Georg Friedrich Händel
Nine German Arias for Soprano, Solo Instrument and Basso continuo
We do not know very much about Handel’s compositions on poems by Barthold Heinrich Brockes. We can only date their composition to approximately 1724–1727. The autograph does not shed any light on the titles nor the sequence of the works. It does not even give the instrumentation. Thus there are several alternatives for the solo instrument that imitates the vocal part – although violin, flute or oboe are the most likely. Our practical edition not only contains additional parts for the solo instrument and the bass but also a realization of the figured bass in the score by the editor Ullrich Scheideler.
About the Composer
Georg Friedrich Händel
He numbers among the most important composers of Italian operas and is a major proponent of the oratorio; his immense oeuvre also comprises concerti grossi and solo concertos, liturgical music, chamber music, and music for keyboard instruments. He worked in London.
| 1685 | Born in Halle (Saale) on February 23. |
| 1702 | Organist at the Palace Cathedral in Halle. |
| 1703 | Employed as a violinist, later as a harpsichordist, at the Oper am Gänsemarkt in Hamburg; premiere in 1705 of the opera “Der in Krohnen erlangte Glücks-Wechsel, oder: Almira, Königin von Castilien” (“The Change of Fortune Won in Crowns, or: Almira, Queen of Castile”). |
| 1706–10 | Stay in Italy, with opera performances. |
| 1710 | Employed as music director by the Elector of Hanover. The 1711 London premiere of “Rinaldo” is a great success. In 1712, he will travel once more to London, where he will remain for the rest of his life. |
| from 1720 | Important position at the Royal Academy of Music, which he founded in 1717. |
| from 1724 | Successful premieres of “Giulio Cesare in Egitto,” “Tamerlano,” “Rodelinda” in 1725, and “Alessandro” in 1726. |
| 1728 | After the dissolution of the Royal Academy of Music, Handel continues to lead his own company. |
| 1733 | Competition from the Nobility Opera, which is supported by the aristocracy. Premiere of “Orlando.” |
| 1734 | Engagement of a French ballet troupe to outdo the Nobility Opera. Integration of French elements into his own operas. |
| from 1735 | Premiere of “Alcina,” “Giustino” in 1737, “Serse” in 1738 (containing the famous largo “Ombra mai fù”). |
| 1736 | Three “Water Music Suites,” HWV 348–350. |
| 1739 | Twelve “Concerti grossi,” Op. 6, after Corelli’s example. |
| 1741 | Unsuccessful premiere of the melodrama “Deidamia”. From then on, composition of oratorios, including “Messiah” (1741), “Judas Maccabaeus” (1746), and “Jephtha” (1751). |
| 1749 | “Music for the Royal Fireworks,” HWV 351. |
| 1759 | Death in London on April 14. |
contains a score both with and without a realization of the figured bass, the solo instrument part and the bass line without numbers