Handel’s Concerto Grosso, Op. 6: No. 2 in F Major: An Intimate Conversation

An economic calculation led Handel to compose his twelve Concerti Grossi (Op. 6) in the autumn of 1739. Italian opera was falling out of favor with the English public. The 1737 season had been disastrous for the opera company Handel directed, taking a toll on the composer’s finances and health. In an enterprising turn, Handel offered a new genre that would gain quick popularity—the English oratorio. In order to attract audiences and gain …

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Handel’s Concerto Grosso, Op. 6, No. 4 in A Minor: A Rich Potpourri

The twelve Concerto Grossi (Op. 6) composed by Handel in the autumn of 1739 offer a rich potpourri of musical forms. These orchestral suites (“large concertos”) are a collection of stately French overtures, fugues, vibrant Baroque dances, and repurposed opera arias. They pay homage to a genre that was developed by Arcangelo Corelli in the 1680s. Handel wrote the Concerto Grossi, Op. 6 as an added attraction for performances of his oratorios at London’s Lincoln’s …

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Handel’s Concerto Grosso, Op. 6, No. 5 in D Major: “Arise! Arise!”

The tuneful Voice, was heard from high, Arise! Arise! Arise ye more than dead! – John Dryden (A Song for Saint Cecilia’s Day) Handel’s Concerto Grosso, Op. 6, No. 5 begins with a joyful musical “call to order.” A celebratory fanfare in the solo violin seems to be the “tuneful voice” from John Dryden’s 1687 poem, urging us to “arise!” In fact, the first, second, and sixth movements of this Concerto Grosso …

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Thomas Jefferson: Architect, Musician

Hierarchy is a powerful concept in architecture. Some buildings, such as Frank Gehry’s iconic Guggenheim Museum in Bilbao, Spain, or the Sydney Opera House, rising out of the harbor with its bright “sails,” grab our attention and dominate the landscape. The majestic, muscular Art Deco City Hall in Buffalo, New York is another, if less obvious, example. It nobly anchors the city’s main public square, telling us, “this place is important.” The building …

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