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Concertmuziek - Verschenen op 8 november 2011 | harmonia mundi

Hi-Res Booklet Onderscheidingen Choc de Classica - Hi-Res Audio
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Concertmuziek - Verschenen op 25 maart 2013 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
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Kamermuziek - Verschenen op 9 februari 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
It was for the occasion of the Covent Garden premiere of his oratorio Joshua in 1748, that Handel composed – or rather arranged – the first of his three Concerti a due cori (« Cori » does not mean here a vocal group, but two instrumental groups – two oboes, two horns, and one bassoon each, a total of ten soloists – answering to each other on the playing grounds provided by the strings), namely the HWV 332. At that time, it was customary to lighten up performances of the largest compositions, especially oratorios, with a sprinkling of instrumental pieces. But as Handel was a busy man and a businessman, and producing so much music so fast was no easy feat. This accounts for the fact that so many of his instrumental pieces are in fact recyclings – transcriptions, reorchestrations, transcriptions, according to what was available and requested – of earlier works, mostly his own, sometimes that of fellow composers – who would not necessarily be informed of the pillage. In the case of Concerto a due cori No. 1, Handel plundered a handful of his own operas and oratorios. The second of Handel's Concerti a due cori, HWV 333, written around the beginning of 1747, was premiered at Covent Garden in 1748 as part of a huge musical banquet, the main course of which was the brand new oratorio Alexander Balus. Here, the composer drew from some of his own English oratorios: Esther and Messiah, the latter still quite unknown. The wind groups take over melodic lines given to singers in the original choral versions of the adapted music. The third Concerto, HWV 334, contains mostly brand new music – yes! – even though the first movement is reworked in part from Handel's so-called Fitzwilliam Overture, for two clarinets and horn, while the concluding Allegro, with its brilliant and difficult horn writing, is a rewrite of a hunting aria from his own opera Partenope. For this recording, the Freiburger Barockorchester has added a twist: each soloist group is accompanied by its own string ensemble, thus creating a higly energetic stereo effect. One orchestra is conducted (from the violin) by Gottfried von der Goltz, the other – also from the Konzertmeister position – by Petra Müllejans. © SM/Qobuz
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Symfonische muziek - Verschenen op 11 maart 2011 | harmonia mundi

Booklets Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 10 februari 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Opera - Verschenen op 3 mei 2013 | harmonia mundi

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Klassiek - Verschenen op 29 juli 2011 | deutsche harmonia mundi

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Klassiek - Verschenen op 26 augustus 2016 | harmonia mundi

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Opera - Verschenen op 24 maart 2003 | harmonia mundi

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Klassiek - Verschenen op 1 september 2011 | deutsche harmonia mundi

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Symfonische muziek - Verschenen op 4 juni 2002 | deutsche harmonia mundi

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Concertmuziek - Verschenen op 26 augustus 2011 | deutsche harmonia mundi

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Klassiek - Verschenen op 13 april 2010 | harmonia mundi

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Klassiek - Verschenen op 7 oktober 2014 | Carus

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Klassiek - Verschenen op 26 augustus 2011 | deutsche harmonia mundi

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Klassiek - Verschenen op 30 januari 2004 | harmonia mundi

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Cantates (wereldlijk) - Verschenen op 22 maart 2004 | deutsche harmonia mundi

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Klassiek - Verschenen op 1 april 1993 | deutsche harmonia mundi

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Klassiek - Verschenen op 27 augustus 2009 | deutsche harmonia mundi

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Klassiek - Verschenen op 31 augustus 1990 | deutsche harmonia mundi