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George Frideric Handel
(1685-1759)
Concerto
in
B-Flat Major
Op. 4, No. 6
Transcribed for Organ Solo by
Ennis Fruhauf
Notes
George Frideric Handel’s Concerto in
B-flat Major (Opus 4, Number 6) exists in two versions, one for organ and
another for harp. His organ concerti evolved as entr’actes to be
performed during the intermissions of his oratorios and staged works, and
they were intended for the secular entertainment and diversion of the
audiences in these intervals.
The pipe organ of Handel’s practice
and acquaintance in the first half of 18th Century London would
typically have been a one-manual keyboard instrument of limited tonal
resources, range, and scope. Thus, the interplay with the modest chamber
orchestra of the era becomes one of the vital elements of the success and
appeal of his concerti. The delicate textural dialogues between the soloist
and ensemble are equivalent to the relationship between the concertino
and ripieno of his concerti grossi.
Handel’s Opus 4, Number 6 is an
exemplar of the composer’s transparently charming compositional skills. In
the present edition, extensive ornamentation has been added to the second
movement to enhance the contrast between the alternating solo and
accompanied passages. In both the first and second movements, a pedal part
is present to underlie the ripieno sections. In the third movement,
the use of a manual 16' pitch is recommended to accentuate the contrast
between the two performing bodies; by doing so, it is possible to assign to
the pedal line a brief but effective addition to the harmonizing
contrapuntal textures in the second half of the movement. The use of varied
contrasting touches is suggested to achieve the effects of alternating
dynamics and echoes.
Ennis Fruhauf
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