It is necessary then to view these Organ Concertos in the proper sense of magnificent concerts for a huge public.[1] Great shadows, great lights, strong and joyous contrasts, all are conceived in view of a colossal effect. The orchestra usually consists of two oboes, two violins, viola, and basses (violon-cellos, bassoons, and cembalo), occasionally two flutes, some contrabassos and a harp.[2] The concertos are in three or four movements, which are generally connected in pairs. Usually they open with a pomposo, or a staccato, in the style of the French overture,[3] often an allegro in the same style follows. For the conclusion, an allegro moderato, or an andante, somewhat animated, sometimes some dances. The adagio in the middle is often missing, and is left to be improvised on the organ. The form has a certain relation with that of the sonata in three movements, allegro-adagio-allegro, preceded by an introduction. The first pieces of these two first concertos published in Volume XLVIII of the
- ↑ Hawkins wrote further: "Music was less fashionable than it is now, many of both sexes were ingenuous enough to confess that they wanted this sense, by saying, 'I have no ear for music.' Persons such as these, who, had. they been left to themselves, would have interrupted the hearing of others by their talking, were by the performance of Handel not only charmed into silence, but were generally the loudest in their acclamations. This, though it could not be said to be genuine applause, was a much stronger proof of the power of harmony, than the like effect on an audience composed only of judges and rational admirers of his art" (General History of Music, p. 912).
- ↑ In the Tenth Concerto there are two violoncellos and two bassoons. The same in the Concerto for two Organs. In the long Concerto in F major (Vol. XLVIII) we find two horns.
- ↑ Sometimes the name is found marked there. See the Eighth Concerto in Vol. XXVIII and the Concerto in F major in Vol. XLVIII.
