MR 1193 – Händel, Suite in D-Dur

Händel

suite

für Trompete, Streicher und Basso Continuo (2 Oboen und Fagott ad lib.)

D-dur

suite

for Trumpet, Strings and Basso Continuo (2 Oboes and Bassoon ad lib.) in D major HWV 341

Partitur und Stimmen

Score and Parts

MR 1193

georg friedrich händel

1685–1759

suite

für Trompete, Streicher und Basso Continuo (zwei Oboen und Fagott ad lib.)

D-dur suite

for Trumpet, Strings and Basso Continuo (Two Oboes and Bassoon ad lib.) in D major

HWV 341

herausgegeben von | edited by Edward H. Tarr

Streicherstimmen einzeln erhältlich

Extra string parts available

Klavierauszug MR 1225 käuflich lieferbar

Piano Reduction MR 1225 available for sale

Rara 1193

Printed in Germany

Musica

Foreword

On May 12, 1733, the present suite was announced by the London publisher Daniel Wright as “A Choice Sett of Aires, callʼd HANDELʼS WATER PIECE, composed in Parts for a Variety of Instruments”. We do not know if Wrightʼs project had George Frideric Handelʼs approval; because of the numerous printerʼs errors, among them parallel fifths and octaves, we are inclined to believe that Handel was surprised by the publication. In those days it was easy to come by manuscript copies of still unpublished works. Apparently Wright was able to obtain some movements by Handel. The succession of movements was perhaps determined by the composer himself, or also by the publisher, who printed them under the commercially promising title of “Mr. Handelʼs Water Piece”.

Three of the five movements are otherwise known under Handelʼs name. The first movement, in the form of a “trumpet voluntary”, in which the trumpetʼs themes always return in echo fashion in the accompaniment, could be an early version of a movement from the “Water Musick” (No. 11 in Serie IV, Band 13 of the Hallische Händel-Ausgabe, there with a complement of two trumpets and two horns). Minor details aside, the present version diverges from that of the “Water Musick” principally between measures 25 and 29. The last two movements are united under Handelʼs name in a manuscript of the British Museum; the last one, moreover, is to be found in Handelʼs opera Partenope (1730).

The two remaining movements, a jig and a minuet, are not otherwise known among Handelʼs works. This does not mean, however, that he cannot have composed them. Movements like the minuet are to be found in his early operas. To be sure, initial doubts could arise in the case of the jig; it does not seem to fit properly into a suite with solo trumpet, because this instrument plays only a secondary role in the movement. It should be pointed out, however, that entire trumpet sonatas with subsidiary trumpet were composed by Torelli; and the elder Ziani as well wrote at least one such work, which significantly is preserved in an English manuscript, among others. Since Pepusch, too, who resided in England after c. 1700, wrote a trumpet sonata of similar structure, we may assume that this type was known in Handelʼs day in England. (The works of Pepusch are still too little known to allow an answer to the question of whether he could have been the composer of the present jig.) As long as the opposite contention has not been proven, the jig as well can therefore continue to be attributed to Handel.

Despite the contrasting character of the various movements, the suite appears as a well­rounded composition of high value when compared with similar contemporary works. For this reason, and last but not least because it is associated with Handelʼs name, the suite can be considered a particularly valuable addition to the trumpet repertory made available until now.

Critical Commentary

Title of the original publication: “Mr. Handelʼs Water Piece” (Trumpet, Tenor), “The Famous Water Peice [sic] Composʼd by Mr. Handel” First, Second Treble), “Mr. Handelʼs Water PIECE” (Bass).

Designation of the instrumental parts: Trumpet Part, First Treble, Second Treble, Tenor Part, Bass.

Original editions, present location:

1) Daniel Wright, London 1733, announced in the Country Journal, or: The Craftsman and in Fogʼs Weekly Journal on May 12, 1733 (cf. W. C. Smith, Handel: A Descriptive Catalogue of the Early Editions, London 1960, p. 257). Cambridge, Fitzwilliam Museum (“First Treble” only).

2) Jno. Johnson, Cheapside (London), c. 1745 (W. C. Smith) Cambridge, The Pendlebury Library of Music (complete). Edinburgh, National Library of Scotland (“Bass” only).

The musical text of both editions is exactly the same, for the second edition was made from the same plates as the first, whereby Johnson merely added his own name.

Scientific edition:

Hallische Händel-Ausgabe (Kassel/Basel/London/New York 1962), Serie IV, Band 13, p. 106–114 as “Variante II zu 11”, edited by Hans F. Redlich.

The edition contains many mistakes. For example, in the first movement, bars 2–4 are missing from the Second Treble – the commentary to the German edition of the following phonograph record includes a photographic reproduction of this part, so that the reader may verify the situation himself – as well as the second half of bar 10 from the Tenor; in the second movement, the bass part contains wrong notes in measures 20 and 21; in the third movement (which is incorrectly called “Arie” in German, instead of the original English designation “Aire”), the rhythms of the upper parts in measure 53 have been adapted to those of bar 5, 7, etc.

Phonograph recording:

Germany: “Die Kunst der Trompeter” (Columbia SMC 91 421). England: “The Art of the Trumpeter” (His Masterʼs Voice HQS 1049—H.M.V. Baroque Library, No. 14).

U.S.A.: “The Art of the Baroque Trumpet” (Nonesuch H. 71217).

Edward H. Tarr, trumpet. The Consortium musicum. Fritz Lehan, conductor. (Recorded on March  25, 1965.)

THE PRESENT EDITION

General Remarks:

1) The complete set of parts in the Pendlebury Library, Cambridge, forms the basis for the present edition.

2) In the original editions, the trumpet part was notated in sounding pitch, as was the custom in Italy, France and England. In the present edition it has been transposed for D trumpet, in conformity with present­day usage. A second part in Bj has been provided.

3) In accordance with the practise of Handelʼs day, two oboes and bassoon have been added to the strings. The remarks “con/senza Oboi/Fagotto”; as well as other suggestions for performance, are editorial.

4) Since the original editions contain neither indications of dynamics nor ornaments, these have been supplied. Editorial slur­marks, however, have been drawn with dotted lines, so as to allow them to be distinguished from original slurmarks.

5) Wrong notes, rests and rhythms, as well as missing wedge­marks (in the third movement) have been corrected. In the third movement, moreover, the necessary doubledotted French rhythms have been notated above the individual systems in small notes.

Individual Corrections (in the reading of the original editions):

First Movement “OVERTURE”

Between bars 10 and 11, the Trumpet part brings two measures rest.

Bar 14 Trumpet: two measures rest too many.

Bar 17 Bass: sixth note corrected from e to d

Bar 18 First Treble: fourth note a1, last two notes d2 cK2 Bass: second note corrected from e to d

Bar 19 Trumpet: quarter note, eighth rest, continuation bar 23 (a quarter and a half rest, the three measures rest are missing after the quarter note).

Bar 24 Second Treble: first note a1 Tenor: rhythm two sixteenths, eighth, three quarters rest.

Bass: first note b

Bar 25 Tenor: next­to­last note corrected from cK1 to d1

Bar 26 Tenor: last three notes g1 e1 g1

Bar 27 Second Treble: first note cK2

Bar 29 Trumpet: quarter note, three quarters rest, then three measures rest.

Bass: second note g

Bar 33 Trumpet: quarter note, eighth rest, continuation bar 37 (a quarter and a half rest, then three measures rest are missing after the quarter note).

Bar 39 Trumpet, First Treble, Second Treble: first note is a quarter note with an eighth rest.

Bar 41 First Treble: the slur­mark links the last note in measure 40 to the first one in measure 41.

Final bar line in all parts: :||: (cf. the following remarks concerning the designation of the second movement).

Second Movement “Allegro”

In contrast to the three following movements, the second movementʼs designation, “Allegro”, is printed under the staff, and the movement does not begin on a new staff (with the exception of the First Treble). Apparently Wright, the publisher,

wished thereby to make a bipartite French overture from the “Overture” and “Allegro”, although this is in contradiction to the movementsʼ structure.

Bar 9 Trumpet: the second group of three eighth notes written a second time and crossed out.

Second Treble: fourth note cK2

Bar 11 Tenor: dotted quarter note, quarter, eighth, and half rests.

Bar 12 Second Treble: second note fK

Bar 13

Second Treble: last note corrected from d2 to e2

Bar 17 First Treble: a sharp­sign precedes the first g2 (in the second Treble, however, an unequivocal natural­sign).

Bar 27 Tenor: next­to­last note could be either cK1 or d1

Bar 28

Second Treble: fourth note corrected from e2 to fK2

Bar 29 Tenor: two dotted half notes, fK1 e1 Bass: two dotted half­notes, tied, d d

Third Movement “Aire”

In this movement – for the sake of performance from the present edition – the original editions have been supplemented by small notes above the systems to conform with the performance practise of the overly dotted French rhythms, which are clearly demanded in measure 53 of the Second Treble part.

Wedges (staccato­marks) have been added in the following places: Bar 6 (Second Treble, Bass), bar 24 (Bass), bar 26 (Tenor), bar 34 (Bass), bar 46 (Second Treble), bar 54 (Second Treble), bar 56 (Bass). In the original edition wedges are used exclusively; no dots are to be found (despite the reading in the Hallische Händel-Ausgabe).

Bar 4

Second Treble: last note e1

Bars 5 and 7 First Treble: the slur marks have been added later (Wright).

Bar 33 Trumpet: second note corrected from g2 to fK2 (transposed, f2 e2).

Bar 46

Bar 48

Second Treble: second note cK2

Second Treble: last note fK2

Bar 50 Tenor: first note corrected from fK1 to e1

Bar 58

Second Treble: three eighth notes (the first dotted) fK2 e2 d2

Fourth Movement “March”

Bar 2

Second Treble: last note g1

Tenor: first note a1

Bars 8 and 10 Tenor: quarter­note rest instead of a dot.

Fifth Movement “March”

Bar 1

Second Treble: the first note, as well, is dotted.

Bar 14 VII Third note e2

Bar 15 Trumpet: in the second half of the measure is a half note e2 (transposed, d2).

Basel, Switzerland, January 1969

Edward H. Tarr

Suite for

Trumpet, Strings and Basso Continuo (Two Oboes and Bassoon ad lib.) in D major

Musica Rara 1193 © 1976 by Musica Rara, Monteux assigned 2000 to Breitkopf & Härtel, Wiesbaden

Georg Friedrich Händel HWV 341 edited by Edward H. Tarr

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