George Frideric Handel

“ And he was making inestimable artistic friendships. When we note that among those with whom he was brought into contact at one time or another in Rome included the Scarlattis, father and son; Arcangelo Corelli, Bernardo Pasquini, Benedetto Marcello—to mention only a few—we can judge to what grandly fertilizing inspirations Handel was exposed. We must mention in passing Cardinals Panfili and Ottoboni, as well as the Marquis Ruspoli, who yielded to nobody in his enthusiasm for Handel’s gifts. ”

“ In spite of an everlasting monument like “Messiah,” the most popular choral masterpiece ever written, we may, however, ask ourselves if the body of Handel’s music is as widely known and as intimately studied as it deserves to be. How many today can boast of a real acquaintance with Handel’s operas (there are more than forty of them alone) apart from a few airs sung in concert; how many can truly claim to know by experience any of the great oratorios apart from “Messiah” and, possibly, “Judas Maccabaeus” and “Israel in Egypt?” ”

“ It is altogether too easy to lay a disproportionate stress on the practice involved, the more so as it was a fairly legitimate custom in the Eighteenth Century. Besides Handel, masters like Bach, Haydn, Gluck, Mozart and even Beethoven, had a way, more or less frequently, of taking their own where they found it. Often, indeed, they found it in their own earlier creations. In any case no moral or ethical question was involved, for the good reason that the treatment of a theme or a melody according to the esthetic of that period, mattered far more than the phrase in question. ”

“ So Lord Burlington and other peers raised capital for a new season of Italian opera, appointed Handel director-in-chief, made the ugly but efficient Heidegger stage manager, rounded up librettists and sent Handel to the Continent to engage singers for what was to be known as “The Royal Academy of Music”—an English duplication of the official name of the Paris Opéra. And the Weekly Journal soon announced that “Mr. Handel, a famous Master of Musick, is gone beyond the sea, by order of His Majesty, to collect a company of the choicest singers for the Opera in the Haymarket.” ”

“ From an ordinary person the hard-boiled parent would have taken such advice in very bad part; coming from the mouth of a prince it acquired the force of a command. So he decided to allow his son to study music with the unspoken reservation, however, that he must belong first and foremost to the law. Actually, these musical studies might be said to have begun in Weissenfels, for here young Handel had a chance to hear some of the works of the Nürnberg master, Johann Krieger ”

“ His enemies increased in number and power and resorted to the basest tactics imaginable to discredit and injure him. The so-called Opera of the Nobility opened at a playhouse in Lincoln’s Inn Fields, lured his singers away from him by fair means or foul, and by securing the great Farinelli obtained a trump card. Handel (who in time parted company with Heidegger) would burn his fingers the moment his fortunes seemed on the upgrade. Even the weather was against him, what with the Thames freezing over 41 in one of the years that he obstinately returned to opera and cutting down his audiences. ”

“ To make matters worse, a certain MacSwiney, who succeeded Aaron Hill at the Queen’s Theatre, absconded, leaving nothing but unpaid bills and enraged singers. At this stage there enters the picture a Swiss adventurer, by name Heidegger, a man of unbelievable conceit and homeliness, who was, however, to play an important role in Handel’s future. To recoup the failure of “Il Pastor Fido” the composer turned out in less than three weeks a “tragic opera” in five acts, “Teseo”, with a libretto by Nicolo Francesco Haym, and dedicated tactfully to the Earl of Burlington. ”

“ Whether or not he could discern them from afar it is probably unlikely that the prospect of conflict would have troubled over much a nature as powerful and combative as Handel’s. Indeed, difficulties were what this prodigious vitality and ever renewing creative inspiration best throve upon. As so often happens in lands where opera is fundamentally an exotic people again wanted opera. It was a logical time to end the Cannons interlude. The psychology of the moment, to which Handel was sensitive, came just when company-promoting took on almost the aspect of a hobby. ”

“ But to destroy my friend, the brave, the virtuous, The godlike David, Israel's defender, And terror of her foes! To disobey you — What shall I call it? 'Tis an act of duty To God, to David — nay, indeed, to you. ”

“ Under Keiser the adventurous newcomer soon found employment as a second violin in the opera orchestra. His particular intimate was Mattheson, a musician of many gifts and uncommon versatility, who united in himself literary talents, a critical flair and a highly volatile temperament. It was he who helped Handel find pupils and who guided him into the town’s important musical circles. So that before long Handel had access to the organ lofts of Hamburg’s churches and opportunities to compose works for ecclesiastical purposes. ”

“ Alternate hopes and fears distract my mind, My weary soul no rest can find. My busy fancy now presents A gracious scene: my son repents And God recalls his doom. Now to false shame he quits his fears, False courage takes, and madly dares His impious feast resume. Then arms and dying groans resound, And streams of blood gush out around. Alternate hopes and fears distract my mind, My weary soul no rest can find. ”

“ Hark, Cyrus! Twenty times the sun Round the great year his course shall run: If there so long thy army stay, Not yet to dogs and birds a prey, No succour from without arrive, Within remain no means to live, We then may think it time to treat, And Babylon capitulate. A tedious time! To make it short, Thy wise attempt will find us sport. 7. Recitative Gobrias: Well may they laugh, from meagre famine safe, In plenteous stores for more than twenty years; From all assault secure in gates of brass, And walls stupendous ”

“ Sweet temp'rance in thy right hand bear, With her let rosy health appear, And in thy left contentment true, Whom headlong passion never knew; Frugality by bounty's side, Fast friends, though oft as foes belied; Chaste love, by reason led secure, With joy sincere, and pleasure pure; Happy life from Heav'n descending, Crowds of smiling years attending: All this company serene, Join, to fill thy beauteous train. ”

“ Chorus of Israelites How excellent Thy name, O Lord, In all the world is known! Above all Heav'ns, O King ador'd, How hast Thou set Thy glorious throne! 3. Air (soprano) An infant rais'd by Thy command, To quell Thy rebel foes, Could fierce Goliath's dreadful hand Superior in the fight oppose. 4. Trio Along the monster atheist strode, With more than human pride, And armies of the living God Exulting in his strength defied. 5. Chorus of Israelites The youth inspir'd by Thee, O Lord, With ease the boaster slew: Our fainting courage soon restor'd, And headlong drove that impious crew. ”

“ So shall thy youthful happiness In age no diminution know. With sweet reflections thou shalt taste, Declining gently to thy tomb, The pleasure of good actions past, And hope with rapture joys to come. ”

“ First, small and weak, it scarcely rears its head, Scarce stretching out its helpless infant arms, Implores protection of its neighbour states, Who nurse it to their hurt. Anon, it strives For pow'r and wealth, and spurns at opposition. Arriv'd to full maturity, it grasps At all within its reach, o'erleaps all bounds, Robs, ravages and wastes the frighted world. At length, grown old and swell'd to bulk enormous, The monster in its proper bowels feeds Pride, luxury, corruption, perfidy, Contention, fell diseases of a state, That prey upon her vitals. ”

“ Cyrus, impossible! Messenger:
It is too true; A tumult heard without, the gates unbarr'd, Disclos'd a dreadful scene: the guards overpow'rd By numbers far superior, fell before them With faint resistance. The victorious foe No sooner saw the gates set open wide, But rush'd at once, and easy entrance gain'd. 54. Chorus of Jews Bel boweth down, Nebo stoopeth! How is Sesach taken, And how is the praise of the whole earth surpris'd! Thy counsel stands, O Lord, And thou dost all thy pleasure! ”

“ O king, live for ever! Let not thy heart its wonted courage lose, Nor let thy countenance be chang'd with fear, Though all thy wise men fail thee, in the kingdom There is a man, among the Jewish captives, In whom the Holy Spirit of God resides, And in thy grandsire Nebuchadnezzar's day Wisdom, like that of God, was found in him, By which he could interpret mystic dreams, Explain hard sentences, dissolve all doubts: Daniel his native name, but by the king Nam'd Belteshazzar. ”

“ Let festal joy triumphant reign, Glad ev'ry heart, in ev'ry face appear! Free flow the wine, nor flow in vain; Far fly corroding care. Each hand the chime melodious raise, Each voice exult in Sesach's praise; Let order vanish! Liberty alone, Unbounded liberty the night shall crown. Let festal joy. . . da capo 24. Recitative Belshazzar:
For you my friends, the nobles of my court, I have prepar'd a feast magnificent, Worthy of you and me. Let all my wives And concubines attend. Our royal mother — Nitocris:
I must prevent thee, son. ”

“ As steals the morn upon the night, And melts the shades away: So Truth does Fancy's charm dissolve, And rising Reason puts to flight The fumes that did the mind involve, Restoring intellectual day. 46. Chorus Thy pleasures, Moderation, give, In them alone we truly live. ”

“ Can the black AEthiop change his skin, His native spots the leopard lose? Then may the heart obdur'd in sin Grow soft, repent, and virtue choose! Threats or advice but move disdain, And signs and wonders glare in vain. Can the black. ”

“ Come rather, goddess sage and holy; Hail, divinest Melancholy, Whose saintly visage is too bright To hit the sense of human sight; Thee bright-hair'd Vesta long of yore, To solitary Saturn bore. 5. Air and Chorus L'Allegro (tenor) :
Haste thee, nymph, and bring with thee Jest and youthful jollity, Quips and cranks, and wanton wiles, Nods, and becks, and wreathed smiles Such as hang on Hebe's cheek, And love to live in dimple sleek, Sport, that wrinkled care derides, And laughter, holding both his sides. ”

“ Let gladness reign in all our host; For pious David will restore What Saul by disobedience lost. The Lord of hosts is David's friend, And conquest will his arms attend. 86. Chorus of Israelites Gird on thy sword, thou man of might, Pursue thy wonted fame: Go on, be prosperous in fight, Retrieve the Hebrew name! Thy strong right hand, with terror armed, Shall thy obdurate foes dismay; While others, by thy virtue charm'd, Shall crowd to own thy righteous sway. ”

“ Hence, loathed Melancholy, In dark Cimmerian desert ever dwell. But haste thee, Mirth, and bring with thee The mountain nymph, sweet Liberty. L'Allegro (soprano) :
And if I give thee honour due, Mirth, admit me of thy crew! 11. Air L'Allegro (soprano) :
Mirth, admit me of thy crew, To live with her, and live with thee, In unreproved pleasures free; To hear the lark begin his flight, And singing startle the dull night; Then to come in spite of sorrow, And at my window bid good morrow. Mirth, admit me of thy crew! 12. ”

“ Chorus of Babylonians Ye tutelar gods of our empire, look down, And see what rich trophies your victory crown. Let our bounteous gifts, which our gratitude raise, Wine, gold, merry notes, pay our tributes of praise. Sesach, this night is chiefly thine, Kind donor of the sparkling wine! 36. Air Belshazzar:
Let the deep bowl thy praise confess, Thy gifts the gracious giver bless! Thy gifts, of all the gods bestow, Improve by use, and sweeter grow. Another bowl! 'Tis gen'rous wine, Exalts the human to divine. 37. Accompagnato Belshazzar:
Where is the God of Judah's boasted pow'r? ”

“ On to the feast! I waste my time too long In frivolous dispute, time, due of right To pleasure and the gods. 29. Duet Nitocris:
O dearer than my life, forbear! Profane not, O my son, With impious rites Jehovah's Name. Remember what His arm has done, The earth contains not half his fame: Remember, and his vengeance fear! Belshazzar:
O queen, this hateful theme forbear! Join not against your son With captive slaves, your country's foes. Remember what our gods have done To those who durst their pow'r oppose. Remember, and their vengeance fear. ”

“ The popular idea that Handel’s style is easily recognizable comes from the fact that he overshadows all his predecessors and contemporaries, except Bach, and so makes us regard typical 18th-century Italian and English style as Handelian, instead of regarding Handel’s style as typical Italian 18th-century. Nothing in music requires more minute expert knowledge than the sifting of the real peculiarities of Handel’s style from the mass of contemporary formulae which in his inspired pages he absorbed, and which in his uninspired pages absorbed him. ”

“ Handel as a man was of the earth, earthy, in the extreme, and marked by many whimsical and disagreeable faults. But in his art we recognize a genius so colossal, massive, and self-poised as to raise admiration to its superlative of awe. When Handel had disencumbered himself of tradition, convention, the trappings of time and circumstance, he attained a place in musical creation, solitary and unique. His genius found expression in forms large and austere, disdaining the luxuriant and trivial. He embodied the spirit of Protestantism in music ”