Magnificats 1-4, and: Antonio Vivaldi, Gloria, George Frideric Handel, Gloria, Dixit Dominus, and: Johannes-Passion, and: Il cantico de' tre fanciulli, and: Mass & Vespers for the Feast of Holy Innocents, and: Brangle; Counterpoise; Viola Concerto, and: Just for Fun, and: Know What I Mean?, and: Hello, Goodbye, and: Keep That Groove Going!, and: Clearing, and: Green Linnet Records: 25 Years of Celtic Music, and: The King of Bluegrass, and: Bombay 2: Electric Vindaloo, and: Carousel, and: Morricone RMX (

Notes ◽  
2002 ◽  
Vol 58 (4) ◽  
pp. 901-906
Author(s):  
Rick Anderson
Keyword(s):  
George Frideric Handel ◽  
Viola Concerto ◽  
Antonio Vivaldi ◽  
Celtic Music

scholarly journals The Organ Concertos of Henry Burgess (1718–1786)

2021 ◽  
Vol 17 (2) ◽  
Author(s):  
Michael Talbot
Keyword(s):  
George Frideric Handel ◽  
Antonio Vivaldi

Henry Burgess, Junior, ­published in 1743 the earliest known set of organ concertos by an English composer. These show strongly the influence of George Frideric Handel, whose organ concertos published as Op. 4 in 1738 invented the genre, but also reveal that of Antonio Vivaldi and – more surprisingly – the English song tradition. Though still little known, Burgess is a capable and inventive composer, whose sparkling concertos, performable either with or without orchestra, deserve a place in the repertoire.

The Musical Discourse of Servitude

2020 ◽  
Author(s):  
Harry White
Keyword(s):  
Johann Sebastian Bach ◽  
George Frideric Handel ◽  
Cultural Significance ◽  
Imperial Court ◽  
Musical Works ◽  
Musical Discourse ◽  
Work Concept ◽  
Musical Genres ◽  
Church Service ◽  
Late Works

The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Baroque musical imagination which draws Fux, Bach, and Handel into the orbit of North Italian compositional practice. This typology depends on two primary concepts, both of which derive and dissent from Lydia Goehr’s formulation of the “work-concept” in The Imaginary Museum of Musical Works (1992), namely, the “authority concept” and a revised reading of the “work-concept” itself. Both concepts are engaged through the agency of two musical genres—the oratorio and the Mass ordinary—which Fux shared with Handel and Bach respectively. These genres functioned as conservative norms in Fux’s music (most of Fux’s working life was spent in writing for the church service), but they are very differently engaged by Bach and Handel. To establish a continuity between Fux, Bach and Handel, and between the servitude of common practice and the emerging autonomy of a work-based practice in the early eighteenth-century musical imagination are the principal objectives of this study.

Recordings (George Frideric Handel)

1985 ◽  
Vol 3 (3) ◽  
pp. 176-180
Author(s):  
David Hamilton
Keyword(s):  
George Frideric Handel

Partenope. George Frideric Handel

1984 ◽  
Vol 2 (1) ◽  
pp. 158-159
Author(s):  
Karin Pendle
Keyword(s):  
George Frideric Handel

George Frideric Handel: Giulio Cesare

2008 ◽  
Vol 24 (3-4) ◽  
pp. 313-324
Author(s):  
N. Link
Keyword(s):  
George Frideric Handel

Barbican, London: Turnage's Viola Concerto ‘On Opened Ground’

Tempo ◽  
2004 ◽  
Vol 58 (229) ◽  
pp. 73-74
Author(s):  
Robert Stein
Keyword(s):  
Reference Points ◽  
Viola Concerto ◽  
String Instrument

Not being a string player himself, Mark-Anthony Turnage approached his first concerto for a string instrument with some trepidation. It turns out that while the writing for the viola is idiomatic enough, Turnage has something of a love/hate relationship with traditional ideas about the concerto. Divided into two movements – Turnage admitted that in the unlikely event of his writing a symphony it would have three, five or six movements, never four – the new concerto (completed in 2001 and here given its UK première) has the expected cadenza but one that appears only 36 bars in! Such challenging attitudes to an old form characterize the new piece, subtitled On Opened Ground. Even so the work's structure – scherzando opening with slower coda, slow second movement and brisk chaconne finale – bring us back to the more usual reference points for a concerto. While he acknowledges the surprising influence of Walton ‘in the second movement’, the influence of that composer's own viola concerto is actually more pervasive than Turnage would have us believe. Even the title, while apparently making reference to Seamus Heaney's collection Opened Ground, seems to point more fruitfully to the ground bass of the second movement's chaconne. One thing is certainly as described: On Opened Ground is, as he claims, one of Turnage's most lyrical pieces and might win him an audience for whom the earlier astrigencies were too great.

Bartok's Viola Concerto

1950 ◽  
Vol 91 (1290) ◽  
pp. 301
Author(s):  
Mosco Carner
Keyword(s):  
Viola Concerto
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