George Frideric Handel - Recorder Sonata in C major, HWV. 365 (1712)
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George Frideric (or Frederick) Handel (born Georg Friedrich Händel 23 February 1685 (O.S.) [(N.S.) 5 March] - 14 April 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 naturalized 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.
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Recorder Sonata in C major, HWV 365; Op. 1, No. 7 (1712)
I: Larghetto (0:00)
II: Allegro (2:30)
III: Larghetto (4:34)
IV: A Tempo di Gavotta (6:30)
V: Allegro (8:53)
Marion Verbruggen, alto recorder
Jaap ter Linden, cello
Ton Koopman, harpsichord
Read Stanley Sadie's review on Gramophone
www.gramophone.co.uk/review/h...
Details by Helen Hooker, recorder player, conductor and music educator:
There’s a theory that Handel may have used some of his recorder sonatas as exercises in basso continuo playing.
Between December 1725 and April 1726 Handel made fair copies of some exercises in figured bass and fugal composition - probably for teaching purposes. It’s thought perhaps they were made for Princess Anne, King George II’s daughter, a pupil of Handel’s who’s known to have been a fine harpsichordist and skilled continuo player. These exercises were made on the same paper as the fair copies of his recorder sonatas, as well as having similarities in calligraphy so maybe he wrote them out at the same time?
At this time the keyboard player would have created their part using the bassline, adding chords as indicated by the figures beneath the music. These numbers are a shorthand to tell the harpsichordist which chords to play above the bassline but it wasn’t uncommon for them to be quite infrequent and imprecise. The bass lines for the four sonatas (those in G minor, A minor, C major and F major) in Handel’s fair copies are unusually well figured (as well as being neatly written) and it’s been suggested they were perhaps used as additional teaching tool for use with the Princess, and maybe other pupils too.
Read more about the recorder sonatas here:
www.helenhooker.co.uk/blog/20....
Пікірлер: 9
"We have the baroque music, what need we more ....I always understood people saying : Bach Händel Vivaldi Telemann and his contemporaries , it is enough .....already Beethoven is too much...let us praise the baroque period and we have it : consolation......" whoever said it, it is right ❤
Beautiful instrument the recorder, what great music this is, so serene.
Question: is this the original Händel autograph?
@sasropakis
15 күн бұрын
No, it's not. If you follow the link in the description you can find Händel's original manuscript. The manuscript in question is found in a collection Schrank II in Dresden collected by Johann Georg Pisendel and could be copied by Pisendel himself. I don't know why the original manuscript by Händel wasn't used when it's also available. Both manuscripts can be found on IMSLP.
@bartjebartmans
15 күн бұрын
I don't have time to figure all this out. I pick what I like to use. That it is actually not Handel's handwriting is too bad.
@music-nerd6776
12 күн бұрын
@@bartjebartmansThanks for the Information
@music-nerd6776
12 күн бұрын
@@sasropakisthank you 👍
I know the baroque is all about ornamentation, but I feel like there are way too many unnecessary ornaments coming from the recorder player in many spots that don't make as much sense to me. Many are just fine, like the 4th movement felt perfect to me.
@bartjebartmans
15 күн бұрын
The ornaments are more heavy in the slow movements, way less in faster movements which is common practice for the times. If you look at the Doubles Bach wrote in his Suites you see an even more ornate, virtuosic approach of embellishing melodies.