“Overture to An Occasional Oratorio” was a perfect introductory exposition to Handel’s capabilities. Although there was a strong string majority, there was still a significant horn presence with a dynamic range that could mask the strings if necessary. However, there was typically a very successfully symbiotic blend. The Maestoso opened with a strong, projecting horn line, accompanied by the timpani reminiscent of that of a royal introduction. Despite being distracted by the physical performance discrepancies, my attention was grabbed by the boldness, and held captive throughout the rest of the composition, which ended with a march. The march was saturated with fast, melismatic and ornate string runs that were echoed then by the whole orchestra in an imitative polyphonic style. The piece then came to a conclusion with a ritardando and a powerful, full orchestra
“Overture to An Occasional Oratorio” was a perfect introductory exposition to Handel’s capabilities. Although there was a strong string majority, there was still a significant horn presence with a dynamic range that could mask the strings if necessary. However, there was typically a very successfully symbiotic blend. The Maestoso opened with a strong, projecting horn line, accompanied by the timpani reminiscent of that of a royal introduction. Despite being distracted by the physical performance discrepancies, my attention was grabbed by the boldness, and held captive throughout the rest of the composition, which ended with a march. The march was saturated with fast, melismatic and ornate string runs that were echoed then by the whole orchestra in an imitative polyphonic style. The piece then came to a conclusion with a ritardando and a powerful, full orchestra