The Gods Go A-Begging: Ballet Suite Cover Image

The Gods Go A-Begging: Ballet Suite: Full Orchestra, Conductor Score & Parts

$165.00 USD

The Gods Go A-Begging: Ballet Suite: Full Orchestra, Conductor Score & Parts

Name: The Gods Go A-Begging: Ballet Suite: Full Orchestra, Conductor Score & Parts
Brand: Alfred Music
SKU: 36-A934790
Price: 165.00 USD
Availability: OutOfStock

By George Frideric Handel, ed./arr. Thomas Beecham

Item: 36-A934790

$165.00

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The operas of George Frideric Handel (1685-1759) had fallen into almost total neglect while the composer still lived, and most of the 42 surviving stage works never had many performances, as opposed to Handel's oratorios. Any occasional attempt to revive the operas resulted in curiosity but not a proper revival. The great English conductor Sir Thomas Beecham (1879-1961) was among the few who was familiar with Handel's operas, owning thirty-seven of the forty-two surviving scores, which he annotated extensively, and which he used to frequently program individual arias. In an effort to make the concert-going audience aware of Handel's opera again, Beecham arranged/orchestrated several concert suites and ballet suites over the course of several decades, using modern instrumental forces, a decision many critics found to be inappropriate. One of the ballet suites, The Gods Go A'Begging (Les Dieux Mendiants), was commissioned in 1928 by Serge Diaghilev for his Ballets Russes. The simple plot of the ballet introduces a shepherd who comes across a nobleman's picnic, where he ignores the attention given to him by two ladies, choosing to instead dance with a serving maid. The picnic party's indignation abates when the shepherd and maid are revealed to be gods in disguise. Following its July 1928 premiere at His Majesty's Theatre in London, the ballet became a staple of the Diaghilev company until the impresario's death, though other ballet companies did adopt the work themselves later. Movements: 1. Introduction (Overture to Act II of Admento); 2. Allegro (or First Dance or Fugato) (from Overture to Teseo); 3. Minuet (from Alcina); 4. Hornpipe (from Concerto Grosso, Op. 6/7); 5. Musette (from Il Pastor Fido); 6. Ensemble (or Second Dance) (from Organ Concerto, Op. 4/4); 7. Larghetto (or Dream) (from Alcina); 7a. Tambourine (from Alcina); 8. Gavotte (from Alcina); 9. Dramatico (from Terpsicore); 10. BourrÃ©e (from Rodrigo). Instrumentation: 2(1st d.Picc).2(2nd dEH).2.2: 4.2.0.0: Timp.Perc(1): Hpschd/Hp(opt.): Str (9-8-7-6-5 in set): Pno Cond. and Vn Cond. included in set along with full score. Reprint edition.

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Series: Kalmus Orchestra Library

Publisher: Keiser Productions, Inc.

UPC: 676737633431

SKU: 36-A934790

Instrumentation: 2(1st d.Picc).2(2nd dEH).2.2: 4.2.0.0: Timp.Perc(1): Hpschd/Hp(opt.): Str (9-8-7-6-5 in set): Pno Cond. and Vn Cond. included in set along with full score.

More about this title

About the Composer: George Frideric Handel

George Frideric Handel (1685-1759) was a German-born composer who spent most of his career in England, where he became a dominant figure in Baroque music. Though he achieved enormous fame with his oratorios, particularly Messiah, Handel composed 42 operas that were largely forgotten by the time of his death, overshadowed by changing musical tastes and the rise of Italian opera seria conventions that even his genius could not sustain indefinitely.

Handel's operatic output remains a treasure trove of melody, dramatic invention, and instrumental color. His ability to craft singable, memorable lines and to orchestrate with clarity and purpose makes his opera arias endlessly adaptable. The revival of Handel's operatic works in the 20th century owed much to conductors like Thomas Beecham, who recognized that Handel's musical ideas transcended their original theatrical contexts and could speak powerfully to concert and ballet audiences.

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Why we love this

Beecham's orchestration of this ballet suite brings Handel's gift for melody into sharp focus without overwhelming it. The orchestration strikes a balance between honoring Handel's compositional voice and using modern instrumental color to create something genuinely theatrical, making this an ideal choice when you want audiences to hear Baroque music freshly without apology or heavy-handedness.

What to expect

Light yet sophisticated, with moments of genuine tenderness woven through elegant dance rhythms. The music captures the whimsy of the ballet's plot while maintaining the melodic generosity and harmonic sophistication that defines Handel at his best. There is a courtly elegance here, brightened by orchestral color that feels both modern and timeless.

Who it's for

This work is ideal for orchestras at the college level and above, as well as semi-professional and professional ensembles looking to program a lively, tuneful concert work that sits comfortably between Classical and Romantic repertoire in technical demands. It requires secure ensemble playing and musical maturity, but the rewards are immediate and the piece is genuinely engaging for both musicians and audiences.

How to get the most out of it

Establish the style clearly in your first rehearsals: this is not a Baroque performance practice piece, but rather an early 20th-century concert work that wears its Handelian material confidently. The orchestra should play with theatrical flair and rhythmic vitality.
Balance the harpsichord (or harp, which is optional) carefully in the continuo texture. It should support harmonic clarity without muddying the string sound, especially in passages where Beecham has given the continuo instrument a decorative role.
Use the optional piano conductor part alongside your full score; it can help manage rehearsals efficiently and clarify harmonic progressions for sectional work with winds and brass.
Shape phrases generously through the string sections. Handel's melodies thrive on breathing space and gentle dynamic shaping, qualities that Beecham's orchestration makes easier to realize.

How to use it

Program this suite as a palate-cleanser in a concert that includes heavier Romantic or contemporary works, or pair it with other Baroque-era orchestral works to create a thematic concert exploring historical opera. The piece also works beautifully as an opener or closer, setting a tone of musical intelligence and theatrical charm without demanding that the orchestra undergo major stylistic shifts.

Skills your students will build

Baroque phrasing and articulation applied within a modern orchestral context
Balance between continuo instruments (harpsichord/harp) and the main texture
Stylistic flexibility in ensemble playing
Execution of dance rhythms with precision and elegance
Reading and realizing multiple conductor parts (full score, violin, and piano scores)