Building a Collection #30
Water Music (HWV 348-350)
George Frideric Handel
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“Learn all there is to learn, and then choose your own path.” – G.F. Handel
Welcome back to Building a Classical Music Collection! Remarkably enough we have now made it to #30 on our way to covering the top 250 classical works of all-time. For this spot we will cover George Frideric Handel’s Water Music, one of Handel’s most enduring and popular works.
George Frideric Handel
George Frideric Handel (1685 - 1759) was a German-British composer of the Baroque era known for his oratorios, operas, anthems, concerti grossi (large concertos), and orchestral works. Handel was trained in Halle, Germany and worked in Hamburg and Italy before settling in London in 1712, where he became a naturalized citizen in 1727.
Handel became known for his blend of German choral tradition and Italian baroque in opera, essentially perfecting the baroque style, as well as being credited with founding the English oratorio form. Along with Bach and Vivaldi, Handel is considered one of the most famous composers of the Baroque era.
Handel’s family was not from the upper class, and at that time in Germany the arts were patronized almost exclusively by the wealthy. His father was a barber, and wanted George Frideric to be a lawyer. But from a young age, Handel was a precocious musical talent, learning the violin, oboe, harpsichord, and organ. He also began to study, and even copy, famous pieces of music from selected composers of the time. George Frideric began composing at the age of nine, and around the age of 11 (sources disagree on the exact year), Handel traveled to Berlin to meet famous Italian composers of the time Giovanni Bononcini and Attilio Ariosti.
Handel attended the University of Halle beginning in 1702, and also accepted a position as organist at the Calvinist Cathedral in Halle (even though Handel was Lutheran). He met Georg Philipp Telemann around this time, and Telemann would also go on to great fame as a composer. Telemann was studying law in Leipzig at the time, but the two shared thoughts, ideas, and opinions about music and they would become good friends. While part of his duties in Halle was to provide church music, none of his sacred music from the period has survived. Still, comments from others that knew Handel at the time praised his gift for melody and harmony.
Handel moved to Hamburg in 1703 after his one-year contract in Halle expired, and he gave up university to move to a place where musical opportunities were more abundant. During his Halle years, Handel had apparently been made an offer by the King to study in Italy with the understanding he would return and work at the King’s pleasure. Being increasingly attracted to secular music, and not fond of the idea of being a subject of the King, Handel rejected the offer. He wanted the personal freedom to follow his own path, and the move to Hamburg was part of his plan. During his time in Hamburg, Handel found work as a violinist and harpsichordist with the Oper am Gänsemarkt, and began composing operas in earnest. His first two operas, Almira and Nero, were produced in 1705.
Story has it Handel was invited to Italy by one of the Medici sons in 1706, the young Medici having the hope of reviving Italian opera by bringing in one of the best young composers of the day. Handel produced several sacred works during this time including his Dixit Dominus (1707) and several cantatas. In addition to some oratorios in Italian, Handel also produced his first operas in Italian including Rodrigo (1707) and Agrippina (1709), the latter being a great success. Handel also began borrowing his own prior melodies for new works, something that was rather common at the time and a practice Handel would continue doing throughout his career.
Eventually by the year 1712 Handel had moved permanently to England, living off stipends from the Queen for his compositions, and relying on commissions for new music from wealthy patrons (usually earls and dukes). In 1723 Handel moved into a Georgian house at 25 Brook Street, London where he would live for the rest of his life, and which is now the site of the Handel House Museum. After moving here, Handel would produce three of his most successful operas, Giulio Cesare, Tamerlano and Rodelinda in 1724 and 1725. Many of Handel’s operas were performed at the Queen’s Theatre (now His Majesty’s Theatre) between the years 1711 and 1739.
Handel would continue producing operas well into the 1730s, although he increasingly became interested in oratorios, anthems, concertos, and orchestral music. In 1719 Handel was asked to help develop the newly founded Royal Academy of Music, and then later was instrumental in founding the famous opera house Covent Garden Theatre. Of the 42 operas Handel composed, some of the more well-known which have remained in the repertoire include Acis and Galatea, Agrippina, Ariodante, Giulio Cesare, Hercules, Rodelinda, Orlando, Semele, and Serse among others.
As mentioned, Handel had become familiar with oratorio much earlier and his first attempt at the genre was Il trionfo del tempo e del disinganno from 1707, and his second was La resurrezione from 1708. As Handel became more confident in his work, and after being influenced by such composers as Arcangelo Corelli and Alessandro Scarlatti, he began writing English language oratorios which included sophisticated choral numbers and he began replacing Italian soloists with English soloists. Other oratorios which Handel became known for include Saul, Israel in Egypt, Solomon, and of course The Messiah.
Handel’s anthem Zadok the Priest was commissioned for the coronation of King George II in 1727, and became so popular it has been played at every royal coronation ceremony since. Other works by Handel that have remained popular over the centuries include Water Music (see below), Music for the Royal Fireworks, Organ Concertos, Concerti Grossi op. 3 and op. 6, and Alexander’s Feast.
Handel became blind in 1752 as a result of an eye injury suffered in a carriage accident in 1750. He died in 1759 at home, and is buried at Westminster Abbey in London.
Water Music
Handel’s Water Music is a collection of orchestral movements which have historically been organized into three suites for orchestra. The origin for the music follows the story of King George I requesting original music from Handel to be played on a barge on the Thames river in a concert providing entertainment for a royal cruise to take place on July 17, 1717. The King asked Handel to create music for about 50 musicians, and thus the work included flutes, recorders, oboes, bassoons, trumpets, horns, violins, and basses. Reportedly the King was so pleased with Handel’s new work he insisted on it being played at least three more times that evening. The musicians were engaged playing from around 8 p.m. until well after midnight.
Water Music is scored for a fairly large orchestra, but today in performance and on record it is rarely heard with the number of musicians requested by King George. Betsy Schwarm notes that because the music was assembled and published only posthumously as a complete work, the order in which the composer intended for the various movements to be played remains uncertain. What became the norm was to group the movements according to keys and instrumentations into three suites in F major, D major, and G major. These suites contain several movements each, and there are movements of varying mood and character contained in each. We hear French and British dances with diverse rhythmic characteristics which would have been familiar to listeners of the time, and two of the suites begin with an overture. The suites have the following structures:
Suite in F major (HWV 348)
1. Overture (Largo – Allegro)
2. Adagio e staccato
3. Allegro – Andante – Allegro da capo Aria
4. Passepied
5. Air
6. Minuet
7.Bourrée
8. Hornpipe
9. Andante
Suite in D major (HWV 349)
1. Overture (Allegro)
2. Alla Hornpipe
3. Lentement
4. Bourrée
5. Minuet
Suite in G major (HWV 350)
1. Sarabande
2. Rigaudon
3. Menuet
4. Gigue
Despite the historical endurance of the suites, there is compelling evidence for different arrangements of the movements going back to 1788, and even in manuscript copies from Handel’s lifetime. Several recordings have now been made which combine all the movements into HWV 348 in different order than in the suites, essentially creating one large work to be played straight through. Conductors and musicians have felt some artistic freedom to put the movements in the order that makes sense to them, and since we really don’t know Handel’s intentions, various combinations seem to be just as effective and equally enjoyable.
The popularity of Water Music has endured, and has even made appearances in popular culture, including being used as the theme music for Anglia Television in the UK from 1958 to 1988, the theme for The Frugal Gourmet on PBS television, and playing a major role in the film The Madness of King George where King George III exhibits erratic and odd behavior while attending a concert. Apparently Water Music was played every time the American freighter SS Edmund Fitzgerald passed through the locks in the Great Lakes between 1966 and 1971 (the SS Edmund Fitzgerald would tragically sink in Lake Superior in 1975 during a storm with the loss of 29 lives). Water Music was also used by Disney for their Electrical Water Pageant from 1977 to 1996.
Recommended Recordings
While there are many excellent recordings of Handel’s Water Music, there aren’t any which I consider to be “essential” as a collector. But certainly having at least a few versions of this delightful music in your collection is a must. Like many works from the Baroque period, recordings of Handel’s music have progressed from using larger orchestras with modern instruments employing thicker textures and slower speeds to the beginning of the historically informed practice movement and the use of period instruments with leaner textures and quicker speeds. What really matters is whether you enjoy the recording regardless of authenticity, and while I may have my own preferences and biases, there are some very fine recordings representing a variety of approaches.
The recordings listed below are the ones I recommend most highly, and they are in chronological order by recording date.
Dutch conductor Eduard van Beinum (1900-1959) recorded Handel’s Water Music for Decca in 1958 with the Concertgebouw Orchestra of Amsterdam. At the time Handel was almost universally performed with larger orchestral forces and tempi were slower, and this recording is no exception. But what makes this recording stand out is the deep affection the music is played with, and how Beinum adds so much care and personality to the music. The sound is good for the period. Slower movements are played in a mildly romantic vein, but are none the worse for it. Rhythms are pleasantly sprung, and harmonies are presented without any fussiness. Horns are glorious, and oboes and bassoons are nicely highlighted along with all the woodwinds. There is a warmth to this recording that many others lack, even while it never spills over into complete schmaltz.
Long time period instrument and historically informed warrior Sir John Eliot Gardiner (b. 1943) recorded Handel’s Water Music twice with his English Baroque Soloists, first for Erato in 1980 and again for Philips in 1991. Both recordings are recommended, and while the later recording boasts warmer sound, the first recording is a marginally fresher sounding performance. But they are quite similar, and you cannot go wrong with either. Textures are transparent, allowing delightful details to emerge. Horns are clear and pungent, and there is more than enough emotion in slower movements (though it would be wrong to expect too much “warmth” from Gardiner). Precision and balance are traits we have come to expect from Gardiner, and that is true here as well. Occasionally I wished for more heft in the strings, but overall both of Gardiner’s recordings are highly enjoyable.
For something different I recommend Gerard Schwarz (b. 1947) with the Los Angeles Chamber Orchestra, recorded in 1980 for the Delos label. Using modern instruments, Schwarz encourages the musicians to employ a lot of embellishments and ornamentation and extra notes not in the score. Purists may not like the liberties taken here, but I find it enjoyable. The sound is good, and the brass especially are prominent and quite impressive. Textures are kept relatively light, and the dance-like qualities are brought out well. While not a first choice for someone coming to the music for the first time, it is still recommended for its uniqueness and originality.
English harpsichordist, conductor, and early music specialist Trevor Pinnock (b. 1946) recorded Water Music with the English Concert for Archiv (Decca) in 1983. Pinnock’s version is one of the very best available, capturing the nobility and pomp of this music wonderfully in very good sound. The dance movements are marvelously light and infectious, and the performance has the feel of authenticity. Pinnock is not one for eccentricities or odd mannerisms, so this is a fairly straightforward reading. But in that sense it is highly recommendable for a wide range of listeners, and is completely satisfying in its reliability and directness.
The 1988 recording by Nicholas McGegan (b. 1950) and the Philharmonia Baroque Orchestra of San Francisco on the Harmonia Mundi label is terrific and highly recommended. This is one of the best sounding versions on period instruments, and is wonderfully vital and detailed. McGegan is moderate in his tempos, which sound just right, neither too fast nor too slow. Phrasing is successful in allowing the listener to imagine the moods the music is projecting, and I find McGegan one of the best in keeping us engaged in even the slower movements. Sonics are clean and clear. A beautiful recording.
Historically informed pioneer conductor Sir Roger Norrington (b. 1934) leads the London Classical Players in a sharp and clean performance of Water Music from 1997 on the EMI/Virgin Veritas/Warner label. Norrington is assertive in the more dance-like movements, and there is a lively forward push from the beginning. There is an outgoing quality about the entire recording that I like very much, with counterpoint emphasized and instrumental sections nicely juxtaposed with one another. The confidence and vigor serve the music well, and Norrington brings out the rhythmic contrasts more than most. The sound is bright and clear. I haven’t always agreed with Norrington’s choices on other recordings, but this one is a complete joy.
Martin Pearlman (b. 1945) and Boston Baroque recorded Handel’s Water Music in 2003 for the Telarc label. One of the best period ensembles in America, Boston Baroque has the unique ability to draw warmth and fullness from their strings and woodwinds rather than the thin, sometimes shrill tone heard from other period instrument groups. Tempos are alert but not extreme, and there is an elegance and nobility in the playing. So this is a relatively mainstream reading, but with excellent sound and a group so attentive to rhythmic pulse and character, it leads to a very gratifying listening experience.
Zefiro is a family of high speed trains made by Bombardier capable of traveling between 250 and 400 km/hour. But Zefiro is also an Italian baroque ensemble led by Alfredo Bernardini, and they recorded Water Music for the Arcana label at a live concert at St. John’s Smith Square, London in 2003. Like other Zefiro releases, this is a fresh and invigorating performance with lots of appealing touches. The sound is immediate, and Zefiro’s articulation is crisp and energetic. Very enjoyable.
Yet another Italian period group, L’Arte dell’Arco and its leader Federico Guglielmo recorded the complete Water Music in 2004 for the CPO label. This was a real find, with the group bringing style and panache to the table as well as clean execution, fantastic brass, and tempos that are flowing but never rushed. Using Christopher Hogwood’s scholarship, this group dispenses with the three suite structure and combines all the movements into one larger piece. Ornamentation is tasteful but not overdone. This is a joyous and engaging account which I will return to often.
Quebecois conductor Bernard Labadie (b. 1963) and his wonderful period instrument group Les Violons du Roy (which he founded in 1984) made an excellent recording of Water Music in 2007 for the ATMA label. Strings are alive and alert, and there is a wonderful forward movement throughout. Tempos are brisk, but always respect the flow of the music, and so I find work very effectively. There is personality infused into each movement, not in an interventionist sense but with added character which accepts that each movement has something special to say. There are no odd eccentricities here, just exciting and accomplished playing which pays attention to every little detail in the score. Highly recommended.
Spanish conductor Jordi Savall (b. 1941) and the period instrument group Le Concert des Nations recorded Water Music in 1993 (reissued in 2003) for the Auvidis-Astree label. I cannot imagine a more colorful and imaginative performance of this masterpiece, and while Savall takes some risks which will not appeal to everyone, I find this recording exhilarating. Tempos are fairly quick in parts, but nothing that derails the music, and it all falls within Savall’s overall vision. The recording is sonically excellent as well. If you are looking for a fresh take on this music, this may do the trick. It is the opposite of boring.
Other notable recordings
While not making my personal list for recommended recordings, the recordings by Laurence Cummings (Accent, 2016), Sir Neville Marriner (Argo/Decca, 1972), Orpheus Chamber Orchestra (DG, 1992), Sir Charles Mackerras (Telarc, 1991), Christopher Hogwood (Decca, 1978), Tafelmusik (Sony, 1996), Alte Musik Berlin (Harmonia Mundi, 2016) are also widely acclaimed by critics and listeners and are worth exploring.
We have reached the end of another installment in our Building a Collection series. Thank you once again for reading! I hope you can join me next time when we discuss #31 on our list: W.A. Mozart’s opera Don Giovanni. See you then!
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Notes:
"British Citizen by Act of Parliament: George Frideric Handel". Parliament.uk. 14 April 2009. Archived from the original on 4 May 2012. Retrieved 13 April 2012.
Burrows, Donald (1994). Handel. Oxford University Press. ISBN 0-19-816470-X.
Dean, Winton; Knapp, John Merrill (1987). Handel's Operas, 1704–1726. Vol. 1. Oxford: Clarendon Press. ISBN 0-19-816441-6.
Dean, Winton (1982). The New Grove Handel. New York: W.W. Norton & Co. ISBN 0-393-30086-2.
Dent, Edward Joseph (2004). Handel. R A Kessinger Publishing. ISBN 1-4191-2275-4.
"Electrical Water Pageant Review", Orlando: Disney World, Fodors.
Greenhalgh, Michael. CD Review. Handel: Water Music. Online at Musicweb International.
Hicks, Anthony (2013), "Handel, George Frideric", Grove Music Online, Oxford University Press, doi:10.1093/gmo/9781561592630.article.40060, ISBN 978-1-56159-263-0, archived from the original on 10 January 2022, retrieved 10 January 2022.
Hogwood, Christopher (2005). Handel: Water Music and Music for the Royal Fireworks. Cambridge: Cambridge University Press. p. 10. ISBN 978-0-521-83636-4.
Lang, Paul Henry (1966). George Frideric Handel. New York: W.W. Norton & Co. LCCN 66011793/MN/r842.
Levy, Imogen (2 June 1953). "Guide to the Coronation Service". Westminster Abbey. Archived from the original on 5 December 2010. Retrieved 28 May 2012.
Mainwaring, John (1760). Memoirs of the Life of the Late George Frederic Handel. London: Printed for R. and J. Dodsley.
Marx, Hans Joachim (1998). Händels Oratorien, Oden und Serenaten: Ein Kompendium. Göttingen: Vandenhoeck & Ruprecht. ISBN 3-525-27815-2.
Puccio, John. Handel: Water Music. CD Review. Classical Candor.
Schoelcher, Victor (1857). The Life of Handel. Translated by Lowe, James. London: Robert Cocks & Co.
Schwarm, Betsy. Water Music: suite by Handel. Encyclopedia Britannica. Online at https://www.britannica.com/topic/Water-Music.
Vernier, David. Handel: Water Music. L’Arte dell’Arco CD Review. Online at Classics Today.
Vernier, David. Handel: Water Music. Les Violons du Roy CD Review. Online at Classics Today.
Vernier, David. Handel: Water Music. Le Concert des Nations CD Review. Online at Classics Today.
Wassermusik [Water Music] (score) (in German), Germany: Bib BVB (the piece is given its German title in this edition by Friedrich Chrysander, Leipzig 1886).
Young, Percy Marshall (1966). Handel. New York: David White Company.
https://www.azquotes.com/author/21052-George_Frideric_Handel#google_vignette