I. A tempo guisto: 0:15
II. Allegro: 2:26
III. Adagio: 4:50
IV. Allegro: 7:33
V. Allegro: 10:54

G. F. Handel was one of the most influential composers of the Baroque (1600 - 1750). He is most famed for his operas and his operetta - Messiah.

In 1739 - 1740 Handel wrote 12 Gossi Concerti - his Opus 6. Contrary to a normal concerto a concerto grosso is, well, big! In fact, "Grossi" literally means "big" in English. In a concerto grosso, there are 4 violin parts: 1st violin principle, 2nd violin principle, 1st violin ripieno, and 2nd violin ripieno.

The 1st and 2nd principle violins act as soloists. They have multiple solos and interact with each other and their back-up string orchestra.

The 1st and 2nd ripieno violins are the back-up to the solo violins. Each ripieno violin coincides with its soloist (For example: the 1st violin ripieno’s part will often go along with the 1st violin principle’s part).

In addition to the violins, the violas, cello(s), bass(es) and harpsichord accompany the soloists, filling in the lower harmonies and melodies.

The first short movement of this concerto grosso starts dramatically, solemn and majestic: the orchestra ascends by degrees towards a more sustained section, each step in the ascent followed by a downward sighing figure first from the full orchestra, echoed by the solo violins. This severe grandeur elicits a gentle and eloquent response from the concertino string trio, in the manner of Corelli, with imitations and passages in thirds in the violins. The orchestra and soloists continue their dialogue until in the final ten bars, there is a reprise of the introductory music, now muted and in the minor key, ending with a remarkable chromatic passage of noble simplicity descending to the final drooping cadence.

The second movement is a lively allegro. The material is derived from the first two bars and a half bar figure that occurs in sequences and responses. Although it displays some elements of classical sonata form, the movement's success is due more to the unpredictable interchanges between orchestra and soloists.

The third movement is a dignified adagio, using similar anapest figures to those in opening bars of the first movement. As Charles Burney wrote in 1785, "In the adagio, while the two trebles are singing in the style of vocal duets of the time, where these parts, though not in regular fugue, abound in imitations of the fugue kind; the base, with a boldness and character peculiar to Handel, supports with learning and ingenuity the subject of the two first bars, either direct or inverted, throughout the movement, in a clear, distinct and marked manner."

The fugal fourth movement has a catchy subject, first heard completely from the soloist. Despite being fugal in nature, it does not adhere to the strict rules of counterpoint, surprising the listener instead with ingenious episodes, alternating between the ripieno and concertino; at the close, where a bold restatement of the theme would be expected, Handel playfully curtails the movement with two pianissimo bars.

The last concerto-like movement is an energetic gigue in two parts, with the soloists echoing responses to the full orchestra. And the concerto ends lightly, typical of the Baroque.

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