The simple but exclusive pastime of navigating a river listening to music was not original to the court of London —the French court, more lavish, had been practicing it for years. But the idea of enjoying outdoor concerts, through the gardens or on the shores of a river, already had acquired great relief in the London high society of the early 18th century.
Navigating the Thames
In 1717, the former patron of Georg F. Handel at the court of Hanover, converted now by the deed and grace of history into King George I of England, promptly became part of the tradition. Having in mind the idea of a walk by the river for July 17, he commissioned the one who now stood out in London as a famous composer, namely Handel, to write a set of new compositions to delight him and his court as they sailed the Thames.
Water Music - A set of three suites
The commission couldn't have come at a better time for Handel. Particularly, to ingratiate himself with his former protector, whom he had served late, badly and never in Hanover due to his compulsion to know the world. Nonetheless, to complete the work the composer did nothing but draw on some orchestral suites composed in advance. The work was titled Water Music, and consists of three suites of alternate movements, slow and lively, written the first of them in F major, the second one in D and the third one in G.
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| Georg Friedrich Handel (1685 - 1759) |
The fluvial and musical journey was run, indeed, that day of July of 1717. The king and his court travelled in a royal barge; Hendel plus 50 musicians in another barge, not royal, providing the music. What is not clear is if the suites we know today as Water Music were heard that afternoon. According to all sources, on that occasion Haendel played his own music, of course, but not necessarily the one that concerns us.
What is not in dispute is the following: that day was Wednesday, the journey took them from Whitehall to Chelsea, back and forth, and the musicians played from 8 pm until 12, with a short break while the king went ashore at Chelsea; all this according to the London newspaper of the time, The Daily Courant.
Different versions
The set of orchestral pieces was only published fifteen years later, in 1732. Because of this, the original sequence of their movements became somewhat blurry; nowadays, the movements are incorporated into the suites in different order and number.
Suite No 2 in D major - Movements
Less than ten minutes long, the performance is by Le Concert Spirituel on period instruments, conducted by Hervé Niquet. In this version, the movements are:
00 Overture (Allegro)
2:02 Alla Hornpipe (the most known section)
5:02 Minuet
6:41 Lentement
8:11 Bourrée
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