[London]: I. Walsh, [ca. 1746]. Folio. Seven volumes. Newly bound in marbled wrappers with printed title label with part name to uppers.
Violino Primo Concertino: 1f. (title), [i] (blank), 2-65, [i] (blank) pp.
Violino Primo Ripieno: 1f. (title), [i] (blank), 2-52 (9 and 13 blank) pp.
Violino Secondo Concertino: 1f. (title), [i] (blank), 2-52, [i] (blank), 53-56 [i] (blank) pp.
Violino Secondo Ripieno: 1f. (title), 46 (35 blank) pp.
Viola Ripieno: 1f. (title), [i] (blank), 2-48 (13, 26, 33, 45 blank) pp.
Violoncello Concertino: 1f. (title), [i] (blank), 2-48, [i] (blank) (15, 45 blank) pp.
Basso Continuo: 42 (pp. 10, 39 blank) pp.
Minor show-through; small sewing holes to inner margins; some soiling to margins, heavier to Basso Continuo part; occasional very light foxing, heavier to inner margins of Violino Secondo Ripieno; occasional minor creasing, wear, and staining (Basso Continuo) to outer corners. Basso Continuo lacking title; pp.19-20 and 23-24, with extensive repair along blank outer and lower margins, slightly affecting one word and several barlines and clefs; contemporary manuscript "4" in black ink, along with some later marks and performance notes in pencil. In exceptionally nice condition overall.
A scarce complete set. Smith & Humphries pp. 222-223, no. 4. HWV p. 74. BUC p. 441. RISM H1256 (few complete copies and only one copy in the U.S.).
"The 12 concerti grossi or ‘Grand Concertos’ written in a burst of creative energy in September and October 1739 were consciously conceived as an integral set, clearly in emulation (though not imitation) of Corelli’s famous set with the same opus number and the same scoring for a concertino of two violins and cello with four-part ripieno strings and continuo. (Handel later added oboe parts to nos.1, 2, 5 and 6, mostly doubling the ripieno violins.) Each concerto has an individual form. Many movements blend inextricably the majesty of the French manner with italianate fluency, and a prodigious stream of invention coupled with intensity of feeling is maintained thoughout the set. The fact that earlier material is sometimes drawn upon (three of the concertos are based on the overture to the Ode for St Cecilia’s Day and the two ‘Second Set’ organ concertos) does not diminish the achievement, since the adapations are fascinating and often radical in themselves, and the recognition that several thematic elements are derived from Scarlatti’s Essercizi simply leads to admiration of the way Handel transforms them and uses them to build larger structures. The Polonaise in no.3 and the grave Musette of no.6 are haunting amplifications of standard dance forms. The set is an apotheosis of the Baroque concerto, to be set alongside the Brandenburg Concertos of Bach, as well as an epitome of Handel’s art, drawing on many sources and influences and uniting them in a style uniquely his own." Anthony Hicks in Grove Music Online.
A very attractive example of one of Handel's most masterful works, published during the composer's lifetime. Item #26877
Price: $2,650.00 other currencies