English Sailors Dance the hornpipe on the quayside in Constantinople in 1878, from Alamy.com
Air (Hornpipe) in D minor HWV 461 Handel List A Grade 2 2019 – 2020 ABRSM
This piece was also in the ABRSM Grade 2 syllabus in 2007 - 2008.
What is the story the player wishes to convey to the listener?
As this music is in a dance form, the player can take their inspiration from the title. A hornpipe is an Irish, Scottish and English sailor’s dance that is performed with folded arms. The steps incorporate some of the actions involved in working on a ship: hauling in the anchor, climbing the masts, folding the sails and working with the ropes for example. Often the dancers wear hard shoes so that the sound of their feet helps them stay in time. Bagpipes or a fiddle sometimes accompanies the dance. There are variations of the hornpipe; some fast and some slow. One variation was popular in northern England and the lowlands of Scotland, which was in a lively triple time. An example is the song, ‘Dance ti they Daddy’. Often these hornpipes have offbeat accents, and this piece has this feature. The player should consider what the dancer(s) are doing in the music in relation to their movements.
The ABRSM Teaching notes state ‘this piece belongs to the varied assortment of short pieces composed by Handel for the harpsichord in the years 1717/18. The title ‘Air (Hornpipe)’ suggests that the piece combines song-like qualities of the air with the more buoyant rhythm of the hornpipe, a popular dance in England in Handel’s day which was similar to the jig but in simple rather than compound time.
What is the structure of the music?
It is difficult to name the structure of this music. There are a few melodic and rhythmic fragments that hold the piece together. The most commonly used pattern in the RH is the two semiquaver/quaver one. And, in the first two phrases the RH uses syncopation, which is often combined with an octave leap.
Phrasing
There are three phrases in this piece although the second phrase is a continuation of the first phrase. The first phrase is four bars long; the second phrase is ends on the first crotchet of its fourth bar and the final phrase is longer, as it is five bars long and contains the remainder of bar 8. There are thirteen bars in total in the piece. The first two phrases complement each other whereas the third phrase stands on its own.
The piece moves rapidly through some key changes in the first two phrases before ending on the dominant of D minor at the end of the second phrase. The last phrase reinforces the key of D minor.
From Alamy.com
Metronome mark, time signature and rhythm
This piece was set as an examination piece for Grade 2 by ABRSM in 2007 – 2008. The player on the CD that accompanied the exam book played this piece at approximately q = 84 however the speed on the 2019- 2020 recording is faster at q = 92, which is a suitable speed for the piece. There is a danger that the player may gradually accelerate once they are familiar with the music. To avoid this occurring, constant use of the metronome is to be advised. If played too slowly, the character and vitality of the music will be lost.
Although this piece is written in simple triple time there are instances where the music feels and looks as if it is in compound time. The syncopation contributes to this and Handel as written a few rhythmic patterns using a compound time structure. In the last phrase, the rhythmic patterns are all in simple time and it is in this phrase the music feels as if it becomes more ‘settled’ after the use of the syncopation in the previous phrases. The ABRSM Teaching notes suggests that the tempo should be firmly based in three – rather than one-in-a-bar works well for the piece.
Handel has used a number of different rhythmic patterns in this music and some pupils may find some a little daunting to accomplish. There are many ways the player can practice these: the teacher could play one hand and the player plays the other, the player could play the LH and sing the RH, the player could play one hand and tap out the rhythm of the other hand and the player could tap out the rhythm of both hands using the time names for the fastest moving rhythms.
Unexpected moments
The octave jump in the RH is certainly unexpected and the player must highlight this. However, there is a danger that the player could over-emphasise the note the leaps up an octave by playing it too loudly in comparison with the rest of the music. Added to this, the player has to use their RH 5 to play these notes. These notes should be played with a supple wrist and fluid arm and elbow so that these notes have resonance, but are not played with harshness.
Beginning and ending
The player should imagine that the dancers are on stage, the instrument(s) have warmed up and that the dancers are ready to start. The beginning should sound strong and energetic. At the beginning the player should use a definite gesture when commencing the piece.
In the final two bars the hands should sound as if they have blended together and the dancers are coming to the end of their dance with a flourish. During the final bar, the player should imagine that the dancers are taking a bow before walking off the stage. The player should hold the final notes for at least four counts of the beat at the slowing speed before removing their hands form the keyboard with a flourish and placing them back in their lap.
Details and considerations
Musical period and composer
Baroque period, Georg Freidrich Handel. According to the book in which this piece is published, it was composed by Handel in London about 1717/18.
Touch
The player will need to use a ‘down-up’ gesture when playing the two semiquaver/quaver patterns that are frequently used in this music. The player’s fingers will need to be well curved with energy from the fingertips. The arms and shoulders should comfortably support the hands and fingers so that the music has grace and poise. A small amount of weight will need to be employed when playing the longer tenuto notes.
Balance between the hands
Although the RH should be highlighted in this piece due to the fact that it contains most of the melodic material this does not mean that the LH should not be highlighted at times too. So, there are occasions in this music where the balance between the hands is significant, where there are others where the balance is not as significant. For example in the first bar the balance is to the RH however in the second bar, the LH is becoming more significant in that its on the first beat should be played with resonance so that it is heard and lasts for its entire beat. And, the subsequent three quavers should be played a little less than the RH because they are more active than the RH at this point. There are occasions where the hands should blend together, such as the end of the second phrase and at the ending of the piece.
Tone-matching
Wherever there are longer notes in this music such as the crotchets and dotted crotchets the player should listen very closely to how much these notes have faded and play the subsequent notes at the same level of dynamics or less. If the player plays the subsequent notes louder than the previous ones, the effect of the syncopation will be destroyed and in other cases, the rhythmic impulses of the bar will change.
Phrasing
As discussed before, the second phrase continues after the end of the first phrase without any discernible break. The last phrase could be commenced using very quiet dynamics so this phrase has the greatest range of dynamics of the piece. This will add a dramatic effect to the music.
Articulation
As with many Baroque pieces, the articulation is an important feature of the music. The articulation helps to convey the energy and momentum that this piece requires. The application of articulation effects must be consistent throughout the music wherever the same pattern occurs. The longer notes should be played using a tenuto touch and only slightly separated from the notes before and after. All of the semiquaver and two semiquaver/quaver patterns should be played legato with a gentle lift at the end of these patterns. When the player is lifting off at the end of these patterns, the player’s fingers should stay in contact with the keys. The quavers in both hands should also be played gently detached.
Dynamics
This player can employ a wide range of dynamics in this piece however bearing in mind that this piece was written in the Baroque period. The climax of the piece is in the penultimate bar at f level. As always, a small change in the LH’s dynamics will make a considerable difference to the overall dynamics of the piece. If the player can use a wide range of dynamics in the last phrase, this will add to the grandeur and drama of the ending. At bars 9 and 10, the player will instinctively feel that a crescendo is necessary because of the rising melodic patterns. Discuss with the player that there should be and ebb and flow in this kind of crescendo as it would be rather boring for the listener if the crescendo only gradually increases without a little reduction in the dynamics throughout.
Rubato
Very little rubato should be applied to this piece, firstly because of its Musical period and also because any easing of the tempo will result in the motoric feel of the music being compromised. A slight hesitation at the end of the second phrase is appropriate as the listener is unsure as to what will be played following the end of this phrase. At a slight easing of the tempo in the penultimate bar is effective.
Use of the LH
The LH provides the ‘engine’ for this piece along with playing a melodic role at times and also contributing to the overall dynamics. The player could imagine that an oboe, cello or a low brass instrument is playing the LH. As discussed before, the LH has at times a melodic role and the player should not be afraid to highlight the LH on these occasions. There should be a quaver rest in the LH in bar 8 so that the RH A is clearly heard by the listener. As with any piece, the player must know the LH very well and strict adherence to the fingering is crucial.
By Associated Press - 'Warspite' cadets dancing the hornpipe, No restrictions, https://commons.wikimedia.org/w/index.php?curid=14639157
Use of the RH
The player should imagine that a trumpet or possibly, a clarinet is playing the RH. In bar 8, the first RH A should be considered as an upbeat for the last phrase. Some players may find it a little difficult to play the syncopated crotchets with enough resonance with the number 5 finger. In regards to the two semiquaver/quaver patterns, the player needs to consider the energy that is required to play the first note of the set in comparison with the energy required when played the other two notes of the set. There will need to be a feeling of relaxation at the end of each of these patterns.
Additional considerations
Some players may initially find the distance between the hands a little unnerving at first. In addition to this, there are times where the hands are playing in contrary motion to each other and at other times, in similar motion. The body must be ‘free’ to allow the arms, elbows and hands uninhibited movement around the keyboard.
The music has quite an upbeat character even though it is in the key of D minor.
The player must ensure that the longer notes are held for their correct value, as there is a danger that these may be lifted too soon.
Bars 1 – 4
· start this phrase at mf level.
· Let the peak of the phrase occur at the beginning at mf level, and as a result, the music will commence with boldness and vitality.
· The opening of this music is strong and bold, as if trumpets are playing the first notes. The player should use an outward elbow movement when playing the first notes to ensure that these notes are not played with any harshness.
· There should be no easing of the tempo at the end of this phrase. The player should feel the forward movement to the following phrase from the end of this phrase.
· The player should ‘feel’ the movement towards the two semiquaver/quaver melodic patterns.
Bars 5 – 8
· Start this phrase at a quieter level than the beginning of the piece at p level.
· Let the peak of the phrase occur on the syncopated crotchet in bar 6 at mp level.
· The hands should blend together dynamically at the end of the phrase and let the tempo ease a little at the end of the phrase so that the listener is unsure as to what is going to happen next.
· There is a little less energy in this phrase and in bars 7 and 8 the music should lose a little of its tension. However, the player must ensure that the music does not lose its momentum at this point.
Bars 8 – 13
· Start this phrase at pp level, which is even quieter than the dynamics at the end of the previous phrase. This will result in this phrase containing the largest range of dynamics in the piece.
· Let the peak for the phrase occur at the beginning of bar 12 at f level.
· As there is a long crescendo the player will have to execute from bar 8 to bar 12 the player should achieve the crescendo in stages letting the dynamics rise and fall back a little before arriving at the loudest point.
· The player should play the LH with slightly stronger dynamics here in comparison with the other two phrases.
· In bar 11, the player should ensure that the RH Bflat is not played too loudly considering its rhythmic position in the bar.