Water Music Suite no. 1 in F major, no. 1: Overture (Full Score)

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The middle suite, in D major, adds trumpets; while the third, in G major, is more delicately scored with flutes. Water Music Suite No. The first suite begins with a stately overture scored for the full ensemble except horns. The slow, majestic opening section of the overture is built entirely from a simple figure of three sixteenth notes preceding a quarter note.

Following a close on the dominant, Handel then launches into the faster-paced main body of the movement. Two solo violins initiate a fugal exposition, and are joined by the entire ensemble as the continuo takes up the subject. Episodes featuring the three soloists, with minimal interjections from the ensemble, separate tutti passages in which the fugue subject is generally confined to the continuo. The Adagio is in the key of the relative minor and features a doleful tune allotted to the oboe against a backdrop of chords provided by the ensemble.

Its later half is somewhat more active as the ensemble engages in a bit of imitative counterpoint before the soloist reenters. Typical of a Baroque era, the movement closes with a Phrygian half cadence, preparing for the return of the tonic key. The pomp of the opening movement returns in the following joyful Allegro, which by means of a da capo repeat, frames a minor key Andante. The Allegro is built around the fanfare-like figures introduced by the pair of horns, and echoed by the rest of the ensemble.

Water Music Suite No. 1 in F Major (HWV 348) for Small Orchestra

Indeed, the horns are the real feature of the movement, and engage in a delightful call-and-response with the orchestra. Even in the tutti passages, they lead the ensemble with jubilant syncopations instead of being relegated to mere harmony notes. Owing to their nature of tone production, the horns are understandably omitted from the central D minor Andante.

Oboes and bassoons open the section, after which the strings take up their melody. However, it is the former group of instruments that carry much of the melodic burden, as the strings periodically fall silent. The horns are featured again in the following quaint Minuet.

The outer sections, in F major, feature a charming melody given principally to the first violins and oboe. However, as each of its two repeated sections come to close, Handel softly echoes their final strains with the two horns unaccompanied, adding a bit of rhythmic curiosity as their phrases are of irregular length.

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The middle portion of the Minuet maintains a similar character, but ventures once again into the key of the relative minor. This movement and another minuet frame an Air which is perhaps the most well-known movement of the first suite, and one of the most well-known in the entire Water Music. Delightfully simple in its approach, the melody is stated twice, besides each of its halves being repeated. On its first appearance, the melody, heard in the first violin and oboe, is largely unadorned, except for brief moments of imitative counterpoint in the inner parts.

Only its second appearance, the melody is partially reharmonized and the inner parts lose some of their individual character. Against the melody now appears a descant allotted to the two horns. Like the previous minuet, the second makes prominent use of the horns. This time, however, it is the horns that lead the movement as they present its opening melody with canonical imitations. The melody is then repeated by the full ensemble, while the trio section ventures once again into the key of the tonic minor. The last three movements omit the horns altogether. Violins lead the dance and then hand off the melody to the oboes on its first repetition.

Good stories die hard, the truth notwithstanding. Louis Biancolli recounted the tale: According to the long-accepted story, Handel planned the Water Music in as a gesture of appeasement to King George I.

Handel’s Water Music and Music for the Royal Fireworks, 2015

Handel obtained permission from his ruler to visit England. The visit proved highly lucrative and Handel failed to return to the Hanoverian post. Finally Mahomet went to the mountain. When told it was Handel, the two were promptly reconciled. Biancolli went on to note, however, that neither the dates nor the relationship between composer and King bears out this story.

Concerning the royal disposition, King George apparently never sought to ostracize Handel after his elevation to the throne. He attended the revival of Rinaldo a few months later, and did so incognito. When the King visited Hanover in , Handel went along to see after the music. These signs indicate that the rift between the two was never very serious, if it existed at all. The dates of the various events also conflict with the old story.

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A handful of movements may be of an earlier date, but their provenance is uncertain. On July 19, , two days after the event, the Daily Courant carried the following report: Another account noting the same July date came from Frederic Bonnet, a Prussian envoy at court: Though the Water Music was not directly responsible for Handel achieving a secure position with King George, there can be no doubt that the delight it engendered in the royal breast accounted in no small part for the favor he enjoyed.

Handel modeled his Water Music on the festive outdoor compositions written by such French masters as Lalande and Mouret to accompany the al fresco suppers, parties and barge excursions at Versailles. The Water Music, like those French works, is simple in texture, dance-like in rhythm and majestic in spirit, and relies on the bracing sonorities of the wind instruments that made outside performance viable.

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The manuscript of the Water Music is lost, and there is no way to know exactly the order or even the precise instrumentation in which the various movements were intended to be played. The compilation of the music into suites was the job of later editors, and it is from these that present-day interpreters choose the specific movements to be performed.

The actual music heard, therefore, may differ from one concert to another. The other quick movements, though untitled, are related to these types. The slow sections derive either from the limpid, flowing operatic aria of which Handel was undisputed master or from such dances as the saraband. A majestic ouverture in the French style rounds out the complete set. When Frederick the Great of Prussia set off in to conquer the Austrian province of Silesia to expand his own political and economic base and diminish the power of the Habsburg ruler, Maria Theresia, he began the eight years of conflict known as the War of the Austrian Succession.

Britain was drawn into the fracas by its king, George II, a German, who wanted to make sure that he retained his succession in the house of Hanover. So determined was George to protect his privilege that he even took a contingent into battle, the last British monarch to actively lead troops in conflict. After the war had shifted enough national boundaries to satisfy the participants, the business was brought to an end by the Treaty of Aix-la-Chapelle in George thought, however, that a grand celebration was in order, and he allowed that it should be the most magnificent thing of its kind ever seen in England.

A gigantic figure of Peace attended by Neptune and Mars, and a likeness of equal size of good King George delivering peace to Britannia, adorned the pavilion. A monster sun topped the whole, and there was a special gallery for musicians large enough to accommodate a hundred men. A public rehearsal of the Fireworks Music was announced for the spacious, park-like Vauxhall Gardens in south London for April 21st. A great band of wind instruments by the dozens to play the new piece was advertised, and interest in the event ran so high that 12, tickets were sold in advance.