Luogo e data di registrazione		St. Mark's Church, Munich (Germany) - May & July 1958
	Registrazione: live / studio		studio
	Producer		-
	Prima Edizione LP		Decca - LXT 20 001-03 - (3 LP) - durata 2h 35' 25" - (p) 1959 - Analogico
	Edizione "Reference" CD		Tedec - 8.43628 ZS - (1 CD) - LC 3706 - durata 55' 07" - (c) 1987 - AAD
	Cover		Foto mit freundlicher Genehmigung des Museums für Kunst und Gewerbe Hamburg
	Note		The Karl Richter edition of these organ concertos by Handel published in 1959 is here reproduced on three compact discs by TELDEC in the "reference" series. Oddly enough, the first volume (blue series) contains Concertos Nos. 1 and 2 of Op. 4 and Op. 7; the second volume (brown series) contains Concertos Nos. 3 and 4 of Op. 4 and Op. 7; the third volume (green series) contains the Concerts Nos., 5 and 6 of Op, 4 and Op. 7. The multiple editions published instead contain the 6 Concertos of Op. 4 and to follow the 6 Concertos of the Op. 7.

Op. 4 No. 1 The G minor concerto op. 4/l is perhaps the best-known, certainly one of the most attractive works of the op. 4 set. Its structure adheres to the Corelli model of the concerto grosso: a powerful G minor larghetto that enters with a motif full of pathos is followed by a tempestous allegro. The allegro proceeds initially from an opening motif of chiselled austerity, almost wild in character, but in the third solo episode a contrasting cantabile theme is introduced - one of the many features in which this concerto anticipates later Classical principles of composition. A brief adagio for unaccompanied organ leads into the finely-spun filigree finale, which has a minuet-like elation about it. Handel later used this finale as the last movement of the trio sonata op. 6/5. Op. 4 No. 2 The second work of the set, which is probably the so-called “Esther concerto”, a favourite with Handel’s audiences, follows the same scheme. A brief opening movement with dotting producing a mood of pathos is followed by a virtuoso allegro, based entirely on the opening motif, which Handel borrowed from the trio sonata op. 2/4 (where it appears as the finale). A short adagio - essentially nothing more than a figuratively elaborated organ cadenza - leads into the minuet-like finale in 3/8 time. As in the first concerto, this resolves the serious and pathetic moods of the preceeding movements into courtly elegance and playful virtuosity. Op. 7 No. 1 A different world ofexpression and form, more expansive and resplendent, opens up with the first concerto of op. 7, the only one of Handel’s organ concerti to expressly require the use of the pedals on the solo instrument. The dialogue of the opening andante is splendidly colourful and spaciously laid-out. It is followed by a passacaglia of grand proportions, rich in pathos and contrast. A wonderfully ethereal, flowing largo in muted piano leads into the concluding bourrée, which breaks up the serious weight of the first movement with graceful dance. Op. 7 No. 2 Few traces of the traditional concerto form established by Corelli are to be found in the op. 7 set, and the second concerto shows absolute freedom in its layout. A pathetic introduction in dotted overture rhythm and a mighty fugued allegro (with only two solo episodes and a solo cadenza) are merged to produce French overture form. This is followed, after a brief transitional improvisation on the organ that is more of an appendix than a balancing counterweight, by a concertante allegro as a lighter-toned, joyful finale. Translation: Clive R. Williams