Hyperion Records

Suite No 8 in F minor, HWV433
composer
published in London in 1720 as part of a set of Suites de pièces pour le clavecin

Recordings
'Handel: The Eight Great Suites' (CDA68041/2)
Handel: The Eight Great Suites
Pre-order CD by post £20.00 CDA68041/2  2CDs May 2014 Release  
'Handel & Haydn: Angela Hewitt plays Handel & Haydn' (CDA67736)
Handel & Haydn: Angela Hewitt plays Handel & Haydn
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £10.50 Studio Master: FLAC 24-bit 44.1 kHz £9.00ALAC 24-bit 44.1 kHz £9.00 CDA67736  Studio Master FLAC & ALAC downloads available
'Handel: Harpsichord Suites' (CDD22045)
Handel: Harpsichord Suites
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £10.50 CDD22045  2CDs Dyad (2 for the price of 1)  
Details
Movement 1: Prelude
Track 11 on CDA68041/2 CD2 [2'19] 2CDs May 2014 Release
Track 6 on CDA67736 [2'40]
Track 11 on CDD22045 CD2 [2'27] 2CDs Dyad (2 for the price of 1)
Movement 2: Allegro: Fugue
Track 12 on CDA68041/2 CD2 [2'27] 2CDs May 2014 Release
Track 7 on CDA67736 [2'44]
Track 12 on CDD22045 CD2 [3'03] 2CDs Dyad (2 for the price of 1)
Movement 3: Allemande
Track 13 on CDA68041/2 CD2 [2'51] 2CDs May 2014 Release
Track 8 on CDA67736 [2'56]
Track 13 on CDD22045 CD2 [3'20] 2CDs Dyad (2 for the price of 1)
Movement 4: Courante
Track 14 on CDA68041/2 CD2 [1'50] 2CDs May 2014 Release
Track 9 on CDA67736 [2'01]
Track 14 on CDD22045 CD2 [2'07] 2CDs Dyad (2 for the price of 1)
Movement 5: Gigue
Track 15 on CDA68041/2 CD2 [2'36] 2CDs May 2014 Release
Track 10 on CDA67736 [2'33]
Track 15 on CDD22045 CD2 [2'33] 2CDs Dyad (2 for the price of 1)

Suite No 8 in F minor, HWV433
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Suite No 8 in F minor reminds us that just as E major, being the sharpest major key in common use, was considered heavenly, so F minor, the flattest minor key in common use, was deemed apposite to infernal matters. Handel’s F minor Suite is not, however, overtly hellish and begins with a prelude in French dotted rhythm which is ‘pathetic’ rather than scary. He ballasts its pathos with a massive fugue on a rising-scale subject in symmetrical rhythm. Often he adds weight by ‘filling in’ the mounting octaves in the left hand, a corruption of linearity that Bach would not have countenanced. The open energy and ‘drive’ of this music mirror eighteenth-century man’s courage in confronting life’s threats; but the allemande and courante temper gravity with grace rather than with power. Handel does not risk an F minor sarabande, whether of the ‘grave’ or the ‘pathetic’ type, but concludes with a contrapuntal gigue in three voices, with canonic imitations to discipline the theme’s spikiness.

from notes by Wilfrid Mellers © 1995

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