Georg Friedrich Händel

Bell214: “Händel is the greatest composer who ever lived. I would bare my head and kneel at his grave.“ (Ludwig van Beethoven, 1824)

The great baroque composer, Georg Friedrich Händel was the consummate, 18th–century traveler, artiste, and entrepreneur. He was an independent and strong–willed individual, and although he was approached several times by royal patrons to become their court composer, „“il caro Sassone“ (the dear Saxon) was hesitant to professionally “settle down“ until he was offered a position commensurate with the status he felt he deserved.

Georg Friedrich Händel (February 23, 1685, Halle, Duchy of Magdeburg–April 14, 1759, London, England) is famous for his operas, oratorios, and concerti grossi. His life and music may justly be described as “cosmopolitan“: he was born in Germany, trained in Italy, and spent most of his life in England. He settled in England in 1712, becoming a naturalized subject of the British crown on 22 January 1727.
Strongly influenced by the techniques of the great composers of the Italian Baroque era (Arcangelo Corelli, Domenico Scarlatti), as well as the English composer Henry Purcell, Händel’s music became well–known to many composers, including Haydn, Mozart, and Beethoven.
Most importantly, Händel created some of the most beautiful music ever composed ...

Following brief, unsuccessful studies at the local university, Händel traveled to Hamburg and then onto Italy (Florence, Rome, Naples, Venice) where he met important individuals who greatly influenced his musical future, such as the composers/musicians, and numerous royalty (both religious and secular). Following his fruitful Italian tour, he returned north of the Alps accepting the appointment of court composer to the Elector of Hanover. He quickly followed this up with two extended visits to London, England, where he finally settled and which he eventually considered home (becoming a British subject). Ironically, the same Elector of Hanover became King George I of England, following the death of Queen Anne (brought about by the 1701 Act of Settlement).

Händel lived a full and productive life. Yet, life wasn’t easy for him. At various times, he was severely criticized by the English social establishment for his artistic output — some considered it profane. For example, Händel’s most famous work, “Messiah“, was enthusiastically received following its première in Dublin while it became the subject of great controversy following its London début. Furthermore, he suffered bouts of anxiety and depression and possibly strokes — some have theorized that he suffered central nervous system lead poisoning associated with his imbibing of cheap port!

During the later years of his life, he experienced progressively debilitating cataracts — the ensuing operations to restore his vision left him completely blind. (Of interest, the last English oculist to treat Händel, John Taylor, also unsuccessfully cared for J.S. Bach).
In 1737, Händel suffered a stroke, which caused both temporary paralysis in his right arm and some loss of his mental faculties, but he recovered sufficiently to carry on most normal activity. He was urged to write an autobiography, but never did. Blind in old age, he continued to compose.
However, despite this adversity, he maintained a keen sense of humor and was well–known for his charitable disposition. Beethoven thought Händel the greatest of all his predecessors; he once said, “I would bare my head and kneel at his grave.“

Bell214: Scholarly literature about Händel and his works:

1. George Frideric Handel: A Music Lover’s Guide by Marian Van Til (WorldPower Publishing, 2007)
2. Handel’s Operas, 1726–1741 (Volume 2) by Winton Dean (Boydell Press, 2006)
3. Handel: Water Music and Music for the Royal Fireworks (Cambridge Music Handbooks) by Christopher Hogwood (Cambridge University Press, 2006)
4. Handel’s Path to Covent Garden: A Rocky Journey by E. A. Bucchianeri (1stBooks Library, Bloomington, Indiana, USA, 2002)
5. Handel as Orpheus: Voice and Desire in the Chamber Cantatas by Ellen T. Harris (Prof. and Chair, Dept. of Music, MIT) (Harvard University Press, 2001)
6. The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical Genius by Peter Kivy (Yale University Press, 2001)
7. The Cambridge Companion to Handel, Edited by Donald Burrows (Cambridge University Press, 1997)
8. Handel by Donald Burrows, From “The Master Musicians“ series (#3), Edited by Stanley Sadie (Oxford University Press, 2000)
9. Handel: Messiah by Donald Burrows (Cambridge Music Handbooks, Cambridge University Press, 1991)
10. Handel’s Operas, 1704–1726 (Volume 1) by Winton Dean and John Merrill Knapp (Oxford: Clarendon Press, 1987)
11. Handel: The Man and His Music by Jonathan Keates (Victor Gollancz Ltd., London, 1985)

Bell214: Händel’s compositions include 42 operas (e.g. Almira, 1705; Giulio Cesare, 1724; Berenice, 1737; Serse (Xerxes), 1738); 29 oratorios (e.g. Saul, 1739, Messiah, 1742, Samson, 1743, Judas Maccabaeus, 1747, The Triumph of Time and Truth, 1757); more than 120 cantatas, trios and duets; numerous arias; chamber music; a large number of ecumenical pieces; odes and serenatas; and sixteen organ concerti.
His most famous work, the “Messiah“ oratorio with its “Hallelujah“ chorus, is among the most popular works in choral music and has become a centerpiece of the Christmas season.

Also popular are the Opus 3 and 6 Concerti Grossi, as well as “The Cuckoo and the Nightingale“ (1739), in which birds are heard calling during passages played in different keys representing the vocal ranges of two birds. Also notable are his sixteen keyboard suites, especially “The Harmonius Blacksmith“ (or Air and variations in E major, prior to 1720).

Händel is famous for employing wird painting — the musical technique of having the melody mimic its lyrics — in many of his works. Perhaps the most famous and oft–quoted example of the technique is in Every valley shall be exalted, the tenor aria early in Part I of “Messiah“.

Händel introduced various previously uncommon musical instruments in his works: the viola d’amore and violetta marina (Orlando, 1732), the lute (Ode for St. Cecilia’s Day, 1739), three thrombones (Saul), clarinets or small highcornets (Tamerlano, 1724), theorbo, French horn (Water Music), lyrichord, double basson, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander’s Feast).

Händel’s works have been catalogued and are commonly referred to by a HWV number. (For example, “Messiah“ is also known as HWV 56).

(See: http://gfhandel.org/chronworks.htm)

Bell214: The Water Music is a collection of orchestral movements, often considered as three suites.
It premiered in the summer on July 17, 1717 when King George I requested a concert on the River Thames. The concert was performed by 50 musicians playing on a barge close to the royal barge from which the King listened with some close friends.
George I was said to have loved it so much that he ordered the exhausted musicians to play the suites three times on the trip.

Water Music (No. 1), Suite in F major (HWV 348)



Water Music (No. 2), Suite in D major (HWV 349)



Water Music (No. 3), Suite in G major (HWV 350)


Note: Legend has it that Händel composed Water Music to regain the favour of King George I. Händel had been employed by the future king before he succeeded to the British throne when he was Elector of Hanover. The composer supposedly fell out of favour for moving to London in the reign of Queen Anne. This story was first related by Händel’s early biographer John Mainwaring; although it may have some foundation in fact, the tale as told by Mainwaring has been doubted by some Händel scholars.
Another legend has it that the Elector of Hanover approved of Händel’s permanent move to London, knowing the separation between them would be temporary. Both were allegedly aware the Elector of Hanover would eventually succeed to the British throne after Queen Anne’s death.

Bell214: Serse (Xerxes) (HWV40) is an opera seria in three acts. It was first performed in London on 15 April 1738. The libretto is adapted by an unknown hand from that by Silvio Stampiglia for an earlier opera of the same name by Giovanni Bononcini in 1694. Stampiglia’s libretto was itself based on one by Nicolò Minato that was set by Francesco Cavalli in 1654.
The opera is set in Persia in 480 BCE and is very loosely based upon Xerxes I Of persia, though there is little in either the libretto or music that is relevant to that setting. Xerxes, originally sung by a castrato, is now generally performed by a mezzosoprano.
The opening aria, “Ombra mai fù“, sung by Xerxes to a tree (Platanus orientalis), is set to one of Händel’s best–known melodies, and is often played in an orchestral arrangement, known as Händel’s “largo“ (despite being marked “larghetto“ in the score).

Ombra mai fù


(Performed by José Carreras)

Ombra mai fù di vegetabile, cara ed amabile, soave più.
(Never has there been a shade of a plant more dear and lovely, or more gentle).

Largo

Bell214: “Messiah“ (HWV 56) is an oratorio based on a libretto by Charles Jennens, and consists of fragments of verses mainly from the King James Bible. Composed in the summer of 1741 and premiered in Dublin on 13 April 1742, Messiah is Händel’s most famous creation and is among the most popular works in Western choral literature.
Jennens conceived of the work as an oratorio in three parts (or acts), each comprising several scenes: The Birth, The Passion, and The Aftermath.

For unto us a child is born


Since by man came death


Glory to God


(Performed by London Philharmonic Choir and Orchestra under the direction of Sir Adrian Boult)

Hallelujah


(Performed by Bach–Collegium Stuttgart, conductor Helmut Rilling)

Bell214: The Music for the Royal Fireworks (HWV 351) is a musical suite composed in 1749 under contract of George II of Great Britain for the fireworks in London’s Green Park on April 27, 1749. It was composed to celebrate the end of the War of the Austrian Succession and the signing of the treaty of Aix–la–Chapelle in 1748.



The performing musicians were in a specially–constructed building that had been designed by Servandoni, a theatre designer. The music provided a background for the royal fireworks that were designed by Thomas Desaguliers, son of the cleric and scientist John Theophilus Desaguliers. However, the display was not as successful as the music itself: the enormous wooden building caught fire after the collapse of a bas relief of George II. However, the music had been performed publicly six days earlier, on April 21, 1749, when there was a full rehearsal of the music at Vauxhaull Gardens. Over twelve thousand people rushed for it, causing a three–hour traffic jam of carriages after the main route to the area south of the river was closed due to the collapse of the central arch of newly–built London Bridge.
When published, Händel wished to present the work as an overture, but the Crown had it given the title “Music for the Royal Fireworks“ as propaganda in favour of an otherwise unpopular Treaty and monarch.

Bell214: Solomon (HWV 67) is an oratorio composed between May 5 and June 13, 1748 and the first performance took place in London on March 17, 1749.

The Arrival of the Queen of Sheba

Briiii: well i m not sure will you like this one
nisam sigurna da li će ti se svidjeti ova verzija

but i like duet cello and violin

i used to play piano after war i sold my piano

music is always in my heart. music is part of my life.

d3nn15: Haleluyah choruss..in the mesaiah.... i love..... this exellent music....

d3nn15: for classic music....