Haendel, Georg Friedrich Georg Friedrich Haendel
Allemagne Allemagne
(1685 - 1759)

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Haendel, Georg Friedrich: 9 German Arias for Flute & Strings

9 German Arias for Flute & Strings
HWVs 202-210
Georg Friedrich Haendel

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Compositeur :Georg Friedrich HaendelHaendel, Georg Friedrich (1685 - 1759)
Instrumentation :

Flūte, violon, violoncelle

Genre :


Arrangeur :
Editeur :
Georg Friedrich HaendelMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
Georg Friedrich Händel (1685 – 1759) was a German, later British, baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, and organ concertos. Handel received important training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712; he became a naturalised British subject in 1727. He was strongly influenced both by the great composers of the Italian Baroque and by the middle-German polyphonic choral tradition.

Born the same year as Johann Sebastian Bach and Domenico Scarlatti, Handel is regarded as one of the greatest composers of the Baroque era, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining steadfastly popular. One of his four Coronation Anthems, Zadok the Priest (1727), composed for the coronation of George II, has been performed at every subsequent British coronation, traditionally during the sovereign's anointing. Another of his English oratorios, Solomon (1748), has also remained popular, with the Sinfonia that opens act 3 (known more commonly as "The Arrival of the Queen of Sheba") featuring at the 2012 London Olympics opening ceremony. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and historically informed musical performance, interest in Handel's operas has grown.

Handel wrote a set of nine songs in 1724-26 to the German-language texts of Barthold Heinrich Brockes from his collection Irdisches Vergnuegen in Gott (Contentment on Earth through God). The tone of the text is religious in an easygoing manner. All of these songs are in ABA form with vocal declamation that is lyrical, sometimes melismatic, and never virtuosic. The instrumentation of the accompaniment is flexible, and the performers are allowed to choose whichever instruments are appropriate and available for the continuo and instrumental obbligato.

1. (00:00) Künft'ger Zeiten eitler Kummer (HWV 202), whose title translates as "Idle Concerns for the Future, " moves forward in an easy going triple meter with the obbligato instrument holding forth on its own and accompanying the voice harmonically.

2. (03:20) Das zitternde Glänzen der spielenden Wellen (HWV 203), whose title translates as "The Shimmering Sparkle, " proceeds in a joyous, pleasantly assertive duple meter. The obbligato instrument contrasts contrapuntally with the voice when the two are heard together.

3. (08:10) Süßer Blumen Ambraflocken (HWV 204), whose title translates as "Sweet Blooms of the Amber Tree, " features a light minor-mode setting and triple meter. The obbligato instrument answers and contrasts with the singer.

4. (12:37) Süße Stille, sanfte Quelle (HWV 205), whose title translates as "Sweet Quiet, Gentle Source, " carries on in a pleasant, contented triple meter. The obbligato instrument answers the voice and occasionally harmonizes with it. There is no instrumental introduction, and there is an extended instrumental interlude along the way.

5. (16:43) Singe Seele, Gott zum Preise (HWV 206), whose title translates as "Sing, Soul, in Praise of God, " gives us an intense, fervent minor-mode setting in triple meter. Tbe obbligato instrument, whose line is saturated with dotted rhythms, contrasts with the voice throughout.

6. (18:30) Meine Seele hört im Sehen (HWV 207), whose title translates as "My Soul Hears through Seeing, " holds forth in a pleasant duple meter over a "walking" bass line in the continuo. The text deals with the synesthesia of hearing things usually thought of as visual. The obbligato instrument sometimes answers the singer and sometimes harmonizes with him. The dotted rhythms of the obbligato instrument sometimes show up in the vocal part.

7. (22:57) Die ihr aus dunklen Grüften (HWV 208), whose title translates as "You from Dark Shafts, " flows in a smooth duple meter. The obbligato sometimes contrasts with and sometimes harmonizes with the vocalist.

8. (27:14) In den angenehmen Büschen (HWV 209), whose title translates as "In the Pleasant Grove, " is cast in an easygoing minor-mode setting in a sprightly duple meter. The obbligato instrument contrasts with the voice throughout.

9. (30:08) Flammende Rose, Zierde der Erden (HWV 210), whose title translates as "Flaming Roses, Adornment of the Earth, " is marked by prominent sequences in the obbligato line that contrasts with the voice throughout the main section. The middle section is a minor-key excursion without obbligato.

Source: Wikipedia (

Although originally written for Voice and Continuo, I created this Arrangement of the 9 German Arias (HWVs 202-210) for Flute, Violin & Cello.
Source / Web :MuseScore
Ajoutée par magataganm le 2018-03-19
Partition centrale :Nine Deutsche Arien, 202-210 (2 partitions)

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Cette partition est associée ą la collection de magataganm :
Dispositions Flute
Liste des partitions :
› "2 Alma Redemptoris Mater" for Woodwinds & Strings - Vents et Quintet ą cordes
› "3 Gradualia" for Winds & Strings - Vents & Orchestre Cordes
› "A Christmas Air" for Flutes & Harp - Flute et Harpe
› "A Cup of Tea" Reel for Flute - Flūte seule
› "A Dieu Celle" for Woodwind Sextet - Sextuor ą vent.
› "A Pretty Maid Milking the Cow" for Flute, Oboe & Harp - Flūte, Hautbois, Harpe
› "A Swiss Melody" for Flute Quartet - Quatuor de Flūtes
› "Abendlied" for Woodwind Quartet - Quatuor ą vent
› "Ach bleib bei uns, Herr Jesu Christ" for Flute Duet - 2 flutes
› "Ad Te Levavi" for Brass & Strings - Vents & Orchestre Cordes


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