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 chora...(+)
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.
This work was published in 1732 as a G major flute
sonata, the fifth item in Handel's Op. 1 collection of
chamber pieces. Earlier manuscripts suggest that the
sonata began life, however, as an F major work for
oboe. Handel initially employs the Italian church
sonata pattern of movements: slow-fast-slow-fast. But
where the final fast movement should be, Handel instead
veers into the format of the dance suite with a
Bourrée and Minuet. The first Adagio is a typical,
airy Handelian processional, leading to a burbling
Allegro, which the oboe introduces solo before being
joined by the bass in an exchange of little fanfare
figures. In a coup de théâtre, Handel marks the
climax by sending the oboe shooting up to its highest
note possible at the time. The second Adagio is more
plaintive than the first, perhaps even a bit
lugubrious. But soon comes the Bourrée ("Angloise"), a
perky little dance that looks ahead to the second
section of "The Arrival of the Queen of Sheba." The
Menuetto, marked by little upward melodic skips,
concludes the sonata with a keen balance of dignity and
cheer.
Although originally written for Recorder & Keyboard, I
created this Interpretation of the Sonata in G Major
(HWV 363 Op. 1 No. 5) for Flute & Strings (2 Violins,
Viola & Cello).
SHEET MUSIC