On 16.01.2007 John Howell wrote:
Interesting that what seems so black-and-white can be so confusing! In Messiah, since there are con ripieno indications, by default there ARE concertino players, but certainly not as featured soloists. In the operas and oratorios the orchestra is a backup band. And as you imply, there may have been more than one on a part. I'd love to speculate that having learned the concertino-ripieno sound contrast from Corelli, Handel simply made it a normal part of his thinking and writing, whether for opera, oratorio, or instrumental music, but it might equally well be for economic reasons.
I honestly don't think this comparison stands. Corelli never speaks of ripieni anyway, afaik, he calls it the concerto grosso.
Handel's treatment is completely different, and it has nothing to do with any concertino, which by definition is solistic. Instead he simply tells us where he thinks the large orchestra, including the amateur back desks, can be used.
I haven't researched this, but unless there is prove of any other reason for these indications I really think this is the best interpretation.
Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
