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Academy of St. Martin in the Fields & Iona Brown-Concerto Grosso In D Major, Op. 6, No. 5, HWV 323 : VI. Menuet: Un Poco Larghetto
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Academy of St. Martin in the Fields & Iona Brown - Concerto Grosso In D Major, Op. 6, No. 5, HWV 323 : VI. Menuet: Un Poco Larghetto

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Academy of St. Martin in the Fields & Iona Brown Concerto Grosso In D Major, Op. 6, No. 5, HWV 323 : VI. Menuet: Un Poco Larghetto



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Note: A.K.A VI. Minuet (Un poco larghetto) The reason I did not put (Un poco larghetto) is because my title would be too long once again.

The Concerti Grossi, Op. 6, or Twelve Grand Concertos, HWV 319–330, are 12 concerti grossi by George Frideric Handel for a concertino trio of two violins and violoncello and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, in the second edition of 1741 they became Handel's Opus 6. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, they were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concertos were largely composed of new material: they are amongst the finest examples in the genre of baroque concerto grosso.

The final menuet, marked un poco larghetto, is a more direct reworking of the minuet in the overture to the Ode. The first statement of the theme is melodically pruned down, so that the quaver figure in the response gives the impression of a variation. This warm-hearted and solid movement was added at a later stage by Handel, perhaps because it provided a more effective way to end the concerto than the brilliant fifth movement.
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