HWV 439 g-moll

Consists of an Allemande, Courante, Sarabande, and Gigue. Lampe suggests that due to the high proportion of monophonic passagework, the Allemande and Courante are modeled after the Italian “sonata da camera,” particularly the dialogue between solo and continuo in violin sonatas.

Allemande

The first half of the Allemande, which begins with a tonic chord presentation and ornamental passagework, centers on a two-voice motivic dialogue over the bass. The second half begins with a section in G minor and modulates to related keys: C minor, E-flat major, and B-flat major. From measure 33, a dotted-rhythm motivic interplay occurs over a dominant pedal point in B-flat major. This is immediately repeated in the tonic key, with the pedal point now on D, signaling the return to the tonic. The deceptive cadence in measures 41–42 likely serves to postpone the tonic cadential close and emphasize the perfect cadence. The final three measures of the movement correspond to the end of the first half.

Courante

The tonic chord presentation at the beginning of the Courante is almost identical in form to that of the Allemande. The main melody in the first half is primarily in the uppermost voice, and while some imitation between two voices is occasionally observed, the polyphonic texture is generally not prominent. This contrasts with the intertwining of voices seen in the modulating section of the second half. The motivic interplay over the B-flat major dominant pedal point in the second half, followed by its repetition in the tonic G minor, mirrors the structure of the Allemande.

Sarabande

The Sarabande, in 3/2 time, consists of four 8-measure phrases. The second phrase, in particular, exhibits a contrasting structure compared to the others. Here, in addition to tonal contrast, the metrical syntax, with an accent on the second beat, breaks down from the latter part of the second phrase onwards, resulting in a variation of the monotonous rhythm. It should be noted that while the third and fourth phrases are quite similar to each other, they fulfill different harmonic functions.

Gigue

The Gigue is, in essence, not a dance movement but an Italian sonata finale. Technical passages are prominent, such as frequent parallel thirds and hand crossings (e.g., from m. 90), and arpeggios requiring smooth position shifts (e.g., from m. 8), recalling the style of Scarlatti’s sonatas. Furthermore, the recurring four-measure opening melody matches Aria No. 10 from the opera Almira. From the above, this suite is considered one of Handel’s endeavors in Italian-style composition during his Halle period.