Händel, Georg Friedrich : Suite HWV 432
Work Overview
Instrumentation:Piano Solo
Genre:suite
Total Playing Time:25 min 40 sec
Copyright:Public Domain
Commentary (1)
Author : Maruyama, Yoko
Last Updated: August 20, 2011
[Open]
Author : Maruyama, Yoko
No. 7, HWV 432
The sarabande in 3/2 time, a revised version of HWV 439, shows the influence of Froberger and can be stylistically traced back to at least 1711. Furthermore, the overture, a revised version from the Roger edition, is an arrangement of the overture to the cantata Il Trionfo del Tempo e del Disinganno (The Triumph of Time and Disillusion), premiered in 1707. These facts suggest that the composition of this work may also date from Handel's first stay in Rome.
The Andante is a stylized Allemande, and along with the Allegro and Sarabande, it is a revised version for publication. The two-part Allemande, characterized by rhythms without dotted notes, the main melodic voice largely given to the upper part, and a scarcity of imitation or motivic manipulation, shows a strong inclination towards the Italian style. Similarly, the Allegro, which is effectively a dance movement with two-part imitation only at the beginning of each section, strongly exhibits the characteristics of an Italian Corrente.
The Sarabande consists of four-measure phrases, and its form is concise. The final eight measures are a slightly altered repetition of the first four measures of the preceding eight measures.
The Gigue is short, totaling 19 measures, and largely employs a clear texture where the lowest voice provides the harmonic bass and the uppermost voice carries the main melody. There is no dense intertwining of voices, nor is there complexity in the harmonic progression.
Although the Passacaglia was designated as a Chaconne in manuscripts circulating before its publication, this movement is in 4/4 time, whereas dance movements often take 3/4 as their basic meter. While maintaining a fifth relationship with the harmony in the latter half of the measure, the bass note at the beginning of each measure descends by a second, forming the descending tetrachord typical of a passacaglia bass. Among the 15 variations, variations 2 and 3, 5 and 6, 8 and 9, and 13 and 14 form pairs, with voices alternating between the upper and lower parts.
Movements (6)
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Sheet Music
Scores List (1)

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