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The Harmonious Blacksmith is the popular name of the final movement, Air and variations, of George Frideric Handel's Suite No. 5 in E major, HWV 430, for harpsichord.This instrumental air was one of the first works for harpsichord published by Handel and is made up of four movements. [1]
The halberd was usually 1.5 to 1.8 metres (4.9 to 5.9 ft) long. [3] The word halberd is cognate with the German word Hellebarde, deriving from Middle High German halm (handle) and barte (battleaxe) joined to form helmbarte. Troops that used the weapon were called halberdiers. The word has also been used to describe a weapon of the early Bronze ...
One barrel contained the concertos Op. 4, No. 5 and Op. 7, No.3 and another the concerto Op. 7, No.4 with the ad libitum slow movement provided by the sarabande and variations on La Folia from Handel's Suite in D minor for harpsichord HWV 437. Cumming's inventory is all that survives of these organs, one having been destroyed in a fire in 1843.
5. Nf3 c6 6. e3 Qa5. Black breaks the pin on the h4–d8 diagonal and forms a pin of their own on the c3-knight (exploiting the absence of the White's queen bishop from the queenside). If Black later plays dxc4, there may be threats against the g5-bishop. Note that 5.cxd5 cannot win a pawn because of the Elephant Trap. The main line continues 7 ...
A halberd (or Swiss voulge) is a two-handed polearm that came to prominent use during the 14th and 15th centuries but has continued in use as a ceremonial weapon to the present day. [30] First recorded as "hellembart" in 1279, the word halberd possibly comes from the German words Halm (staff) or Helm (helmet), and Barte (axe). The halberd ...
The prelude did not appear in the first edition published by John Walsh [2] and was taken from Handel's keyboard suite HWV 428. HWV 561 is another version of the prelude. [citation needed] 2 Allemande: 108 ii, 81 iv/5, 29 3 Courante: 109 ii, 82 iv/5, 30 4 Sarabande: 110 ii, 82 iv/5, 31 theme with two variations. 5 Gigue: 111 ii, 83 iv/5, 33
The following works are some of the most universally respected and established cornerstones of the band repertoire. All have "stood the test of time" through decades of regular performance, and many, either through an innovative use of the medium or by the fame of their composer, helped establish the wind band as a legitimate, serious performing ensemble.
Op. 3: Variations for piano and big band (1962) Op. 5: Piece for trumpet and orchestra (1962) Op. 8: Toccata for piano and orchestra (1964) Op. 13: Intermezzo for piano and orchestra (1968) Op. 16: Nocturne in G major for piano and orchestra (1972) Op. 19: Étude for piano and orchestra (1974) Op. 20: Nocturne for piano and orchestra (1974)