Burlington and Chandos. Others might have been intended for the Prince of Wales, whose violin teacher, John Dubourg, was a friend of Handel, as they date from about 1730. The second volume appeared at first in Amsterdam, afterwards in London with Walsh, under a French title[1] in 1733.
The third volume was composed in 1738, and published about the beginning of 1739.[2]
The first feature to notice In general is the want of definition in the choice of instruments for which this music was written. Following the same abstract aesthetic of his time, the composer left it to the players to choose the instruments. However, there was no doubt that in the first conception of Handel certain of these pieces were made for the flute, others for the violin, and others for the oboe.
In the volume Op. 1 of the solo sonatas (for the flute or oboe, or violin) with bass (harpsichord or violoncello), the usual form is generally in four movements:[3] adagio, allegro, adagio, allegro. The slow pieces are very short. Several are inspired by the airs of Italian cantatas and operas. Some of the pieces are joined together.[4] The harmony is often thin, and requires to be filled in.
- ↑ VII Sonatas à 2 violons, 2 hautbois, ou 2 flûtes traversières et basse continue, composées par G. F. Handel, Second ouvrage.
- ↑ Later on, Walsh, made arrangements of favourite airs from Handel's Operas and Oratorios as "Sonatas" for flute, violin and harpsichord. Six Vols.
- ↑ In eleven sonatas out of sixteen. One sonata (the third) is in three movements. Three are in five movements (the first, the fifth and the seventh). One is in seven movements (the ninth).
- ↑ In the first Sonata, the final Presto in common, time uses the theme of the Andante in 3-4, which forms the second movement. In the second Sonata, the final Presto in common time is built on the subject of the Andante in 3-4, slightly modified.
