Handel often adapted existing material from his operas and oratorios, such as 'And the glory of the Lord' from Messiah, for these concertos, giving the vocal parts to wind instruments.
Notable Performances
The earliest of these concertos, HWV 334, was first heard in April 1747 during an interval in Handel's oratorio Judas Maccabaeus at Covent Garden.
Composer's Artistic Vision
Handel developed 'transcription' concertos, presenting highlights from his choral works excitingly rescored for orchestra to entertain audiences.
Interpretation
In performance, the two wind choirs were physically separated on either side of the string orchestra, creating a vivid and theatrical drama for the Covent Garden audience.
Historical Context
Handel took advantage of a surplus of oboe, bassoon, and horn players after the Jacobite rising of 1745, recruiting them to form two 'wind choirs' for new orchestral effects.
Compositional Technique
The Concerti a due cori feature two distinct 'wind choirs' that create colorful orchestral effects and engage in antiphonal dialogue with the strings.
Composition History
Handel composed these three Concerti a due cori for the Covent Garden oratorio seasons of 1747 and 1748, serving as intermezzos during performances of his larger works.
