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HANDEL TRIO SONATAS for TWO VIOLINS and BASSO CONTINUO George Frideric Handel 1685–1759

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HANDEL TRIO SONATAS for TWO VIOLINS and BASSO CONTINUO George Frideric Handel 1685–1759 HANDEL TRIO SONATAS FOR TWO VIOLINS AND BASSO CONTINUO George Frideric Handel 1685–1759 Sinfonia in B flat HWV 339 Trio Sonata in E HWV 394 1 I. [Allegro] 4.06 15 I. Adagio 3.14 2 II. Adagio 4.42 16 II. Allegro 2.29 3 III. [Allegro] 2.19 17 III. Adagio 2.14 18 IV. Allegro 3.01 Trio Sonata in F HWV 392 4 I. Andante 3.18 Trio Sonata in C minor HWV 386a 5 II. Allegro 2.36 19 I. Andante 3.46 6 III. Adagio 3.35 20 II. Allegro 2.40 7 IV. Allegro 2.40 21 III. Andante 2.41 22 IV. Allegro 2.12 Trio Sonata in B flat HWV 50a ‘Esther’ 8 I. Andante 2.09 Trio Sonata in C HWV 403 ‘Saul’ 9 II. Larghetto 2.53 23 I. Allegro 4.13 10 III. Allegro 2.27 24 II. Andante larghetto 1.08 25 III. Allegro 1.53 Trio Sonata in G minor HWV 393 26 IV. Allegro 2.08 11 I. Andante 3.06 12 II. Allegro 2.25 76.10 13 III. Largo 2.20 14 IV. Allegro 2.22 The Brook Street Band Rachel Harris · Farran Scott baroque violins Tatty Theo baroque cello · Carolyn Gibley harpsichord 2 Handel – a life in music The trio sonata was a genre that Handel explored at different points in his life, in different locations. There are two named sets of trio sonatas: Opus 2 and Opus 5. Opus 2 was clearly influenced by Handel’s time in Italy, following the ‘da chiesa’ model. Opus 5 departs from that pattern, as it is more a series of loosely assembled dance suites. Opus 2 and Opus 5 comprise 13 sonatas in total. The Brook Street Band now adds this further ‘set’ of seven trio sonatas for two violins and basso continuo to its discography. These pieces span a period of roughly 35 years and several different European countries. They take us from a youthful Handel in Germany to a man at the height of his fame and success in London c.1738. None of the works have opus numbers; however, they have been assigned HWV numbers.1 No autograph manuscripts survive for any of the pieces on this recording, making firm dating fairly problematic. Since Handel plunders many of the works for musical material later on, we can only say with certainty the cut-off points for the range of possible dates of composition for some of the works. These particular pieces have scant mention in most Handel literature, so this essay presents an opportunity to examine their history and musical borrowings. Three of the trio sonatas (HWV 392–394) are commonly grouped together, known as the ‘Dresden’ sonatas. Additionally, The Brook Street Band has added a further two trio sonatas (HWV 403 and 386a) and two works scored for two violins and continuo, which (to all intents and purposes) are trio sonatas. These are the Sinfonia HWV 339 and the Overture from Esther HWV 50a. The earliest pieces on the album are the Sinfonia HWV 339 and the Trio Sonata HWV 392. The Sinfonia was probably composed in Hamburg, making a date of c.1704–6 likely. There are three surviving manuscripts, of which the earliest2 dates from c.1709. The Sinfonia is known as both a trio sonata and an orchestral work, but its lack of a viola part makes it ideal for the trio sonata format. The motif that opens the Sinfonia also appears in a similar form in an aria from Almira, Handel’s earliest opera.3 Handel returned to this same theme in 1733, where it appears un-transposed in the second-movement Allegro of the Harpsichord Suite HWV 434. The Sinfonia joined the ranks of Handel’s published music relatively late, appearing in print only in 1979. The ‘Dresden’ Trio Sonata in F HWV 392 is likely to date from c.1706–7. Two manuscript copies exist in Dresden4 in the collection of the Court Orchestra, neither in Handel’s hand. The F major Sonata is a piece to which Handel returned in the 1730s, reworking both the second and third movements to form part of the Trio Sonata Op.5 No.6, also in F major. Handel’s 1733 oratorio Athalia features a revised version of the sonata’s final movement, this time transposed up a tone and forming part of the Overture. The same opening musical motif also features in the Allegro non presto of the Trio Sonata Op.5 No.4. Its opening is also extremely similar to the opening of Op.2 No.3. Handel’s oratorio Esther exists in two versions, the earliest version composed c.1718 for a performance at the Duke of Chandos’ residence, Cannons. The orchestral forces that Handel had available were somewhat reduced, so this early version has no viola part. This makes the Esther overture an ideal addition to the trio sonata repertoire. Strictly speaking, the overture features oboes too, mainly doubling the violins. There are a few bars where the parts differ, although as these don’t occur at the same time, the melody can be absorbed into the violin parts. One of the tremendous strengths of this piece is the link of thematic material with Handel’s Opus 2 trio sonatas, in particular Sonata No.3, making an even stronger case for re-imagining and re-heating this ‘orchestral’ overture as a trio sonata. 4 Moving chronologically through, the next pieces are the remaining two sonatas of the set of ‘Dresden’ sonatas. Of the three ‘Dresden’ pieces, only the Sonata HWV 393 is thought to date from Handel’s time in Dresden in 1719, where he’d been sent to recruit singers (in particular Senesino) for the new Royal Academy. Handel was there from July to at least September, which would have given him time to meet and work with the musicians of the opera. There appear to be only tenuous thematic links between the sonatas HWV 393 and HWV 394 to other works by Handel, leading some scholars to doubt their authenticity. Chrysander clearly had no doubts, publishing the works (with HWV 392) in 1879 as part of his complete Handel edition.5 The music is so strongly Handelian in style, and there is still so much to learn about Handel’s earlier chamber repertoire, that it seems overly cautious to question the provenance of these pieces. The Trio Sonata HWV 386 exists in two different keys.6 HWV 386a (first published in 1879) is in the key of C minor and is thought to date from c.1717–19. It is not known why Handel produced two versions of the piece, identical in every way apart from the key, and the inclusion of one or two cello bottom Cs, the lowest note on the instrument.7 In it, Handel plunders Keiser’s opera Octavia, a piece from which he borrowed on at least four occasions. The third-movement ‘aria,’ one of Handel’s most enduring and beautiful melodies, also appears in an extended, developed and transposed form in Handel’s 1709 opera Agrippina. The final Allegro should be recognisable to Handel-lovers, as its opening musical material appears (in a much slower version) in the 1717 Handel Chandos Anthem As pants the hart for cooling streams. Handel’s famous oratorio Saul was composed in 1738, and the first performance of the work took place the following year. The Trio Sonata HWV 403 ‘Saul’ was composed at the same time and is inextricably linked. Music from the trio sonata appears in the overture and sinfonia of the oratorio, and the music of the trio sonata’s final movement also appears in Act 2 of Saul, extended to include organ solos. What is impossible to determine is which came first – the lavishly scored oratorio or the trio sonata written for the more modest chamber forces of two violins and continuo. This ‘set’ of pieces, grouped together posthumously rather than during Handel’s lifetime, nonetheless takes the listener on a dramatic and emotional journey following the arcs of Handel’s musical life. The variety within the works, together with the delight in hearing favourite melodies in new incarnations, takes the listener from the eagerness and sheer energy of Handel’s youth to his more mature style, as demonstrated so ably in ‘Saul.’ One of the most rewarding aspects for The Brook Street Band in getting to know this repertoire has been exploring Handel’s limitless passion for reinvention; in taking musical ideas and reusing them, developing them and giving them new life within other repertoire, he ensures their lasting legacy. © Tatty Theo 1 Händel-Werke-Verzeichnis 2 In the hand of the German composer–harpsichordist Christoph Graupner, who worked with Handel in Hamburg from 1705. 3 First performed in Hamburg, 8 January 1705. 4 Copies exist by Johann Joachim Quantz (copied c.1719–24) and Johann Gottfried Grundig (copied c.1719–30). 5 They were included in Opus 2 and numbered 7, 8 and 9. 6 HWV 386b (in B minor) specifies ‘traversa’ for the top part. 7 These low Cs couldn’t be transposed down to B minor, since they would fall outside the cello’s range. 5 Händel – ein Leben voller Musik Händel befasste sich zu verschiedenen Zeiten und an verschiedenen Orten mit dem Genre der Triosonate. Zwei Gruppen seiner Triosonaten wurden unter dieser Bezeichnung zusammengefasst: op. 2 und op. 5. Op. 2 ist deutlich von Händels Zeit in Italien beeinflusst und folgt dem „Da-chiesa“-Modell. Op. 5 weicht von diesem Muster ab, es handelt sich eher um eine Reihe von Tanzsuiten, deren einzelne Sätze nur lose verknüpft sind.
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