Oboe

SONATA IN G MINOR Ope 1, No.6

I.

1

G. F. Handel

Larghetto j) = 92

Edited by Robert Bloom Realized by Sara Lambert Bloom

15 ~ ~ 1>r Adagio 1>r

~~' Q-( EV#O atE I 4fll@_] j' r I r U ~ II

create a cadenza attacca

Handel/Gm Sonata/Oboe-l © Copyright 1998 Sara Lambert Bloom. All rights reserved. Printed in U.S.A.

2

II.

Allegro J = 112 tr

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© Copyright 1998 Sara Lambert Bloom. All rights reserved. Printed in U.S.A. Handel/Gm Sonata/Oboe-2

III.

3

Adagio J - 63

Oboe

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Handel/Gm Sonata/Oboe-3

© Copyright 1998 Sara Lambert Bloom. All rights reserved. Printed in U.S.A.

4

IV.

16

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19

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© Copyright 1998 Sara Lambert Bloom. All rights reserved. Printed in U.S.A. Handel/Gm Sonata/Oboe-4

Continuo

SONATA IN G MINOR Ope 1, No.6

I.

G. F. Handel

Edited by Robert Bloom Realized by Sara Lambert Bloom

Larghetto J, = 92

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© Copyright 1998 Sara Lambert Bloom. All rights reserved, Printed in U.S.A.

2

6

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© Copyright 1998 Sara Lambert Bloom. All rights reserved. Printed in U.S.A. Handel/Gm Sonata/Continuo-2

III.

3

IV.

Allegro J. = 120

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19

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Handel/Gm Sonata/Continuo-3 © Copyright 1998 Sara Lambert Bloom. All rights reserved. Printed in U.S.A.

III Handel: Sonata in G Minor

Rbert wrote his elaboration of the third movement of this sonata after coaching Patricia Nott in 1965 in her own edition for her graduate recital at the Yale School of Music. It is a prototype of third movements of baroque sonatas da chiesa: short transitional movements in a related key, ending on the dominant of the final romp.

Robert used this movement frequently in master classes on baroque ornamentation. At the Aspen Music Festival in the summer of c. 1976 we presented a session on elaboration. Prior to the event, he gave pupils the assignment of elaborating this movement and then discussed and compared theirs with his own (much like the exercise I have laid out in this collection using Handel's A Major Violin Sonata, the third, transitional movement of which is elaborated by Handel himself).

I print the urtext of the melody of this movement because it is an instance where Robert frequently departed from specific chord tones of the original setting. His doubling of the bass is probably the result of having to use the piano for continuo; Handel's bass lies in the upper of the two octaves notated here. Robert added a passing note in the bass in measures 4 and 6.

The first movement of this sonata obviously needs some elaboration, but since Robert did not write one, I leave it to the performer and refer you to his elaboration of the first movement of the C Minor Sonata of Handel, Part I, No.9, in this collection. The D in measure 11 and the G in measure 12, which follow the sixteenth rest on the fourth beat, should be performed as a thirty-second note following a dotted sixteenth rest. (This is not always the case; see notes on Bach's Easter Oratorio, Part II, No.4, of this collection, for more detail.) Handel makes no fewer than fifteen requests for trilled notes in the first movement; the editor must be very careful to think through which are melodic and which harmonic, and to use a wide repertoire of embellishments in order not to become repetitious or to be insensitive to the context. There is also the wonderful harmonic moment in the fourteenth measure,

much like the one I described in the first movement of Handel's G Minor Concerto, which needs special treatment. And the final measure of the first movement calls for a cadenza, perhaps with some interplay with the keyboard.

In the eleven measures of the beautiful third movement, Robert uses many ornaments or embellishments in addition to

his melodic elaboration. I will take this opportunity to interpret his notation as I understand it.

There is only one place in which the ornament is clearly used as a "grace note" figure, meant to be played before the beat: the three-note turn before the downbeat of measure 3. He used this three-note grace several times in the Adagio of the Mozart Concerto.

There are three phrases in this little movement, and Robert uses three different treatments of each cadence, a lesson in itself. At the end of the first phrase he notated a simple long appoggiatura with no accompanying ornament. At the end of the second phrase he wrote a three-note ornament intended to sound on the beat and also marked "tr" (in pencil, later) above the note. This corresponds to the "trillo" in Bach's

chart for Wilhelm Friedemann (Bwv, vol. 45 [1], p. 213). For the final phrase, a half cadence that leads attacca to the final movement, Robert wrote a long appoggiatura to the dominant, only one-third the value of the dotted half note (see notes, Part II, No. 10, discussing the value of appoggiaturas). He adorned the appoggiatura with a three-note figure, this time to be placed on the beat. An "ossia' was penciled above the first beat: four sixteenth notes, A-G-F-sharp-G, which he would have performed with his uniquely uneven weighting, his unique "inegalite" of weight, not time. He called this "putting on the brakes" at cadences, not "making a ritard."

The trills in measures 6 and 9 are melodic, not harmonic. His use oftr is more likely intended to be the tr he describes in his Bach essay (see notes, Part I, No.1 1), that is, an ornament a piacere, not a formal cadential trill that follows the guidelines left to us in various eighteenth-century treatises. He is not consistent with the notation, but he intended both trills to begin on the upper note without a prepared (held) appoggiatura, the first with its termination being identical to Bach's "trillo and mordant" in his chart for Wilhelm Friedemann, and the one in measure 11 beginning on the upper note but probably stopped on the main note on the second half of the beat to allow the vibrato to carry the line forward through the passing note E.

The beautiful schleifer, or German slide, in measure 7 was one of Robert's favorite ornaments. Its heavenward direction was intentional, a "tone painting" device used by Bach and

IV The Robert Bloom Collection

not lost on Bloom. Its profound effect is felt, for example, in the aria "Ich habe genug." Robert used a schleifer infrequently and reserved it for high points of expression such as this A-flat. The F is sounded on the beat with a stress, but the A-flat retains the voicing of the passage, sophisticated use of air speed and vibrato being needed to accomplish this. This special figure should not be confused with the two-note grace in the Rondo of the Oboe Quartet of Mozart, which should be placed before the beat.

The articulation of the fourth movement gigue is difficult to describe; while not being pedestrian, the stroke Robert sought had a springy, dancelike quality, definitely different from nonfolk, courtly, or sacred fast-movement articulations. I think I heard him coach it most often for the middle section of Bach's Wedding Cantata, which he considered the "off-stage" village dance in contrast to the inner-chamber focus of the aria. While the gigue articulation is high-spirited, it is not mindless and is varied in intensity and frequency throughout the movement.

Four sets of sonatas were published during Handel's lifetime, all written during his middle years. Published by Walsh in 1730 and revised in 1732, the set of twelve Sonatas, Opus 1, contains solo works for flute, recorder, violin or oboe with continuo. The C Minor Oboe Sonata is generally called Opus 1, No.8, HG XXVII, 29 and the G Minor Opus 1, No.6, HG XXVII, 22 (the second and fourth movements of which appear also in Sonata No.7). The other published sets include six Trio Sonatas for two violins, oboes, or flutes with continuo, Opus 2, three Sonatas for flute with continuo, and seven Trio Sonatas for violins or flutes with continuo, Opus 5, all written during the 1730s in London.

Chrysander published posthumously six Trio Sonatas for two oboes, dating them 1696, when Handel would have been eleven years old! Other scholars doubt their authenticity

and date.

SARA LAMBERT BLOOM

New Haven, October I997

SONATA IN G MINOR Ope 1, No.6

I.

Larghetto J'! =_;_9:_:2:..--_--- __

G. F. Handel Edited by Robert Bloom Realized by Sara Lambert Bloom

Oboe

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- © Copyright 1998 Sara Lambert Bloom. All rights reserved. Primed in U.S.A.

2

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© Copyright 1998 Sara Lambert Bloom. All rights reserved. Printed in U.S.A.

Handel/Gm Sonata/Score-2

II.

3

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© Copyright 1998 Sara Lambert Bloom. All rights reserved. Printed in U.S.A.

4

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Handel/Gm Sonata/Score-4

5

29

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© Copyright 1998 Sara Lambert Bloom. All rights reserved. Printed in U.S.A.

6

III.

Adagio J = 63

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Continuo

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© Copyright 1998 Sara Lambert Bloom. All rights reserved. Printed in U.S.A.

Handel/Gm Sonata/Score-6

~---"------------~

IV.

7

Allegro J. = 120

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© Copyright 1998 Sara Lambert Bloom, All rights reserved, Printed in U,S.A.

8

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Handel/Gm Sonata/Score-8