Handel: Concerti grossi, Op. 3 Academy of Ancient Music & Richard Egarr

• 1 I 02:48
• 2 II 04:07
• 3 III 01:28
• 4 I - Vivace 01:55
• 5 II - Largo 02:23
• 6 III - Allegro 02:15
• 7 IV 01:23
• 8 V 03:27
• 9 I - Largo, e staccato - Allegro 03:24
• 10 II - Adagio 01:02
• 11 III - Allegro 03:46
• 12 I 06:33
• 13 II - Andante 02:05
• 14 III - Allegro 01:38
• 15 IV - Allegro 02:44
• 16 I 01:42
• 17 II - Fuga, Allegro 02:17
• 18 III - Adagio 01:25
• 19 IV - Allegro, ma non troppo 01:36
• 20 V - Allegro 02:44
• 21 I 02:53
• 22 Improvisation 02:00
• 23 II - Allegro 03:28
• 24 I - Andante 03:43
• 25 II - Adagio 01:28
• 26 III - Allegro 03:46
• Total Runtime 01:08:00

Info for Handel: Concerti grossi, Op. 3

The six widely diverse Concerti grossi Op.3, published in 1734, and the rarely heard Sonata a 5, a miniature concerto for violin and keyboard, performed by the Academy of Ancient Music and its newly appointed music director Richard Egarr, in their first recording together.

This set of Handel's Op. 3 makes a superb case for these works (somewhat smaller than the more-familiar ones from Op. 6). Opus 3 is made up of assorted versions of concerti. Handel arranged and re-arranged many of these works often and so a definitive edition is probably impossible to assemble. Rather than being alarmed by the lack of similarities, we are treated to different combinations of instruments and different textures from movement to movement. Musicologists are bothered by who it was, precisely, that turned these concerti into a whole opus number. His publisher, John Walsh, claims responsibility, but did he do it with Handel's approval? We don't care. It's a delicious selection. Oboes, bassoons, and recorders are featured in the first, a solo flute brightens the third, while an organ improvisation shows up in the sixth to separate the first and last movements. Higher strings give energy to the opening of the second along with a pair of oboes, and the same combination darkens the second movement. The fourth has a prominent, propulsive harpsichord. A bonus is the composer's Sonata a 5, which is a sort of mini violin concerto. Richard Egarr is now in charge of the Academy of Ancient Music, and this, their first CD together, is remarkable on every level. The playing is terrific – energized, elegant, full of splendid details and tasteful embellishments – and the sonics are superb. The 11 string players, 7 woodwind players, and Egarr himself on organ and harpsichord, along with an archutenist and baroque guitarist, are spotlessly recorded, but with depth and warmth. This is irresistible.

“The Academy of Ancient Music is in world-beating form once more with this magnificent Handel disc. Egarr and the musicians play with dynamism and warmth which suggests that Egarr's tenure with this band is going to be a rewarding one. Long may it last.” (Gramophone Magazine)

“For those of us who have always secretly preferred the colourful, unruly and slightly raffish qualities of Op.3 to the staid perfection of Op.6 this magnificent recording is both a vindication and an unfailing delight.” (International Record Review)

“I can’t think of anything that would improve this package: performances are stylish and beautifully polished. The recording is a beauty” (Andrew McGregor, bbc.co.uk)

The Academy of Ancient Music
Richard Egarr, conductor

Richard Egarr
brings a joyful sense of adventure and a keen, enquiring mind to all his music-making. He is equally happy conducting, directing from the keyboard or playing concerti (on organ, harpsichord, fortepiano or modern piano), giving solo recitals, playing chamber-music, and indeed talking about music at every opportunity.

Music Director of the Academy of Ancient Music since 2006, Egarr has further renewed his contract to 2017. AAM began a new relationship in September 2012 as Associate Ensemble at the Barbican Centre, where plans include a cycle of Monteverdi operas. Early in his tenure Egarr established the Choir of the AAM, and operas/oratorios lie at the heart of his repertoire; in 2010 he conducted Mozart’s opera La Finta Giardiniera in concert at the Barbican Centre and the Theatre des Champs-Elysees. He made his Glyndebourne debut in 2007 conducting a staged version of The Matthew Passion. Egarr is a lasting inspiration to young musicians, maintaining regular relationships at the Amsterdam Conservatoire, Britten Pears Foundation, and the Netherlands Opera Academy (La Clemenza di Tito, Le Nozze di Figaro and Rossini’s Il Signor Bruschino) and is a Visiting Artist at the Juilliard School in New York.

Egarr was recently announced Principal Guest Conductor of the Residentie Orchestra in The Hague, having regularly guest-conducted the orchestra in recent years. Starting in September 2013 he will conduct three projects each season, with a brief to further explore eighteenth- and nineteenth-century performance practices, launching with a performance of Haydn’s Creation in December 2013.

Egarr has a flourishing career as a guest conductor with orchestras ranging from Boston’s Handel and Haydn Society where he is an annual guest, to the London Symphony, Royal Concertgebouw and Philadelphia orchestras. In 2011 he was appointed Associate Artist of the Scottish Chamber Orchestra in recognition of his growing relationship with the ensemble.

He continues to play recitals across the world, returning to the Wigmore Hall in January 2014 for a solo harpsichord recital, and in January 2013 played the Bach English Suites in London and Cambridge to coincide with his latest Harmonia Mundi release. Notable amongst an impressive discography are the Goldberg Variations and Well-Tempered Clavier, Mozart fantasias and rondos, and the complete harpsichord works of Louis Couperin, also many award-winning duo recordings with Andrew Manze. His growing list of recordings directing the Academy of Ancient Music includes seven Handel discs (2007 Gramophone Award, 2009 MIDEM and Edison awards), the complete Brandenburg Concerti, and Birth of the Symphony - Handel to Haydn, the first recording released on the AAM’s own label in September 2013.

Egarr trained as a choirboy at York Minster, at Chetham’s School of Music in Manchester, and as organ scholar at Clare College Cambridge. His studies with Gustav and Marie Leonhardt further inspired his work in the field of historical performance.

Academy of Ancient Music
Recently praised by The Financial Times for “transmitting the kick of an energy drink”, the Academy of Ancient Music has been giving global performances of baroque and classical music for 40 years.

Under Music Director Richard Egarr, the AAM maintains the pioneering spirit and artistic excellence which has characterised the orchestra since its early days. In 2012 alone it performed at the Thames Diamond Jubilee Pageant, made a world-premiere recording, had a performance named as one of the top 10 of the year by The Guardian and became Associate Ensemble at the Barbican.

Founded in the 1970s by Christopher Hogwood, the orchestra was at the cutting edge of a musical revolution. Inspired by performing on period instruments and rediscovering original sound worlds, the AAM combines world-class artistry with the latest scholarship.

This 2013-14 season marks the AAM’s 40th anniversary, showcasing the full range of the orchestra’s music making from the dawn of the baroque to the Romantic era. As well as performances in London and Cambridge, touring plans include concerts throughout Europe and Australia.

The AAM is Associate Ensemble at the Barbican in London and Orchestra-in-Residence at the University of Cambridge. Find out more at aam.co.uk.

Booklet for Handel: Concerti grossi, Op. 3