features of a Venetian concerto: the brilliant virtuosic episodes or solo violin alternate with the four-bar orchestral ritornello, which Handel varies on each reprise.

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The second and third movements are reworkings of the first two of Handel's Organ Concerto in F major, HWV 295, known as "The Cuckoo and the Nightingale" because of its imitations of birdsong.

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The fourth concerto in A minor is a conventional orchestral concerto in four movements, with very little writing for solo strings, except for brief passages in the second and last movements.

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In 1735 Handel had started to incorporate organ concertos into performances of his oratorios. By showcasing himself as composer-performer, he could provide an attraction to match the Italian

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in which a slow-moving theme, solemn and lyrical, is heard in the solo strings above repeated chords. This second theme is later revealed to be a counterpoint to the original fugal subject.

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ritornello; however, despite a clear difference in texture between the solo violin sections and the orchestral tuttis, Handel breaks from the model by sharing material between both groups.

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is extremely pleasing; and no less remarkable for its grace, than the boldness with which the composer, in order to bring in the answers to points of imitation, has used double discords,

744:," and speculates "Perhaps, it is meant as a salute to an old friend, teacher and dueling partner" The 4-note figure used in the third movement goes back to a quartet from Handel's opera 1462:

time follows the pattern set by Corelli. The concertino parts dominate the movement, with the two solo violins in expressive counterpoint. Each episode for soloists is followed by a

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published two piano arrangements of four of the concertos by Gustav Krug (1803–1873). There are piano duet versions by August Horn (1839–1893), Salamon Jadassohn (1831–1902),

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in binary form for full orchestra. Its transparency and crispness result partly from the amalgamation of the second violin and viola parts into a single independent voice.

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restatement of the theme in the concertino leading into two bars of bare and halting muted tutti chords, before a concluding reprise of the theme by the full orchestra.

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A reworking of Handel's organ concerto in A major, HWV 296. Handel borrowed the third-movement (Andante)'s melodic material from the opening of the Third Sonata of the

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in F minor, with unexpected modulations in the second section, is sombre and dramatic. It is a true concerto movement, with exchanges between soloists and orchestra.

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Like Handel's organ concertos, in the nineteenth century his concerti grossi Op. 6 became widely available in versions for piano solo, piano duet and two pianos.

2595:, or full parts, are of such distinct and marked characters; both bold, and contrasted, not only with each other, but with the solo parts, which are graceful and 276: 3288: 1278:

time brings the concerto back to E minor and a more serious mood, with chromaticism and unexpected key changes in the dialogue between concertino and ripieno.

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time, two rhythmic bars leading into four bars in semiquavers, allowed him to make every restatement sound dramatic. The fugue leads into a short concluding

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in D minor in a contrapuntal trio sonata style. The animated semiquaver figure of the opening bars is played in imitation or in parallel thirds as a kind of

2217:, has the form a French overture. The dotted rhythms in the slow first part are similar to those Handel used in his operatic overtures. The subject of the 1140:. From the original autograph, Handel initially intended the concerto to have two extra movements, a fugue in the minor key as second movement and a final 3733: 1884:

as a central motif. This phrase and a repeated quaver figure are passed freely between soloists and ripieno in a movement that relies on musical texture.

3025: 2146:, is similarly transformed. Its first forty bars use the same material, but Handel makes a stronger conclusion with a brief return to the opening theme. 5234: 4513: 3741: 1414:, except for three additional bars at the close. The composition, divided into easily discernible sections, relies more on harmony than counterpoint. 357: 337: 266: 2669:, a composer openly antipathetic to Handel but at a turning point in his musical career, "freely arranged" the Concerto Grosso, Op. 6, No. 7, in his 2434:

recall the dramatic style of the French overture, although the movement also serves to contrast the full orchestra with the quieter ripieno strings.

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The second movement is a concise chromatic fugue, severe, angular and unrelenting, showing none of Handel's usual tendency to depart from orthodoxy.

4007: 214:) have the form of a contemporary Italian concerto, with alternation between solo and tutti passages. The less conventional fourth movement, marked 2345:

sections for organ are replaced by accompanied passages for solo violin. The order of the third and fourth movements was reversed so that the long

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consists of 28 bars of bare chords for full orchestra, with the interest provided by the harmonic progression and changes in the dynamic markings.

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is similar in style to those Handel wrote for his operas, always marking moments of tragic pathos; one celebrated example is the soprano-alto duet

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in D minor, Handel indicated that a version of this movement should be played, shared between organ and string and transposed up a semitone into B

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the orchestral ritornellos with their dotted rhythms alternate with the virtuoso passages for upper strings and solo first violin. The following

1891:, melancholy and expressive, would have been instantly recognized by Handel's audience as starting with a direct quotation from Cleopatra's aria 1361:

this Concerto, has been so much admired by English composers of Handel's school, as to have to have been frequently thought worthy of imitation.

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in D major had originally been intended for the twelfth concerto, when Handel had experimented with the keys of D major and B minor. A cheerful

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For the fourth and fifth movements, Handel used the second and third parts of the second version of the overture to his still unfinished opera

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for full orchestra is a reworking of the first movement of Handel's second harpsichord suite from his third set (No. 16), HWV 452, in G minor.

1300:, has been described as one of Handel's finest movements, broad and solemn. The melody is played by the first violins in unison, their falling 1855:

The eighth concerto in C minor draws heavily on Handel's earlier compositions. Its form, partly experimental, is close to that of the Italian

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at a slightly quicker speed in repeated quavers, is gentle and mysterious with harmonic complexity created by suspensions in the inner parts.

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An Account of the Musical Performances in Westminster Abbey, and the Pantheon, May 26, 27, 29 and June 3, 5, 1784, in Commemoration of Handel

2341:. The concerto grosso is more carefully worked out, with an independent viola part and modifications to accommodate the string soloists. The 1376: 683: 353: 251: 5067: 5017: 5007: 3980: 3693: 5260: 5187: 5037: 5032: 4997: 4976: 154:

Subscriptions are taken by the Author, at his Home in Brook's-street, Hanover square; and John Walsh in Catherine-street in the Strand.

1010:, while the two trebles are singing in the style of vocal duets of the time, where these parts, though not in regular fugue, abound in 5325: 5087: 5082: 5077: 5072: 5062: 5057: 5027: 5012: 5002: 4678: 3651: 3348: 2802: 2718: 145:

1. The Price to Subscribers is Two Guineas, One Guinea to be paid at the Time of Subscribing, and the other on Delivery of the Books.

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Andrew Manze, "Handel's Concerti Grossi, Op 6 Twelve Grand Concertos in Seven Parts," liner notes to Harmonia mundi HMU90728.29, 1998

5112: 5107: 5102: 5097: 5092: 5022: 4843: 3719: 3469: 2323:. The Solo parts of this movement were thought more brilliant, than easy and natural to the bow and finger-board, forty-years ago. 5047: 4864: 4526: 1519:

The sixth concerto in G minor was originally intended to have four movements. The autograph manuscript contains the sketch for a

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The last concerto-like movement is an energetic gigue in two parts, with the soloists echoing responses to the full orchestra.

311: 1566:, a drone reed instrument, gave its name to the popular eighteenth century pastoral dance evoking shepherds and shepherdesses. 5270: 3644:

George Frideric Handel: A Music Lover's Guide to His Life, His Faith & the Development of Messiah and His Other Oratorios

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time, reminiscent of the style of Bach, is harmonically complex, with a chromatic theme and closely woven four-part writing.

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2. The whole will be engraven in a neat Character, printed on Good Paper, and ready to deliver to Subscribers by April next.

1544:, is one of the darkest that Handel wrote, with a tragic pathos that easily equals that of the finest dramatic arias in his 732:

is a reworking of the first movement of Handel's second harpsichord suite from his third set (No. 16), HWV 452, in G minor.

3503:, Handel: tercentenary collection (eds. Stanley Sadie and Anthony Hicks), University of Rochester Press, pp. 165–181, 291: 186:

The first and the last of these six concertos, HWV 289 and HWV 294, were originally written in 1736 to be performed during

5285: 4958: 4685: 4448: 3367: 1918:(eventually discarded by Handel) and recurs in the aria "Se d'amore amanti siete" for soprano and two alto recorders from 1537:

movements. The musette thus became the central movement, with a return to the minor tonality in the concluding movements.

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viola part. In the closing bars the crotchet figure of the bass passes into the upper strings before the final cadence.

4985: 4972: 4724: 2361: 176: 138:, in Seven Parts, for four Violins, a Tenor, a Violoncello, with a Thorough-Bass for the Harpsichord. Compos'd by Mr. 5218: 5208: 3701: 3697: 3681: 2559:, where Handel's music was often performed in the open air. The Jubilee of 1786 included one of his Grand Concertos. 1019:

a bold restatement of the theme would be expected, Handel playfully curtails the movement with two pianissimo bars.

5388: 4829: 4717: 3770: 3546: 2135:, becomes a set of virtuoso semiquaver passages, and an extra section of repeated notes precedes the final tutti. 1781:

The seventh concerto is the only one for full orchestra: it has no solo episodes and all the movements are brief.

5203: 5181: 4871: 4759: 4604: 4108: 2647: 2556: 2251:-like dance movement of noble and monumental simplicity, its antique style enhanced by hints of modal harmonies. 1230:. The suspensions and inner parts recall the contrapuntal writing of Bach. There is an unexpected addition of a G 258: 1591:, who described how Handel would often perform it as a separate piece during oratorios. In this highly original 356:; two more on 13 December and another four on 14 February. Two concertos were heard at the first performance of 5383: 4471: 3858: 2999: 2816: 2774: 2764: 2501: 1838: 1220:, one of Handel's most personal statements. The movement is a fugue on a striking atonal four-note theme, B–G–D 810: 307: 2452:, contains one of the most beautiful melodies written by Handel. With its quiet gravity, it is similar to the 284: 2645:

incorporated the Musette from Op. 6, No. 6, and a short Largo from Op. 6, No. 7, into his reorchestration of

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on YouTube, live performance with the Belarusian National Philharmonic Orchestra conducted by Igor Bukhvalov

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Last page of the autograph manuscript of the third Grand Concerto, signed by Handel and dated 6 October 1739

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described as "one of the most graceful and pleasing movements that has ever been composed". The melody in

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sections the full orchestra and solo violins respond in successive bars with incisive dotted rhythms; the

44: 25: 21: 3443: 1308:. Beneath them, the bass part moves steadily in quavers, with extra harmony provided by the inner parts. 760:. In the fifth movement Handel uses material from the discarded aria "Love from such a parent born" from 4812: 4807: 4731: 1554: 172: 98:

heard during the long favour of this, seemed to me more grateful and pleasing, particularly, in subject.

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is written for full orchestra. The rollicking first subject is derived from the twenty third sonata in

995:, the movement's success is due more to the unpredictable interchanges between orchestra and soloists. 3924: 4968: 4738: 4399: 4392: 3355: 3038: 2728: 2714: 2614: 2541: 2525: 2505: 1914:. Its theme was already used in the aria "Love from such a parent born" for Michal from his oratorio 180: 107: 66: 4991: 4597: 4590: 4073: 2770: 2746: 2708: 2700: 2579: 1559: 602:

i. Andante larghetto, e staccato – ii. Allegro – iii. Largo, e staccato – iv. Andante – v. Allegro

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Derr, Ellwood (1989), "Handel's use of Scarlatti's "Essercizi per Gravicambelo" in his Opus 6",

1440:. A busy semiquaver figure runs through the dance-like piece, interrupted only by the cadences. 1170:

The third movement is unconventional. It alternates between two different moods: in the stately

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i. Larghetto e affetuoso – ii. Allegro, ma non troppo – iii. Musette – iv. Allegro – v. Allegro

2168:

in binary form was left over from Op. 6, No. 2, after Handel recomposed its closing movements.

1243:. Of all the Op. 6, it comes the closest to Vivaldi's concerto writing, with its stern opening 120: 5275: 4896: 4639: 4583: 4332: 4311: 4269: 4164: 4061: 3647: 3614: 3584: 3554: 3504: 3486: 3465: 3426: 3390: 3371: 3344: 3321: 3176: 3095: 3019: 2975: 2756: 2750: 2666: 2622: 2552: 2537: 2521: 2202:: this accounts for the structure of the concerto and the presence of only one slow movement. 1943: 1881: 1595:, Handel conjures up a long dreamy pastoral of some 163 bars. Like the similarly popular aria 1252: 832: 776: 745: 385: 296: 78: 3243: 4910: 4836: 4653: 4632: 4625: 4541: 4520: 4492: 4485: 4431: 4360: 4318: 4297: 4262: 4213: 4101: 3869:

on YouTube, live performance by the Burlington Chamber Orchestra directed by Michael Hopkins

3623: 3593: 3399: 3297: 3185: 2626: 2571: 2458: 1923: 1856: 1523:

in two parts, which, possibly in order to restore an imbalance created by the length of the

1182: 1137: 737: 239: 74: 70: 69:

in 1739, they became in a second edition two years later Handel's Opus 6. Taking the older

5174: 4857: 4802: 4618: 4611: 4569: 4562: 4554: 4536: 4506: 4478: 4464: 4255: 4248: 4068: 4054: 4039: 3439: 2837: 2827: 2792: 2548: 2199: 1563: 1392: 856: 840: 691: 551:

i. Allemande – ii. Grave – iii. Andante allegro – iv. Adagio – v. Siciliana – vi. Allegro

393: 365: 262: 227: 90: 82: 49: 5290: 3943:

on YouTube, Kiev Chamber Orchestra with violin soloists Vadym Borysov and Yulia Rubanova

5167: 4531: 4424: 4192: 3418: 3334: 3250: 2820: 2742: 2694: 2659: 2638: 2604: 2567: 2463: 2328: 1842: 1588: 1366: 1236:

in the last entry of the four-note theme in the bass as the movement draws to a close.

1003: 859:'s description of Handel's orchestral music from his 1760 memoirs of the life of Handel 836: 103: 2563: 2337:

of Handel's concertos, "a monument of sanity and undemonstrative sense", according to

466:

i. Larghetto – ii. Andante – iii. Allegro – iv. Polonaise – v. Allegro, ma non troppo

380: 5372: 4766: 4499: 4346: 4234: 4150: 4122: 4094: 3478: 3385: 2784: 2778: 2722: 2575: 2442: 2195: 2104: 1915: 1896: 1587:

major is the crowning glory of the concerto, praised by the contemporary commentator

1305: 1164: 800: 761: 757: 389: 361: 314:, where most of Handel's Concerti Grossi Op. 6 were first performed in winter 1739–40 243: 231: 3286:

Auner, Joseph H. (1996), "Schoenberg's Handel Concerto and the Ruins of Tradition",

1391:), composed in 1739 immediately prior to the Op. 6 concerti grossi and freely using 134:

of Printing by Subscription, With His Royal Majesty's Royal License and Protection,

5280: 4385: 4227: 3579: 3567: 2831: 2812: 2486: 2390: 2274:, is similar in style to that of allemandes in baroque keyboard suites. The second 2176: 1482: 1301: 1156:

by each of the soloists, although the surviving scores show no indication of this.

733: 62: 2516: 2485:-like bass. After its statement, it is varied twice, the first time with a quaver 1880:

is original and experimental, taking a short four-note figure from Handel's opera

3801:, live performance by the Orchestra Sinfonica di Terni conducted by Paolo Venturi 2161:

starts unusually in the minor key but moves to the major for its eight-bar coda.

2071: 2053: 2035: 2017: 1999: 1981: 1756: 1738: 1720: 1702: 1684: 1111: 1093: 1075: 1057: 962: 944: 926: 908: 890: 809:

Mostly newly composed. The subject of the final fugue is derived from a fugue by

803:, published originally in 1696 but reprinted four other times, including in 1724. 736:

notes that its first bar "is a direct transposition of the opening bar of one of

634:

The first movement was a complete reworking of a first draft of the overture for

360:

at the end of February; and two more in March and early April during revivals of

4953: 4547: 3773:, live performance by the Georgian Sinfonietta conducted by David Kintsurashvili 3612:

Silbiger, Alexander (1984), "Scarlatti Borrowings in Handel's Grand Concertos",

3087: 2806: 2291: 2271: 1642: 1545: 1437: 1250:

Although the charming and graceful fourth movement in G major is described as a

992: 280: 270: 247: 191: 1193: 500:

i. Ouverture – ii. Allegro – iii. Presto – iv. Largo – v. Allegro – vi. Menuet

4129: 3959: 3955: 3946: 3938: 3919: 3915: 3911: 3907: 3903: 3899: 3893: 3889: 3885: 3881: 3877: 3873: 3864: 3852: 3847: 3843: 3839: 3835: 3831: 3822: 3817: 3813: 3809: 3805: 3798: 3794: 3789: 3785: 3781: 3777: 3764: 3750: 3746: 2798: 2673:(1933). Schoenberg's compositional processes have been discussed in detail by 2618: 2493: 2088: 1773: 1128: 979: 749: 568:

i. Largo – ii. Allegro – iii. Larghetto – iv. Allegro – v. Menuet – vi. Gigue

2298:) featuring repeated semiquavers and quavers in the upper and lower strings. 449:

i. Andante larghetto – ii. Allegro – iii. Largo – iv. Allegro, ma non troppo

4325: 4283: 4220: 4157: 2690: 2678: 2422: 2408: 2352:

The first two movements together have the form of a French overture. In the

2338: 2307: 2259: 2248: 2188: 2180: 1955: 1849: 1658: 1571: 1513: 1352: 1287: 1227: 1202: 1031: 864: 332: 3861:, Amsterdam with the Combattimento Consort directed by Jan Willem de Vriend 2840:(conductor and harpsichord), Accademia Bizantina, 3 discs, HDB Sonus (2022) 1410:, a vigorous and high-spirited fugue, differs very little from that in the 619:

i. Largo – ii. Allegro – iii. Larghetto, e piano – iv. Largo – v. Allegro

585:

i. Ouverture – ii. Air – iii. Allegro – iv. Allegro – v. Allegro moderato

4171: 4033: 3965: 2973:

Alexander Silberger, "Scarlatti Borrowings in Handel's Grand Concertos,"

2760: 2634: 2482: 2263: 999: 534:

i. Largo – ii. Allegro – iii. Largo, e piano – iv. Andante – v. Hornpipe

483:

i. Larghetto affetuoso – ii. Allegro – iii. Largo, e piano – iv. Allegro

432:

i. A tempo giusto – ii. Allegro – iii. Adagio – iv. Allegro – v. Allegro

255: 168: 5331: 368:. The final pair of concertos were first played during a performance of 230:, he experienced a complete recovery. Henceforth, with the exception of 4304: 4241: 4206: 2630: 2287: 1608: 1332: 1153: 852: 219: 58: 3951:

on YouTube, The Australian Brandenburg Orchestra directed by Paul Dyer

3635: 3605: 3453: 3411: 3309: 3197: 3041:, liner notes to his recording Kuhnau, Harmonia mundi HMU 907097, 1992 2456:, sometimes referred to as the "minuet", in the overture to the opera 372:

on 23 April, just two days after the official publication of the set.

4353: 4290: 4276: 4185: 4143: 4136: 4047: 2736: 1919: 1841:, the violinist–composer and contemporary of Handel, depicted with a 1336: 1244: 775:. The theme of the Gigue is "thematically reminiscent of the Giga in 635: 235: 81:

as models, rather than the later three-movement Venetian concerto of

3003: 2437:

The following highly inventive movement is a brilliant and animated

2183:

from Kellom Tomlinson's "The Art of Dancing Explained", London, 1735

1834: 226:

the fingers on one hand. Persuaded by friends to take the waters at

3700:

external links, and converting useful links where appropriate into

3627: 3597: 3403: 3301: 3189: 4339: 4199: 4087: 2562: 2547: 2531: 2515: 2175: 1833: 1553: 1500:, is a more direct reworking of the minuet in the overture to the 1192: 851: 379: 290: 119: 20: 1859:, a suite of dances. There are six movements of great diversity. 2481:

time and E major is simple and regular with a wide range with a

1481:

of 1738. The subsequent repeated semiquaver passage-work over a

106:, writing of the performance of the sixth Grand Concerto at the 3969: 3738:

Walsh's 1740 keyboard arrangements of Op. 6 Nos. 1, 5, 6 and 10

2131:

and the modified cuckoo. What was the final organ solo, partly

3932: 3664: 2681:

of Schoenberg's heavily annotated copy of the original score.

1343:

unison cadences, the second bringing the movement to a close.

40: 3381:, "Handel as concerto composer", Chapter 13 by Donald Burrows 2997:

GFHandel.org, "G. F. Handel's Compositions HWV 301–400", URL=

1963: 1666: 1039: 872: 1002:

figures to those in opening bars of the first movement. As

2492:

The fourth movement is a brief largo, like an accompanied

2425:, writing of the third movement in the last Grand Concerto 384:

The opening of the fifth concerto grosso, Op. 6, from the

151:

3. The Subscribers Names will be printed before the Work.

1793:

the entire movement, a work relying primarily on rhythm.

1335:

aria that Handel was preparing for his penultimate opera

3574:, Hallische Händel-Ausgabe, vol. IV/14, Bärenreiter 2607:, 1785, writing of the opening movement of Op. 6, No. 1. 1144:; these movements were later used elsewhere in the set. 998:

The third movement is a dignified adagio, using similar

3689: 3684:

may not follow Knowledge (XXG)'s policies or guidelines

2508:, to whom the movement is perhaps some form of homage. 2500:

fugue. Its gigue-like theme is derived from a fugue of

1788:, ten bars long, which like an overture leads into the 299:

from the title page of his Twelve Concerti Grossi Op. 6

261:. In the previous year he had produced the choral work 3445:

Memoirs of the life of the late George Frederic Handel

3174:

McGairl, Pamela (1986), "The Vauxhall Jubilee, 1786",

1533:

major), Handel abandoned in favour of two new shorter

1216:

The profoundly tragic mood continues in the following

5346: 2393:, with a middle section in the relative minor key, F 2349:

became the central movement in the concerto grosso.

124:

Title page of the Twelve Grand Concertos Op. 6, 1740

5253: 5227: 5196: 5152: 5121: 4967: 4946: 4920: 4881: 4821: 4790: 4711:

Agrippina condotta a morire or Dunque sarà pur vero

4702: 4663: 4441: 4409: 4370: 4021: 2240:passage, a variant of the material from the start. 2194:The tenth Grand Concerto in D minor has the form a 823:The analysis of individual movements is taken from 748:. In the fourth movement Handel quotes the opening 2703:(conductor and harpsichord, Nos. 1 & 10–12), 2489:, then with the melody itself played in quavers. 1226:–C, which is reminiscent of Domenico Scarlatti's 254:and the revival of his pastoral English opera or 3370:, Cambridge University Press, pp. 193–207, 3282:, "The Orchestral Music", Chapter 7 by Basil Lam 646:, which had been published in London in 1738/39. 2805:, 4 discs (Paired with Concerti grossi, Op. 3) 2721:, 3 discs (Paired with Concerti grossi, Op. 3) 2585: 2414: 2313: 1358: 128: 95: 65:. First published by subscription in London by 3553:, Monuments of Western music, Schirmer Books, 1910:for Sesto and Cornelia at the end of act 1 of 694:and the fifth from the twenty third sonata in 28:, engraving by John Faber after a painting by 3981: 3501:Handel's Disengagement from the Italian Opera 3289:Journal of the American Musicological Society 2693:(conductor), The Boyd Neel String Orchestra, 222:with elegant variations for the two violins. 8: 2430:The arresting dotted rhythms of the opening 2079:Performed by L'Arco Magico Chamber Orchestra 1764:Performed by L'Arco Magico Chamber Orchestra 1119:Performed by L'Arco Magico Chamber Orchestra 970:Performed by L'Arco Magico Chamber Orchestra 61:four-part string orchestra with harpsichord 3539:Handbuch des Instrumentalkonzerts, Volume 1 3320:, Cambridge University Press, p. 173, 3280:, Oxford University Press, pp. 200–209 3988: 3974: 3966: 3050: 2979:, Vol. 125, No. 1692, February 1984, p. 93 2389:is an ingenious instrumental version of a 2315:... the Symphony, or introduction, of the 682:Movements i, ii and vi are taken from the 399: 175:. These concertos formed the basis of the 3742:International Music Score Library Project 3720:Learn how and when to remove this message 3485:, BBC Music Guides, BBC, pp. 36–55, 2671:Concerto for String Quartet and Orchestra 1645:, reminiscent of the keyboard sonatas of 1622:The final movement is a short dance-like 686:. The first movement is derived from the 3541:, Breitkopf and Härtel, pp. 104–126 3232: 2826:Pavlo Beznosiuk (conductor and violin), 2153:. Both were transposed from G to F. The 1822:with recurring ritornellos and a lively 1331:in A minor, is a radical reworking of a 1152:the close indicate that Handel expected 1136:This four-movement concerto resembles a 302: 275: 196:Alexander's Feast or The Power of Musick 5353: 3962:of HWV 330/iii, Aria: larghetto e piano 3423:The Cambridge Companion to the Concerto 3149: 3137: 2938: 2915: 2892: 2861: 2157:is an animated but orthodox fugue; the 828: 781:Twelve concerti grossi, Op. 6 (Corelli) 414: 283:, 1709: Baroque opera rehearsal in the 4514:L'Allegro, il Penseroso ed il Moderato 3857:on YouTube, live performance from the 3582:(1968), "The Oboes in Handel's Op 6", 3221: 3209: 3125: 3074: 3024:: CS1 maint: archived copy as title ( 3017: 2904: 2868: 2789:I Musici de Montreal Chamber Orchestra 2086: 1771: 1603:(1731), it was inspired by Telemann's 1417:The third movement is a light-hearted 1126: 977: 358:L'Allegro, il Penseroso ed il Moderato 348:Cecilia's Day, during performances of 267:L'Allegro, il Penseroso ed il Moderato 16:Compositions by George Frideric Handel 4450:Il trionfo del Tempo e del Disinganno 3062: 2962: 2950: 2927: 2880: 2674: 2377:precedes the fourth movement, a long 1818:The two final movements are a steady 824: 714:Newly composed, except for the final 7: 5321: 3161: 3113: 2108:been beyond usual Baroque practice. 1826:replete with unexpected syncopation 202:of 1740. Its first three movements ( 57:trio of two violins and cello and a 5379:Concertos by George Frideric Handel 5188:Keyboard suite in D minor (HWV 437) 4454:Il trionfo del Tempo e della Verità 3954:Animated midi recording of HWV 330/ 3898:Animated midi recording of HWV 328/ 3872:Animated midi recording of HWV 327/ 3830:Animated midi recording of HWV 324/ 3804:Animated midi recording of HWV 322/ 3795:Video recording of HWV 321/i,ii,iii 3776:Animated midi recording of HWV 320/ 3747:Video recording of HWV 319/i,ii,iii 2536:The chorus, orchestra and organ in 2448:The central third movement, marked 4679:Ode for the Birthday of Queen Anne 3094:, The Boydell Press, p. 183, 2803:Academy of St Martin in the Fields 2719:Academy of St Martin in the Fields 2087:Problems playing these files? See 1895:from Act III of his popular opera 1772:Problems playing these files? See 1127:Problems playing these files? See 978:Problems playing these files? See 779:'s Concerto Grosso No. 12" of the 331:, first published posthumously in 14: 4844:Funeral Anthem for Queen Caroline 3364:The Cambridge Companion to Handel 783:" – the model for Handel's op. 6. 664:Mostly newly composed. the final 5356: 5330: 5320: 5310: 5309: 4865:Wedding anthem for Princess Anne 4072: 3669: 3462:The Scoring of Baroque Concertos 3318:The History of the English Organ 2407: 2306: 2187: 2069: 2051: 2033: 2015: 1997: 1979: 1954: 1848: 1754: 1736: 1718: 1700: 1682: 1657: 1570: 1512: 1351: 1286: 1201: 1109: 1091: 1073: 1055: 1030: 960: 942: 924: 906: 888: 863: 756:from the third act of his opera 318:For the 1739–1740 season at the 3929:Isabella Stewart Gardner Museum 3866:Audio recording of HWV 326/iv,v 2851:Concerti grossi, Op. 3 (Handel) 2621:in 1784, with five concerts in 1599:from Act III of Handel's opera 1558:Charmes de la vie champêtre by 835:accompanying the recordings by 5286:Handel & Hendrix in London 3425:, Cambridge University Press, 3354:, originally published by the 2524:with the plaque recording his 2504:, Handel's boyhood teacher in 338:the Cuckoo and the Nightingale 1: 4959:Music for the Royal Fireworks 4458:The Triumph of Time and Truth 3948:Video recording of HWV 330/ii 3940:Video recording of HWV 330/ii 3368:Cambridge Companions to Music 3262:Handel arrangements for piano 3244:Notes on Mozart's version of 2773:(conductor and harpsichord), 2745:(conductor and harpsichord), 2496:, which leads into the final 2354:andante larghetto, e staccato 329:Twelve concerti grossi, Op. 6 37:Twelve Grand Concertos, Op. 6 4890:Utrecht Te Deum and Jubilate 4774:Tra le fiamme (Il consiglio) 4029:Handel's lost Hamburg operas 3572:Twelve concerti grossi Op. 6 3551:Handel, the orchestral music 320:Lincoln's Inn Fields theatre 312:Lincoln's Inn Fields Theatre 269:, a cantata-like setting of 218:, is a charming and stately 3388:(1989), "Hill and Handel", 2641:in 1785. Three years later 2617:was initiated in London by 2266:. The scoring in the first 2205:The first movement, marked 1540:The first movement, marked 1304:semiquavers reflecting the 1296:The first movement, marked 668:is a reworking of the aria 177:Handel organ concertos Op.4 5405: 3854:Video recording of HWV 325 3824:Video recording of HWV 323 3766:Video recording of HWV 319 3316:Bicknell, Stephen (1999), 2665:In the twentieth century, 1605:Harmonischer Gottes Dienst 1176:larghetto, andante e piano 1159:The second movement is an 1105:IV. Allegro, ma non troppo 690:(1739) for harpsichord by 171:of the rival company, the 5304: 5204:Handel Reference Database 5182:The Harmonious Blacksmith 4872:Foundling Hospital Anthem 4760:O lucenti, o sereni occhi 4693:Ode For St. Cecilia's Day 4003: 3570:; Hoffman, Adolf (1961), 3526:Göttinger-Händel-Beiträge 3460:Maunder, Richard (2004), 3092:Handel's Operas 1726–1741 2557:Vauxhall Pleasure Gardens 2290:-like movement, it is in 2258:are loosely based on the 1239:The third movement is an 813:, Handel's music teacher. 5219:Hallische Händel-Ausgabe 5209:Händel-Werke-Verzeichnis 5197:Catalogs and collections 3646:, WordPower Publishing, 3642:Van Til, Marian (2007), 3537:Kloiber, Rudolf (1972), 3362:Burrows, Donald (1997), 3343:, Kessinger Publishing, 3276:Abraham, Gerald (1954), 2817:Academy of Ancient Music 2815:(conductor and violin), 2775:Handel and Haydn Society 2765:Philips Classics Records 2502:Friedrich Wilhelm Zachow 2373:An introductory six bar 1839:Francesco Maria Veracini 1784:The first movement is a 1527:and its different key (E 1377:Ode for St Cecilia's Day 811:Friedrich Wilhelm Zachow 684:Ode for St Cecilia's Day 354:Ode for St Cecilia's Day 265:and in 1740 he composed 252:Ode for St Cecilia's Day 130:This Day are Publish'd, 4718:Allor ch'io dissi addio 4672:Aci, Galatea e Polifemo 4577:Joseph and his Brethren 3759:Santa Caterina a Chiaia 3499:Taylor, Carole (1987), 3448:, R. & J. Dodsley, 2705:Berliner Philharmoniker 2643:Wolfgang Amadeus Mozart 2540:on the occasion of the 2512:Reception and influence 2294:, with a variation (or 1796:The central expressive 1006:wrote in 1785, "In the 797:Frische Clavier Früchte 136:Twelve Grand Concerto's 5144:Concerti grossi, Op. 6 5139:Concerti grossi, Op. 3 5134:Organ concertos, Op. 7 5129:Organ concertos, Op. 4 4904:Queen Caroline Te Deum 4647:The Choice of Hercules 3997:George Frideric Handel 3927:by A Far Cry from the 3925:Performance of HWV 329 3753:, live performance by 3532:, Bärenreiter: 170–187 2733:Concentus Musicus Wien 2677:, who also provides a 2610: 2583: 2560: 2545: 2529: 2419: 2325: 2184: 1968: 1845: 1671: 1626:for full orchestra in 1597:Son confusa pastorella 1567: 1487:Georg Philipp Telemann 1479:Essercizi Gravicembalo 1363: 1327:The last movement, an 1261:allegro, ma non troppo 1198: 1044: 877: 860: 718:derived from Muffat's 700:Essercizi Gravicembalo 640:Essercizi Gravicembalo 397: 392:, with annotations by 324:Twelve Grand Concertos 315: 300: 288: 190:, Handel's setting of 156: 125: 113: 45:George Frideric Handel 32: 26:George Frideric Handel 4732:Clori, Tirsi e Fileno 3734:Grand Concertos Op. 6 2566: 2551: 2535: 2520:Handel's monument in 2519: 2179: 1967: 1893:Piangerò la sorte mia 1837: 1670: 1557: 1542:Larghetto e affetuoso 1485:recalls the style of 1469:The delightful fifth 1397:Componimenti musicali 1381:Larghetto, e staccato 1196: 1043: 876: 855: 754:Piangerò la sorte mia 720:Componimenti Musicali 688:Componimenti Musicali 383: 306: 294: 279: 173:Opera of the Nobility 123: 87:Johann Sebastian Bach 24: 5266:Letters and writings 4739:Dalla guerra amorosa 4400:Va tacito e nascosto 4393:Svegliatevi nel core 4013:List of compositions 3755:Le Musiche Da Camera 3690:improve this article 3356:University of Oxford 2729:Nikolaus Harnoncourt 2715:Sir Neville Marriner 2656:Breitkopf and Härtel 2615:Handel Commemoration 2542:Handel Commemoration 2362:organ concertos Op.7 1887:The following brief 1051:I. Andante larghetto 752:of Cleopatra's aria 565:26 October 1739 (?) 396:, the original owner 108:Handel Commemoration 5261:British citizenship 5214:Händel-Gesellschaft 4938:Oboe Concerto No. 2 4933:Oboe Concerto No. 1 4928:Oboe Concerto No. 3 4598:Occasional Oratorio 4379:Lascia ch'io pianga 3960:alternative version 3702:footnote references 3278:Handel: a symposium 2828:The Avison Ensemble 2771:Christopher Hogwood 2747:The English Concert 2709:Deutsche Grammophon 2701:Herbert von Karajan 2196:baroque dance suite 1908:Son nata a lagrimar 1714:III. Largo, e piano 1298:larghetto affetuoso 672:in preparation for 216:andante, non presto 116:History and origins 4791:Latin church music 4781:Un'alma innamorata 4746:Del bell'idolo mio 4725:Aure soavi e lieti 3053:, pp. 202–203 3006:on 8 December 2014 2941:, pp. 205–206 2759:(leader; violin), 2584: 2561: 2546: 2530: 2254:The following two 2198:, introduced by a 2185: 1969: 1857:concerto da camera 1846: 1672: 1647:Domenico Scarlatti 1601:Poro re dell'Indie 1568: 1475:Domenico Scarlatti 1199: 1045: 878: 861: 742:Pièces de clavecin 696:Domenico Scarlatti 644:Domenico Scarlatti 429:29 September 1739 398: 388:manuscript of Sir 322:, Handel composed 316: 301: 289: 126: 75:concerto da camera 71:concerto da chiesa 33: 5389:1739 compositions 5344: 5343: 5276:Handel at Cannons 4947:Orchestral suites 4897:Dettingen Te Deum 4830:As Pants the Hart 4686:Alexander's Feast 4333:Alessandro Severo 4270:Parnasso in festa 3730: 3729: 3722: 3615:The Musical Times 3592:(1504): 530–531, 3585:The Musical Times 3464:, Boydell Press, 3398:(1754): 196–197, 3391:The Musical Times 3184:(1726): 611–615, 3177:The Musical Times 3116:, p. 458,470 2976:The Musical Times 2757:Federico Agostini 2751:Archiv Produktion 2667:Arnold Schoenberg 2623:Westminster Abbey 2553:Thomas Rowlandson 2538:Westminster Abbey 2522:Westminster Abbey 2454:andante larghetto 2450:Larghetto e piano 2074: 2065:VI. Gigue allegro 2056: 2038: 2020: 2002: 1984: 1928:pastoral symphony 1759: 1741: 1723: 1705: 1687: 1498:un poco larghetto 1149:andante larghetto 1114: 1096: 1078: 1060: 965: 947: 929: 911: 893: 884:I. A tempo giusto 844: 833:Hans Joachim Marx 831:and the notes by 818:Musical structure 777:Arcangelo Corelli 623: 622: 350:Alexander's Feast 297:Arcangelo Corelli 285:Haymarket Theatre 246:, his setting of 188:Alexander's Feast 162:, 29 October 1739 160:London Daily Post 79:Arcangelo Corelli 5396: 5361: 5360: 5359: 5352: 5334: 5324: 5323: 5313: 5312: 5254:Related articles 4911:Chandos Jubilate 4837:Zadok the Priest 4664:Odes and masques 4605:Judas Maccabaeus 4410:Incidental music 4263:Arianna in Creta 4214:Lotario (Handel) 4109:Acis and Galatea 4102:Amadigi di Gaula 4076: 3990: 3983: 3976: 3967: 3949: 3941: 3867: 3855: 3825: 3767: 3740:: Scores at the 3725: 3718: 3714: 3711: 3705: 3673: 3672: 3665: 3656: 3638: 3608: 3580:Redlich, Hans F. 3575: 3563: 3542: 3533: 3513: 3495: 3483:Handel Concertos 3474: 3456: 3440:Mainwaring, John 3435: 3414: 3380: 3353: 3330: 3312: 3281: 3264: 3259: 3253: 3246:Acis and Galatea 3241: 3235: 3230: 3224: 3219: 3213: 3207: 3201: 3200: 3171: 3165: 3159: 3153: 3147: 3141: 3135: 3129: 3123: 3117: 3111: 3105: 3104: 3084: 3078: 3072: 3066: 3060: 3054: 3048: 3042: 3036: 3030: 3029: 3023: 3015: 3013: 3011: 3002:. Archived from 2995: 2989: 2986: 2980: 2971: 2965: 2960: 2954: 2948: 2942: 2936: 2930: 2925: 2919: 2913: 2907: 2902: 2896: 2890: 2884: 2883:, pp. 31–32 2878: 2872: 2866: 2648:Acis and Galatea 2608: 2480: 2479: 2478: 2477: 2426: 2411: 2398: 2397: 2369: 2368: 2332: 2310: 2284:allegro moderato 2235: 2234: 2233: 2232: 2191: 2076: 2075: 2058: 2057: 2040: 2039: 2022: 2021: 2004: 2003: 1986: 1985: 1966: 1958: 1852: 1814: 1813: 1812: 1811: 1761: 1760: 1743: 1742: 1725: 1724: 1707: 1706: 1689: 1688: 1669: 1661: 1640: 1639: 1638: 1637: 1586: 1585: 1574: 1560:François Boucher 1532: 1531: 1516: 1461: 1460: 1459: 1458: 1435: 1434: 1433: 1432: 1370: 1355: 1290: 1277: 1276: 1275: 1274: 1259:The final short 1235: 1234: 1225: 1224: 1205: 1138:sonata da chiesa 1116: 1115: 1098: 1097: 1080: 1079: 1062: 1061: 1042: 1034: 967: 966: 949: 948: 931: 930: 913: 912: 895: 894: 875: 867: 822: 738:Johann Mattheson 616:20 October 1739 599:30 October 1739 582:22 October 1739 548:18 October 1739 531:12 October 1739 514:15 October 1739 497:10 October 1739 400: 259:Acis and Galatea 163: 111: 91:French overtures 5404: 5403: 5399: 5398: 5397: 5395: 5394: 5393: 5384:Concerti grossi 5369: 5368: 5367: 5363:Classical music 5357: 5355: 5347: 5345: 5340: 5300: 5296:Händel-Jahrbuch 5249: 5223: 5192: 5148: 5117: 4963: 4942: 4916: 4877: 4858:Chandos Anthems 4817: 4786: 4698: 4659: 4619:Alexander Balus 4555:Scratch Messiah 4507:Israel in Egypt 4472:Brockes Passion 4465:La resurrezione 4437: 4405: 4366: 4017: 3999: 3994: 3947: 3939: 3865: 3853: 3823: 3765: 3726: 3715: 3709: 3706: 3687: 3678:This article's 3674: 3670: 3663: 3654: 3641: 3622:(1692): 93–95, 3611: 3578: 3566: 3561: 3545: 3536: 3523: 3520: 3518:Further reading 3511: 3498: 3493: 3477: 3472: 3459: 3438: 3433: 3419:Keefe, Simon P. 3417: 3384: 3378: 3361: 3351: 3335:Burney, Charles 3333: 3328: 3315: 3285: 3275: 3272: 3267: 3260: 3256: 3242: 3238: 3231: 3227: 3220: 3216: 3208: 3204: 3173: 3172: 3168: 3160: 3156: 3148: 3144: 3136: 3132: 3128:, p. 66–67 3124: 3120: 3112: 3108: 3102: 3086: 3085: 3081: 3073: 3069: 3061: 3057: 3051:Mainwaring 1760 3049: 3045: 3037: 3033: 3016: 3009: 3007: 3000:"Archived copy" 2998: 2996: 2992: 2987: 2983: 2972: 2968: 2961: 2957: 2949: 2945: 2937: 2933: 2926: 2922: 2914: 2910: 2903: 2899: 2891: 2887: 2879: 2875: 2867: 2863: 2859: 2847: 2838:Ottavio Dantone 2687: 2609: 2603: 2587:If the epithet 2514: 2476: 2471: 2470: 2469: 2468: 2467: 2428: 2421: 2405: 2403:No. 12, HWV 330 2395: 2394: 2366: 2365: 2334: 2327: 2304: 2302:No. 11, HWV 329 2231: 2226: 2225: 2224: 2223: 2222: 2200:French overture 2174: 2172:No. 10, HWV 328 2094: 2093: 2085: 2083: 2082: 2081: 2080: 2077: 2070: 2067: 2061: 2060: 2059: 2052: 2049: 2043: 2042: 2041: 2034: 2031: 2025: 2024: 2023: 2016: 2013: 2007: 2006: 2005: 1998: 1995: 1989: 1988: 1987: 1980: 1977: 1970: 1964: 1952: 1878:andante allegro 1832: 1810: 1805: 1804: 1803: 1802: 1801: 1800:in G minor and 1779: 1778: 1770: 1768: 1767: 1766: 1765: 1762: 1755: 1752: 1746: 1745: 1744: 1737: 1734: 1728: 1727: 1726: 1719: 1716: 1710: 1709: 1708: 1701: 1698: 1692: 1691: 1690: 1683: 1680: 1673: 1667: 1655: 1636: 1631: 1630: 1629: 1628: 1627: 1583: 1582: 1529: 1528: 1510: 1457: 1452: 1451: 1450: 1449: 1448: 1431: 1426: 1425: 1424: 1423: 1422: 1393:Gottlieb Muffat 1372: 1365: 1349: 1284: 1273: 1268: 1267: 1266: 1265: 1264: 1232: 1231: 1222: 1221: 1208:In the opening 1191: 1134: 1133: 1125: 1123: 1122: 1121: 1120: 1117: 1110: 1107: 1101: 1100: 1099: 1092: 1089: 1083: 1082: 1081: 1074: 1071: 1065: 1064: 1063: 1056: 1053: 1046: 1040: 1028: 985: 984: 976: 974: 973: 972: 971: 968: 961: 958: 952: 951: 950: 943: 940: 934: 933: 932: 925: 922: 916: 915: 914: 907: 904: 898: 897: 896: 889: 886: 879: 873: 857:John Mainwaring 850: 841:English Concert 820: 789:Newly composed. 708:Newly composed. 692:Gottlieb Muffat 658:Newly composed. 652:Newly composed. 628: 480:8 October 1739 463:6 October 1739 446:4 October 1739 394:Charles Jennens 378: 366:Israel in Egypt 308:George Shepherd 263:Israel in Egypt 228:Aix-la-Chapelle 179:, published by 165: 158: 118: 112: 102: 83:Antonio Vivaldi 50:concerti grossi 17: 12: 11: 5: 5402: 5400: 5392: 5391: 5386: 5381: 5371: 5370: 5366: 5365: 5342: 5341: 5339: 5338: 5328: 5318: 5305: 5302: 5301: 5299: 5298: 5293: 5288: 5283: 5278: 5273: 5268: 5263: 5257: 5255: 5251: 5250: 5248: 5247: 5242: 5237: 5231: 5229: 5225: 5224: 5222: 5221: 5216: 5211: 5206: 5200: 5198: 5194: 5193: 5191: 5190: 5185: 5178: 5171: 5164: 5156: 5154: 5150: 5149: 5147: 5146: 5141: 5136: 5131: 5125: 5123: 5119: 5118: 5116: 5115: 5110: 5105: 5100: 5095: 5090: 5085: 5080: 5075: 5070: 5065: 5060: 5055: 5050: 5045: 5040: 5035: 5030: 5025: 5020: 5015: 5010: 5005: 5000: 4995: 4988: 4982: 4980: 4965: 4964: 4962: 4961: 4956: 4950: 4948: 4944: 4943: 4941: 4940: 4935: 4930: 4924: 4922: 4921:Oboe concertos 4918: 4917: 4915: 4914: 4907: 4900: 4893: 4885: 4883: 4879: 4878: 4876: 4875: 4868: 4861: 4854: 4847: 4840: 4833: 4825: 4823: 4819: 4818: 4816: 4815: 4810: 4805: 4800: 4794: 4792: 4788: 4787: 4785: 4784: 4777: 4770: 4763: 4756: 4753:Apollo e Dafne 4749: 4742: 4735: 4728: 4721: 4714: 4706: 4704: 4700: 4699: 4697: 4696: 4689: 4682: 4675: 4667: 4665: 4661: 4660: 4658: 4657: 4650: 4643: 4636: 4629: 4622: 4615: 4608: 4601: 4594: 4587: 4580: 4573: 4566: 4559: 4558: 4557: 4552: 4544: 4539: 4534: 4529: 4517: 4510: 4503: 4496: 4489: 4482: 4475: 4468: 4461: 4445: 4443: 4439: 4438: 4436: 4435: 4428: 4421: 4413: 4411: 4407: 4406: 4404: 4403: 4396: 4389: 4382: 4374: 4372: 4371:Opera excerpts 4368: 4367: 4365: 4364: 4357: 4350: 4343: 4336: 4329: 4322: 4315: 4308: 4301: 4294: 4287: 4280: 4273: 4266: 4259: 4252: 4245: 4238: 4231: 4224: 4217: 4210: 4203: 4196: 4193:Riccardo Primo 4189: 4182: 4175: 4168: 4161: 4154: 4147: 4140: 4133: 4126: 4119: 4112: 4105: 4098: 4091: 4084: 4081:Il pastor fido 4077: 4065: 4058: 4051: 4044: 4025: 4023: 4019: 4018: 4016: 4015: 4010: 4008:List of operas 4004: 4001: 4000: 3995: 3993: 3992: 3985: 3978: 3970: 3964: 3963: 3952: 3944: 3936: 3922: 3896: 3870: 3862: 3850: 3828: 3820: 3802: 3792: 3774: 3762: 3744: 3728: 3727: 3682:external links 3677: 3675: 3668: 3662: 3661:External links 3659: 3658: 3657: 3653:978-0979478505 3652: 3639: 3628:10.2307/964195 3609: 3598:10.2307/952543 3576: 3564: 3559: 3543: 3534: 3519: 3516: 3515: 3514: 3509: 3496: 3491: 3479:Sadie, Stanley 3475: 3470: 3457: 3436: 3431: 3415: 3404:10.2307/966459 3386:Hicks, Anthony 3382: 3376: 3359: 3350:978-1436767415 3349: 3331: 3326: 3313: 3302:10.2307/831991 3296:(2): 264–313, 3283: 3271: 3268: 3266: 3265: 3254: 3251:Julian Rushton 3236: 3225: 3214: 3202: 3190:10.2307/964270 3166: 3154: 3142: 3130: 3118: 3106: 3100: 3079: 3067: 3055: 3043: 3031: 2990: 2981: 2966: 2955: 2943: 2931: 2920: 2908: 2897: 2885: 2873: 2860: 2858: 2855: 2854: 2853: 2846: 2843: 2842: 2841: 2835: 2824: 2821:Harmonia Mundi 2810: 2796: 2782: 2768: 2754: 2743:Trevor Pinnock 2740: 2726: 2712: 2698: 2695:London Records 2686: 2683: 2660:Wilhelm Kempff 2639:Charles Burney 2605:Charles Burney 2601: 2578:, designed by 2568:William Hodges 2513: 2510: 2472: 2464:Charles Burney 2413: 2404: 2401: 2329:Charles Burney 2312: 2303: 2300: 2245:Air, lentement 2227: 2173: 2170: 2084: 2078: 2068: 2063: 2062: 2050: 2045: 2044: 2032: 2027: 2026: 2014: 2011:III. Larghetto 2009: 2008: 1996: 1991: 1990: 1978: 1973: 1972: 1971: 1962: 1961: 1960: 1951: 1950:No. 9, HWV 327 1948: 1843:baroque violin 1831: 1830:No. 8, HWV 326 1828: 1806: 1769: 1763: 1753: 1748: 1747: 1735: 1730: 1729: 1717: 1712: 1711: 1699: 1694: 1693: 1681: 1676: 1675: 1674: 1665: 1664: 1663: 1654: 1653:No. 7, HWV 325 1651: 1632: 1614:The following 1589:Charles Burney 1509: 1508:No. 6, HWV 324 1506: 1453: 1427: 1367:Charles Burney 1357: 1348: 1347:No. 5, HWV 323 1345: 1283: 1282:No. 4, HWV 322 1280: 1269: 1190: 1189:No. 3, HWV 321 1187: 1124: 1118: 1108: 1103: 1102: 1090: 1085: 1084: 1072: 1067: 1066: 1054: 1049: 1048: 1047: 1038: 1037: 1036: 1027: 1026:No. 2, HWV 320 1024: 1004:Charles Burney 975: 969: 959: 954: 953: 941: 936: 935: 923: 918: 917: 905: 900: 899: 887: 882: 881: 880: 871: 870: 869: 849: 848:No. 1, HWV 319 846: 837:Trevor Pinnock 829:Abraham (1954) 819: 816: 815: 814: 804: 790: 784: 765: 723: 709: 703: 677: 659: 653: 647: 627: 624: 621: 620: 617: 614: 611: 608: 604: 603: 600: 597: 594: 591: 587: 586: 583: 580: 577: 574: 570: 569: 566: 563: 560: 557: 553: 552: 549: 546: 543: 540: 536: 535: 532: 529: 526: 523: 519: 518: 515: 512: 509: 506: 502: 501: 498: 495: 492: 489: 485: 484: 481: 478: 475: 472: 468: 467: 464: 461: 458: 455: 451: 450: 447: 444: 441: 438: 434: 433: 430: 427: 424: 421: 417: 416: 413: 410: 407: 404: 377: 374: 200:Select Harmony 127: 117: 114: 104:Charles Burney 100: 15: 13: 10: 9: 6: 4: 3: 2: 5401: 5390: 5387: 5385: 5382: 5380: 5377: 5376: 5374: 5364: 5354: 5350: 5337: 5333: 5329: 5327: 5319: 5317: 5316: 5307: 5306: 5303: 5297: 5294: 5292: 5289: 5287: 5284: 5282: 5279: 5277: 5274: 5272: 5269: 5267: 5264: 5262: 5259: 5258: 5256: 5252: 5246: 5243: 5241: 5238: 5236: 5233: 5232: 5230: 5226: 5220: 5217: 5215: 5212: 5210: 5207: 5205: 5202: 5201: 5199: 5195: 5189: 5186: 5184: 5183: 5179: 5177: 5176: 5172: 5170: 5169: 5165: 5163: 5162: 5158: 5157: 5155: 5151: 5145: 5142: 5140: 5137: 5135: 5132: 5130: 5127: 5126: 5124: 5120: 5114: 5111: 5109: 5106: 5104: 5101: 5099: 5096: 5094: 5091: 5089: 5086: 5084: 5081: 5079: 5076: 5074: 5071: 5069: 5066: 5064: 5061: 5059: 5056: 5054: 5051: 5049: 5046: 5044: 5041: 5039: 5036: 5034: 5031: 5029: 5026: 5024: 5021: 5019: 5016: 5014: 5011: 5009: 5006: 5004: 5001: 4999: 4996: 4993: 4989: 4987: 4984: 4983: 4981: 4978: 4974: 4970: 4966: 4960: 4957: 4955: 4952: 4951: 4949: 4945: 4939: 4936: 4934: 4931: 4929: 4926: 4925: 4923: 4919: 4913: 4912: 4908: 4906: 4905: 4901: 4899: 4898: 4894: 4892: 4891: 4887: 4886: 4884: 4880: 4874: 4873: 4869: 4867: 4866: 4862: 4860: 4859: 4855: 4853: 4852: 4851:Sing Unto God 4848: 4846: 4845: 4841: 4839: 4838: 4834: 4832: 4831: 4827: 4826: 4824: 4820: 4814: 4811: 4809: 4806: 4804: 4801: 4799: 4798:Dixit Dominus 4796: 4795: 4793: 4789: 4783: 4782: 4778: 4776: 4775: 4771: 4769: 4768: 4767:Ero e Leandro 4764: 4762: 4761: 4757: 4755: 4754: 4750: 4748: 4747: 4743: 4741: 4740: 4736: 4734: 4733: 4729: 4727: 4726: 4722: 4720: 4719: 4715: 4713: 4712: 4708: 4707: 4705: 4701: 4695: 4694: 4690: 4688: 4687: 4683: 4681: 4680: 4676: 4674: 4673: 4669: 4668: 4666: 4662: 4656: 4655: 4651: 4649: 4648: 4644: 4642: 4641: 4637: 4635: 4634: 4630: 4628: 4627: 4623: 4621: 4620: 4616: 4614: 4613: 4609: 4607: 4606: 4602: 4600: 4599: 4595: 4593: 4592: 4588: 4586: 4585: 4581: 4579: 4578: 4574: 4572: 4571: 4567: 4565: 4564: 4560: 4556: 4553: 4551:(Mozart arr.) 4550: 4549: 4545: 4543: 4540: 4538: 4535: 4533: 4530: 4528: 4525: 4524: 4523: 4522: 4518: 4516: 4515: 4511: 4509: 4508: 4504: 4502: 4501: 4497: 4495: 4494: 4490: 4488: 4487: 4483: 4481: 4480: 4476: 4474: 4473: 4469: 4467: 4466: 4462: 4460: 4459: 4455: 4451: 4447: 4446: 4444: 4440: 4434: 4433: 4429: 4427: 4426: 4422: 4420: 4419: 4418:The Alchemist 4415: 4414: 4412: 4408: 4401: 4397: 4394: 4390: 4387: 4383: 4380: 4376: 4375: 4373: 4369: 4363: 4362: 4358: 4356: 4355: 4351: 4349: 4348: 4347:Giove in Argo 4344: 4342: 4341: 4337: 4335: 4334: 4330: 4328: 4327: 4323: 4321: 4320: 4316: 4314: 4313: 4309: 4307: 4306: 4302: 4300: 4299: 4295: 4293: 4292: 4288: 4286: 4285: 4281: 4279: 4278: 4274: 4272: 4271: 4267: 4265: 4264: 4260: 4258: 4257: 4253: 4251: 4250: 4246: 4244: 4243: 4239: 4237: 4236: 4232: 4230: 4229: 4225: 4223: 4222: 4218: 4216: 4215: 4211: 4209: 4208: 4204: 4202: 4201: 4197: 4195: 4194: 4190: 4188: 4187: 4183: 4181: 4180: 4176: 4174: 4173: 4169: 4167: 4166: 4162: 4160: 4159: 4155: 4153: 4152: 4151:Giulio Cesare 4148: 4146: 4145: 4141: 4139: 4138: 4134: 4132: 4131: 4127: 4125: 4124: 4123:Muzio Scevola 4120: 4118: 4117: 4113: 4111: 4110: 4106: 4104: 4103: 4099: 4097: 4096: 4092: 4090: 4089: 4085: 4083: 4082: 4078: 4075: 4071: 4070: 4066: 4064: 4063: 4059: 4057: 4056: 4052: 4050: 4049: 4045: 4042: 4041: 4036: 4035: 4030: 4027: 4026: 4024: 4020: 4014: 4011: 4009: 4006: 4005: 4002: 3998: 3991: 3986: 3984: 3979: 3977: 3972: 3971: 3968: 3961: 3957: 3953: 3950: 3945: 3942: 3937: 3934: 3930: 3926: 3923: 3921: 3917: 3913: 3909: 3905: 3901: 3897: 3895: 3891: 3887: 3883: 3879: 3875: 3871: 3868: 3863: 3860: 3859:Concertgebouw 3856: 3851: 3849: 3845: 3841: 3837: 3833: 3829: 3826: 3821: 3819: 3815: 3811: 3807: 3803: 3800: 3796: 3793: 3791: 3787: 3783: 3779: 3775: 3772: 3768: 3763: 3760: 3756: 3752: 3748: 3745: 3743: 3739: 3735: 3732: 3731: 3724: 3721: 3713: 3703: 3699: 3698:inappropriate 3695: 3691: 3685: 3683: 3676: 3667: 3666: 3660: 3655: 3649: 3645: 3640: 3637: 3633: 3629: 3625: 3621: 3617: 3616: 3610: 3607: 3603: 3599: 3595: 3591: 3587: 3586: 3581: 3577: 3573: 3569: 3568:Redlich, Hans 3565: 3562: 3556: 3552: 3548: 3544: 3540: 3535: 3531: 3527: 3522: 3521: 3517: 3512: 3506: 3502: 3497: 3494: 3488: 3484: 3480: 3476: 3473: 3471:9781843830719 3467: 3463: 3458: 3455: 3451: 3447: 3446: 3441: 3437: 3434: 3428: 3424: 3420: 3416: 3413: 3409: 3405: 3401: 3397: 3393: 3392: 3387: 3383: 3379: 3373: 3369: 3365: 3360: 3357: 3352: 3346: 3342: 3341: 3336: 3332: 3329: 3323: 3319: 3314: 3311: 3307: 3303: 3299: 3295: 3291: 3290: 3284: 3279: 3274: 3273: 3269: 3263: 3258: 3255: 3252: 3248: 3247: 3240: 3237: 3234: 3233:Bicknell 1999 3229: 3226: 3223: 3218: 3215: 3212:, p. 102 3211: 3206: 3203: 3199: 3195: 3191: 3187: 3183: 3179: 3178: 3170: 3167: 3164:, p. 388 3163: 3158: 3155: 3152:, p. 209 3151: 3146: 3143: 3140:, p. 208 3139: 3134: 3131: 3127: 3122: 3119: 3115: 3110: 3107: 3103: 3097: 3093: 3089: 3083: 3080: 3076: 3071: 3068: 3064: 3059: 3056: 3052: 3047: 3044: 3040: 3035: 3032: 3027: 3021: 3005: 3001: 2994: 2991: 2985: 2982: 2978: 2977: 2970: 2967: 2964: 2959: 2956: 2952: 2947: 2944: 2940: 2935: 2932: 2929: 2924: 2921: 2918:, p. 113 2917: 2912: 2909: 2906: 2901: 2898: 2895:, p. 204 2894: 2889: 2886: 2882: 2877: 2874: 2870: 2865: 2862: 2856: 2852: 2849: 2848: 2844: 2839: 2836: 2833: 2829: 2825: 2822: 2818: 2814: 2811: 2808: 2804: 2801:(conductor), 2800: 2797: 2794: 2790: 2787:(conductor), 2786: 2785:Yuli Turovsky 2783: 2780: 2779:Decca Records 2776: 2772: 2769: 2766: 2762: 2758: 2755: 2752: 2748: 2744: 2741: 2738: 2734: 2731:(conductor), 2730: 2727: 2724: 2723:Decca Records 2720: 2717:(conductor), 2716: 2713: 2710: 2706: 2702: 2699: 2696: 2692: 2689: 2688: 2684: 2682: 2680: 2676: 2672: 2668: 2663: 2661: 2657: 2652: 2650: 2649: 2644: 2640: 2636: 2632: 2628: 2624: 2620: 2616: 2606: 2600: 2598: 2594: 2590: 2581: 2580:Richard Wyatt 2577: 2576:Oxford Street 2573: 2569: 2565: 2558: 2554: 2550: 2543: 2539: 2534: 2527: 2526:commemoration 2523: 2518: 2511: 2509: 2507: 2503: 2499: 2495: 2490: 2488: 2484: 2475: 2465: 2461: 2460: 2455: 2451: 2446: 2444: 2443:moto perpetuo 2440: 2435: 2433: 2427: 2424: 2418: 2412: 2410: 2402: 2400: 2392: 2388: 2383: 2380: 2376: 2371: 2363: 2359: 2355: 2350: 2348: 2344: 2340: 2333: 2330: 2324: 2322: 2318: 2311: 2309: 2301: 2299: 2297: 2293: 2289: 2285: 2280: 2277: 2273: 2269: 2265: 2261: 2257: 2252: 2250: 2246: 2241: 2239: 2230: 2220: 2216: 2212: 2208: 2203: 2201: 2197: 2192: 2190: 2182: 2178: 2171: 2169: 2167: 2162: 2160: 2156: 2152: 2147: 2145: 2141: 2136: 2134: 2130: 2126: 2122: 2117: 2112: 2109: 2106: 2105:Stanley Sadie 2102: 2097: 2092: 2090: 2066: 2048: 2030: 2012: 1994: 1976: 1959: 1957: 1949: 1947: 1945: 1942:is a sort of 1941: 1936: 1934: 1929: 1925: 1921: 1917: 1913: 1912:Giulio Cesare 1909: 1905: 1900: 1898: 1897:Giulio Cesare 1894: 1890: 1885: 1883: 1879: 1874: 1872: 1867: 1865: 1860: 1858: 1853: 1851: 1844: 1840: 1836: 1829: 1827: 1825: 1821: 1816: 1809: 1799: 1794: 1791: 1787: 1782: 1777: 1775: 1751: 1733: 1715: 1697: 1679: 1662: 1660: 1652: 1650: 1648: 1644: 1635: 1625: 1620: 1617: 1612: 1610: 1606: 1602: 1598: 1594: 1590: 1580: 1575: 1573: 1565: 1561: 1556: 1552: 1549: 1547: 1543: 1538: 1536: 1526: 1522: 1517: 1515: 1507: 1505: 1503: 1499: 1495: 1490: 1488: 1484: 1480: 1476: 1472: 1467: 1465: 1456: 1446: 1441: 1439: 1430: 1420: 1415: 1413: 1409: 1404: 1400: 1398: 1394: 1390: 1386: 1382: 1378: 1371: 1368: 1362: 1356: 1354: 1346: 1344: 1342: 1338: 1334: 1330: 1325: 1322: 1321:largo e piano 1317: 1314: 1309: 1307: 1303: 1299: 1294: 1291: 1289: 1281: 1279: 1272: 1262: 1257: 1255: 1254: 1248: 1246: 1242: 1237: 1229: 1219: 1214: 1211: 1206: 1204: 1195: 1188: 1186: 1184: 1179: 1177: 1173: 1168: 1166: 1165:moto perpetuo 1162: 1157: 1155: 1150: 1145: 1143: 1139: 1132: 1130: 1106: 1088: 1070: 1052: 1035: 1033: 1025: 1023: 1020: 1016: 1013: 1009: 1005: 1001: 996: 994: 989: 983: 981: 957: 939: 921: 903: 885: 868: 866: 858: 854: 847: 845: 842: 838: 834: 830: 826: 817: 812: 808: 805: 802: 801:Johann Kuhnau 798: 794: 791: 788: 785: 782: 778: 774: 769: 766: 763: 759: 758:Giulio Cesare 755: 751: 747: 743: 739: 735: 731: 727: 724: 721: 717: 713: 710: 707: 704: 701: 697: 693: 689: 685: 681: 678: 675: 671: 667: 663: 660: 657: 654: 651: 648: 645: 641: 637: 633: 630: 629: 625: 618: 615: 612: 609: 606: 605: 601: 598: 595: 592: 589: 588: 584: 581: 578: 575: 572: 571: 567: 564: 561: 558: 555: 554: 550: 547: 544: 541: 538: 537: 533: 530: 528:B-flat major 527: 524: 521: 520: 516: 513: 510: 507: 504: 503: 499: 496: 493: 490: 487: 486: 482: 479: 476: 473: 470: 469: 465: 462: 459: 456: 453: 452: 448: 445: 442: 439: 436: 435: 431: 428: 425: 422: 419: 418: 411: 408: 405: 402: 401: 395: 391: 390:Newman Flower 387: 382: 375: 373: 371: 367: 363: 359: 355: 351: 345: 341: 339: 334: 330: 325: 321: 313: 309: 305: 298: 293: 286: 282: 278: 274: 272: 268: 264: 260: 257: 253: 249: 245: 241: 237: 233: 232:Giove in Argo 229: 223: 221: 217: 213: 209: 205: 201: 197: 193: 189: 184: 182: 178: 174: 170: 164: 161: 155: 152: 149: 146: 143: 141: 137: 133: 122: 115: 109: 105: 99: 94: 92: 88: 84: 80: 76: 72: 68: 64: 60: 56: 52: 51: 46: 42: 38: 31: 30:Thomas Hudson 27: 23: 19: 5308: 5291:Georg Händel 5281:Handel House 5180: 5173: 5166: 5159: 5143: 4909: 4902: 4895: 4888: 4870: 4863: 4856: 4849: 4842: 4835: 4828: 4813:Salve Regina 4808:Nisi Dominus 4779: 4772: 4765: 4758: 4751: 4744: 4737: 4730: 4723: 4716: 4709: 4691: 4684: 4677: 4670: 4652: 4645: 4638: 4631: 4624: 4617: 4610: 4603: 4596: 4589: 4582: 4575: 4568: 4561: 4546: 4519: 4512: 4505: 4498: 4491: 4484: 4477: 4470: 4463: 4457: 4456: / 4453: 4452: / 4449: 4430: 4423: 4416: 4386:Ombra mai fu 4359: 4352: 4345: 4338: 4331: 4324: 4317: 4310: 4303: 4296: 4289: 4282: 4275: 4268: 4261: 4254: 4247: 4240: 4233: 4226: 4219: 4212: 4205: 4198: 4191: 4184: 4177: 4170: 4163: 4156: 4149: 4142: 4135: 4128: 4121: 4114: 4107: 4100: 4093: 4086: 4079: 4067: 4060: 4053: 4046: 4038: 4032: 3799:HWV 321/iv,v 3754: 3751:HWV 319/iv,v 3716: 3707: 3692:by removing 3679: 3643: 3619: 3613: 3589: 3583: 3571: 3550: 3547:Mann, Alfred 3538: 3529: 3525: 3500: 3482: 3461: 3444: 3422: 3395: 3389: 3363: 3339: 3317: 3293: 3287: 3277: 3257: 3245: 3239: 3228: 3217: 3205: 3181: 3175: 3169: 3157: 3150:Abraham 1954 3145: 3138:Abraham 1954 3133: 3121: 3109: 3091: 3088:Dean, Winton 3082: 3077:, p. 57 3070: 3065:, p. 63 3058: 3046: 3034: 3008:. Retrieved 3004:the original 2993: 2984: 2974: 2969: 2958: 2953:, p. 39 2946: 2939:Burrows 1997 2934: 2923: 2916:Maunder 2004 2911: 2900: 2893:Burrows 1997 2888: 2876: 2871:, p. 54 2864: 2832:Linn Records 2813:Andrew Manze 2675:Auner (1996) 2664: 2653: 2646: 2611: 2596: 2592: 2588: 2586: 2572:The Pantheon 2497: 2491: 2487:walking bass 2473: 2457: 2453: 2449: 2447: 2438: 2436: 2431: 2429: 2420: 2415: 2406: 2391:da capo aria 2386: 2384: 2378: 2374: 2372: 2357: 2353: 2351: 2346: 2342: 2335: 2326: 2320: 2316: 2314: 2305: 2295: 2283: 2281: 2275: 2267: 2255: 2253: 2244: 2242: 2237: 2228: 2218: 2214: 2210: 2206: 2204: 2193: 2186: 2165: 2163: 2158: 2154: 2150: 2148: 2143: 2139: 2137: 2132: 2128: 2124: 2120: 2115: 2113: 2110: 2100: 2099:The opening 2098: 2095: 1953: 1939: 1937: 1932: 1927: 1911: 1907: 1903: 1901: 1892: 1888: 1886: 1877: 1875: 1870: 1868: 1863: 1862:The opening 1861: 1854: 1847: 1823: 1819: 1817: 1807: 1797: 1795: 1789: 1785: 1783: 1780: 1656: 1633: 1623: 1621: 1615: 1613: 1604: 1596: 1592: 1578: 1577:The elegiac 1576: 1569: 1550: 1541: 1539: 1534: 1524: 1520: 1518: 1511: 1501: 1497: 1493: 1491: 1483:walking bass 1478: 1470: 1468: 1463: 1454: 1444: 1442: 1428: 1418: 1416: 1411: 1407: 1405: 1401: 1396: 1388: 1384: 1380: 1373: 1364: 1359: 1350: 1340: 1328: 1326: 1320: 1318: 1312: 1310: 1306:galant style 1302:appoggiatura 1297: 1295: 1292: 1285: 1270: 1260: 1258: 1251: 1249: 1240: 1238: 1217: 1215: 1209: 1207: 1200: 1180: 1175: 1171: 1169: 1160: 1158: 1148: 1147:The opening 1146: 1141: 1135: 1029: 1021: 1017: 1011: 1007: 997: 990: 986: 862: 825:Sadie (1972) 821: 806: 796: 792: 786: 772: 767: 753: 741: 734:Andrew Manze 729: 725: 719: 715: 711: 705: 699: 687: 679: 673: 669: 665: 661: 655: 649: 639: 631: 369: 346: 342: 323: 317: 295:Portrait of 224: 215: 211: 207: 203: 199: 185: 166: 159: 157: 153: 150: 147: 144: 139: 135: 131: 129: 96: 85:favoured by 48: 43:319–330, by 36: 34: 18: 4992:Fitzwilliam 4954:Water Music 4548:Der Messias 3710:August 2019 3222:Burney 2008 3210:Burney 2008 3126:Burney 2008 3075:Burney 2008 3010:29 December 2905:Taylor 1987 2869:Burney 2008 2830:, 3 discs, 2819:, 2 discs, 2809:(1994-1995) 2791:, 3 discs, 2781:(1991–1992) 2777:, 2 discs, 2763:, 3 discs, 2753:(1987–1988) 2749:, 3 discs, 2735:, 3 discs, 2711:(1966–1968) 2707:, 3 discs, 2685:Discography 2292:binary form 2279:surprises. 2272:binary form 2142:, a gentle 2029:IV. Allegro 1993:II. Allegro 1750:V. Hornpipe 1732:IV. Andante 1696:II. Allegro 1643:binary form 1546:opera seria 1438:binary form 1311:The second 1069:II. Allegro 993:sonata form 938:IV. Allegro 920:III. Adagio 902:II. Allegro 281:Marco Ricci 273:'s poetry. 271:John Milton 248:John Dryden 238:(1740) and 192:John Dryden 5373:Categories 4591:Belshazzar 4179:Alessandro 4130:Floridante 3560:0028713826 3510:0835718336 3492:0563103493 3432:052183483X 3377:0521456134 3327:0521654092 3270:References 3101:1843832682 3063:Keefe 2005 2963:Hicks 1989 2951:Sadie 1972 2928:Sadie 1972 2881:Sadie 1972 2799:Iona Brown 2619:George III 2494:recitative 2385:The final 2343:ad libitum 2321:unprepared 2282:The final 2164:The final 2133:ad libitum 2129:ritornello 2121:concertino 2089:media help 1938:The final 1876:The third 1869:The short 1774:media help 1492:The final 1466:response. 1183:pianissimo 1129:media help 1087:III. Largo 1012:imitations 980:media help 956:V. Allegro 750:ritornello 626:Borrowings 415:Movements 181:John Walsh 67:John Walsh 55:concertino 5235:Göttingen 5228:Festivals 5161:Germanico 4882:Canticles 4527:Structure 4442:Oratorios 4326:Faramondo 4284:Ariodante 4221:Partenope 4165:Rodelinda 4158:Tamerlano 4116:Radamisto 4062:Agrippina 3694:excessive 3162:Dean 2006 3114:Dean 2006 3039:John Butt 2691:Boyd Neel 2679:facsimile 2651:, K 566. 2635:trombones 2423:Basil Lam 2339:Basil Lam 2260:allemande 2249:sarabande 2238:lentement 2221:fugue in 2215:lentement 2207:ouverture 2144:Siciliana 2140:Larghetto 2047:V. Menuet 1944:polonaise 1904:siciliana 1882:Agrippina 1864:allemande 1641:time and 1593:larghetto 1496:, marked 1436:time and 1253:polonaise 1228:Cat fugue 1210:larghetto 746:Agrippina 730:allemande 670:È si vaga 412:Composed 386:Aylesford 376:Movements 370:L'Allegro 333:Amsterdam 183:in 1738. 132:Proposals 5315:Category 4703:Cantatas 4640:Theodora 4584:Hercules 4542:Part III 4361:Deidamia 4319:Berenice 4312:Giustino 4298:Atalanta 4172:Scipione 4034:Florindo 3761:, Naples 3549:(1996), 3481:(1972), 3442:(1760), 3421:(2005), 3337:(2008), 3090:(2006), 3020:cite web 2845:See also 2807:Hänssler 2761:I Musici 2631:sackbuts 2627:Pantheon 2625:and the 2602:— 2597:chantant 2483:chaconne 2462:, which 2459:Berenice 2396:♯ 2367:♭ 2264:courante 2262:and the 2256:allegros 2181:Saraband 1975:I. Largo 1899:(1724). 1824:hornpipe 1678:I. Largo 1609:bagpipes 1584:♭ 1530:♭ 1379:HWV 76 ( 1233:♯ 1223:♯ 1154:cadenzas 1000:anapaest 839:and the 716:hornpipe 613:B minor 596:A major 579:D minor 562:F major 545:C minor 511:G minor 494:D major 477:A minor 460:E minor 443:F major 426:G major 310:, 1811: 287:, London 256:serenata 240:Deidamia 234:(1739), 169:castrati 101:— 63:continuo 5326:Commons 4979:sonatas 4977:XV solo 4822:Anthems 4654:Jephtha 4633:Solomon 4626:Susanna 4537:Part II 4521:Messiah 4493:Athalia 4486:Deborah 4432:Alceste 4305:Arminio 4256:Orlando 4242:Sosarme 4207:Tolomeo 4069:Rinaldo 4055:Rodrigo 3771:YouTube 3688:Please 3680:use of 3358:in 1785 2793:Chandos 2582:in 1772 2544:in 1784 2528:in 1784 2498:allegro 2439:allegro 2387:allegro 2379:andante 2370:major. 2358:allegro 2347:andante 2317:andante 2288:gavotte 2276:allegro 2268:allegro 2219:allegro 2211:allegro 2155:Allegro 2125:ripieno 2116:Allegro 1940:allegro 1926:in the 1924:Messiah 1820:andante 1790:allegro 1624:allegro 1616:allegro 1579:musette 1564:musette 1535:allegro 1525:musette 1521:gavotte 1471:allegro 1408:allegro 1385:allegro 1333:soprano 1329:allegro 1313:allegro 1241:allegro 1218:andante 1161:allegro 702:(1738). 666:allegro 220:gavotte 212:allegro 204:allegro 194:'s ode 59:ripieno 5349:Portal 5245:London 5175:Gideon 4803:Gloria 4612:Joshua 4570:Semele 4563:Samson 4532:Part I 4479:Esther 4354:Imeneo 4291:Alcina 4277:Oreste 4249:Catone 4186:Admeto 4144:Flavio 4137:Ottone 4048:Almira 4040:Daphne 4022:Operas 3935:format 3650: 3636:964195 3634: 3606:952543 3604: 3557: 3507: 3489: 3468: 3454:964195 3452: 3429: 3412:966459 3410: 3374: 3347: 3324: 3310:831991 3308: 3198:964270 3196: 3098: 2834:(2010) 2823:(1998) 2795:(1992) 2767:(1989) 2739:(1982) 2737:TELDEC 2725:(1968) 2697:(1952) 2331:, 1785 2296:double 2159:Minuet 2151:Imeneo 1920:Imeneo 1889:adagio 1562:. The 1494:menuet 1419:presto 1389:minuet 1369:, 1785 1337:Imeneo 1245:unison 1008:adagio 807:No. 12 793:No. 11 787:No. 10 773:Imeneo 674:Imeneo 636:Imeneo 236:Imeneo 140:Handel 110:, 1784 53:for a 5336:Audio 5240:Halle 5168:Nabal 5153:Other 4969:Flute 4425:Comus 4340:Serse 4200:Siroe 4095:Silla 4088:Teseo 3808:<, 3632:JSTOR 3602:JSTOR 3450:JSTOR 3408:JSTOR 3306:JSTOR 3249:, by 3194:JSTOR 2857:Notes 2593:tutti 2589:grand 2506:Halle 2432:largo 2375:largo 2270:, in 2247:is a 2166:gigue 2101:Largo 1933:piano 1871:grave 1798:largo 1786:largo 1464:tutti 1445:largo 1341:forte 1172:largo 1142:gigue 768:No. 9 726:No. 8 712:No. 7 706:No. 6 680:No. 5 662:No. 4 656:No. 3 650:No. 2 632:No. 1 208:largo 5271:Will 5122:Opus 5058:367b 5053:367a 5038:364b 5033:364a 5028:363b 5023:363a 5003:359b 4998:359a 4975:and 4973:solo 4500:Saul 4235:Ezio 4228:Poro 3797:and 3749:and 3648:ISBN 3555:ISBN 3505:ISBN 3487:ISBN 3466:ISBN 3427:ISBN 3372:ISBN 3345:ISBN 3322:ISBN 3096:ISBN 3026:link 3012:2014 2633:and 2441:, a 2243:The 2138:The 2123:and 2114:The 1916:Saul 1902:The 1581:in E 1443:The 1406:The 1319:The 762:Saul 728:The 607:330 590:329 573:328 556:327 539:326 522:325 505:324 488:323 471:322 454:321 437:320 420:319 409:Key 406:No. 403:HWV 364:and 362:Saul 352:and 244:Saul 73:and 47:are 35:The 5113:379 5108:378 5103:376 5098:375 5093:374 5088:373 5083:372 5078:371 5073:370 5068:369 5063:368 5048:366 5043:365 5018:362 5013:361 5008:360 4986:358 3956:i–v 3933:MP3 3931:in 3908:iii 3882:iii 3840:iii 3814:iii 3786:iii 3769:on 3757:in 3696:or 3624:doi 3620:125 3594:doi 3590:109 3400:doi 3396:130 3298:doi 3186:doi 3182:127 1502:Ode 1477:'s 1447:in 1421:in 1412:Ode 1395:'s 1263:in 799:of 740:'s 698:'s 642:of 610:12 593:11 576:10 250:'s 77:of 41:HWV 5375:: 4971:, 4037:, 3958:, 3920:vi 3912:iv 3904:ii 3894:vi 3886:iv 3878:ii 3844:iv 3836:ii 3818:iv 3810:ii 3790:iv 3782:ii 3736:, 3630:, 3618:, 3600:, 3588:, 3528:, 3406:, 3394:, 3366:, 3304:, 3294:49 3292:, 3192:, 3180:, 3022:}} 3018:{{ 2574:, 2570:: 2555:: 2213:– 2209:– 1649:. 1387:– 1383:– 1167:. 827:, 559:9 542:8 525:7 508:6 491:5 474:4 457:3 440:2 423:1 210:, 206:, 142:. 39:, 5351:: 4994:" 4990:" 4402:" 4398:" 4395:" 4391:" 4388:" 4384:" 4381:" 4377:" 4043:) 4031:( 3989:e 3982:t 3975:v 3918:, 3916:v 3914:, 3910:, 3906:, 3902:, 3900:i 3892:, 3890:v 3888:, 3884:, 3880:, 3876:, 3874:i 3848:v 3846:, 3842:, 3838:, 3834:, 3832:i 3816:, 3812:, 3806:i 3788:, 3784:, 3780:, 3778:i 3723:) 3717:( 3712:) 3708:( 3704:. 3686:. 3626:: 3596:: 3530:3 3402:: 3300:: 3188:: 3028:) 3014:. 2474:4 2229:8 2091:. 1808:4 1776:. 1634:8 1455:2 1429:8 1271:8 1131:. 982:. 843:. 764:. 722:. 676:.

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Index