Georg Friedrich Händel *II 23 1685 — The Life You Give

George Frideric Handel, German (until 1715) Georg Friedrich Händel, Händel also spelled Haendel, (born February 23, 1685, Halle, Brandenburg [Germany]—died April 14, 1759, London, England), German-born English composer of the late Baroque era, noted particularly for his operas, oratorios, and instrumental compositions. He wrote the most famous of all oratorios, Messiah (1741), and is also known for such occasional pieces as Water Music (1717) and Music for the Royal Fireworks (1749).

Handel was the son of a barber-surgeon. He showed a marked gift for music and became a pupil in Halle of the composer Friedrich W. Zachow, learning the principles of keyboard performance and composition from him. His father died when Handel was 11, but his education had been provided for, and in 1702 he enrolled as a law student at the University of Halle. He also became organist of the Reformed (Calvinist) Cathedral in Halle, but he served for only one year before going north to Hamburg, where greater opportunities awaited him. In Hamburg, Handel joined the violin section of the opera orchestra. He also took over some of the duties of harpsichordist, and early in 1705 he presided over the premiere in Hamburg of his first opera, Almira.

Opera, Blood, and Tears
celebrates the life in music of
Georg Friedrich Händel
February 23 at 1pm EST
on Clubhouse

Handel spent the years 1706–10 traveling in Italy, where he met many of the greatest Italian musicians of the day, including Arcangelo Corelli and Alessandro Scarlatti and his son Domenico. He composed many works in Italy, including two operas, numerous Italian solo cantatas (vocal compositions), Il trionfo del tempo e del disinganno (1707) and another oratorio, the serenata Aci, Galatea e Polifemo (1708), and some Latin (i.e., Roman Catholic) church music. His opera Agrippina enjoyed a sensational success at its premiere in Venice in 1710.

Handel’s years in Italy greatly influenced the development of his musical style. His fame had spread throughout Italy, and his mastery of the Italian opera style now made him an international figure. In 1710 he was appointed Kapellmeister to the elector of Hanover, the future King George I of England, and later that year Handel journeyed to England. In 1711 his opera Rinaldo was performed in London and was greeted so enthusiastically that Handel sensed the possibility of continuing popularity and prosperity in England. In 1712 he went back to London for the production of his operas Il pastor fido and Teseo (1713). In 1713 he won his way into royal favour by his Ode for the Queen’s Birthday and the Utrecht Te Deum and Jubilate in celebration of the Peace of Utrecht, and he was granted an annual allowance of £200 by Queen Anne.

Recognized by prominent members of both the English aristocracy and the intelligentsia, Handel was in no hurry to return to Hanover. Soon he had no need to do so, for on the death of Queen Anne in 1714, the elector George Louis became King George I of England. In 1718 Handel became director of music to the duke of Chandos, for whom he composed the 11 Chandos Anthems and the English masque Acis and Galatea, among other works. Another masque, Haman and Mordecai, was to be the effective starting point for the English oratorio.

From 1720 until 1728 the operas at the King’s Theatre in London were staged by the Royal Academy of Music, and Handel composed the music for most of them. Among those of the 1720s were Floridante (1721), Ottone (1723), Giulio Cesare (1724), Rodelinda (1725), and Scipione (1726). From 1728, after the sensation caused by John Gay’s Beggar’s Opera (which satirized serious opera), the future of opera in the Italian style became increasingly uncertain in England. It went into decline for a variety of reasons, one of them being the impatience of the English with a form of entertainment in an unintelligible language sung by artists of whose morals they disapproved. But despite the vagaries of public taste, Handel went on composing operas until 1741, by which time he had written more than 40 such works. As the popularity of opera declined in England, oratorio became increasingly popular. The revivals in 1732 of Handel’s masques Acis and Galatea and Haman and Mordecai (renamed Esther) led to the establishment of the English oratorio—a large musical composition for solo voices, chorus, and orchestra, without acting or scenery, and usually dramatizing a story from the Bible in English-language lyrics. Handel first capitalized on this genre in 1733 with Deborah and Athalia.

Handel also continued to comanage an Italian opera company in London despite many difficulties. Throughout his London career he had suffered competition not only from rival composers but also from rival opera houses in a London that could barely support even one Italian opera in addition to its English theatres. Finally, in 1737, his company went bankrupt and he himself suffered what appears to have been a mild stroke. After a course of treatment at Aachen (Germany), he was restored to health and went on to compose the Funeral Anthem for Queen Caroline (1737) and two of his most celebrated oratorios, Saul and Israel in Egypt, both of which were performed in 1739. He also wrote the Twelve Grand Concertos, Op. 6, and helped establish the Fund for the Support of Decayed Musicians (now the Royal Society of Musicians).

Handel was by this time at the height of his powers, and the year 1741 saw the composition of his greatest oratorio, Messiah, and its inspired successor, Samson. Messiah was given its first performance in Dublin on April 13, 1742, and created a deep impression. Handel’s works of the next three years included the oratorios Joseph and His Brethren (first performed 1744) and Belshazzar (1745), the secular oratorios Semele (1744) and Hercules (1745), and the Dettingen Te Deum (1743), celebrating the English victory over the French at the Battle of Dettingen. Handel had by this time made oratorio and large-scale choral works the most popular musical forms in England. He had created for himself a new public among the rising middle classes, who would have turned away in moral indignation from the Italian opera but who were quite ready to be edified by a moral tale from the Bible, set to suitably dignified and, by now, rather old-fashioned music. Even during his lifetime Handel’s music was recognized as a reflection of the English national character, and his capacity for realizing the common mood was nowhere better shown than in the Music for the Royal Fireworks (1749), with which he celebrated the peace of the Treaty of Aix-la-Chapelle. Handel now began to experience trouble with his sight. He managed with great difficulty to finish the last of his oratorios, Jephtha, which was performed at Covent Garden Theatre, London, in 1752. He kept his interest in musical activities alive until the end. After his death on April 14, 1759, he was buried in Poets’ Corner in Westminster Abbey.

The first basis of Handel’s style was the north German music of his childhood, but it was soon completely overlaid by the Italian style that he acquired in early adulthood during his travels in Italy. The influences of Arcangelo Corelli and Alessandro Scarlatti can be detected in his work to the end of his long life, and the French style of Jean-Baptiste Lully and, later, that of the English composer Henry Purcell are also evident. There is a robustness in Handel’s later music that gives it a very English quality. Above all, his music is eminently vocal. Handel’s directness of manner makes him one of the great masters of choral music. His choruses have a power and effectiveness that have never been surpassed, and his writing for them is remarkable for the manner in which he interweaves massive but simple harmonic passages with contrapuntal sections of great ingenuity, the whole most effectively illustrating the text. His writing for the solo voice is outstanding in its suitability for the medium and its unerring melodic line. Handel had a striking ability to depict human character musically in a single scene or aria, a gift used with great dramatic power in his operas and oratorios.

Though the bulk of his music was vocal, Handel was nevertheless one of the great instrumental composers of the late Baroque era. His long series of overtures (mostly in the French style), his orchestral concertos (Op. 3 and Op. 6), his large-scale concert music for strings and winds (such as the Water Music and the Music for the Royal Fireworks), and the massive double concertos and organ concertos all show him to have been a complete master of the orchestral means at his command.

Handel had a lifelong attachment to the theatre—even his oratorios were usually performed on the stage rather than in church. Until almost the end of his life he loved Italian opera, and only after it involved him in ever-increasing financial losses did he abandon it for English oratorio. Like other composers of his time, he accepted the conventions of Italian opera, with its employment of male sopranos and contraltos and the formalized sequences of stylized recitatives and arias upon which opera seria was constructed. Using these conventions, he produced many masterpieces. Among the Italian operas, such works as Giulio Cesare (1724), Sosarme (1732), and Alcina (1735) still make impressive stage spectacles, with some scenes of great dramatic power bursting through the formal Baroque grandeur. Many of his Italian operas were revived in the 20th century.

But Handel’s oratorios now seem even more dramatic than his operas, and they can generally be performed on the stage with remarkably little alteration. Most of them, from early attempts such as Esther to such consummately crafted later works as Saul, Samson, Belshazzar, and Jephtha, treat a particular dramatic theme taken from the Old Testament that illustrates the heroism and suffering of a particular individual. The story line is illustrated by solo recitatives and arias and underlined by the chorus. With Israel in Egypt and Messiah, however, the emphasis is quite different, Israel because of its uninterrupted chain of massive choruses, which do not lend themselves to stage presentation, and Messiah because it is a meditation on the life of Christ the Saviour rather than a dramatic narration of his Passion. Handel also used the dramatic oratorio genre for a number of secular works, chief among which are Semele and Hercules, both based on stories from Greek mythology. But the finest of his secular choral works is Acis and Galatea, which has a youthful magic he never quite recovered in subsequent pieces of this type.

Handel’s most notable contribution to church music is his series of large-scale anthems, foremost of which are the 11 Chandos Anthems; though written for a small group of singers and instrumentalists, they are conceived on a grand scale. Closely following these works are the four Coronation Anthems for George II; the most celebrated of these, Zadok the Priest, is a striking example of what Ludwig van Beethoven called Handel’s ability to achieve “great effects with simple means.”

Most of the orchestral music Handel wrote consists of overtures, often in the style of Lully, and totaling about 80 in number. Handel was equally adept at the concerto form, especially the concerto grosso, in which he generally employed four or more movements. His most important works of this type are the Six Concerti Grossi (known as The Oboe Concertos), Op. 3, and the Twelve Grand Concertos, which represent the peak of the Baroque concerto grosso for stringed instruments. The Water Music and Fireworks Music suites, for wind and string band, stand in a special class in the history of late Baroque music by virtue of their combination of grandeur and melodic bravura. They are still among the most popular of his works.

Handel also published harpsichord music, of which two sets of suites, the Suites de pièces pour le clavecin of 1720 and the Suites de pièces of 1733, containing 17 sets in all, are his finest contribution to that instrument’s repertoire. The ever-popular Harmonious Blacksmith variations are in No. 5 of the Suites de pièces of 1720. Handel’s finest chamber music consists of trio sonatas, notably those published as Six Sonatas for Two Violins, Oboes, or German Flutes and Continuo, Op. 2 (1733). He also wrote various sonatas for one or more solo instruments with basso continuo accompaniment for harpsichord. In addition, he was a notable organist and composed more than 20 organ concertos, most of which Handel used as intermission features during performances of his oratorios.

In England, Handel was accorded the status of a classic composer even in his own lifetime, and he is perhaps unique among musicians in never having suffered any diminution of his reputation there since. As a young man on the European continent, he had to some extent supplied the demands of aristocratic patronage, but in England he adapted himself to a different climate of opinion and taste and came to serve and express the needs of a wider public. More than anyone else, he democratized music, and in this respect his popular oratorios, his songs, and his best-loved instrumental works have a social significance that complements their purely musical importance. Handel’s music became an indispensable part of England’s national culture. In Germany, meanwhile, interest in his music grew apace in the late 18th century and reestablished him as a German composer of the first rank.

Charles Cudworth / Source: Britannica

Alcina Synopsis

All the action takes place on Alcina's enchanted island.


Scene 1. A deserted spot surrounded by hills
Bradamante, disguised as her brother Ricciardo, and her tutor Melisso have been ship-wrecked and cast ashore while searching for her lover Ruggiero. They meet Morgana, Alcina's sister, who falls in love with the disguised Bradamante and promises to take them to Alcina. With a clap of thunder the hills part and Alcina is revealed, surrounded by her court, including Ruggiero and a young boy called Oberto. She receives the travellers graciously and tells Ruggiero to show them the sights of the island.
Bradamante confronts Ruggiero, who recognises her as Ricciardo but denies any interest in Ricciardo's sister - he is the faithful lover of Alcina.
He runs off to find her and Oberto asks the travellers if they have seen his father Astolfo. They too had been cast ashore by a storm, but his father, after a welcome from Alcina, had disappeared. Bradamante suspects that Astolfo has been changed into a wild beast, like Alcina's other victims.
Oronte, Alcina's commander-in-chief, rightly suspecting the constancy of Morgana, whom he loves, charges Bradamante with having stolen Morgana's love. Morgana defends Bradamante and insults Oronte. Bradamante tries to calm their mutual recriminations.

Scene 2. A room in Alcina's palace
Oronte, coming upon Ruggiero who is sighing for the absent Alcina, decides to alleviate his own jealousy by making Ruggiero jealous too, and concocts a tale that Alcina now loves "Ricciardo" and will no doubt soon add Ruggiero to her collection of discarded and transformed lovers. Ruggiero believes him and heaps reproaches on the puzzled Alcina, who assures him that her feelings are unchanged.
Bradamante accuses Ruggiero of disloyalty, but he retaliates with defiance, accusing her, as Ricciardo, of having stolen Alcina's love. Bradamante discloses her identity, but Melisso, worried that Ruggiero is not yet ready for this information, convinces him that she is not really Bradamante.
Morgana warns Bradamante that Ruggiero has persuaded Alcina to change her into a wild beast, so Bradamante tells Morgana to assure Ruggiero that she does not love Alcina, but another. Morgana departs happily, thinking she is that other.
Alcina laments Ruggiero's jealousy, hoping that their love will soon be as untroubled as before.


Scene 1. A room in Alcina's palace
Melisso, disguised as Ruggiero's tutor Atlante, reproaches him with having abandoned the path of glory and gives him a magic ring which brings him to his senses.
Ruggiero regrets his faithlessness to Bradamante and wishes to send a message of defiance to Alcina, but Melisso advises him to pretend that he still loves her and make his escape on the pretext of going hunting. Bradamante again reveals her identity, only to have Ruggiero reject this revelation as another of Alcina's deceptions.

Scene 2. Near the palace gardens
Alcina is preparing to change Ricciardo into a wild beast to appease Ruggiero, while Morgana tries to dissuade her and Ruggiero assures her that he is no longer jealous, so drastic measures are no longer necessary. Alcina notices that Ruggiero is not in his usual spirits and he suggests a hunt as a restorative. She consents and he departs. Oberto continues to lament his father's disappearance and Alcina falsely raises his hopes of a speedy reunion.
Oronte brings the news that Ruggiero is planning to flee and Alcina prepares to foil this plan. Oronte tells Morgana that her new love is about to leave her, but she refuses to believe this and departs scornfully, leaving him to lament her power over him.
Ruggiero is at last convinced that Bradamante is really herself. Morgana discovers them embracing, and, apparently taking in her stride the revelation that Bradamante is a woman, reproaches her with being a faithless guest and Ruggiero with betraying Alcina. Ruggiero looks forward to the ending of the enchantments.

Scene 3. An underground magic chamber
Alcina begins to make spells to bind Ruggiero to her, but loses heart and casts her wand aside.


Scene 1. The entrance to the palace
Morgana tries to ingratiate herself with Oronte, who pretends indifference, but has to admit to himself that he still loves her. Alcina upbraids Ruggiero for trying to leave her. He tells her that his betrothed Bradamante now has his love, and she threatens vengeance, though unable to obliterate her tender feelings for him. Bradamante and Melisso join Ruggiero to plan their campaign. Melisso tells them that the island is surrrounded by Alcina's enchanted monsters and advises Ruggiero to take the Gorgonian shield and the winged horse (items not previously mentioned) to help him in the fray. Although worried at leaving his beloved, Ruggiero sets off, followed by Melisso and Bradamante, who vows to free those lying under enchantment. Oronte announces to Alcina the complete defeat of her forces and she laments her cruel fate.

Scene 2. Outside the palace
Alcina tries to make Oberto kill a lion, but he realises that it is his father, and threatens to turn the spear on Alcina herself. Ruggiero and Bradmante confront Alcina, each advising the other not to be taken in by her deceptions. She tries both pleading and threats in vain.
Ruggiero returns the defeated Oronte's sword and then smashes the urn which holds Alcina's secret power. All her spells are broken and the rocks, trees and animals, including Astolfo, Oberto's father, resume their human shapes. They rejoice at their liberty and all celebrate the triumph of love.

Source: opera arias 

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.