- Master the second movement (Andante) of Handel's G minor Sonata
- Develop singing tone quality in lyrical passages
- Apply sophisticated ornamentation to slow Baroque movements
- Understand the contrast between adjacent movements
Introduction
The Andante (second movement) of Handel's G minor Sonata (HWV 360) is a beautiful lyrical movement that showcases the recorder's singing capabilities. This movement requires exquisite tone control, nuanced phrasing, and tasteful ornamentation.
Musical Character
Where the opening Larghetto was noble and somewhat melancholic, the Andante is more flowing and gentle. Think of it as an intimate conversation or aria.
- Tempo: Andante ("walking pace") - approximately 60-70 BPM
- Character: Lyrical, singing, expressive
- Key: Remains in G minor, maintaining the somber affect
- Mood: Tender, reflective, intimate
The Singing Tone (Cantabile)
This movement demands a beautiful, sustained tone throughout. Every note should "sing"—imagine you're a vocalist.
Developing Cantabile
- Breath support: Steady, continuous air stream (no wavering)
- Vibrato: Use subtle finger or breath vibrato sparingly at phrase endings
- Legato phrasing: Connect notes smoothly within phrases
- Tone color: Warm, centered sound—avoid thin or breathy tone
Practice this simple melody focusing entirely on tone beauty:
Focus: Each note should be perfectly in tune, with rich tone and seamless connections.
Ornamentation in Andante Movements
Slow movements in Baroque music receive the most elaborate ornamentation. The printed page is just a sketch—you're expected to decorate it.
Where to Add Ornaments
- Cadences: Always ornament important cadences (use trills, mordents, turns)
- Sustained notes: Long notes benefit from trills or messa di voce
- Sequences: Ornament the first iteration, vary in repetitions
- Climactic moments: Highlight the emotional peak with tasteful decoration
- On repeats: Add MORE ornamentation the second time through
Ornamentation Vocabulary
- Trills: With preparation and termination
- Appoggiatura: Leaning into important notes from above or below
- Slide: Gliding into notes from below (two grace notes)
- Mordent: Quick decoration of sustained notes
- Turn: Encircling the main note
- Diminutions: Breaking long notes into faster divisions
As written:
With ornaments (suggested):
(Add: appoggiatura on D5, trill with termination on B4, final mordent on A4)
Phrasing and Articulation
Long Phrases
Andante movements often have extended phrases that require strategic breath management:
- Plan breaths in advance—mark your score
- Breathe at natural commas in the musical sentence
- Use quick "catch breaths" that don't interrupt the flow
- Never breathe in the middle of a slur or sequence
Articulation Choices
Mostly legato, with occasional détaché (slightly separated) for contrast:
- Legato slurs: Within phrases, connect smoothly
- Notes inégales: Subtly lengthen some eighth notes (French style)
- Appoggiatura emphasis: Lean into ornamental notes slightly
Interpretation and Expression
Dynamic Shaping
While recorder has limited dynamic range, create the illusion of dynamics through:
- Breath pressure: Slightly more air = slightly louder (use sparingly!)
- Articulation: Softer tonguing = quieter effect
- Spacing: Slight agogic accents (lengthening) create emphasis
- Terraced dynamics: Sudden shifts between sections
Rhetorical Gestures
Baroque music is rhetoric—it's a speech, an argument, a conversation. Think about:
- Questions and answers: Some phrases ask, others respond
- Tension and release: Build toward cadences, then relax
- Suspensions: Lean into dissonances, resolve gently
- Affect: Each section has an emotion—find it and express it
Technical Challenges
Intonation
Slow music exposes tuning problems ruthlessly. Practice with a tuner or drone:
- G minor scale patterns with drone on G
- Check third-octave notes (often sharp)
- Adjust with breath and fingering
Endurance
Slow movements demand stamina. Long phrases with constant air flow fatigue the embouchure:
- Practice in short sessions (10-15 minutes)
- Build endurance gradually
- Relaxed embouchure is key
Practice Strategy
Week-by-Week Plan
- Week 1-2: Learn notes and basic rhythm. Play with plain tone, no ornaments. Focus on intonation and breath control.
- Week 3-4: Add basic ornaments (trills at cadences, occasional mordents). Work on phrasing.
- Week 5-6: Develop ornamentation vocabulary. Try different options. Practice with continuo track.
- Week 7-8: Refine interpretation. Make musical decisions. Record yourself and listen critically.
Daily Practice Routine (30-40 minutes)
- Long tones and intonation work - 5 minutes
- Difficult passages slowly - 10 minutes
- Ornamentation experiments - 10 minutes
- Run-through with expression - 10 minutes
- Recording/playback analysis - 5 minutes
Continuo Collaboration
This music was written for recorder with continuo (harpsichord + cello/bassoon). The accompaniment is not just background—it's a partner in the conversation.
- Listen actively: The continuo gives you harmonic context and rhythmic support
- Coordinate breaths: Often breathe when the bass moves
- Match affect: If the continuo is playful, match that energy
- Practice resources: Many free continuo tracks on YouTube for Handel sonatas
Recommended Study Materials
Editions
- Urtext edition: Bärenreiter or Schott (minimal editorial additions)
- Ornamented edition: Look for editions by Petri or Laurin with suggested ornaments
Recordings to Study
- Michala Petri: Romantic, expressive interpretation
- Dan Laurin: Historically informed, lighter ornamentation
- Stefan Temmingh: Modern HIP approach with excellent continuo