Handel - The Recorder Sonatas (Complete)

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Together with my very good friend Radoslav Nikolov, we present to you the six Recorder Sonatas by Handel. Hope you will like it and enjoy! :)

Handel - Recorder Sonata in G minor
0:00 I. Larghetto
1:42 II. Andante
5:15 III. Adagio
6:00 IV. Presto

Handel - Recorder Sonata in A Minor
7:53 I. Larghetto
11:02 II. Allegro
13:30 III. Adagio
15:24 IV. Allegro

Handel - Recorder Sonata in C Major, HWV 365
18:28 I. Larghetto
20:26 II. Allegro
22:14 III. Larghetto
23:48 IV. A tempo di gavotta
25:40 V. Allegro

Handel - Recorder Sonata in F Major:
27:30 I. Grave
29:06 II. Allegro
30:55 III. Alla siciliana
32:07 IV. Allegro

Handel - Recorder Sonata in B-Flat Major, HWV 377
33:55 I. Allegro
35:33 II. Adagio
36:51 III. Allegro

Handel - Recorder Sonata in D minor
39:08 I. Largo
40:56 II. Vivace
43:24 III. Presto
45:16 IV. Adagio
46:36 V. Alla breve
48:19 VI. Andante
49:50 VII. A tempo di menuet

Bach - Toccata and Fugue in D minor -
Bach - French Suite No.2 -
Liszt - La Campanella | C. Bechstein -
Liszt/Horowitz - Hungarian Rhapsody No. 2:
Brahms-Cziffra: Hungarian Dance No.5-

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Handel’s sonatas for recorder were composed in the years 1724–6. What is remarkable is that he found the time to concentrate on such work at a time when his operas were in great demand in London: this is the period of Scipione and Agrippina. The young composer was the toast of the town, and had become a naturalised Englishman having followed his old employer the Elector of Hanover, Georg to London. Georg became King George I, and Georg Frideric Handel became George Frederick Handel. It will come as no surprise that the sonatas contain a lot of ‘operatic’ material, from Handel’s own operas, and those of his contemporaries such as Georg Muffat. Many of the most popular arias from Handel’s operas had been published in transcriptions for recorder and keyboard – the ancestors of the operatic paraphrases by Liszt and Henselt in the 19th century.

Although they can be considered as domestic music, the keyboard parts are quite virtuosic (Handel was an excellent harpsichordist), and the composer’s markings are detailed lending credence to the view that these works were also used as exercises. Handel enthusiasts will find much that is familiar in these works, sprightly fast movements and operatic larghettos, the latter no doubt influenced by the operatic workload Handel faced at the time.

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