Aria

There are many settings of the melody transcribed here, the true origin of which is unknown. It is known that Handel enjoyed beautiful melodies often borrowing from earlier works of his own, and occasionally from other composers, e.g., Francesco Antonio Urio, maestro of the Church of the Twelve Apostles in Rome (1690). This work was transcribed with dual intention: to expand the repertoire for the younger player (to be played on the B-flat cornet or trumpet), and to perform the work employing the B-flat fluegelhorn or piccolo B-flat trumpet with cello played pizzicato (using the bow only in the final measure) and accompanied by an organ with full pedal board. When performed on the fluegelhorn, the piece has excellent contrast in the presentation of another tonal color and is a pleasant adjunct to an otherwise virtuoso program. On the piccolo trumpet it offers an opportunity for the player to exhibit control of the upper tessitura and superior phrasing.