The Harmonious Blacksmith
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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. An air is followed by five doubles (variations in the English division style): semiquavers in the right hand; semiquavers in the left hand; semiquaver triplets in the right and left hands; and finally demisemiquavers in both hands.
Handel published his first eight harpsichord suites in 1720:
I have been obliged to publish some of the following Lessons, because surrepticious and incorrect Copies of them had got Abroad. I have added several new ones to make the Work more useful, which if it meets with a favourable Reception; I will still proceed to publish more, reckoning it my duty, with my Small Talent, to serve a Nation from which I have receiv’d so Generous a protection
Hogwood, Christopher (1988). Handel. Thames & Hudson Ltd. ISBN 978-0500274989.
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[edit] The name
There have been a number of explanations proffered as to why this movement was called The Harmonious Blacksmith, and by whom. The name was not given by Handel and was not recorded until early in the 19th century, when the movement became popular on its own (it should be noted that while Handel's music remained popular in England continuously after his death, it was only very selectively known.)
[edit] A false history
The story is that Handel, when working for the Duke of Chandos at Cannons between 1717 and 1718, once took shelter from the rain in a smithy, and was inspired to write his tune upon hearing the hammer on the anvil; the regularly repeated pedal note (b in the right hand) in the first variation, can give the impression of a blacksmith hammering. A variation on the story is that he heard the blacksmith singing the tune which would later become the Air; this explanation fits in nicely with Handel's general technique of borrowing tunes. Neither story is true. The legend began three-quarters of a century after Handel's death with Richard Clark in his Reminiscences of Handel (1836). Henry Wylde and Richard Clark then found an old anvil in a smithy near Whitchurch and fabricated a story to identify William Powell as the fictitious blacksmith, when, in fact, he had been the parish clerk. They raised a subscription for a wooden memorial to him, and in 1868, the people of Whitchurch subscribed again for a grandiloquent gravestone, still standing. It reads: "In memory of William Powell, the Harmonious Blacksmith, who was buried 27th. February 1780, aged 78 years. He was Parish Clerk during the time the immortal Handel was organist of this church. Erected by subscription, May 1868." Handel was never the organist of St. Lawrence's, and had written his harpsichord suites of the 1720 publication before he lived at Cannons, when he was at Adlington Hall in Cheshire, or even earlier still.
[edit] The real Harmonious Blacksmith
William Lintern was a blacksmith's apprentice from Bath who later took up music and so was The Harmonious Blacksmith. The piece came to be called after him, probably because he published it under that name for reasons outlined in the following extract:
A few months after Clark's publication the writer saw the late J.W. Windsor, Esq., of Bath, a great admirer of Handel and one who knew all his published works. He told the writer that a story of the Blacksmith at Edgware was pure imagination, that the original publisher of Handel's lesson under that name (The Harmonious Blacksmith) was a music seller at Bath, named Lintern, whom he knew personally from buying music at the shop, that he had asked Lintern the reason for this new name, and he had told him that it was a nickname given to himself because, he had been brought up as a blacksmith, although he had afterwards turned to music, and that was the piece he was constantly asked to play. He printed the movement in a detached form, because he could sell a sufficient number of copies to make a profit’.
1889, first edition of Grove's Dictionary of Music, written by William Chappell (1809-88)
Chappell was a respected musical historian and the story is probably true, but there is no copy of Lintern's edition of the piece in the British Museum and Mr W. C. Smith, who worked at the museum and was a Handelian specialist of high standing, said that the earliest copy of the piece that he had yet (as of 1940) been able to find under the name The Harmonious Blacksmith was that published by the British Harmonic Institution, arranged as a piano-forte duet, the paper of which bears the watermark '1819'.
[edit] Origins of the music
As to the origins of the music, a bourrée by Richard Jones (1680-1740) features almost the same air in a minor key, though it is not known whether Jones preceded Handel or vice versa. A passage in Handel's opera Almira, written in 1704, is very like the Harmonious Blacksmith tune, so it is likely that it was his own. Beethoven used a similar theme for the subject of a two-part organ fugue.
[edit] External links
Edgware History - mentions the Harmonious Blacksmith story
