George Frideric Handel (1686-1759)
Concerto Grosso in a minor, op. 6, no. 4
Following a musically fruitful youth in Germany, the twenty-one year old Georg Friedrich Händel decided to seek his fortune in Italy. This enterprise enabled him to make contact with the important musicians of that country (the Scarlattis, Corelli, Pasquini, Vivaldi, et.al.) as well as representatives of the Hannoverian and English courts. His fame as a composer and performer had become so well established that numerous employment options were open to him. He chose the Hannoverian Court whose elector was next in succession to the English throne. The composer visited, then moved to London, and his permanent association with English royalty was cemented when the elector became England’s George I. After moving to England, the composer eventually changed the spelling of his name (George Frideric Handel) and became known as an “English” composer. During the Italian sojourn, 1707-1710, Handel learned much from Corelli's compositional style, including clear, forceful construction, juxtaposition of homophony and polyphony, contrast of movements, and use of dance forms. Although writing instrumental music (overtures, dances in operas and other vocal works) throughout his career, purely orchestral music is a minor part of Handel's body of works. He did publish several groups of concertos including two sets of concerti grossi, six of Op. 3 and the twelve “Grand Concertos,” Op. 6. This latter set, conceived as a group, was written during a short period, September-October 1739, and was published in London, April 1740.
Although inspired by Corelli’s Op. 6 model, Handel followed an independent path. His Op. 6 offers a variety of types of movements (from dance movements to fugues), a varying number of movements (4-6), and a diversity of involvement of the solo instrumental group in the proceedings of each concerto. Concerto Grosso, Op. 6, No. 4 in a minor begins in the style of the sonata da chiesa (church sonata) with serious, stately motion. The second movement, a masterful, vigorous fugue, employs the solo group (concertino). Largo, e piano (slow and soft) features a stately violin section duet gently propelled along through harmonic suspensions and supported by a walking bass line. The final Allegro sports a spark of humor and again invites the concertino group into the conversation.
Joseph Haydn (1732-1809)
Symphony No. 104 (London)
After 30 years of serving the Esterházy court in Austria/Hungary, the death of the music-loving Prince Nicholas gave Haydn the opportunity to leave his provincial environment and to travel to the richest capital of the time–London. Prince Nicholas’s successor, Prince Anton, disbanded the rich Esterházy music program and gave Haydn a pension. When German born violinist and impresario Johann Peter Salomon arrived at Haydn’s door in Vienna announcing, “I am Salomon and I have come from London to fetch you,” the composer could hardly refuse. He was aware of the popularity of his works in England, and coupled with the attractive financial incentives Salomon offered, the opportunities to compose new works, perform, travel, and meet new people, he gladly accepted the invitation. Haydn’s two residencies in England 1791-2, and 1794-5 proved to be some of the happiest years of his life. All the activities for a man in his 60's seemed to go at breakneck speed, but the composer’s genius thrived and his audiences loved him. In addition to the twelve “London” symphonies, his last works in the genre, Haydn also composed piano sonatas, chamber music, and songs to English texts. The twelve “London” symphonies, six for each visit, were premiered on subscription concerts organized first by Salomon, and the last three, by his successor, Giovanni Battista Viotti. Symphony No. 104 in D , the last of the group, has been variously nicknamed “London” or “Salomon” and was first heard on an all-Haydn program at the King’s Theatre on May 4, 1795 led by the composer. Of the event, Haydn wrote in his diary that “the whole company was thoroughly pleased and so was I. I made 4000 gulden on this evening: such a thing is possible only in England.”
Following the d minor introduction launched by a fanfare, the sun comes out with the opening theme in D major. Its lightness is aided by the use of repeated notes contrasted by a sighing theme. The Andante movement is classical grace and innocence at its finest. The humorous Minuet is replete with syncopations and unusual use of instrumental combinations in which the composer indulged his English listeners. A Croatian folksong presented in rustic style with drone leads off the final movement of the master’s last symphonic offering.
Joseph Haydn (1732-1809)
Missa in Angustiis (Nelson Mass)
A few months after Haydn first came to England, he attended the Handel commemoration at Westminster Abbey, an event that made an enormous impact on him. “He is the master of us all,” Haydn said. The grandeur of Handel’s choruses and the English choral tradition were other impressions that the Austrian took away with him upon returning home. His best known choral work Creation, was a direct outcome of his English experience. His employment with the Esterházys also took a new turn with the accession of the new prince, Nicolaus II, and a reinstatement of a more significant court music program. Haydn composed six Masses between 1796 and 1802 for the celebration of the name day of Princess Marie Hermenegild, wife of the prince. While these works were intended to be celebratory, the seriousness of the times–the Napoleonic war–is reflected in several of them, including Missa in angustiis (Mass in straitened times). The connection with Nelson has not been firmly established, but Haydn is known to have admired the British admiral. News of Nelson’s victory at Aboukar against Napoleon came to Austria around the time of the first performance of the mass. In addition, two years later Nelson visited with Haydn in Eisenstadt and most likely this piece was performed for him.
An atmosphere of foreboding is set by the low trumpet fanfares in the Kyrie (Lord Have Mercy). With the Gloria (Glory to God in the Highest) Qui tollis (Who takes away the sins of the world) and Quoniam tu solus sanctus (For Thou Alone Art Holy) the sun is out and the dreadful trumpet fanfares are put away. They reappear in the Credo (I believe) (a movement not heard tonight) when the text speaks of Pontius Pilate, a figure that could be associated with Napoleon. The trumpet fanfares also reappear, surprisingly, in the traditionally comforting companion to the Sanctus (Holy)--Benedictus (Blessed is He who Comes in the Name of the Lord). The brief Agnus Dei (Lamb of God) is sung by the quartet, led by the alto. This proceeds directly to the hopeful, jubilant Dona nobis pacem (Grant us Peace).
Program notes by Linda Mack. Copyright 2005.
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