HWV 440 in B-flat Major

Given that the characteristic cadential formula of the opera Almira is found in measures 11 and 13 of the Allemande, and the early version of the Sarabande is in 3/2 time, characteristic of the composer's early sarabandes, the early version is believed to have originated during the Hamburg period. Some historical sources include the revised versions of the Allemande and Sarabande as part of HWV 434. Since sources where the Sarabande is written in the revised 3/4 time date from after 1717, critical editions infer that both movements were revised around 1717, and a copyist included them as part of HWV 434, which was composed around the same time.

Allemande

The Allemande is in binary form, primarily based on two voices. The bass rhythm in the first half is more unified in the revised version. In the second half, the tonic returns via the dominant and related keys, through free voice leading not reliant on regular sequences. After the phrase from measures 11-12 recurs, the movement concludes with a three-voice descending scale and repeated sequences.

Courante

The Courante uses a three-note eighth-note motive in the right hand from measure 1, descending scales, and ascending arpeggiated scales as its main material. It adopts a clear structure where musical phrases are generally distinctly separated in two-measure units. Regarding the use of material, a reinterpretation of the same material can be observed. The opening sections of both halves begin with a dotted half note and a three-note eighth-note motive; subsequently, as the same one-measure rhythmic motive appears, the dotted half note on the strong beat also serves as a resolving note that closes the preceding phrase (e.g., measures 22, 28).

Sarabande

The revision of the Sarabande's meter is thought to be due to the composer abandoning his early stylistic characteristics. Many of the virtuosic ornaments notated in this movement are interpreted as examples of ornamentation for other similar suite movements. After the repeat sign, it modulates to G minor, creating a major-minor contrast with the first half. From measure 12 onwards, harmonic tension is particularly heightened by the succession of dominant seventh chords and the delayed stable resolution of the leading tone.

Gigue

The Gigue is characterized by its light, dotted rhythm. In the first half, a five-measure phrase is imitated in three voices, with insertions. The second half also begins with a three-voice imitation at one-measure intervals, but the strict imitation is not as long as in the first half. From measure 44, the melodic voice from measure 19 returns.