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George Frideric Handel

George Frideric Handel (1685-1759)

Nationality: German | English
Born: February 23, 1685, Halle Died: April 14, 1759, London (age 74)
wikipedia | imslp

Sonata in C major, Op. 1, No. 7, HWV 365

(for recorder and continuo)
2:23 I. Larghetto - Adagio
2:16 II. Allegro
1:59 III. Larghetto
2:15 IV. A tempo di gavotta
1:40 V. Allegro
Duration: 10 minutes (approximately)
Composed: 1732 (age 46-47)
2 recordings, 10 videos
autoopen autoplay
2:23
Michala Petri, Academy of St. Martin in the Fields Chamber Ensemble
I. Larghetto - Adagio
1:59
Michala Petri, Academy of St. Martin in the Fields Chamber Ensemble
II. Allegro
1:58
Michala Petri, Academy of St. Martin in the Fields Chamber Ensemble
III. Larghetto
2:01
Michala Petri, Academy of St. Martin in the Fields Chamber Ensemble
IV. A tempo di gavotta
1:24
Michala Petri, Academy of St. Martin in the Fields Chamber Ensemble
V. Allegro
2:22
László Czidra, et. al.
I. Larghetto - Adagio
2:33
László Czidra, et. al.
II. Allegro
1:59
László Czidra, et. al.
III. Larghetto
2:29
László Czidra, et. al.
IV. A tempo di gavotta
1:55
László Czidra, et. al.
V. Allegro

Related Composers

Johann Mattheson
Johann Mattheson (1681-1764)
Friend/Colleague
Nationality: German
Born: September 28, 1681, Hamburg Died: April 17, 1764, Hamburg (age 82)

glossary

  • adagio [It]—slow tempo, often implying a lyrical, poignant character
  • allegro [I]—fast, lively tempo. From the Italian word for cheerful or gay.
  • chamber music, Kammermusik [G], musique de chambre [F], musica da camera [I], musica cameralis [L]—"Classical Music" for a small ensemble, generally 8 or fewer players with a canonical emphasis on 3-6 players. explore
  • continuo, basso continuo, b.c., figured bass, thorough bass, basse chifrée—During the Baroque Era, a term for an improvised (realized) instrumental accompaniment specified by a symbolic notation for chords and a written bass line (i.e. figured bass). A continuo "part" usually implies multiple (but typically unspecified) instruments, e.g. one for a strong bass line (e.g. cello) and another for chords (e.g. lute, keyboard, organ). A continuo part may be realized by keyboard alone, and sometimes played by a bass melody instrument alone (without harmonies). wiki
  • di [I], d'—of, in the manner of
  • gavotte, gavotta—Originally a French folk dance that became a courtly dance with Louis XIV and subsequently used in Baroque suites. Moderate tempo in duple rhythm often beginning on an upbeat in a pick-up measure.
  • larghetto—slow, but a bit faster than largo
  • opus [L], opera[pl], Op., Opp, WoO, Op. posth—work, as in a work of art. For unique identification, publishers/composers often assign an "opus number", abbreviated as "Op." (e.g. Op. 1). A range of works by opus number, uses the plural "opp." (e.g. "Opp. 1-3"). A single opus number may refer to a collection of works (e.g. a set of quartets) giving rise to designations like "Op. 1, No. 4". For misc. works without opus numbers, "WoO" is often used (e.g."Without Opus"). Posthumously assigned numbers may use "Op. posth". Opus numbers may not precisely reflect chronology (publication vs. composition), can be erroneous, sparse or duplicative. Thus, the works of some historically important composers may use separate catalog numbers (e.g. Bach, Haydn, Schubert). See wiki
  • sonata, sonate, suonato—a complicated term. Originally, "sounded" rather than "sung" (sonar vs. cantar), e.g. instrumental music. According to historical period, sonata began to imply a formal plan of movements as well as the structure within a single movement, e.g. sonata form. In general usage as a work title, it designates a multi-movement piece for solo or duo instruments with one of the instruments enjoying a feature role.
  • tempo, tempi [pl]—speed or pace at which music progresses. Traditional classic music typically uses standard Italian words to designate the tempo, e.g. Allegro or adagio. Metronome markings provide precise numerical speeds. Tempo selection during performance is a complex artistic choice informed by composer's markings, performance tradition, technical limitations and interpretation.