mastees

The "Messiah" (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the Psalms included with the Book of Common Prayer (which are worded slightly differently from their King James counterparts). It was first performed in Dublin on 13 April 1742, and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. Handel's reputation in England, where he had lived since 1713, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s, in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of conventional opera, it is not in dramatic form; there are no impersonations of characters and very little direct speech. Instead, Jennens's text is an extended reflection on Jesus Christ as Messiah, moving from the prophetic phrases of Isaiah and others, through the Incarnation, Passion and Resurrection of Christ to his ultimate glorification in heaven. Handel wrote Messiah for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified by (among others) Mozart. In the late 20th and early 21st centuries the trend has been towards authenticity; most contemporary performances show a greater fidelity towards Handel's original intentions, although "big Messiah" productions continue to be mounted. At the end of his manuscript Handel wrote the letters "SDG"—Soli Deo Gloria, "To God alone the glory". This inscription, taken with the speed of composition, has encouraged belief in the apocryphal story that Handel wrote the music in a fervour of divine inspiration in which, as he wrote the "Hallelujah" chorus, "he saw all heaven before him". Many of Handel's operas, of comparable length and structure to Messiah, were composed within similar timescales between theatrical seasons. Although originally written for Full Orchestra, I created this arrangement for Small Orchestra (Piccolo Trumpet, Bb Trumpet, Flute, Oboe, Bb Clarinet, English Horn, French Horn, Bassoon, Timpani, Violins, Violas & Cellos).

If Georg Friedrich Händel's (1685 – 1759) first published collection of concerti grossi, the 6 Concerti grossi, Op. 3 of 1734, HWV 312-317, seems a bit imbalanced and at times even peculiar, it is only fair to mention that Handel himself seems to have had nothing whatsoever to do with putting the volume together. Indeed, it isn't at all certain that Handel even intended the music of Op. 3 to be molded into a series of multi-movement ensemble concertos; it seems rather that publisher John Walsh, seeking to cash in on the commercial success of Corelli's famous Opus 6 Concerti grossi, simply threw a few dozen already existing Handel works together and, grouping them into six "concertos," gave them the name by which they are still known. Though the concerti grossi of Op. 3 suffer somewhat from the ramshackle circumstances of their birth--it is probably well, for their sakes, not to compare them too much with Handel's other collection of works in the form, the superb Opus 6--as a testament to the richness of their composer's musical language, and to the musical adaptability that has earned Handel the nickname "The Great Chameleon," they are unimpeachable. The variety of design in Op. 3 is rather enjoyable. Just one of the six concertos are cast in the usual four movements, the other four having anything between two and five. Only on a few occasions does Handel (and/or Walsh) choose to set up the instrumental forces in the traditional concerto grosso manner, i.e. a tutti group and a contrasting, soloistic concertino group. The concertos, however, are filled with virtuoso solo passages for both the string and the woodwind players, and so the spirit of the concerto grosso tradition is intact even if the rigid delineation of performing forces is absent. Probably the earliest of the Op. 3 music is contained in the very first concerto of the volume, the Concerto grosso in B flat major/G minor, Op. 3, No. 2. The first of its three movements is in B flat major, the last in G minor. While such asymmetry of tonal design was by no means unheard of, it certainly cannot be considered standard practice for the eighteenth century. The opening movement of the five-movement Concerto grosso in B flat major, Op. 3, No. 2 bears a close relationship with Handel's Brockes Passion of 1716; unusually, a pair of dance movements--a minuet and a gavotte--wrap the Concerto up. The third Concerto (G major, in which the oboe is optionally to be replaced by a flute) is again in three movements (the opening Largo is so brief that it really cannot be counted as a movement unto itself), while the Concerto grosso in F major, Op. 3, No. 4 is one of the two pieces in the opus that follow a four movement framework. The layout of this striking work is anything but typical of concerto grosso style, however, as the music was lifted straight from the multi-sectioned overture to the 1715 opera Amadigi di Gaula. Save for the addition of an extra allegro movement at the very end, the Concerto grosso in D minor, Op. 3, No. 5--and for the lack of division into tutti and concertino--follows the traditional Italian model closest of all the Op. 3 works. The final work of the volume, the Concerto in D major, Op. 3, No. 6, has just two movements, and both are fast. The Vivace, whose music is extracted from the 1723 opera Ottone, casts the two oboes in starring roles, while in the Allegro, taken from the overture to the 1712 opera Il pastor fido, we are treated to a sparkling, two-sectioned minuet. Source: AllMusic (https://www.allmusic.com/composition/...). Although originally written for Baroque Orchestra, I created this Interpretation of the Concerto Grosso in Bb Major (HWV 312 Opus 3 No. 1) for Winds (Flute, Oboe & Bassoon) & Strings (2 Violins, Viola & Cello).

If Georg Friedrich Händel's (1685 – 1759) first published collection of concerti grossi, the 6 Concerti grossi, Op. 3 of 1734, HWV 312-317, seems a bit imbalanced and at times even peculiar, it is only fair to mention that Handel himself seems to have had nothing whatsoever to do with putting the volume together. Indeed, it isn't at all certain that Handel even intended the music of Op. 3 to be molded into a series of multi-movement ensemble concertos; it seems rather that publisher John Walsh, seeking to cash in on the commercial success of Corelli's famous Opus 6 Concerti grossi, simply threw a few dozen already existing Handel works together and, grouping them into six "concertos," gave them the name by which they are still known. Though the concerti grossi of Op. 3 suffer somewhat from the ramshackle circumstances of their birth--it is probably well, for their sakes, not to compare them too much with Handel's other collection of works in the form, the superb Opus 6--as a testament to the richness of their composer's musical language, and to the musical adaptability that has earned Handel the nickname "The Great Chameleon," they are unimpeachable. The variety of design in Op. 3 is rather enjoyable. Just one of the six concertos are cast in the usual four movements, the other four having anything between two and five. Only on a few occasions does Handel (and/or Walsh) choose to set up the instrumental forces in the traditional concerto grosso manner, i.e. a tutti group and a contrasting, soloistic concertino group. The concertos, however, are filled with virtuoso solo passages for both the string and the woodwind players, and so the spirit of the concerto grosso tradition is intact even if the rigid delineation of performing forces is absent. Probably the earliest of the Op. 3 music is contained in the very first concerto of the volume, the Concerto grosso in B flat major/G minor, Op. 3, No. 2. The first of its three movements is in B flat major, the last in G minor. While such asymmetry of tonal design was by no means unheard of, it certainly cannot be considered standard practice for the eighteenth century. The opening movement of the five-movement Concerto grosso in B flat major, Op. 3, No. 2 bears a close relationship with Handel's Brockes Passion of 1716; unusually, a pair of dance movements--a minuet and a gavotte--wrap the Concerto up. The third Concerto (G major, in which the oboe is optionally to be replaced by a flute) is again in three movements (the opening Largo is so brief that it really cannot be counted as a movement unto itself), while the Concerto grosso in F major, Op. 3, No. 4 is one of the two pieces in the opus that follow a four movement framework. The layout of this striking work is anything but typical of concerto grosso style, however, as the music was lifted straight from the multi-sectioned overture to the 1715 opera Amadigi di Gaula. Save for the addition of an extra allegro movement at the very end, the Concerto grosso in D minor, Op. 3, No. 5--and for the lack of division into tutti and concertino--follows the traditional Italian model closest of all the Op. 3 works. The final work of the volume, the Concerto in D major, Op. 3, No. 6, has just two movements, and both are fast. The Vivace, whose music is extracted from the 1723 opera Ottone, casts the two oboes in starring roles, while in the Allegro, taken from the overture to the 1712 opera Il pastor fido, we are treated to a sparkling, two-sectioned minuet. Source: AllMusic (https://www.allmusic.com/composition/...). Although originally written for Baroque Orchestra, I created this Interpretation of the Concerto Grosso in Bb Major (HWV 312 Opus 3 No. 1) for Winds (Flute, Oboe & Bassoon) & Strings (2 Violins, Viola & Cello).

Frédéric François Chopin (1810 – 1849) was a Polish composer and virtuoso pianist of the Romantic era who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose "poetic genius was based on a professional technique that was without equal in his generation." The nineteenth century saw the emergence of several new forms and genres, in some part as a departure from the great sonata form enlarged and expanded by Beethoven. As a result, many composers, especially for the piano, were turning towards more intimate character pieces. These miniatures allowed for the brief exploration of an idea, whether technical or emotional. Among the new genres appearing at the time was Chopin's Mazurka, a fusion of three Polish dance forms with the classical traditions of the composer's homeland. The three dance forms, the Mazur, the Kujawiak, and the Oberek, are sometimes found in their pure form, but often are merged with each other or with other genres or styles. The Mazurka enabled Chopin to explore many different dynamic, harmonic, and melodic colors, and to create many different personalities and characteristics. The result is a genre that can't be described universally, each piece being unique. The Mazurkas of Opus 33 each present distinct traits and characteristics. The first, marked Lento, has a lyrical, expressive melody line over a waltz pattern in the bass. The mood shifts effortlessly between mournful and hopeful, with a cherished and delicate intimacy. The second Mazurka is a true Oberek, impetuous, fast, and with strong, irregular accents. The mood is joyous, with playful, comic tremolo figures. The coda is free and full of flurries. The third piece of the collection, marked Semplice, is truly a simple and innocent approach to the genre. The sweet, tender melodic line is supported by subtly accented second beats, keeping the flavor of the dance. The final Mazurka adds rhythmic interest to the set, with the grace notes and trills bringing a rustic, native feel. The piece is written in rondo form, with several different characters appearing in the episodes between the recurring original theme. Source: AllMusic (https://www.allmusic.com/composition/... ). Although originally composed for solo piano, I created this interpretation of the Mazurka in B Minor (Op. 33 No. 4) for Woodwind Quartet (Flute, Oboe, Bb Clarinet & Bassoon). Sheet music made with MuseScore - https://musescore.com

Frédéric François Chopin (1810 – 1849) was a Polish composer and virtuoso pianist of the Romantic era who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose "poetic genius was based on a professional technique that was without equal in his generation." The nineteenth century saw the emergence of several new forms and genres, in some part as a departure from the great sonata form enlarged and expanded by Beethoven. As a result, many composers, especially for the piano, were turning towards more intimate character pieces. These miniatures allowed for the brief exploration of an idea, whether technical or emotional. Among the new genres appearing at the time was Chopin's Mazurka, a fusion of three Polish dance forms with the classical traditions of the composer's homeland. The three dance forms, the Mazur, the Kujawiak, and the Oberek, are sometimes found in their pure form, but often are merged with each other or with other genres or styles. The Mazurka enabled Chopin to explore many different dynamic, harmonic, and melodic colors, and to create many different personalities and characteristics. The result is a genre that can't be described universally, each piece being unique. The Mazurkas of Opus 33 each present distinct traits and characteristics. The first, marked Lento, has a lyrical, expressive melody line over a waltz pattern in the bass. The mood shifts effortlessly between mournful and hopeful, with a cherished and delicate intimacy. The second Mazurka is a true Oberek, impetuous, fast, and with strong, irregular accents. The mood is joyous, with playful, comic tremolo figures. The coda is free and full of flurries. The third piece of the collection, marked Semplice, is truly a simple and innocent approach to the genre. The sweet, tender melodic line is supported by subtly accented second beats, keeping the flavor of the dance. The final Mazurka adds rhythmic interest to the set, with the grace notes and trills bringing a rustic, native feel. The piece is written in rondo form, with several different characters appearing in the episodes between the recurring original theme. Source: AllMusic (https://www.allmusic.com/composition/... ). Although originally composed for solo piano, I created this interpretation of the Mazurka in B Minor (Op. 33 No. 4) for Woodwind Quartet (Flute, Oboe, Bb Clarinet & Bassoon). Sheet music made with MuseScore - https://musescore.com

SVUMC Bell Choir Performance (9-24-2017) Service 3

Georg Friedrich Händel (1685 – 1759) was a true European. He had a German work ethic, Italian passion and a Dutch head for business. And after training in Germany and Italy, from 1711 he went on to win the hearts of the British. He wooed them with his many operas and oratorios, and with instrumental works like his Water Music and Music for the Royal Fireworks. Yet during his lifetime, he was renowned not only as an organist, but also as one of the greatest harpsichordists of his day. The public couldn’t get enough of him on the harpsichord, either as a composer or a musician. Evidently times change. However, if we take a closer look at the period during which Handel settled in London, we soon see that people were occupied with the same issues then as they are today. The signing of the Treaty of Utrecht in 1713 finally brought peace after a long period of war, and with it a lasting balance of power in Europe. It was a historic moment, comparable to the foundation of the European Union. Historic, partly because it was the first time a treaty had been signed not on the battle field but at the negotiating table. For Handel it was a fortunate development as it allowed him to move much more freely around Europe. At the same time, England had not done badly out of the peace deal it had struck in Utrecht. Welfare in the country increased, certainly in London. Handel brought together new and old material, but just what was old and what was new we do not know. Probably some of the work dated from his student days in Germany, some from his years in Italy, and the new material from his time in London. The German folksongs in the Air of the Suite in D Minor and the Passacaille from the Suite in G Major could well have been composed in his German years, as could some of the Fugues. According to Grove Music, Handel's keyboard pieces were "all probably for harpsichord and written before 1720, unless otherwise stated"; specifically for HWV 485, Grove says "for 2-manual hpd". Source: Wikipedia (https://en.wikipedia.org/wiki/George_...). Although originally written for Keyboard, I created this Arrangement of the Suite in D Minor (HWV 437 No. 12) for Organ (2 Manuals w/o Pedals).

Domenico Scarlatti began his compositional career following in the footsteps of his father Alessandro Scarlatti by writing operas, chamber cantatas, and other vocal music, but he is most remembered for his 555 keyboard sonatas, written between approximately 1719 and 1757. Published in 1738 in the Essercizi per gravicembalo, which contained the composer's first 30 keyboard sonatas, this D minor effort is one of 15 works in that volume marked Presto. It is thus hardly surprising to observe that the work brims with energy and drive, traits typical of Scarlatti, especially in his years. The Sonata opens with a lively theme whose busy but chipper demeanor takes on many colorful guises as the music proceeds: after the exposition, Scarlatti adds glissando-like descending scales that impart a sense of diving, or even of swooping down from the clouds above. In the end, most will hear the work as a tour de force of keyboard color and virtuosity. True, some listeners may charge that the music has an episodic feel, as one section stops and another simply starts with different material. But the thematic developments and relationships within each are relatively easy for the listener to discern, not least because of the composer's brilliant sense for thematic transformation and keyboard color. This Sonata in D minor -- one of 32 in the composer's canon of 555, by the way -- lasts only about two-and-a-half minutes. Source: AllMusic (https://www.allmusic.com/composition/...). Although originally composed for Keyboard, I created this Transcription for Concert (Pedal) Harp. Sheet music made with MuseScore - https://musescore.com

Johann Sebastian Bach was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although he did not introduce new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation, and the adaptation of rhythms, forms and textures from abroad, particularly from Italy and France. This fugue was most likely written during Bach's Weimar years, 1708-1717, when he was in the service of the Duke of Sachsen-Weimar as court organist. He composed much organ and keyboard music during this period, including another fugue on a theme of Albinoni, that one in A major and with the listing BWV 950. This B minor effort features a theme of no outstanding quality, but then Bach needed little inspiration to compose in any genre. He thus fashions a quite worthwhile piece here from seemingly modest materials. The theme itself is made to fit Bach's contrapuntal soul, beginning in the middle range with no accompaniment on its first appearance. The main line then moves to the upper register, with supporting fugal activity coming from the left hand in the middle range. Thereafter, the music busily develops, busily sprouts variants, the main line moving from one hand to the other and leaving the listener in awe at its wealth of ideas, breathless at its unrelenting energy and mixture of ambition and delight. Lasting four to five minutes, this work is probably not a major masterpiece, but at least a minor achievement worth greater attention. Source: Allmusic (http://www.allmusic.com/composition/f...). Although originally written for Harpsichord. I created this Interpretation of the Fugue in A Major (BWV 950) for String Trio (Violin, Viola & Cello). Sheet music made with MuseScore - https://musescore.com

SVUMC Bell Choir Performance (9-24-2017) Service 3

Georg Friedrich Händel (1685 – 1759) was a true European. He had a German work ethic, Italian passion and a Dutch head for business. And after training in Germany and Italy, from 1711 he went on to win the hearts of the British. He wooed them with his many operas and oratorios, and with instrumental works like his Water Music and Music for the Royal Fireworks. Yet during his lifetime, he was renowned not only as an organist, but also as one of the greatest harpsichordists of his day. The public couldn’t get enough of him on the harpsichord, either as a composer or a musician. Evidently times change. However, if we take a closer look at the period during which Handel settled in London, we soon see that people were occupied with the same issues then as they are today. The signing of the Treaty of Utrecht in 1713 finally brought peace after a long period of war, and with it a lasting balance of power in Europe. It was a historic moment, comparable to the foundation of the European Union. Historic, partly because it was the first time a treaty had been signed not on the battle field but at the negotiating table. For Handel it was a fortunate development as it allowed him to move much more freely around Europe. At the same time, England had not done badly out of the peace deal it had struck in Utrecht. Welfare in the country increased, certainly in London. Handel brought together new and old material, but just what was old and what was new we do not know. Probably some of the work dated from his student days in Germany, some from his years in Italy, and the new material from his time in London. The German folksongs in the Air of the Suite in D Minor and the Passacaille from the Suite in G Major could well have been composed in his German years, as could some of the Fugues. According to Grove Music, Handel's keyboard pieces were "all probably for harpsichord and written before 1720, unless otherwise stated"; specifically for HWV 485, Grove says "for 2-manual hpd". Source: Wikipedia (https://en.wikipedia.org/wiki/George_...). Although originally written for Keyboard, I created this Arrangement of the Suite in D Minor (HWV 437 No. 12) for Organ (2 Manuals w/o Pedals).

Domenico Scarlatti began his compositional career following in the footsteps of his father Alessandro Scarlatti by writing operas, chamber cantatas, and other vocal music, but he is most remembered for his 555 keyboard sonatas, written between approximately 1719 and 1757. Published in 1738 in the Essercizi per gravicembalo, which contained the composer's first 30 keyboard sonatas, this D minor effort is one of 15 works in that volume marked Presto. It is thus hardly surprising to observe that the work brims with energy and drive, traits typical of Scarlatti, especially in his years. The Sonata opens with a lively theme whose busy but chipper demeanor takes on many colorful guises as the music proceeds: after the exposition, Scarlatti adds glissando-like descending scales that impart a sense of diving, or even of swooping down from the clouds above. In the end, most will hear the work as a tour de force of keyboard color and virtuosity. True, some listeners may charge that the music has an episodic feel, as one section stops and another simply starts with different material. But the thematic developments and relationships within each are relatively easy for the listener to discern, not least because of the composer's brilliant sense for thematic transformation and keyboard color. This Sonata in D minor -- one of 32 in the composer's canon of 555, by the way -- lasts only about two-and-a-half minutes. Source: AllMusic (https://www.allmusic.com/composition/...). Although originally composed for Keyboard, I created this Transcription for Concert (Pedal) Harp. Sheet music made with MuseScore - https://musescore.com

Johann Sebastian Bach was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although he did not introduce new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation, and the adaptation of rhythms, forms and textures from abroad, particularly from Italy and France. This fugue was most likely written during Bach's Weimar years, 1708-1717, when he was in the service of the Duke of Sachsen-Weimar as court organist. He composed much organ and keyboard music during this period, including another fugue on a theme of Albinoni, that one in A major and with the listing BWV 950. This B minor effort features a theme of no outstanding quality, but then Bach needed little inspiration to compose in any genre. He thus fashions a quite worthwhile piece here from seemingly modest materials. The theme itself is made to fit Bach's contrapuntal soul, beginning in the middle range with no accompaniment on its first appearance. The main line then moves to the upper register, with supporting fugal activity coming from the left hand in the middle range. Thereafter, the music busily develops, busily sprouts variants, the main line moving from one hand to the other and leaving the listener in awe at its wealth of ideas, breathless at its unrelenting energy and mixture of ambition and delight. Lasting four to five minutes, this work is probably not a major masterpiece, but at least a minor achievement worth greater attention. Source: Allmusic (http://www.allmusic.com/composition/f...). Although originally written for Harpsichord. I created this Interpretation of the Fugue in A Major (BWV 950) for String Trio (Violin, Viola & Cello). Sheet music made with MuseScore - https://musescore.com

The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725. Although Suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. The suites were later given the name 'French' (first recorded usage by Friedrich Wilhelm Marpurg in 1762). Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who wrote in his 1802 biography of Bach, "One usually calls them French Suites because they are written in the French manner." This claim, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. The Courantes of the first (in D minor) and third (in B minor) suites are in the French style, the Courantes of the other four suites are all in the Italian style. In any case Bach also employed dance movements (such as the Polonaise of the Sixth suite) that are foreign to the French manner. Usually, the swift second movement after the Allemande is named either Courante (French style) or Corrente (Italian style), but in all these suites the second movements are named Courante, according to the Bach catalog listing, which supports the suggestion that these suites are "French". Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably led to the tradition of calling them "French" Suites. Two additional suites, one in A minor (BWV 818), the other in E-flat Major (BWV 819), are linked to the familiar six in some manuscripts. The Overture in the French style, BWV 831, which Bach published as the second part of Clavier-Übung, is a suite in the French style but not connected to the French suites. Some manuscripts have movements not found in other copies, which are probably spurious. Source: Wikipedia (https://en.wikipedia.org/wiki/French_...)). Although originally written for Harpsichord. I created this Arrangement of the Allemande from the French Suite No. 6 in E Major (BWV 817 No. 1) for Concert (Pedal) Harp.

The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725. Although Suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. The suites were later given the name 'French' (first recorded usage by Friedrich Wilhelm Marpurg in 1762). Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who wrote in his 1802 biography of Bach, "One usually calls them French Suites because they are written in the French manner." This claim, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. The Courantes of the first (in D minor) and third (in B minor) suites are in the French style, the Courantes of the other four suites are all in the Italian style. In any case Bach also employed dance movements (such as the Polonaise of the Sixth suite) that are foreign to the French manner. Usually, the swift second movement after the Allemande is named either Courante (French style) or Corrente (Italian style), but in all these suites the second movements are named Courante, according to the Bach catalog listing, which supports the suggestion that these suites are "French". Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably led to the tradition of calling them "French" Suites. Two additional suites, one in A minor (BWV 818), the other in E-flat Major (BWV 819), are linked to the familiar six in some manuscripts. The Overture in the French style, BWV 831, which Bach published as the second part of Clavier-Übung, is a suite in the French style but not connected to the French suites. Some manuscripts have movements not found in other copies, which are probably spurious. Source: Wikipedia (https://en.wikipedia.org/wiki/French_...)). Although originally written for Harpsichord. I created this Arrangement of the Allemande from the French Suite No. 6 in E Major (BWV 817 No. 1) for Concert (Pedal) Harp.

Most music lovers have encountered Georg Friedrich Händel (1685 – 1759) through holiday-time renditions of the Messiah's "Hallelujah" chorus. And many of them know and love that oratorio on Christ's life, death, and resurrection, as well as a few other greatest hits like the orchestral Water Music and Royal Fireworks Music, and perhaps Judas Maccabeus or one of the other English oratorios. Yet his operas, for which he was widely known in his own time, are the province mainly of specialists in Baroque music, and the events of his life, even though they reflected some of the most important musical issues of the day, have never become as familiar as the careers of Bach or Mozart. Perhaps the single word that best describes his life and music is "cosmopolitan": he was a German composer, trained in Italy, who spent most of his life in England. Handel's first volume of Suites for keyboard was published in London in 1720 by Handel himself because, as he wrote in the preface, "surrepticious [sic] and incorrect Copies of them had got Abroad." Also called Suites de pieces pour le clavecin or Lessons because they were used by Handel for didactic purposes, the suites are sets of stylized dances often preceded by a prelude and sometimes including a fugue or a set of variations. The first suite from the first volume is in A major and consists of four movements: Prelude, Allemande, Courante, and Gigue. The opening Prelude is a toccata, a touch piece, with massive rolled chords, connected scales, and trills. The Allemande, marked Andantino, is a slight and delightful piece in first two, then three, then four, and finally five voices. The Courante is a lively, triple-time dance with elegant embellishments and a graceful rhythm. The closing Gigue is a brilliant piece in fast 12/8 with rushing lines and rambunctious half trills. Source: AllMusic (https://www.allmusic.com/composition/...). Although originally written for Keyboard, I created this Arrangement of the Suite in A Major (HWV 426 No. 1) for Concert (Pedal) Harp.

Most music lovers have encountered Georg Friedrich Händel (1685 – 1759) through holiday-time renditions of the Messiah's "Hallelujah" chorus. And many of them know and love that oratorio on Christ's life, death, and resurrection, as well as a few other greatest hits like the orchestral Water Music and Royal Fireworks Music, and perhaps Judas Maccabeus or one of the other English oratorios. Yet his operas, for which he was widely known in his own time, are the province mainly of specialists in Baroque music, and the events of his life, even though they reflected some of the most important musical issues of the day, have never become as familiar as the careers of Bach or Mozart. Perhaps the single word that best describes his life and music is "cosmopolitan": he was a German composer, trained in Italy, who spent most of his life in England. Handel's first volume of Suites for keyboard was published in London in 1720 by Handel himself because, as he wrote in the preface, "surrepticious [sic] and incorrect Copies of them had got Abroad." Also called Suites de pieces pour le clavecin or Lessons because they were used by Handel for didactic purposes, the suites are sets of stylized dances often preceded by a prelude and sometimes including a fugue or a set of variations. The first suite from the first volume is in A major and consists of four movements: Prelude, Allemande, Courante, and Gigue. The opening Prelude is a toccata, a touch piece, with massive rolled chords, connected scales, and trills. The Allemande, marked Andantino, is a slight and delightful piece in first two, then three, then four, and finally five voices. The Courante is a lively, triple-time dance with elegant embellishments and a graceful rhythm. The closing Gigue is a brilliant piece in fast 12/8 with rushing lines and rambunctious half trills. Source: AllMusic (https://www.allmusic.com/composition/...). Although originally written for Keyboard, I created this Arrangement of the Suite in A Major (HWV 426 No. 1) for Concert (Pedal) Harp.

For the 1739–1740 season at the Lincoln's Inn Fields theatre, Handel composed Twelve Grand Concertos to be performed during intervals in these masques and oratorios, as a feature to attract audiences: forthcoming performances of the new concertos were advertised in the London daily papers. Following the success of his organ concertos Op.4, his publisher John Walsh had encouraged Handel to compose a new set of concertos for purchase by subscription under a specially acquired Royal License. There were just over 100 subscribers, including members of the royal family, friends, patrons, composers, organists and managers of theatres and pleasure-gardens, some of whom bought multiple sets for larger orchestral forces. Handel's own performances usually employed two continuo instruments, either two harpsichords or a harpsichord and a chamber organ; some of the autograph manuscripts have additional parts appended for oboes, the extra forces available for performances during oratorios. Walsh had himself very successfully sold his own 1715 edition of Corelli's celebrated Twelve concerti grossi Op.6, first published posthumously in Amsterdam in 1714. The later choice of the same opus number for the second edition of 1741, the number of concertos and the musical form cannot have been entirely accidental; more significantly Handel in his early years in Rome had encountered and fallen under the influence of Corelli and the Italian school. The twelve concertos were produced in a space of five weeks in late September and October 1739, with the dates of completion recorded on all but No.9. The ten concertos of the set that were largely newly composed were first heard during performance of oratorios later in the season. The two remaining concertos were reworkings of organ concertos, HWV 295 in F major (nicknamed "the Cuckoo and the Nightingale" because of the imitations of birdsong in the organ part) and HWV 296 in A major, both of which had already been heard by London audiences earlier in 1739. In 1740 Walsh published his own arrangements for solo organ of these two concertos, along with arrangements of four of the Op.6 concerti grossi (Nos. 1, 4, 5 and 10). Source: Wikipedia (https://en.wikipedia.org/wiki/Concert...)). Although originally written for Baroque Orchestra, I created this Interpretation of the Concerto Grosso in A Major (HWV 329 Opus 6 No 11) for Double-Reeds (Oboe & English Horn) & Strings (2 Violins, Viola & Cello).

For the 1739–1740 season at the Lincoln's Inn Fields theatre, Handel composed Twelve Grand Concertos to be performed during intervals in these masques and oratorios, as a feature to attract audiences: forthcoming performances of the new concertos were advertised in the London daily papers. Following the success of his organ concertos Op.4, his publisher John Walsh had encouraged Handel to compose a new set of concertos for purchase by subscription under a specially acquired Royal License. There were just over 100 subscribers, including members of the royal family, friends, patrons, composers, organists and managers of theatres and pleasure-gardens, some of whom bought multiple sets for larger orchestral forces. Handel's own performances usually employed two continuo instruments, either two harpsichords or a harpsichord and a chamber organ; some of the autograph manuscripts have additional parts appended for oboes, the extra forces available for performances during oratorios. Walsh had himself very successfully sold his own 1715 edition of Corelli's celebrated Twelve concerti grossi Op.6, first published posthumously in Amsterdam in 1714. The later choice of the same opus number for the second edition of 1741, the number of concertos and the musical form cannot have been entirely accidental; more significantly Handel in his early years in Rome had encountered and fallen under the influence of Corelli and the Italian school. The twelve concertos were produced in a space of five weeks in late September and October 1739, with the dates of completion recorded on all but No.9. The ten concertos of the set that were largely newly composed were first heard during performance of oratorios later in the season. The two remaining concertos were reworkings of organ concertos, HWV 295 in F major (nicknamed "the Cuckoo and the Nightingale" because of the imitations of birdsong in the organ part) and HWV 296 in A major, both of which had already been heard by London audiences earlier in 1739. In 1740 Walsh published his own arrangements for solo organ of these two concertos, along with arrangements of four of the Op.6 concerti grossi (Nos. 1, 4, 5 and 10). Source: Wikipedia (https://en.wikipedia.org/wiki/Concert...)). Although originally written for Baroque Orchestra, I created this Interpretation of the Concerto Grosso in A Major (HWV 329 Opus 6 No 11) for Double-Reeds (Oboe & English Horn) & Strings (2 Violins, Viola & Cello).

Pyotr Ilyich Tchaikovsky (1840 - 1893) was a Russian composer who lived in the Romantic period. He is one of the most popular of all Russian composers. He wrote melodies which were usually dramatic and emotional. He learned a lot from studying the music of Western Europe, but his music also sounds very Russian. His compositions include 11 operas, 3 ballets, orchestral music, chamber music and over 100 songs. His famous ballets (Swan Lake, The Nutcracker and Sleeping Beauty) have some of the best known tunes in all of romantic music. Tchaikovsky's ballet of the Nutcracker is based on Alexandre Dumas' translation of the original tale by E.T.A. Hoffman. Act One tells a story of how little Clara aids her magical Christmas gift (a nutcracker in the form of a soldier) defeat an army of mice. As a reward, in Act Two, he takes her to his magic kingdom and introduces her to a variety of subjects in a colorful stream of character dances. Tchaikovsky was initially displeased with the scenario for the ballet, which would be his last, because it lacked real drama. However, he reconciled himself to it and completed the Nutcracker Suite, Op. 71a, which was popular from its first performance, before going on to complete the entire ballet. Those seven dances -- including the familiar Spanish (Chocolate), Arab (Coffee), Chinese (Tea), and Russian dances -- and the overture are essentially the same as they appeared in the final, full ballet. To these he added interludes and scenes, with music and orchestrations that are just as delightful. His supply of lovely themes is endless, and he constantly provides brilliant orchestration. Unique features of his instrumentation include the Overture, which is entirely without cellos and double basses; the "Dance of the Sugar-Plum Fairy," which was inspired by the new celesta, an instrument Tchaikovsky encountered in Paris while working on the score; and the "Waltz of the Snowflakes," which uses a children's chorus. He also used toy instruments, perfectly in keeping with a story for children. The ballet was not as successful as his other stage works when it first appeared, however, now the traditional Christmas ballet is so popular that its annual performance keeps many a ballet company afloat. If all you know of this ballet is the famous suite, by all means hear the entire work.. Source: Wikipedia (https://simple.wikipedia.org/wiki/Pyo...). Although originally created for Orchestra, I created this Transcription of the "Trepak" from the Nutcracker Suite (Opus 71a Mvt. 4) for Small Orchestra (Flutes, Oboes, Bb Clarinets, English Horns, Bassoons, Bb Trumpets, French Horns, Trombones, Euphoniums, Tubas, Timpani, Violins, Violas, Cellos & Bass). Sheet music made with MuseScore - https://musescore.com