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357:, when, in fact, he had been the parish clerk. They raised a subscription for a wooden memorial to him, and in 1868, the people of Whitchurch subscribed again for a grandiloquent gravestone, still standing. It reads: "In memory of William Powell, the Harmonious Blacksmith, who was buried 27. of February 1780, aged 78 years. He was Parish Clerk during the time the immortal Handel was organist of this church. Erected by subscription, May 1868."
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466:. The overall shape and form of the variations are the same, but the melody as we know it is not yet fully formed, and there are significant improvements to texture and passagework throughout the later published version. Interesting, perhaps, is a complete lack of the insistent repetition of b' (d" through transposition), which has since been commonly associated with the image of a blacksmith striking his anvil.
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237:. It has been suggested that the move to Cannons was related to the fact that in 1717 there was reduced demand for his services in central London because operatic productions were experiencing a temporary downturn. At the end of Handel's stay at Cannons, the Duke and his friends helped him establish a new opera company in London, the so-called Royal Academy of Music.
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applies a secondary dominant that leads to a chord on the first beat of the third measure. This initial motive is repeated in measures three and four, ending the first phrase on a half cadence. The second phrase begins on the tonic chord arpeggiated, followed by a IV chord. This I to IV is repeated
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was pure imagination, that the original publisher of Handel's lesson under that name (The
Harmonious Blacksmith) was a music seller at Bath, named Lintern, whom he knew personally from buying music at the shop, that he had asked Lintern the reason for this new name, and he had told him that it was a
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in 1720, Handel published his Suite no. 5 in E major, HWV 430. This suite consists of four movements: The
Prelude, Allemande, Courante and Air and Variations; the first three movements having stylised dance rhythms. This suite was promulgated a year after Handel became Master of the Orchestra at the
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I have been obliged to publish some of the following
Lessons, because surrepticious and incorrect Copies of them had got Abroad. I have added several new ones to make the Work more useful, which if it meets with a favourable Reception; I will still proceed to publish more, reckoning it my duty, with
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is switched between hands and is now played in the right hand with the left hand arpeggiating the harmonic chordal progression. The left hand plays sixteenth notes throughout this variation and the right hand only plays eighth notes, with the addition of trills in the second phrase. The motivic
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The fifth, and final, variation consists of impressive scale work that is played by both hands, with each run of thirty-second notes being returned with another set of thirty-second notes in the following beat, usually played by the opposite hand. The same progression and structural ideas are
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The third variation introduces the new musical idea of sixteenth note triplets in the right hand, with the left hand playing the melody in eighth notes. Variation three has the same progression and division of musical sections, but the melody is no longer in the right hand, with the left hand
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nickname given to himself because, he had been brought up as a blacksmith, although he had afterwards turned to music, and that was the piece he was constantly asked to play. He printed the movement in a detached form, because he could sell a sufficient number of copies to make a profit.
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285:, and by whom. The name was not given by Handel and was not recorded until early in the 19th century, when the movement became popular on its own (while Handel's music remained popular in England continuously after his death, it was only very selectively known.)
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until measure five, where the dominant chord is added to the progression, creating a common I, IV, V, I chord progression. This new phrase retains the same chord progression in measures seven and eight, ending the second phrase on a perfect authentic cadence.
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until a perfect authentic cadence in measure ten, followed by recapitulation of the second phrase. The first measure outlines the tonic and dominant chords, followed in the next measure by a repeat of tonic and dominant chords until the fourth beat, where
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The story never appeared in Handel's lifetime and its authenticity is unproven. It is mentioned in a publication called "The
Musical Magazine" in 1835. The legend began three-quarters of a century after Handel's death with
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The penultimate variation trades the melody to the right hand, with the left hand playing sixteenth note triplets. This variation is almost identical in structure to its predecessor, with the roles of the hands switching.
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A few months after Clark's publication the writer saw the late J.W. Windsor, Esq., of Bath, a great admirer of Handel and one who knew all his published works. He told the writer that a story of the
Blacksmith at
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417:, and Mr W. C. Smith, who worked at the museum and was a Handelian specialist of high standing, said that the earliest copy of the piece that he had yet (as of 1940) been able to find under the name
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677:. He wrote that the music âseemed to reflect both Handel and English musical comedyâ, hence the title. The composer made various versions of the work, most notably, a piano solo version (1930).
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throughout. Moving eighth notes create the foundation for both the right and left hand. Upon completion of the first phrase, the tonic key is reestablished and the right hand begins to play
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composed
Variations, Fugue, and Envoi on a Theme of Handel for piano, based on this melody. Published in 1942 at the age of 30, it was his last published composition.
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544:. Both phrases are made up of five measures, with the first ending on a half cadence and the final phrase of the variation ending on a perfect authentic cadence.
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The
Harmonious Blacksmith. The piece came to be called after him, probably because he published it under that name for reasons outlined in the following extract:
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style): semiquavers in the right hand; semiquavers in the left hand; semiquaver triplets in the right and left hands; and finally demisemiquavers in both hands.
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Chappell was a respected musical historian and the story is probably true, but there is no copy of
Lintern's edition of the piece in the
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626:. Aunt Evelyn is heard to be playing the piece one evening and the author recalls this happy memory during his time at the Front.
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Around the time of 1720, G. F. Handel had just left his native land of
Germany to London, accepting his new position at the
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in 1911. Shortly after, he used the first sixteen bars of his set of variations to create one of his most beloved pieces,
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was that published by the
British Harmonic Institution, arranged as a piano-forte duet, the paper of which bears the
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hammering. A variation on the story is that he heard the blacksmith singing the tune which would later become the
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Handel had written his harpsichord suites of the 1720 publication before he lived at Cannons, when he was at
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and is made up of two phrases, with the exposition beginning with the first musical phrase ending on a
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Variation one includes the same motivic ideas and adds arpeggiation of the chords with focus on the
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441:, though it is not known whether Jones preceded Handel or vice versa. A passage in Handel's opera
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is named as the Harmonious Blacksmith in the 18th century poem "The Devil and Saint Dunstan".
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Handel published his first eight harpsichord suites in 1720 with the following explanation:
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arpeggiating a harmony identical in structure to the theme and both preceding variations.
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There also exist several early manuscript versions of this piece, in G major and entitled
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The final movement of Handel's Suite No. 5 in E major, HWV 430, consists of the opening
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used the theme as the basis for a variation movement in his Octet in E major, Op. 32.
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There have been a number of explanations proffered as to why this movement was called
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my Small Talent, to serve a Nation from which I have receiv'd so Generous a protection
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A video recording of the Harmonious Blacksmith, with info in Spanish and English
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structure remains the same, with focus on only the tonic and dominant keys.
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starting on the dominant, resulting in a final perfect authentic cadence.
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based one of his most famous works on this melody. He first wrote his
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maintained throughout this variation, ending on a descending E major
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The story is that Handel, when working for James Brydges the future
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by Richard Jones (1680â1740) features almost the same air in a
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Variazioni su un tema di Handel ("The Harmonious Blacksmith")
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between 1717 and 1718, once took shelter from the rain in a
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and Richard Clark then found an old anvil in a smithy near
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The theme is referenced at the beginning of the finale of
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used a similar theme for the subject of a two-part organ
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published by Handel and is made up of four movements. An
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George Frideric Handel: His Personality & His Times
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Composition for harpsichord by George Frideric Handel
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Agrippina condotta a morire or Dunque sarĂ pur vero
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826:"Variations, Fugue, and Envoi on a Theme of Handel"
376:William Lintern was a blacksmith's apprentice from
49:. Unsourced material may be challenged and removed.
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671:Variations on Handel's âThe Harmonious Blacksmithâ
510:. The music is set in simple meter, with a 4/4
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800:The Harlequin Years: Music in Paris 1917â1929
8:
451:tune, so it is likely that it was his own.
173:is the popular name of the final movement,
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888:â mentions the Harmonious Blacksmith story
255:Handel, preface to the publication of 1720
869:International Music Score Library Project
723:, Charles Scribner's Sons, New York, 1948
665:The Australian-born composer and pianist
109:Learn how and when to remove this message
784:, Clive Bingley, Shoestring Press, 1927
693:
502:and the following phrase ending with a
1450:L'Allegro, il Penseroso ed il Moderato
158:
1386:Il trionfo del Tempo e del Disinganno
260:Among the eight suites published for
7:
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892:Origins of the Harmonious Blacksmith
768:, Garland Publishing, New York, 1988
642:, Op. 107, for solo guitar in 1828.
638:used the theme as the basis for his
447:, written in 1704, is very like the
47:adding citations to reliable sources
2124:Keyboard suite in D minor (HWV 437)
1390:Il trionfo del Tempo e della VeritĂ
1615:Ode for the Birthday of Queen Anne
803:. University of California Press.
433:As to the origins of the music, a
229:before becoming house composer at
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1780:Funeral Anthem for Queen Caroline
766:G. F. Handel: A Guide to Research
2293:Suites by George Frideric Handel
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2256:
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1801:Wedding anthem for Princess Anne
1008:
159:Problems playing this file? See
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634:The Italian guitarist-composer
380:who later took up music and so
297:William Powell's infamous grave
197:was one of the first works for
34:needs additional citations for
2222:Handel & Hendrix in London
707:, W. W. Norton, New York, 1966
622:'s semi-autobiographical work
1:
1895:Music for the Royal Fireworks
1394:The Triumph of Time and Truth
2298:Compositions for harpsichord
1826:Utrecht Te Deum and Jubilate
1710:Tra le fiamme (Il consiglio)
965:Handel's lost Hamburg operas
624:Memoirs of a Fox Hunting Man
478:and five variations, all in
874:The grave of William Powell
744:. Thames & Hudson Ltd.
406:Grove's Dictionary of Music
209:(variations in the English
58:"The Harmonious Blacksmith"
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618:The piece is mentioned in
494:is in rounded, continuous
2240:
2140:Handel Reference Database
2118:The Harmonious Blacksmith
1808:Foundling Hospital Anthem
1696:O lucenti, o sereni occhi
1629:Ode For St. Cecilia's Day
939:
884:27 September 2007 at the
865:Suite in E major, HWV 430
840:10.1017/S0040298200031296
504:perfect authentic cadence
419:The Harmonious Blacksmith
368:, or even earlier still.
317:; the regularly repeated
283:The Harmonious Blacksmith
170:The Harmonious Blacksmith
138:The Harmonious Blacksmith
2155:Hallische HĂ€ndel-Ausgabe
2145:HĂ€ndel-Werke-Verzeichnis
2133:Catalogs and collections
824:Mavrodin, Alice (1980).
599:, the main character in
506:resulting in a parallel
372:Another possible history
241:The eight suites of 1720
1654:Allor ch'io dissi addio
1608:Aci, Galatea e Polifemo
1513:Joseph and his Brethren
404:1889, first edition of
339:Reminiscences of Handel
2080:Concerti grossi, Op. 6
2075:Concerti grossi, Op. 3
2070:Organ concertos, Op. 7
2065:Organ concertos, Op. 4
1840:Queen Caroline Te Deum
1583:The Choice of Hercules
933:George Frideric Handel
764:Mary Ann Parker-Hale,
705:George Frideric Handel
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267:Royal Academy of Music
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223:Royal Academy of Music
179:George Frideric Handel
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1668:Clori, Tirsi e Fileno
449:Harmonious Blacksmith
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129:
2202:Letters and writings
1675:Dalla guerra amorosa
1336:Va tacito e nascosto
1329:Svegliatevi nel core
949:List of compositions
734:Hogwood, Christopher
688:Notes and references
675:Handel in the Strand
645:The German composer
429:Origins of the music
216:
205:is followed by five
193:. This instrumental
43:improve this article
2197:British citizenship
2150:HĂ€ndel-Gesellschaft
1874:Oboe Concerto No. 2
1869:Oboe Concerto No. 1
1864:Oboe Concerto No. 3
1534:Occasional Oratorio
1315:Lascia ch'io pianga
680:Composer-conductor
289:An unproven history
1727:Latin church music
1717:Un'alma innamorata
1682:Del bell'idolo mio
1661:Aure soavi e lieti
834:(133â134): 61â67.
602:Great Expectations
299:
181:'s Suite No. 5 in
175:Air and variations
131:
2308:1720 compositions
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2212:Handel at Cannons
1883:Orchestral suites
1833:Dettingen Te Deum
1766:As Pants the Hart
1622:Alexander's Feast
1269:Alessandro Severo
1206:Parnasso in festa
751:978-0-500-27498-9
659:Concert champĂȘtre
630:Musical influence
620:Siegfried Sassoon
271:Earl of Carnarvon
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944:List of operas
940:
937:
936:
931:
929:
928:
921:
914:
906:
900:
899:
894:
889:
876:
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859:External links
857:
854:
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816:
809:
795:Nichols, Roger
786:
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725:
709:
692:
691:
689:
686:
667:Percy Grainger
636:Mauro Giuliani
631:
628:
593:
590:
580:
579:Variation Five
577:
571:
570:Variation Four
568:
562:
559:
549:
546:
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512:time signature
487:
484:
471:
468:
430:
427:
415:British Museum
396:
373:
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362:Adlington Hall
290:
287:
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2027:
2025:
2022:
2020:
2017:
2015:
2012:
2010:
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1997:
1995:
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1925:
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1787:Sing Unto God
1784:
1782:
1781:
1777:
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1770:
1768:
1767:
1763:
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1750:
1747:
1745:
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1737:
1735:
1734:Dixit Dominus
1732:
1731:
1729:
1725:
1719:
1718:
1714:
1712:
1711:
1707:
1705:
1704:
1703:Ero e Leandro
1700:
1698:
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1693:
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1690:
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1500:
1496:
1492:
1489:
1487:(Mozart arr.)
1486:
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1471:
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1354:The Alchemist
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1283:Giove in Argo
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1087:Giulio Cesare
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1077:
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1059:Muzio Scevola
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827:
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810:9780520237360
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718:
717:Newman Flower
713:
710:
706:
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643:
641:
637:
629:
627:
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621:
616:
614:
613:Saint Dunstan
610:
608:
604:
603:
598:
591:
589:
587:
578:
576:
569:
567:
560:
558:
555:
548:Variation Two
547:
545:
543:
539:
535:
528:Variation One
527:
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501:
497:
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385:
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379:
371:
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336:
335:Richard Clark
330:
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217:Handel's life
214:
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91:
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63:
60: â
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
2244:
2227:Georg HĂ€ndel
2217:Handel House
2117:
2116:
2109:
2102:
2095:
1845:
1838:
1831:
1824:
1806:
1799:
1792:
1785:
1778:
1771:
1764:
1749:Salve Regina
1744:Nisi Dominus
1715:
1708:
1701:
1694:
1687:
1680:
1673:
1666:
1659:
1652:
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1613:
1606:
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1518:
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1497:
1482:
1455:
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1413:
1406:
1399:
1393:
1392: /
1389:
1388: /
1385:
1366:
1359:
1352:
1322:Ombra mai fu
1295:
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1218:
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1197:
1190:
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1120:
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670:
664:
657:
651:
644:
639:
633:
623:
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611:
600:
595:
582:
573:
564:
551:
538:dominant key
531:
500:half cadence
489:
473:
461:
448:
442:
432:
418:
412:
403:
387:
381:
375:
359:
354:
338:
331:
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259:
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244:
220:
174:
169:
168:
167:
137:
120:
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
1928:Fitzwilliam
1890:Water Music
1484:Der Messias
647:Louis Spohr
496:binary form
402:(1809â88),
343:Henry Wylde
262:harpsichord
199:harpsichord
191:harpsichord
2303:Variations
2287:Categories
1527:Belshazzar
1115:Alessandro
1066:Floridante
355:blacksmith
347:Whitchurch
323:blacksmith
319:pedal note
161:media help
69:newspapers
2171:Göttingen
2164:Festivals
2097:Germanico
1818:Canticles
1463:Structure
1378:Oratorios
1262:Faramondo
1220:Ariodante
1157:Partenope
1101:Rodelinda
1094:Tamerlano
1052:Radamisto
998:Agrippina
848:144595555
470:Structure
453:Beethoven
439:minor key
423:watermark
235:Middlesex
189:430, for
2251:Category
1639:Cantatas
1576:Theodora
1520:Hercules
1478:Part III
1297:Deidamia
1255:Berenice
1248:Giustino
1234:Atalanta
1108:Scipione
970:Florindo
882:Archived
797:(2002).
736:(1988).
464:Chaconne
425:'1819'.
397:â
366:Cheshire
341:(1836).
277:The name
253:â
211:division
99:May 2022
2262:Commons
1915:sonatas
1913:XV solo
1758:Anthems
1590:Jephtha
1569:Solomon
1562:Susanna
1473:Part II
1457:Messiah
1429:Athalia
1422:Deborah
1368:Alceste
1241:Arminio
1192:Orlando
1178:Sosarme
1143:Tolomeo
1005:Rinaldo
991:Rodrigo
542:B major
480:E major
435:bourrée
391:Edgware
351:Edgware
337:in his
307:Cannons
231:Cannons
207:doubles
183:E major
83:scholar
2181:London
2111:Gideon
1739:Gloria
1548:Joshua
1506:Semele
1499:Samson
1468:Part I
1415:Esther
1290:Imeneo
1227:Alcina
1213:Oreste
1185:Catone
1122:Admeto
1080:Flavio
1073:Ottone
984:Almira
976:Daphne
958:Operas
846:
807:
782:Handel
748:
740:Handel
554:melody
521:Handel
508:period
444:Almira
311:smithy
140:(5:00)
85:
78:
71:
64:
56:
2272:Audio
2176:Halle
2104:Nabal
2089:Other
1905:Flute
1361:Comus
1276:Serse
1136:Siroe
1031:Silla
1024:Teseo
844:S2CID
831:Tempo
605:, by
586:scale
534:tonic
492:theme
486:Theme
476:theme
457:fugue
315:anvil
177:, of
90:JSTOR
76:books
2207:Will
2058:Opus
1994:367b
1989:367a
1974:364b
1969:364a
1964:363b
1959:363a
1939:359b
1934:359a
1911:and
1909:solo
1436:Saul
1171:Ezio
1164:Poro
805:ISBN
746:ISBN
552:The
536:and
490:The
378:Bath
62:news
2049:379
2044:378
2039:376
2034:375
2029:374
2024:373
2019:372
2014:371
2009:370
2004:369
1999:368
1984:366
1979:365
1954:362
1949:361
1944:360
1922:358
836:doi
656:'s
597:Pip
382:was
364:in
327:Air
305:at
233:in
203:air
195:air
187:HWV
45:by
2289::
1907:,
973:,
842:.
828:.
780:,
719:,
703:,
662:.
540:,
459:.
349:,
273:.
185:,
1930:"
1926:"
1338:"
1334:"
1331:"
1327:"
1324:"
1320:"
1317:"
1313:"
979:)
967:(
925:e
918:t
911:v
850:.
838::
813:.
754:.
163:.
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
