Baroque
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Handel George Frideric
Albinoni, Tomaso Giovanni
Bach, Carl Philipp Emanuel
Bach, Johann Sebastian
Bach, Wilhelm Friedmann
Barre, Michel de la
Benda, Franz
Blavet, Michel
Boccherini, Luigi
Boismortier, Joseph Bodin de
Čart, Jiří
Chédeville, Nicolas
Corelli, Arcangelo
Corrette, Michel
Couperin, François
Handel, George Frideric
Hotteterre, Jacques-Martin
Leclair, Jean-Marie l'aîné
Locatelli, Pietro Antonio
Loeillet (de Gant), Jean-Baptiste
Marais, Marin
Marc, Thomas
Marcello, Benedetto
Martini, Giovanni Battista
Müthel, Johann Gottfried
Pachelbel, Johann
Pergolesi, Giovanni Battista
Platti, Giovanni Benedetto
Quantz, Johann Joachim
Telemann, Georg Philipp
Tromlitz, Johann George
Vitali, Tomaso Antonio
Vivaldi, Antonio
Sonata for flute in G minor, Op. 1, No 2, (HWV 360)
Largo “Ombra mai fù” from the opera "Xerxes"
Water Music: Suite No. 3 in G Major, HWV 350
Sonata for flute in E minor (Op 1, No 1, HWV 359b)
Sonata for flute in G minor, Op. 1, No 2, (HWV 360)
Sonata for flute in A minor for (Op. 1, No 4, HWV 362)
Sonata for flute in G Major (Op 1, No 5, HWV 363b)
Sonata for flute in C Major (Op 1, No 7, HWV 365)
Sonata for flute in B minor (Op 1, No 9, HWV 367b)
Sonata for flute in F Major (Op 1, No 11, HWV 369)
Sonata for flute in E minor (Op 1, No 1a, HWV 379)
Sonata for flute in A minor ("Halle No1", HWV 374)
Sonata for flute in E minor ("Halle No2", HWV 375)
George Frideric Handel: Flute Sonata in G Minor, Op. 1 No. 2, HWV 360 was written circa 1712 - 1716. The sonata was published posthumously around 1732 in Amsterdam by Jeanne Roger and then more famously in 1734 by John Walsh in London as part of Handel's "Opus 1" collection (Solos for a German Flute, Hoboy, or Violin).
The Op. 1 collection is a mix of authentic Handel works and arrangements by others, which has led to some scholarly questioning of HWV 360, but it is generally accepted as authentic Handel.
While often performed on the modern flute, historical context suggests it might have been intended for the recorder or oboe due to the G minor key and range limitations that suit those instruments better than the standard transverse flute of that era.
The sonata embodies the Baroque trio sonata style, featuring a lyrical, expressive melody line of the solo instrument, supported by a figured bass accompaniment: usually harpsichord, and a cello or bassoon for reinforcement.
Robert Veyron-Lacroix (harpsichord), 1965, 2015 Warner Classics/Erato
1. Larghetto
Robert Veyron-Lacroix (harpsichord), 1965, 2015 Warner Classics/Erato
2. Andante
Robert Veyron-Lacroix (harpsichord), 1965, 2015 Warner Classics/Erato
3. Adagio
Robert Veyron-Lacroix (harpsichord), 1965, 2015 Warner Classics/Erato
4. Presto
George Frideric Handel (1685-1759) was a German-born British composer who is known for his oratorios (Messiah), operas, instrumental compositions as well as occasional works (Water Music; Music for the Royal Fireworks).
Born in Halle (Germany) in the family of barber (at that time barbers were surgeons as well), young Frideric started music studies with composer F.W.Zachow. After short organist career at the Cathedral of Halle, Hendel moved to Hamburg, playing violin and harpsichord in the opera orchestra. Then he traveled Italy for 5 years, while composing numerous works (two operas, cantatas and oratorios) and meeting with Corelli, and Scarlatti.
In 1710, after a great success of his opera Agrippina in Venice, Handel accepted Kapellmeister position to the elector of Hanover, the future King George I of England. After opera’s Rinaldo triumphal success in London, he composed several operas and occasional works gaining popularity and prosperity to the point where he reconsidered his return to Germany.
In 1718 he was a appointed Director of Music to the duke of Chandos. In 1727 Handel became a British subject that let him to become a composer to the Chapel Royal, composing Coronation Anthems for George II as well as other now famous occasional compositions. Since opera in general and Italian opera in particular saw considerable decline in popularity in Great Britain (mostly by tremendous success of "Beggar’s Opera" by John Gay that mocked traditional opera) by 1730s, Handel mostly dedicated his time and efforts to compose oratorios. His oratorio "Messiah", premiered in 1742, made a profound impression, thus connecting Handel to new audience who saw higher moral ground in this music as opposed to entertaining music of traditional Italian style opera. Even though Handel is one of the leading composers of the late Baroque, in England he is considered as a classic composer, and indispensable part of national culture of Great Britain.