Valparaiso, Indiana

Sonata No. 2 (Movement IV) by George Frederick Handel

This piece is published by Amsco Music Publishing company.

It  is part of a collection of oboe solos titled, OBOE SOLOS, arranged and edited by Jay Arnold

# 1

Open your collection of oboe solos to page 142.  Here you will find Sonata No. 2- Movement IV-Allegro.  The piece is in the key of G Minor that includes two flats (Bb & Eb).  Take a moment to scan the movement singing along and at the same time fingering the notes at a very slow but steady tempo.  Notice that the melodic pattern includes the note “F#” repeatedly along with the note “F” natural and the note “E” natural mixed with the note “Eb”.

The time signature is 12/8 with a triplet feeling throughout each measure.  Although this is to be played at a fast tempo, we will start slowly in order to play perfectly all the fingerings, rhythms, articulations, and dynamics.  Ironically, playing slowly and evenly is the best practicing for reaching your desired tempo with perfection.

# 2

Notice that the triplet pattern always begins with a tongued note.  It is important the the first note of the triplet pattern has an exciting lift to the tonguing.  The dynamic begins with forte playing and crescendos and at number “7” there is a sudden piano, four staccato scale patterns that gradually crescendo to the end of the melodic line at the repeat sign.

Try playing this opening at a slow tempo that will allow you to perform without a mistake.  Then, gradually increase the tempo to the point you can still play with no mistakes.  The music needs to sound exciting but comfortable to the listener.  The music cannot sound like the player is racing to the last note.  This type of playing makes the listener very uncomfortable.  In performance it is not necessary to repeat.

# 3

After the repeat sign until measure “21” there are many large skips in the music.  Again, play this section slowly and anticipate the leaps up and down.  Use a fast speed of air for the connections that skip upward and stay open with your embouchure with your teeth apart for the connections that skip downward.

# 4

As there are no rests in the music there may be notes you want to omit in order to breathe.  This can be done in a very musical style that does not disrupt the flow of the music.  If you desire to adjust this movement for breath here are the suggested note to omit and take a breath.  Remember that the performance is Allegro; thus, the listener will not be able to detect the omitted notes:

a)  four measures before measure 21 -the last five notes (e, d, c, d, e), the two notes before measure 21 (c & d), the fourth measure after measure 21- the last five notes (low d, f#. g, a, b), three measures from the end- the last five notes (f, e, d, c, b)

# 5

At measure 21 the music is soft with an immediate crescendo to forte, suddenly soft at the beginning of the next to last line of the music and a crescendo to the end of the music with a rallantando in the final measure and a fermata on the last note for more drama and excitement.  The final tempo that you decide to play will make this movement work well for you and your audience.

Keeping your fingers close to the keys, squeezing the keys, exaggerating the articulated notes, and exaggerating the dynamics are the mechanical aspects of performing this oboe solo well and meeting your expectations for excellence.

There is a YouTube performance of this piece with the examples listed above.  You can watch, listen, and play along .  You will find this helpful as your prepare this movement for your first performance.