Rhythmic Alteration

Handel’s music poses certain questions regarding rhythm since his method of notation was not always what we might expect today. Strange as it may seem to us, it was not common practice to write dotted rests or double-dotted notes. Whilst it should be remembered that if the printed rhythms were intended by the composer, then that is exactly what he would have written, yet if these dotted rhythms were wanted, they were often only implied.

For instance, in bar 6 of the opening movement of both E minor sonatas (HWV 379 and 359b, op.1 no.1) the upbeat to bar 7 may have been intended to be played as written, or with a dotted semi-quaver (16th) rest followed by a demi-semi-quaver (32nd) E. Some may even advocate double dotting the cadential trill on the second beat to fit with the prevalent dotted rhythm.

Any changes might be carried over to similar un-dotted phrases, for instance in bar 2.

HWV 379 and 359b, b.2 original    altered to match other upbeats    altered to match prevailing rhythm

The subject of rhythmic alteration in 18th century music is tricky – Early Music scholarship has shifted on this one! A fashion for dotting to make everything match has, with many scholars and performers, changed to a literal reading of printed rhythms. I found Stephen Heffling’s book Rhythmic Alteration in Seventeenth and Eighteenth Century Music (Schirmer) helpful and unbiased, with evidence for and against, suggesting that there were different opinions in baroque times!The interesting thing with Handel is that he uses and reuses fragments of his own material time and time again throughout his works with hopeless or delightful inconsistency, depending on how you see it. Anything could be different – the tempo marking, the rhythm, the articulation as well as the instrumentation. Any given rhythm may sound very different according to whether you choose to emphasize the differences or treat them casually as light relief from monotony. Be guided by the mood, not just of the movement but of individual phrases.Another rhythmic question arises with the first movement of the A minor recorder sonata HWV 362, op.1 no. 4, where the dotted rhythms may have been intended to fit with triplets (the 3/4 time signature implying 9/8). There is also the possibility of altering the written quavers (eighth notes) to fit with the prevailing triplets for a more lilting effect. Bizarrely, that would mean quavers (eighths), triplet quavers and semiquavers (sixteenths) could all be played the same length! The written rhythms are, of course, equally viable.

HWV 362, op.1 no.4, b.1 original   with triplets in the bass             with triplets throughout

Suggestions for Articulation

Handel’s flute and recorder sonatas contain remarkably few slurs. This could be because they were prepared for publication by Walsh or someone else, because he/they assumed the performer would add slurs where appropriate, or because he genuinely intended most notes to be articulated. We have a lot of evidence that eighteenth century flute players used a wide variety of tongue strokes, according to the character of the piece, the tempo and the grouping of notes in each phrase. The basic principles are outlined below.

Di, a legato tongue stroke (gentle or firm), was used for smooth, step-wise melodic lines, eg, in the second movement of the B minor sonata HWV 376.

Ti, a faster, more pointed attack was used on repeated notes of the same pitch, or leaps, eg in the second movement of the E minor sonata HWV 359b, op.1 no.1, (shown here with suggested variation in strength).

Ti-ri or di-ri (with ri on the beat) was used in dotted rhythms, eg in the first movement of the E minor sonata HWV 359b, op.1 no.1.

Di-ri or Ti-ri was used in paired notes and extended passages, eg in the Bourrée of the G major sonata HWV 363b, op.1 no.5.

Di-d’l was used for fast double-tongued passages, often combined with ti-ri, eg in the Presto, third movement of the B minor sonata.

Slurs could be added, but more to highlight groupings of notes rather than for ease in fast playing. One of the most common slurring patterns is groups of three notes, as in the second movement of the G major sonata HWV 363b, op.1 no.5, bars 3-4.

Quantz suggests a slur over the last two, but combined with di-ri in such passages.

However, there are many other ways of applying eighteenth century tonguing patterns, for instance, di di-ri, interspersed with ti on more important notes. At a slightly slower speed this will create some interesting phrasing.

Alternatively, double tonguing could also be combined with di-ri and interspersed with ti on notes you wish to keep in the foreground.

Di-d’l produces a more legato effect than t-k or d-g. However, if using modern double tonguing, d-g would be preferable on step-wise moving lines and could be interspersed with ti on prominent notes.

Since winning the NFA Young Artist Competition in 1984, Rachel Brown has become known for her performances on historical flutes from the18th-20th centuries. Principal flute with the Academy of Ancient Music, she teaches at the RCM in London and is author of The Early Flute (CUP) and has written cadenzas for the new Bärenreiter edition of Mozart Concertos. www.rachelbrown.com