The G Minor Oboe Concerto of George Frederic Handel (1685-1759) is one of the most famous of its genre. Many stylistic influences are found within this work, made all-the-more interesting because of its petite size.

The overall four-movement structure: slow-fast-slow-fast derives from the sonata da chiesa [church sonata], but the individual movements have little to do with that style of music. Instead of being designed for the church, this work is primarily concerned with the stage, Handel’s favorite haunt. In fact, the work seems to date from Handel’s early years in London, perhaps around 1713.

The first two movements form the body of a French Ouverture, much favored by Handel and his London opera goers over the Italian Sinfonia. The first section of the overture, set in ritornello form, is flooded with the obligatory dotted rhythm, while the second section is imitative and features double counterpoint. The slow movement, a sarabande, is also derived from the French style, being a staple of ordre or dance suite. Only in the finale, do we have a movement deriving from the type of concerto made famous by the Venetian composers, especially Antonio Vivaldi. Here we have four statements of one of Handel’s most-used ritornellos surrounding three wonderful episodes for the oboe soloist

I have sought to make this edition, derived from Friedrich Chrysander’s Gesamtausgabe of Handel’s works, available to young players, in order that they might not become influenced by the many distorted versions of this concerto which are in current circulation. Only the version in the Hallische Händel-Ausgabe is to be completely trusted, but it is not easily accessible.