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The Double Reed Archaeologist
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Chamber Music and Concertos for
Oboists and Bassoonists
Charles-David Lehrer, General
Editor
No. 71. George Frideric Handel:
Concerto Grosso Op. 3, No 1 in Bb Major/G Minor
This concerto, the first of George Frideric Handel’s six so-called ‘Oboe
Concertos’, dates from 1711-12, the end of the composer’s position as Kapellmeister
at the court of the Elector of Hanover in the Holy Roman Empire. In 1712
Handel moved to London. Shortly after that time, in 1714, the Elector of
Hanover became George I of England, but he ruled that country and its colonies
primarily from Hanover. The ‘Oboe Concertos’, HWV 312-17, were published by
John Walsh (father and son) in 1734 as Handel’s Op. 3. This is a collection
in the truest sense, for it would appear that the publisher, not Handel, assembled
these works from pre-existent compositions.
Although Concerto No. 1 is a work of modest proportions, it is filled
with colorful combinations in its instrumentation. Of particular interest
are those passages in which the continuo is absent. Clearly, there were
at one time, several additional movements, which appear to have been deleted
by Walsh; hence the major vs. relative minor modal discrepancy in the outer
movements
The initial movement in Bb major is set in ritornello form: one must
first understand that the ‘ritornello’ consists of whatever music is assigned
to the full ensemble. The latter consists of 2 oboes, 2 violins, 2 violas,
2 bassoons, and continuo.
There is no ritornello ‘theme’ in several sections as one finds in the
concertos of Vivaldi and Bach; instead the ritornello is based upon two
motives: the first (x) being a descending arpeggio in 8ths, and the second
(y), a sequentially descending motive consisting of two descending octave
8ths followed by four 16ths. The resultant structure is:
Ritornello 1: motives x & y in I
Episode 1: two oboe soloists
Ritornello 2: motive y: I to V
Episode 2: violin solo in two sections
Ritornello 3: motive y in vi
Episode 3: two oboe soloists; oboe & violin soloists
Ritornello 4: motive y in iii; motive x & y: I to
V
Episode 4: violin solo; two oboe soloists
Ritornello 5: motive y in I
Two recorders are added in the central movement, a duo aria set in the
relative minor featuring oboe and violin soloists. Perhaps these flautists
are doublers, playing violins during the outer movements. As to structure,
an initial ritornello with the recorders is accompanied by solo bassoon
without the benefit of harmony in the harpsichord. This is followed by two
extensive sections in which the concerted soloists are accompanied by pairs
of recorders, violins, violas, solo bassoon, and continuo in most-inventive
combinations. A final ritornello, unrelated to the first, brings the movement
to an end; but then Handel provides a connecting cadenza passage to lead smoothly
into the finale. The present editor has composed the cadenza for the oboe.
The finale, a miniature ritornello form, is also set in the relative
minor. There are three episodes, the first for 2 oboe soloists, the second
for solo violin, the third for 2 bassoon soloists. The tonalities of the
ritornelli progress: i, III, v, i.
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