Solomon, oratorio, HWV 67: The Arrival of the Queen of Sheba
Trio sonata for 2 violins & continuo in G minor, Op. 2/8, HWV 393 (doubtful): Largo for oboe, violin and b.c.
New Seasons, concerto cycle for oboe & orchestra (after Handel): Verdi Prati, concerto for oboe d'amore, strings & b.c.: Allegro ("Dopo Notte" from Ariodante, HWV 3
New Seasons, concerto cycle for oboe & orchestra (after Handel): Verdi Prati, concerto for oboe d'amore, strings & b.c.: Grave (from Organ Concerto No. 14, HWV 296a
New Seasons, concerto cycle for oboe & orchestra (after Handel): Verdi Prati, concerto for oboe d'amore, strings & b.c.: Larghetto ("Verdi Prati" from Alcina, HWV 3
New Seasons, concerto cycle for oboe & orchestra (after Handel): Verdi Prati, concerto for oboe d'amore, strings & b.c.: Allegro ("Tornami a vagheggiar" from Alcina
Rinaldo, opera, HWV 7: Lascia ch'io pianga
New Seasons, concerto cycle for oboe & orchestra (after Handel): Amabile Beltą, concerto for flute, english horn, strings & b.c.: Andante Allegro ("Qui l'augel da p
New Seasons, concerto cycle for oboe & orchestra (after Handel): Amabile Beltą, concerto for flute, english horn, strings & b.c.: Adagio e staccato (from Organ Conc
New Seasons, concerto cycle for oboe & orchestra (after Handel): Amabile Beltą, concerto for flute, english horn, strings & b.c.: Largo ("Softly Sweet in Lydian Mea
New Seasons, concerto cycle for oboe & orchestra (after Handel): Amabile Beltą, concerto for flute, english horn, strings & b.c.: Allegro ma non troppo ("Pił amabil
Water Music Suite No. 3 for orchestra in G major, HWV 350: Country Dance
New Seasons, concerto cycle for oboe & orchestra (after Handel): Voli Per L'Aria, concerto for oboe, strings & b.c.: Largo ("Where'er You Walk" from Semele, HWV 58)
New Seasons, concerto cycle for oboe & orchestra (after Handel): Voli Per L'Aria, concerto for oboe, strings & b.c.: Adagio (from Organ Concerto, Op. 4/3, HWV 291)
New Seasons, concerto cycle for oboe & orchestra (after Handel): Voli Per L'Aria, concerto for oboe, strings & b.c.: Allegro ("Hence, Iris, Hence Away" from Semele,
New Seasons, concerto cycle for oboe & orchestra (after Handel): Voli Per L'Aria, concerto for oboe, strings & b.c.: Largo ("Will the Sun Forget to Streak" from Sol
New Seasons, concerto cycle for oboe & orchestra (after Handel): Voli Per L'Aria, concerto for oboe, strings & b.c.: Allegro ("Voli per l'aria" from Tra le fiamme,
Serse (Xerxes), opera, HWV 40: Ombra mai fu
New Seasons, concerto cycle for oboe & orchestra (after Handel): Piagge Serene, concerto for oboe, bassoon, harpsichord and b.c.: Adagio (from Organ Concerto, Op. 7
New Seasons, concerto cycle for oboe & orchestra (after Handel): Piagge Serene, concerto for oboe, bassoon, harpsichord and b.c.: Allegro (from Organ Concerto, Op.
New Seasons, concerto cycle for oboe & orchestra (after Handel): Piagge Serene, concerto for oboe, bassoon, harpsichord and b.c.: Adagio (from Sonata a cinque, HWV
New Seasons, concerto cycle for oboe & orchestra (after Handel): Piagge Serene, concerto for oboe, bassoon, harpsichord and b.c.: Minuett ("In queste amene" from Il
Suite for keyboard (Suite de piece), Vol.1, No.5 in E major ("The Harmonious Blacksmith"), HWV 430: Variations
New Seasons is a project undertaken by oboist Albrecht Mayer to create "new" concertos for oboe, based primarily on the operas and oratorios of George Frideric Handel. He and arranger Andreas N. Tarkmann used arias, sometimes including bits of recitative, and gave the vocal lines to the oboe, flute, and bassoon without changing too much of the accompanimental parts to create a cycle of four concertos. Compared to Handel's original instrumental music, these are naturally more lyrical and sometimes more declamatory, but it is ...
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New Seasons is a project undertaken by oboist Albrecht Mayer to create "new" concertos for oboe, based primarily on the operas and oratorios of George Frideric Handel. He and arranger Andreas N. Tarkmann used arias, sometimes including bits of recitative, and gave the vocal lines to the oboe, flute, and bassoon without changing too much of the accompanimental parts to create a cycle of four concertos. Compared to Handel's original instrumental music, these are naturally more lyrical and sometimes more declamatory, but it is surprising how often the music is very dance-like. Lively, moving rhythms are not what is normally expected in vocal music, but it makes the arias used here very natural sounding as concerto movements. Mayer and Tarkmann do not always follow the slow-fast alternation of movements traditionally found in most Baroque instrumental music. In each of the concertos there is a very short, slow movement, ending on a false cadence that implies it is meant to be some sort of introduction or...
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