Händel Marches (414.01) (Handels operas are punctated with characteristic instrumental sinfonias which can elaborate on the dramatic moment, serve as an entracte while scenery is moved or accompany the entrance of protagonists. This collection of marches from four of his operas show a colourful range of styles: a majestic ceremonial march from Scipio, a sombre funeral march from Saul, a pair of lively, dance-like marches from Rinaldo and the anthem and celebratory dance performed at the return of the Conquering Hero in Judas Maccabeus. Performance notes: These pieces may be used as concert items or in a cremonial setting. If used for processional purposes then repeats and cuts can be made , as required, at obvious places such as repeated sections, to match timing considerations. Percussion is optional. Trumpet 1 is generally in the tessitura of an E flat instrument but a piccolo can be used if necessary. Trumpet 4 requires a flugel. 1. Scipio: This is presented in two versions, the first a fairly straight transcription of the original and then, at letter D, in a slightly more majestic form. Either can be used independently or the two versions can be played consecutively. 2. Dead March: Some editorial suggestions are made for expressive articulations but feel free to ammend these. If available, the 2nd trumpet should use a flugel. Otherwise play into the stand or cover the bell with a duster. 3. Rinaldo Marches: If no percussion is available, omit the marked bars. If these bars are omitted the instruments involved should play the pick-up notes at the end of March 1 and play segue into March 2. Both these marches should be played in a very light style - more of a dance than a march. 4. and 5: Judas Maccabeus: these two pieces can be played segue, as they are in the original opera score. Avoid playing too heavily in the louder tutti passages, remain majestic but controlled at all times.)
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