曲谱：亨德尔Suite NO.7(大卫·罗素改编)

wangjianguo

http://www.guitarmania.org/z40/data/gowoon42/Handel_Suite_No.7.pdf
请教音频是在罗素的哪张碟？

gann77

MANY THANKS FOR YOUR  KIND.

wangjianguo

最后一部分Passacaille的视频（大卫·罗素演奏）：
http://wangyan.gddd.net/guitarchina/rockempire/list.asp?boardid=3&page=
Passacaille (Suite VII, HWV 432) ：
This passacaille is the last mouvement of the Great Suite in G minor HWV 432 for harpsichord by G.F. Handel . This piece didn't need a movie (like the "Saraband" in "Barry Lyndon" by Stanley Kubrik did ) to became famous.
In this passacaille, Handel uses a very common and typical ground, utilizing the best loved "figurae" of barock ornamental variation with ability, richness of sound and clearity.
The piece proceads, simple and majestic, to bar 45 : here Handel, looking at the past (the presence of chromatic variations in passacailles and chaconnes was a traditional requisite), writes two variations in which he puts two series (one for each variation) of 5 consecutives seventh chords, 3 of which are diminished, doing it apparently in enharmonic indifference between the two series.
We know Handel highly esteemed Rameau, but it seems he didn't use his theory about inversion of chords.
In the exercices Handel wrote for is pupils, we can see they had to practise inverted seventh chords before using seventh chords in the root position . So, there are two hypothesis:
1] Handel considered chords has phenomena but he preferred, when teaching, to give primary importanmce to the linear mouvement of the voices ( so sevenths has suspensions had to be more important than sevenths as chords) or
2] Handel didn't consider chords as phenomena.
We know even Bach didn't accept the theory about inverted chords : so, in these two composers, we cannot be completely sure about their theories on functional harmony.
But independently of the place chords had (or hadn't) in Handel's system , the diminished sevenths of the two series have the same functions and sounds written with different notes :
bar 45    bar 46
E + G + Bflat +Dflat to Eflat + F + A + C
as
bar 49    bar 50
E + G + Bflat + Csharp to Eflat + F + A + C
and :
bar 46    bar 47
D + F + Gsharp + B to Csharp + E + G + Bflat
as
bar50    bar 51
D + F + B + Aflat to Csharp + E + Bflat + G
Among the exercises Handel prepared for his pupils it is difficult to find diminished  seventh chords (there is an exercise in wich there is one in the upper voices but in the bass there is a pedal on the ninth) and this fact creates other problems for a discussion : but we can say Handel 's fantasy is here at the limit of harmonic science (less evidently than elsewere) indipendently of the algorythm he used (Newton and Leibnitz doceant).
We say "less evidently" because in choral music Handel uses thrue enharmonic modulations (cfr. "Israel in Aegypt", "Solomon", "Messiah" etc.).
Returning to our passacaille we see that Handel, as usual, succeeds in attracting the wide spread interest of the public and the and the attention of the professional élite (that's typical of a good business man as he was ) even if in this passacaille he doesn't show all his knowledge and fantasy (in the 6 Great Fugues he amazes even Bach's fans).
The first official edition of this passacaille (together with its Suite and the other seven suites that form the collection) was personally prepared by Handel for Cluer, who edited the collection in 1720.
Handel indicates the refrains in a very ambiguous way : he puts the symbles at the beginning and at the and of the passacaille, so we don't know how many variations (probably all) had to be repeated and when and how.
As it is for many lessons by handel and by his contemporaries, the indication "harpsichord" doesn't exclude organ : chamber organ, cabinet organ, regal, positiv, portativ and in some nations (among which Italy and England) also church organs where alternatives to the harpsichord in the sense of latin "vel", not "aut".
We choose to record the piece on in an organistic version because many harpsichord versions already exist, but not many versions for organ : moreover the ground of the passacaille is present in a later organ concerto (op.7 n°1).

[此贴子已经被作者于2005-2-13 21:22:24编辑过]