Violin Sonatas . Oboe Sonatas CD12

Abstract

Falling into only three movements, this is the most abbreviated of Handel's oboe sonatas; it's also the earliest, found in a manuscript in the Fitzwilliam Museum that employs the type of paper Handel used in Venice and Hanover in 1709-1710. The work was not published during Handel's lifetime. The first movement lacks a tempo indication but is taken to be an Andante; the broad, stately melody would be appropriate in the more pastoral sections of Handel's Messiah and is just spare enough to invite lavish ornamentation in the repeats. The Grave takes an even more serious turn and reveals the influence of the plaintive Italian aria. But before this material has a chance to develop, Handel brings on a bright Allegro, full of quick, intricate melodic runs that are often canonically echoed in the continuo. This sonata from the 15 Sonate da camera was originally scored for solo violin and a basso continuo which can be realized by harpsichord or piano, with an ad libitum cello or viola da gamba.

The first of the four movements is marked Affetuoso and is a beautiful study centering around the melodic interval of a major ninth: as the opening three notes of the violin's D major arpeggio slowly ascend, the classical ear expects the top note to be another D but instead the soloist sings out with the note one whole step higher (E) and the fullness of the accompanying harmony (E minor to A major) creates a wonderful emotional brightness, like a sudden beam of sunlight revealing itself through a bank of clouds.

This exquisite gesture is then complemented in the next measure but with a different position of the ascending arpeggio, another ninth (lower A to high B), and another harmony (F sharp minor seven to D to G) which reminds us of the first surprise but shades it slightly differently.

The idea of the wide interval leap is then pursued throughout the rest of the first movement by means of small variations interwoven with delicate trills and scale runs. The movement concludes with a half cadence leaving the violin suspended in the air.

The splendid, energetic second movement Allegro also features a theme based on arpeggiated chords whether these occur as trumpeting figures, on-rushing Alberti rotations, or swift scale runs. Some interesting counterpoints occur between the soloist and continuo when they imitate the trumpeting at the same time in large interval leaps.

The plaintive third movement is played in a Larghetto tempo. The touching theme begins with a larger, octave leap and then gradually reduces the distance of the interval into a more intimate expression. The varied possibilities of the rich B minor key are explored and many surprising harmonic progressions are revealed, such as proceeding from C major to F sharp major to B minor, and then from E major to A minor to B minor. Like the first movement, this section concludes on a half cadence, with a suspended high tone.

The fourth and last movement has a sprightly Allegro theme partly comprised of a skipping rhythm made from a dotted trochee (long-short) beat, a quick anapest (short-short-long) figure, and flashing runs. It is a fitting conclusion to this remarkable classic.