The First Breath of Genius: Handel Flute Sonatas "Hallenser" (Hans-Jürgen Möhring) | [MuseLAB]

Описание: Sonata for Flute and Basso Continuo in A minor, HWV 374 ("Halle" No. 1)
00:00 I. Adagio
02:44 II. Allegro
05:12 III. Adagio
10:57 IV. Allegro
Sonata for Flute and Basso Continuo in E minor, HWV 375 ("Halle" No. 2)
13:29 I. Adagio
15:56 II. Allegro
17:40 III. Grave
19:23 IV. Minuet
Sonata for Flute and Basso Continuo in B minor, HWV 376 ("Halle" No. 3)
22:24 I. Adagio
25:27 II. Allegro
27:47 III. Largo
28:49 IV. Allegro


The journey of our new series, "The Human Breath and the Divine Fingerprint," begins in the quiet, frost-covered streets of Halle, Germany, in the year 1703. Here, we witness the birth of a legend. A young eighteen-year-old, Georg Friedrich Handel, stands at a crossroads. His father envisions a lawyer; his soul demands music. The three "Halle Sonatas" (HWV 374-376) are the very first testaments of this struggle. They are not merely student works; they are the pure, unadulterated "Human Breath" of a genius finding his voice. In this first chapter, the "Divine Fingerprint"—the celestial sound of the harp—has not yet appeared. Here, the breath must stand alone, supported only by the sturdy, earthly foundation of the continuo.

To bring these historical scores to life, we evoke the artistry of Hans-Jürgen Möhring, a master whose name is synonymous with the post-war German flute tradition. As the longtime principal of the WDR Symphony Orchestra Cologne, Möhring represents a school of playing that values structural integrity over superficial brilliance. His performance of the A minor Sonata (HWV 374) is a masterclass in 'Germanic' restraint. Unlike the fluttering, vibrato-heavy styles of the French school we will meet later, Möhring’s breath is steady, noble, and deeply rooted in the earth. It is a 'Human Breath' that knows the weight of tradition, yet possesses the lightness of a spring morning in Halle.

As we delve into the E minor Sonata (HWV 375), we hear the solitary nature of the wind instrument. The flute provides the lyrical, human narrative—full of longing and aspiration—while the harpsichord (Rudolf Scheidegger) and cello (Hannelore Michel) provide the necessary ground. Notice how the continuo doesn't try to mimic the divine; it simply builds a solid room in which the human soul can breathe. Handel, even at eighteen, understood that before one can fly, one must learn to stand firm. The flute's melody here is a search, a questioning voice echoing in an empty cathedral, waiting for an answer that is yet to come.

The concluding B minor Sonata (HWV 376) serves as a bridge to Handel’s future. In its vigorous Allegros, we hear the burgeoning ambition of a composer who would soon conquer Hamburg, Rome, and eventually, the royal courts of London. Möhring’s interpretation captures this sense of impending departure. There is a forward momentum in his playing, a subtle urge to break free from the quietude of Halle.

As we conclude this first episode, we leave the young Handel at the gates of his hometown. His flute is packed, and his spirit is already soaring towards a wider world. The simple, honest breath we heard today is the foundation for the majestic journey ahead. We have heard the "Human Breath" in its purest form. But the "Divine Fingerprint" is still waiting in the distance. In our next chapters, we will follow this breath as it travels through London and Cöthen, evolving and maturing, until it finally meets its celestial counterpart, the Harp. The legend has just begun to breathe.


[Performance Information]
Hans-Jürgen Möhring, transverse flute
Hannelore Michel, cello
Rudolf Scheidegger, harpsichord
Recorded in the late 1960s, Released in 1973 (MHS 1591/2/3)


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This video uses Public Domain / CC0 materials from:
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