Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.) See Terms & Conditions for p&p rates. | |  | Handel: Concerti Grossi
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| |  | Handel - Concerti grossi Op. 6 Volume 2
“The first disc of the ever-fresh Op 6 Concertigrossi includes the oboe parts that Handel later added to Nos 1, 2, 5 and 6. The performances are brimful of vitality, and the clean articulation and light, predominantly detached style give the music buoyancy and help to bring out Handel's often mischievous twinkle in the eye. Speeds are generally brisk, with boldly vigorous playing, but Standage's team can also spin a tranquil broad line. Dynamics throughout are subtly graded, and except in one final cadence ornamentation is confined to small cadential trills. On the second disc, except, in the sombre colours in the splendid G minor Concerto (No 6) – here with oboe and the agreeable addition of a theorbo to the continuo – there's a general air of cheerfulness that's most engaging. The fugue in No 7 is wittily buoyant, the Allegro in No 9, borrowed from the Cuckoo and the nightingale Organ Concerto, could scarcely be more high-spirited, the final Passepied of No 6 and the Hornpipe of No 7 are spring-toed; and Standage's feeling for convincing tempos is nowhere better shown than in the long Musette of No 6, which in other hands can drag. Phrasing everywhere is shapely, and the surprise chords that interrupt the flow of No 8's Allemande are admirably 'placed'. On the final disc the playing is always on its toes – positively twinkling in dance movements such as the concluding fugal gigue of No 12. The last two concertos, No 11 in particular, give Simon Standage an opportunity to shine as a soloist; his ad lib sections are tastefully done, without excesses; his semiquavers in the variants of the A major Andante are feather-light. All dynamics are well contrasted in a natural way, and the tempos nicely judged; a slightly faster repeat of the first half of No 10's fifth movement suggests the splicing of a different take. As a fillup, we're presented with the Alexander's Feast concerto grosso, for which the string group is joined by oboes and bassoon. The excellent concertino of two violins and cello is thrown into high relief and the Allegro movements are performed with a delightful spring.” Gramophone Classical Music Guide, 2010 | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Handel - Dixit Dominus
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| |  | Handel - Concerti Grossi
Handel: | Concerto Grosso Op. 3 No. 1 in B flat major, HWV312 Concerto Grosso Op. 3 No. 2 in B flat major, HWV313 Concerto Grosso Op. 3 No. 3 in G major, HWV314 Concerto Grosso Op. 3 No. 4a in F Major, HWV315 Concerto Grosso Op. 3 No. 5 in D minor, HWV316 Concerto Grosso Op. 3 No. 6 in D major, HWV317 Concerto Grosso Op. 3 No. 4b in F major Concerto grosso, Op. 6 No. 1 in G major, HWV319 Concerto grosso, Op. 6 No. 2 in F major, HWV320 Concerto grosso, Op. 6 No. 3 in E minor, HWV321 Concerto grosso, Op. 6 No. 4 in A minor, HWV322 Concerto grosso, Op. 6 No. 5 in D major, HWV323 Concerto grosso, Op. 6 No. 6 in G minor, HWV324 |
Neues Bachisches Collegium Musicum Leipzig, Max Pommer | |
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| |  | Handel - Music For Organ
Handel: | Organ Concerto No. 16 in F major, HWV305 A Voluntary on a Flight of Angels Pieces for a musical clock Fugue for Organ in E major Fugue in G minor, HWV605 Fugue in G major, HWV606 Fugue in B-flat major, HWV607 Fugue in B minor, HWV608 Fugue in A minor, HWV609 Fugue in C minor, HWV610 Concerto grosso, Op. 6 No. 10 in D minor, HWV328 Concerto grosso, Op. 6 No. 1 in G major, HWV319 Concerto grosso, Op. 6 No. 5 in D major, HWV323 Concerto grosso, Op. 6 No. 6 in G minor, HWV324 |
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| |  | Handel: Concerti Grossi, Op. 6 Nos. 5-8
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| |  | Romantische Leseabende
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Handel’s Concerti Grossi contain some of the finest orchestral music of the eighteenth century. The Op. 6 collection brims with a wealth of variety, colour, and dance rhythms – Polish and Pastoral dances, courtly and fast ones – and Handel’s customary self-borrowings and indeed borrowings from other composers. The combination of full orchestra with a concertino solo group of two violins and cello allows both breadth and intimacy, producing concertos in the fullest sense. On this recording Kevin Mallon incorporates the later oboe parts for Concertos Nos. 1, 2, 5 and 6, using them as a model for most of the other concertos. When the oboes are silent, flutes or recorders are added, in line with eighteenth-century practice. “Mallon's new recordings with his Canadian period instrument ensemble offers honest, unfussy readings...while the Aradia Ensemble rarely wants for urbanity, warmth and clarity, a certain under-characterisation can merge one concerto into another.” BBC Music Magazine, April 2013 *** | 
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