This work was published in 1732 as a G major flute sonata, the fifth item in Handel's Op. 1 collection of chamber pieces. Earlier manuscripts suggest that the sonata began life, however, as an F major work for oboe. Handel initially employs the Italian church sonata pattern of movements: slow-fast-slow-fast. But where the final fast movement should be, Handel instead veers into the format of the dance suite with a Bourrée and Minuet. The first Adagio is a typical, airy Handelian processional, leading to a burbling Allegro, which the oboe introduces solo before being joined by the bass in an exchange of little fanfare figures. In a coup de théâtre, Handel marks the climax by sending the oboe shooting up to its highest note possible at the time. The second Adagio is more plaintive than the first, perhaps even a bit lugubrious. But soon comes the Bourrée ("Angloise"), a perky little dance that looks ahead to the second section of "The Arrival of the Queen of Sheba." The Menuetto, marked by little upward melodic skips, concludes the sonata with a keen balance of dignity and cheer.

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