 | Haendel, Georg Friedrich - "Passacaille" for Harp HWV 432 Harp |
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| Composer : | Haendel, Georg Friedrich (1685 - 1759) | ||||
| Instrumentation : | Harp1 other version | ||||
| Style : | Baroque | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Date : | 1720 | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 21 Sep 2012 George Frideric Handel, born in Halle, grew up as the son of a barber-surgeon who wanted his boy to study law. Young Handel successfully rebelled, and by 1703 was playing violin and keyboard in Hamburg’s opera orchestra. Handel spent four years it Italy (1706-1710), where he moved amidst the musical elite of the day – meeting Corelli, Scarlatti, and Pasquini – and received the nickname “il caro Sassone” (the dear Saxon). Back in the days before international copyright laws, any publisher could publish anything they wanted without fear of legal action. Thus, Jeanne Roger of Amsterdam published "surrepticious [sic] and incorrect Copies" of the suites in 1719 without paying or informing the composer. This led Handel to publish the works himself in London in 1720. The Suite in G Suite is one of the grandest and most impressive of the suites. In six movements, the Suite in G minor is much more than a standard-issue set of stylized dance movements. The first movement is an overture in the French style with a massive opening Adagio, followed by a fast and brutal Presto, with a pummeling theme played in thirds, sixths, and octaves. The following movement is a quietly lyrical Andante with a gently embellished melody. The next movement is a propulsive, two-voice Allegro in 3/8 time. The central Sarabande, marked Andante con moto, is an incredibly simple and affecting series of three- and four-voice chords with the melody as the top voice. The Gigue that follows is a hurtling movement in two virtuoso voices. The climax and culmination of the Suite in G minor is the monumental Passacaglia of contrapuntal force majeure. This passacaglia (Passacaille) derives from a musical form that originated in early seventeenth-century Spain and is still used by contemporary composers. It is usually of a serious character and is often, but not always, based on a bass-ostinato and written in triple meter. This Passacaille has become well known as a duo for violin and viola, arranged by the Norwegian violinist Johan Halvorsen. Although this piece was written for period keyboard, I created this arrangement for Concert (Pedal) Harp. Sheet central : | Suite de pièce in G minor, Vol 1 No 7 (11 sheet music) | | |||
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