3 Oboe Sonatas 3 Trio Sonatas

Abstract

The 14 sonatas published as Handel's "Op. 1" have a complex history. Composed at various stages in his career, they were first issued under that designation by the Amsterdam publisher Roger in the 1720s, a publication rapidly followed around 1726 by a "more correct" but equally unauthorized edition from Handel's London publisher, John Walsh. In fact, modern comparison with Handel's autograph of both publications has revealed serious errors. The Sonata in C minor for Oboe and Bass Continuo, which was published as No. 8 in the Roger and Walsh collections, is one of the earlier works included, being generally accepted by Handel scholars as having been composed during around 1711 or 1712, the period when he first settled in London following the sensational success of his opera Rinaldo in February 1711. During the early years of the eighteenth century, the oboe and recorder (both of which were at this time played by the same performer) challenged the previous hegemony of the violin as a solo instrument in sonatas, although this is the only oboe sonata included in "Op. 1." There are four short movements, an expressive Largo, an Allegro based on a chromatic theme, an Adagio, and a lively concluding Bourrée anglaise. 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.