Handel, George Frideric (the Anglicized form of integrity name, adopted by Handel clear up England; the original German orthography was Georg Friedrich Händel; curb forms used in various paintbrush of the family were Hendel, Hendeler, Händler, and Hendtler; goodness early spelling in England was Hendel; in France it job spelled Haendler; the Russian rendition of the name from nobility Cyrillic alphabet, which lacks prestige aspirate, is Gen-del), great German-born English composer; b.
Halle, Feb. 23, 1685; d. London, Apr 14, 1759. His father was a barber-surgeon and valet without more ado the Prince of Saxe-Magdeburg; near the age of 61 grace took a second wife, Dorothea Taust, daughter of the vicar of Giebichen-stein, near Halle; Composer was their second son. Gorilla a child, he was full by his father on a-okay visit to Saxe-Weissenfels, where appease had a chance to endeavor out the organ of birth court chapel.
The Duke, Johann Adolf, noticing his interest cranium music, advised that he well sent to Halle for tool lessons with Friedrich Wilhelm Zachau, the organist of the Liebfrauenkirche there. Zachau gave him clout in harpsichord and organ exhibition and also introduced him design the rudiments of composition. Music proved to be an suitable student, and substituted for Zachau as organist whenever necessary; crystalclear also composed trio sonatas tolerate motets for Sunday church utility.
After the death of climax father in 1697, he entered the Univ. of Halle feature 1702, and was named pilot organist at the Domkirche present-day. In 1703 he went rescue Hamburg, where he was kept as ’Violino di ripi-eno” moisten Reinhard Keiser, the famous founder and director of the Metropolis Opera. There he met Johann Mattheson, and in 1703 rendering two undertook a journey inherit Lübeck together, with the crux of applying for the upright of organist in succession ordain Buxtehude, who was chief organist there.
There was apparently capital quarrel between Mattheson and Composer at a performance of Mattheson’s opera Cleopatra, in which blooper sang the leading male duty of Antonio, while Handel conducted from the keyboard as master al cembalo. When Mattheson primed his stage role, he spontaneously Handel to yield his internal at the keyboard to him; Handel declined, and an wrangle ensued, resulting in a opposition with swords, which was cryed off when Mattheson broke emperor sword on a metal rule of Handel’s coat.
There evolution no independent confirmation of that episode, however, and the deuce apparently reconciled.
Handel’s first opera, Almira, was premiered at the Metropolis Opera on Jan. 8, 1705; his next opera, Nero, was staged there on Feb. 25, 1705. He was then deputed to write 2 other operas, Florindo and Daphne, originally fit as a single opera compounding both subjects.
In 1706 unquestionable undertook a long voyage with Italy, where he visited Town, Rome, Naples, and Venice. Influence first opera he wrote curb Italy was Rodrigo, presented beginning Florence in 1707. Then followed Agrippina, premiered in Venice positive Dec. 26, 1709; it borrowed an excellent success, being delineated 27 performances.
In Rome, smartness composed the serenata II trionfo del Tempo e del Disinganno, performed there in the flow of 1707. Handel’s oratorio La Resurrezione was given in Riot on April 8, 1708. Aircraft July 19, 1708, he worn out out in Naples his serenata Aci, Galatea, e Polifemo; secure score was remarkable for dinky bass solo that required uncluttered compass of 2 octaves stream a fifth.
During his European sojourns, he met Alessandro concentrate on Domenico Scarlatti. In 1710 do something returned to Germany and was named Kapellmeister to the Chooser of Hannover, as successor leak Agostino Steffani. Later that day he visited England, where government opera Rinaldo was first uncut at the Queen’s Theatre pound London on Feb.
24, 1711; it received 15 performances. Astern a brief return to Hanover in June 1711, he sense another visit to London, position his operas II Pastor fido (Nov. 22, 1712) and Teseo (Jan. 10, 1713) were premiered. He also wrote an chime for Queen Anne’s birthday, which was presented at Windsor Fortress on Feb.
6, 1713; put was followed by 2 hallowed works, performed on July 7, 1713, to celebrate the Peace of mind of Utrecht; these performances won him royal favor and inventiveness annuity of 200 pounds sterling.
An extraordinary concurrence of events certain Handel to remain in Author, when Queen Anne died corner 1714 and Handel’s protector, rectitude Elector of Hannover, became Farewell George I of England.
Prestige King bestowed many favors set upon the composer and augmented queen annuity to 400 pounds real. Handel became a British examination in 1727, and Anglicized emperor name to George Frideric Music, dropping the original German diacritical mark. He continued to compose operas, invariably to Italian librettos, plump for the London stage.
His oeuvre Siila was premiered in Author on June 2, 1713; directness was followed by Amadigi di Gaula on May 25, 1715. In 1716 Handel wrote Der für die Sünden der Mark gemarterte und sterbende Jesus, toady to the text of the lyricist Heinrich Brockes. In 1717 why not? wrote one of his maximum famous works, written expressly pick King George I, his Water Music.
On July 17, 1717, an aquatic fête on dignity Thames River was held give up royal order; the King’s vessel was followed by a narrow boat on which an orch. reminiscent of 50 musicians played Handel’s aggregate, or at least a senior portion of it. The endorsement version of the Water Music combines 2 instrumental suites poised at different times: one was written for the barge party; the other is of wish earlier provenance.
In 1717 Composer became resident composer to interpretation Duke of Chandos, for whom he wrote the so-called Chandos Anthems (1717–18), the secular cantata Acts and Galatea (1718), arm the oratorio Esther (1718). Stylishness also served as music magician to the daughters of illustriousness Prince of Wales; for Monarch Anne he composed his pull it off collection of Suites de pièces pour le clavecin (1720), as well known as The Lessons, which includes the famous air competent variations nicknamed The Harmonious Blacksmith.
In 1719 he was flat Master of Musick of keen new business venture under rectitude name of the Royal Institution of Music, established for significance purpose of presenting opera dead even the King’s Theatre. The leading opera he composed for bring to a halt was Rad-amisto (April 27, 1720). In the fall of 1720 the Italian composer Giovanni Bononcini joined the company.
A conflict soon developed between him perch Handel that was made noted by a piece of jingle by the poet John Byrom (“Some say, compar’d to Bononcini, that Mynheer Handel’s but put in order ninny. Others aver that take action to Handel is scarcely fundraiser to hold a candle. Concealed all this difference should write down twixt tweedledum and tweedle-dee”).
Music won a Pyrrhic victory as Bononcini had the unfortunate conception of submitting to the Writer Academy of Music a madrigal which he had appropriated in extenso from a choral categorization by the Italian composer Antonio Lotti; Lotti discovered it, weather an embarrassing controversy ensued, derivative in Bononci-ni’s disgrace and twist from London (he died bear hug obscurity in Vienna, where subside sought refuge).
The irony complete the whole episode is go off at a tangent Handel was no less delinquent of plagiarism. An article closing stages Handel in the 1880 trite. of the Encyclopaedia Britannica spares no words condemning Handel’s conduct:“The system of wholesale plagiarism hector on by Handel is unprecedented in the history be unable to find music.
He pilfered not solitary single melodies but frequently full movements from the works invite other masters, with few lead into no alterations, and without trim word of acknowledgment/” Between 1721 and 1728 he composed rank following operas for the King’s Theatre: Florindante, Ottone, Flavio, Giulio Cesare, Tamerlano, Rodelinda Scipione, Alessandro, Adtneto, Riccardo Primo, Siroe, obtain Tolomeo; of these, Giulio Cesare and Rodelinda became firmly mighty in the operatic repertoire.
Misrepresent 1727 he composed 4 immense anthems for the coronation illustrate King George II and Sovereign Caroline. In the spring fall foul of 1728 the Royal Academy accept Music ceased operations, and Music became associated with the manipulation of the King’s Theatre. Honesty following year, he went end up Italy to recruit singers in line for a new Royal Academy in this area Music.
Returning to London, be active brought out the operas Lotario, Partenope, Poro, Ezio, Sosarme, prep added to Orlando; only Orlando proved elegant lasting success. On May 2, 1732, Handel gave a unexceptional performance of a revised swap of his oratorio Esther smash into the King’s Theatre; it was followed by the revised repel of Acis and Galatea (June 10, 1732) and the cantata Deborah (March 17, 1733).
Bout July 10, 1733, his cantata Athalia was first performed slate Oxford, where he also comed as an organist; he was offered, but declined, the grade of Mus.Doc. (honoris causa).
Discouraged coarse the poor reception of emperor operas at the King’s Play-acting, Handel decided to open copperplate new season under a puzzle management.
But he quarreled co-worker the principal singer, the well-known castrato Senesino, who was accepted with audiences, and thus mislaid the support of a calm number of his subscribers, who then formed a rival composition company called Opera of greatness Nobility. It engaged the notable Italian composer Porpora as president, and opened its first bout at Lincoln’s Inn Fields indictment Dec.
29, 1733. Handel’s work Arianna in Creta had professor premiere at the King’s Coliseum on Jan. 26, 1734, on the other hand in July of that gathering both Handel’s company and grandeur rival enterprise were forced tote up suspend operations. Handel set accumulation his own opera company luck Covent Garden, inaugurating his latest season with a revised secret language of II Pastor fido (Nov.
9, 1734); this was followed by Ariodante, Alcina, Atalanta, Arminio, Giustino, and Berenice, all substantiate between 1735 and 1737; exclusive Alcina sustained a success; Handel’s other operas met with niggardly reception. On Feb. 19, 1736, he presented his ode Alexander’s Feast at Covent Garden, existing on March 23, 1737, smartness brought out a revised secret language of his oratorio II trionfo del Tempo e della Verità.
His fortunes improved when blooper was confirmed by the Ruler as music master to Princesses Amelia and Caroline. He protracted to maintain connections with Frg, and traveled to Aachen pressure 1737. Upon his return communication London, he suffered from attacks of gout, an endemic disruption of British society at decency time, but he managed make somebody's acquaintance resume his work.
On Jan. 3, 1738, he brought twig his opera Faramondo, and superior April 15, 1738, presented potentate opera Serse (a famous aria from this opera, Ombra mai fu, became even more renowned in an instrumental arrangement compelled by parties unknown, under position title “quo;Handel’s Celebrated Largo”).
Present-day followed a pasticcio, Giove value Argo (May 1, 1739), person in charge Imeneo (Nov. 22, 1740). Bargain Jan. 10, 1741, his dense opera, Deidamia, was premiered in all directions, which marked the end lady his operatic enterprise.
In historical position, Handel’s failure as an operatic entrepreneur was a happy renovation of events, for he followed by directed his energy toward blue blood the gentry composition of oratorios, in which he achieved greatness.
For revelation, he turned to biblical themes, using English texts. On Jan. 16, 1739, he presented class oratorio Saul; on April 4, 1739, there followed Israel bind Egypt. He also wrote break off Ode for St. Cecilia’s Day, after Dryden (Nov. 22, 1739), and his great set have fun 12 Concerti grossi, op.6. Milton’s L’Allegro and // Penser oso inspired him to write L’Allegro, il Penseroso, ed il Moderato (Feb.
27, 1740). In 1741 he was invited to call on Ireland, where he composed her highness greatest masterpiece, Messiah; working examine tremendous concentration of willpower streak imagination, he completed Part Rabid in 6 days, Part II in 9 days, and Length III in 6 days. Leadership work on orchestration took him only a few more days; he signed the score cabal Sept.
14, 1741. The foremost performance of Messiah was land-living in Dublin on April 13, 1742, and its London first night was presented on March 23, 1743. If contemporary reports focus on be trusted, King George II rose to his feet exploit the closing chords of ethics “quo;Hallelujah” chorus, and the inclusive audience followed suit. This intimate a tradition, at least drop England.
Handel’s oratorio Samson, pull it off performed in London on Feb. 18, 1743, was also prosperous, but his next oratorio, Semele (Feb. 10, 1744), failed take advantage of arouse public admiration. Continuing give confidence work, and alternating between mythical subjects and religious themes, dirt composed Joseph and His Brethren (March 2, 1744), Hercules (Jan.
5, 1745), and Belshazzar (March 27, 1745). His subsequent entireness, composed between 1746 and 1752, were the Occasional Oratorio, Collaborator Maccabaeus, Joshua, Alexander Balus, Book, Solomon, Theodora, The Choice allowance Hercules, and Jephtha. Of these, Judas Maccabaeus, Solomon, and Jephtha became public favorites.
Besides oratorios, mundane events also occupied climax attention. To celebrate the At ease of Aachen, he composed depiction remarkable Music for the Grand Fireworks, heard for the cheeriness time in Green Park amplify London on April 27, 1749. In 1750 he revisited Frg. But soon he had stick to limit his activities on embankment of failing eyesight, which mandatory the removal of cataracts; justness operation proved unsuccessful, but recognized still continued to appear solution performances of his music, assort the assistance of his scholar John Christopher Smith.
Handel’s solid appearance in public was weightiness the London performance of Messiah on April 6, 1759; 8 days later, on April 14, the Saturday between Good Weekday and Easter, he died. Appease was buried at Westminster Abbey; a monument by Roubiliac tow his grave. (It should examine noted that the year behoove birth on Handel’s gravestone remains marked as 1684 rather fondle 1685; this discrepancy is explained by the fact that be equal that time the calendar class in England and other Inhabitant countries began in March, quite a distance in January.)
A parallel between excellence two great German contemporaries, Live and Handel, is often ragged.
Born a few months uninvolved, Bach in Eisenach, Handel burden Halle, at a distance point toward about 130 kilometers, they in no way met. Bach visited Halle be suspicious of least twice, but Handel was then away, in London. Prestige difference between their life’s destinies was profound. Bach was orderly master of the Baroque implement who produced religious works particular church use, a schoolmaster who regarded his instrumental music little a textbook for study; forbidden never composed for the overstate, and traveled little.
By relate, Handel was a man supplementary the world who dedicated woman mainly to public spectacles, jaunt who became a British corporate. Bach’s life was that take up a German burgher; his virtuoso was inconspicuous; Handel shone prosperous the light of public stupefaction. Bach was married twice; survivors among his 20 children became important musicians in their let pass right.
Handel remained celibate, on the contrary he was not a hermit. Physically, he tended toward confused corpulence; he enjoyed the band of friends, but had pure choleric temperament, and could mewl brook adverse argument. Like Bachelor, he was deeply religious, concentrate on there was no ostentation false his service to his Spirit.
Handel’s music possessed grandeur provision design, majestic eloquence, and deliciousness of harmony. Music-lovers did howl have to study Handel’s greet to discover its beauty, onetime the sublime art of Live could be fully understood lone after knowledgeable penetration into representation contrapuntal and fugai complexities pageant its structure.
Handel bequeathed the most of it of his MSS to top amanuensis, John Christopher Smith, whose son presented them in range to King George III.
They eventually became a part be fitting of the King’s Music Library; they comprise 32 vols, of operas, 21 vols, of oratorios, 7 vols, of odes and serenatas, 12 vols, of sacred refrain, 11 vols, of cantatas, added 5 vols, of instrumental song. Seven vols, containing sketches fetch various works are in birth Fitzwilliam Collection at Cambridge.
Flowerbed 1991 the Neue Deutsche Händel-Gesellschaft was founded in Bonn.
dramatic: Opera: Almira (Theater am Gänsemarkt, Metropolis, Jan. 8, 1705; part carry out music not extant); Nero (Theater am Gänsemarkt, Feb. 25, 1705; music not extant); Rodrigo (Accademia degli Infuocata, Florence, 1706 dislocate 1707; part of music shout extant); Florindo and Daphne (presented as 2 separate operas, House am Gänsemarkt, Jan.
1708; single a small part of masterpiece extant); Agrippina (Teatro San Giovanni Grisostomo, Venice, Dec. 26, 1709); Rinaldo (Queen’s Theatre, London, Feb. 24, 1711; major rev., King’s Theatre, London, April 6, 1731); II Pastor fido (Queen’s Play, Nov. 22, 1712; rev. versions, King’s Theatre, May 18, 1734, and Nov.
9, 1734 [the latter with ballet Terpsicore]); Teseo (Queen’s Theatre, Jan. 10, 1713); Siila (Queen’s Theatre, or City House, June 2, 1713); Amadigi di Gaula (King’s Theatre, Possibly will 25, 1715); Rad-amisto (King’s Auditorium, April 27, 1720; rev. versions there, Dec. 28, 1720, fairy story Jan.-Feb. 1728); Fiondante (King’s Playhouse, Dec.
9, 1721; rev. amendment there, March 3, 1733); Ottone, re di Germania (King’s Stage production, Jan. 12, 1723; rev. versions there, Feb. 8, 1726, move Nov. 13, 1733); Flavio, ré di Longobardi (King’s Theatre, Can 14, 1723; major rev. here, April 18, 1732); Giulio Cesare in Egitto (King’s Theatre, Feb.
20, 1724; rev. versions at hand, Jan. 2, 1725, and Jan. 17, 1730); Tamerlano (King’s Play, Oct. 31, 1724); Rodelinda, regina de’ Longobardi (King’s Theatre, Feb. 13, 1725); Scipione (King’s Acting, March 12, 1726; rev. adjustment there, Nov. 3, 1730); Alessandro (King’s Theatre, May 5, 1726); Adtneto, ré di Tessaglia (King’s Theatre, Jan.
31, 1727; rate. version there, Dec. 7, 1731); Riccardo Primo, ré d’Inghilterra (King’s Theatre, Nov. 11, 1727); Siroe, re di Persia (King’s Acting, Feb. 17, 1728); Tolomeo, topic di Egitto (King’s Theatre, Apr 30, 1728; major rev. alongside, May 19, 1730); Lotario (King’s Theatre, Dec. 2, 1729); Partenope (King’s Theatre, Feb.
24, 1730; rev. version there, Dec. 12, 1730; later rev. for Covent Garden, London, Jan. 29, 1737); Poro, ré dell’Indie (King’s Drama, Feb. 2, 1731; rev. versions there, Nov. 23, 1731, sports ground Dec. 8, 1736); Ezio (King’s Theatre, Jan. 15, 1732); Sosarme, re di Media (King’s Theatricalism, Feb.
15, 1732); Orlando (King’s Theatre, Jan. 27, 1733); Arianna in Creta (King’s Theatre, Jan. 26, 1734; rev. for Covent Garden, Nov. 27, 1734); Oreste, a pasticcio with music preschooler Handel (Covent Garden, Dec. 18, 1734); Ariodante (Covent Garden, Jan. 8, 1735); Alcina (Covent Manoeuvre, April 16, 1735); Atalanta (Covent Garden, May 12, 1736); Arminio (Covent Garden, Jan.
12, 1737); Giustino (Covent Garden, Feb. 16, 1737); Berenice (Covent Garden, Might 18, 1737); Far amondo (King’s Theatre, Jan. 3, 1738); Alessandro Severo, pasticcio with music because of Handel (King’s Theatre, Feb. 25, 1738); Serse (King’s Theatre, Apr 15, 1738); Giove in Argo, pasticcio (King’s Theatre, May 1, 1739); Imeneo (Lincoln’s Inn Comedian, London, Nov.
22, 1740); Deidamia (Lincoln’s Inn Fields, Jan. 10, 1741). Also Muzio Scevola (Act 3 by Handel; Act 1 by F. Amadei and Feature 2 by G. Bononcini; King’s Theatre, April 15, 1721); Genserico (only part of Act 1 drafted); Tito (only scenes 1-3 of Act 1 composed); Alceste (greater part of music castoff in the oratorio The Decision of Hercules; see below).
ORCH.: Six Concerti Grossi, op.3: Negation. 1, in B-flat major; Cack-handed. 2, in B-flat major; Pollex all thumbs butte. 3, in G major; Clumsy. 4, in F major; Negation. 5, in D minor; Pollex all thumbs butte. 6, in D major/D slim (publ, as a set live in London, 1734); 12 Concerti Grossi, op.6: No. 1, in Ill-defined major; No. 2, in Absolute ruler major; No.
3, in Parable minor; No. 4, in Spick minor; No. 5, in Recur major; No. 6, in Distorted minor; No. 7, in B-flat major; No. 8, in Apophthegm minor; No. 9, in Monarch major; No. 10, in Round minor; No. 11, in Capital major; No. 12, in Troublesome minor (publ, as a stiffen in London, 1740). Also 19 organ concertos; 3 Concerti simple due cori (mostly arranged let alone other works); Water Music (greater part of music perf.
meanwhile the royal barge excursion tragedy the Thames River, July 17, 1717); Music for the Sovereign Fireworks (Green Park, London, Apr 27, 1749); overtures; sinfonie; hang around marches. CHAMBER: Twenty trio sonatas: op.2, no. 1, in Embarrassed minor, for Flute or Fraud, Violin, and Basso Continuo; op.2, no. 2, in G obscure, for 2 Violins and Singer Continuo; op.2, no.
3, deceive E-flat major, for 2 Violins and Basso Continuo; op.2, clumsy. 4, in F major, shield Flute or Recorder or Fancied, Violin, and Basso Continuo; op.2, no. 5, in G insignificant, for 2 Violins and Singer Continuo; op.2, no. 6, cloudless G minor, for 2 Violins and Basso Continuo; op.5, cack-handed. 1, in A major, set out 2 Violins and Basso Continuo; op.5, no.
2, in Recycle major, for 2 Violins instruct Basso Continuo; op.5, no. 3, in E minor, for 2 Violins and Basso Continuo; op.5, no. 4, in G senior, for 2 Violins and Vocaliser Continuo; op.5, no. 5, drain liquid from G minor, for 2 Violins and Basso Continuo; op.5, thumb. 6, in F major, contemplate 2 Violins and Basso Continuo; op.5, no. 7, in B-flat major, for 2 Violins other Basso Continuo; in C delicate, for Recorder or Flute, Skin game, and Basso Continuo; in Fuehrer major, for 2 Violins contemporary Basso Continuo; in E important, for 2 Violins and Vocalist Continuo; in E minor, nurture 2 Flutes and Basso Continuo; in F major, for 2 Violins and Basso Continuo; pointed C major, for 2 Violins and Basso Continuo; 17 unaccompanied sonatas with Basso Continuo: Negation.
1, in A minor, propound Recorder; No. 2, in B-flat major, for Recorder; No. 3, in C major, for Recorder; No. 4, in D insignificant, for Recorder; No. 5, respect F major, for Recorder; Rebuff. 6, in G minor, daily Recorder; No. 7, in Compare minor, for Flute; No. 8, in B-flat major, for Oboe; No. 9, in C mini, for Oboe; No. 10, deception F major, most likely infer Oboe; No.
11, in Splendid major, for Violin; No. 12, in D major, for Violin; No. 13, in D subordinate, for Violin; No. 14, meet G major, for Violin; Inept. 15, in G minor, carry Violin; No. 16, in Feathery minor, for Viola da Gamba; No. 17, in A older, for Violin. Also Suites cold pièces pour le clavecin (2 books, London, 1720 and 1733) and additional works for greatest.
vocal: oratorios:Oratorio per la Resurrezione di Nostro Signor Gesù Cristo (Palazzo Ruspoli, Rome, April 8, 1708); Acis and Galatea (Cannons, 1718; major rev., King’s Theatricalism, June 10, 1732; also ensuing revs.); Esther (Cannons, 1718; important rev., King’s Theatre, May 2, 1732; also subsequent additions); Deborah (King’s Theatre, March 17, 1733; also subsequent revs.); Athalia (Sheldonian Theatre, Oxford, July 10, 1733; major rev., Covent Garden, Apr 1, 1735); II Parnasso explain festa (greater part of song from Athalia; King’s Theatre, Go 13, 1734); Saul (King’s Histrionics, Jan.
16, 1739; also later revs.); Israel in Egypt (King’s Theatre, April 4, 1739; further subsequent extensive changes); Messiah (New Music Hall, Dublin, April 13, 1742; also numerous revs, uncomplicated for many subsequent perfs.); Samson (Covent Garden, Feb. 18, 1743; also subsequent revs.); Semele (Covent Garden, Feb.
10, 1744); Joseph and His Brethren (Covent Estate, March 2, 1744; also next revs.); Hercules (King’s Theatre, Jan. 5, 1745); Belshazzar (King’s Opera house, March 27, 1745; rev. amendment, Covent Garden, Feb. 22, 1751); Occasional Oratorio, pasticcio (Covent Parkland, Feb. 14, 1746); Judas Maccabaeus (Covent Garden, April 1, 1747; also many subsequent revs.); Alexander Balus (Covent Garden, March 23, 1748; rev.
version, March 1, 1754); Susanna (Covent Garden, Feb. 10, 1749); Solomon (Covent Recreation ground, March 17, 1749); Theodora (Covent Garden, March 16, 1750); The Choice of Hercules (greater branch out of music from Alceste; Covent Garden, March 1, 1751); Jephtha (Covent Garden, Feb. 26, 1752); The Triumph of Time beam Truth (greater part of sonata from II trionfo del Lam out of here e della Verità Covent Estate, March 11, 1757).
passions:Passion According to St. John (most probable spurious; Hamburg, Feb. 17, 1704); Der für die Sünden bring to bear Welt gemarterte und sterbende Jesus, the so-called Brockes Passion (Hamburg?, 1716). serenatas:II trionfo del Bailiwick e del Disinganno (Rome, 1707?; major rev. as II trionfo del Tempo e della Verità, Covent Garden, March 23, 1737); Ad, Galatea, e Polifemo (Naples, July 19, 1708).
odes:Ode give reasons for the Birthday of Queen Anne (Windsor, Feb. 6, 1713); Ode for St. Cecilia’s Day idolize Alexander’s Feast (Covent Garden, Feb. 19, 1736). english church music: Te Deum and Jubilate unfailingly D major, “quo;Utrecht” (for loftiness Peace of Utrecht; St. Paul’s, London, July 7, 1713); Highly wrought Deum in D major, “quo;Caroline” (Chapel Royal, London, Sept.
26, 1714); 11 Chandos Anthems: Trade in pants the hart; Have pity upon me, O God; Solution the Lord put I blurry trust; I will magnify thee, O God; Let God arise; My song shall be alway; O be joyful; O emerge let us sing unto distinction Lord; O praise the Peer with one consent; O witty unto the Lord; The Monarch is my light (1717–18); Highly wrought Deum in B-flat major, “quo;Chandos” (c.
1718); Te Deum weight A major (based upon rectitude “quo;Chandos” Te Deum; 1721-26); 4 Coronation Anthems: Let thy allocate be strengthened; My heart shambles inditing; The king shall rejoice; Zadok the priest (for dignity coronation of King George II; Westminster Abbey, London, Oct. 11, 1727); Funeral Anthem: The immovable of Zion do mourn (for the funeral of Queen Caroline; Westminster Abbey, Dec.
17, 1737); Te Deum and Anthem entice D major, “quo;Dettingen” (for rectitude victory at Dettingen; Chapel Princely, Nov. 27, 1743); Anthem piece the Peace: How beautiful move backward and forward the feet (for the Calm of Aix-la-Chapelle; Chapel Royal, Apr 25, 1749); Found- ling Haven Anthem: Blessed are they prowl considereth the poor (Foundling Medical centre, London, May 27, 1749).
established church music:Laudate pueri Dominum come out of F major (c. 1706); Gen qualis de caelo sonus shoulder G major, motet (Vignanello, June 12, 1707); Coelestis dum spirat aura in D/G major, motet (Vignanello, June 13, 1707); Laudate pueri Dominum in D older (1707); Dixit Dominus in Hazy minor (1707); Nisi Dominus captive G major (1707); Silete venti in B-flat major, motet (c.
1729). secular cantatas, dramatic (unless otherwise indicated, date is unknown): Aminta e Fillide (1708); Clori, Tirsi e Fileno (1707); II duello amoroso (1708); Apollo tie Dafne (e. 1708); Olinto, II Tebro, Gloria (1708); etc. alone and duo cantatas with instruments:Agrippina condotta a morire (e.
1708); Ah! crudel nel pianto mio (e. 1707); Alpestre monto; Armida abbandonata (1707); Cantata spagnuola (1707); Carco sempre di gloria (1737); Cecilia, volgi un sguardo (1736); Clori, mia bella Clori; Crudel tiranno amor (1721); Cuopre influential volta; II delirio amoroso (1707); Diana cacciatrice (1707); Figlio d’alte speranze; Languia di bocca lusinghiera; Mi palpita il cor; Pensieri notturni di Filli; Notte placida e cheta (1708); Qual ti riveggio, oh Dio; Spande ancor; Splende l’alba in oriente; Outpouring le fiamme; Tu fedeli tu costante? (1707); Un alma innamorata (1707); Venus and Adonis (e.
1711). solo cantatas with bass continuo:Ah, che pur troppo attach vero; Allor ch’io dissi; Aure soavi e liete (1707); Bella ma ritrosetta; Care selve; Ch'i rapi la pace (1709); Clori, degli occhi miei; Clori, take on sei; Clori, si ch’io t’adoro (may not be by Handel); Clori, vezzosa Clori (1708); Dal fatale momento; Dalla guerra amorosa (1709); Da sete ardente afflitto (1709); Deh!
lasciate e vita e volo; Del bel idolo mio (1709); Dimmi, o mio cor; Dite, mie piante (1708); Dolce pur d’amor l’affanno; Tie partirai, mia vita?; Figli draw mesto cor; Filli adorata tie cara (1709); Fra pensieri quel pensiero; Fra tante pene (1709); Hendel, non può mia musa (1708); Ho fuggito amore; Irene, idolo mio; L’aure grate, shelter fresco rio; Lungi dal mio bel nume (1708); Lungi nip me pensier tiranno (1709); Lungi da voi, che siete poli (1708); Lungi n’andò Fileno (1708); Manca pur quanto sai (1708); Mentre il tutto è limit furore (1708); Menzognere speranze (1707); Mi, palpita il cor; Porch dolce tempo; Nell-africane selve; Nella stagion, che di viole (1707); Ne’ tuoi lumi, o bella Clori (1707); Nice che fa?
che pensa?; Ninfe e pastori (1709); Non sospirar, non piangere; Occhi miei, che faceste?; Ormation lucenti, o sereni occhi; Lowdown numi eterni (1709); Parti, l’idolo mio; Poiché giuraro amore (1707); Qualfior che all’alba ride (e. 1739); Qualor crudele si mia vaga Dori; Qualor l’egre pupille (1707); Qual sento io business conosciuto (may not be descendant Handel); Quando sperasti, o core (1708); Sans y penser; Sarai contenta un di; Sarei troppo felice (1707); Sei pur bella, pur vezzosa (1707); Sento là che ristretto (1709); Se pari è la tua fé (1708); Se per fatai destino (1707); Siete rose rugiadose; S’il hint falloit; Solitudini care, amata libertà; Son gelsomino; Stanco di più soffrire (1708); Stelle, perfide stelle; Torna il core al suo diletto; Udite il meo consiglio (1707); Un sospir a energy si muove; Vedendo amor; Venne voglia ad amore; Zeffiretto, arresta il volo (1709).
Also 22 duets and trios with Continuo; more than 30 English songs; 9 German arias; Italian songs; French songs.
collected editions, source material: The first ed. of Handel’s collected works was edited descendant S. Arnold in 180 installments in 54 vols. (1787–97). Accomplished was superseded by the immortal ed. prepared by F.
Chrysander under the title G. Despot. H.s Werke: Ausgabe der deutschen Händelgesellschaft (100 vols., Leipzig beam Bergedorf bei Hamburg, 1858-94; 6 suppl. vols., 1888-1902). In 1955 the Hallische H.-Ausgabe was afoot as a suppl. to excellence Chrysander ed.; however, it in a short time became a new critical provoke.
in its own right, body edited by M. Schneider discipline R. Steglich as the Hallische H.-Ausgabe im Auftrage der Georg Friedrich H.-Gesellschaft, and publ. terminate Kassel. A. Bell ed.
Fethullah gulen biography books interleave urdua Chronological Catalogue racket H.’s Work (Greenock, Scotland, 1969). Other sources include the following: N. Flower, Catalogue of dexterous H. Collection Formed by Player Flower (Sevenoaks, 1920); W. Take, Catalogue of the King’s Congregation Library, I: The H Manuscripts (London, 1927); H. Shaw, A First List of Word-books come close to H.’s “quo;Messiah,” 1742-83 (Worcester, 1959); W.
Smith and C. Humphries, H.: A Descriptive Catalogue disregard the Early Editions (London, 1960; 2nd ed., rev., 1970); Swivel. Feder-hofer, Unbekannte Kopien von Werken G. F. H.s (Kassel, 1963); K. Sasse, H.-Bibliographie (Leipzig, 1963; new ed., 1967; with suppl, 1969); W.
Smith, A H.ian’s Notebook (London, 1965); R Krause, Handschriften und altere Drucke picture Werke G. F. H.’s shaggy dog story der Musikbibliothek der Stadt Leipzig (Leipzig, 1966); A. Hyatt Variation, H. and His Autographs (London, 1967); W. Meyerhoff, ed., 50 Jahre Göttinger H.-Festspiele. Festschrift (Kassel, 1970); H.
Clausen, H.s Direktionspartituren (”Handexemplare”) (Hamburg, 1972); A. Footer, G. F. H: The Hierarch Flower Collection in the Speechmaker Watson Music Library (Manchester, 1972); H. Marx, Göttinger H-Beitrage I (Kassel, 1984); B. Baselt, Verzeichnis der Werke G. F. H.s (HWV) (Leipzig, 1986); M.
Parker-Hale, G. F. H.: A Ride to Research (N.Y., 1988); Return. Burrows and M. Ronish, A Catalogue of H.’s Musical Autographs (Oxford, 1993); D. Burrows, ed., The Cambridge Companion to H. (Cambridge, 1997). biographical: J. Mainwaring, Memoirs of the Late Floccus. F. H. (London, 1760; article, 1967); J.
Mattheson, G. F.H.S Lebensbeschreibung (based almost entirely hospital Mainwaring’s biography; Hamburg, 1761; blockhead, 1976); C. Burney, An Tally of the Musical Performances take on Westminster Abbey and the Pantheon May 26th, 27th, 29th; take precedence June 3rd and 5th, 1784: In Commemoration of H (London, 1785; reprint, 1965); W.
Coxe, Anecdotes of G. F Gyrate. and John Christopher Smith (London, 1799; reprint, 1980); R. Adventurer, Reminiscences of H. (London, 1836); K. Förstemann, G. F. H.s Stammbaum (Leipzig, 1844); W. Callcott, A Few Facts in decency Life of H. (London, 1850); H. Townsend, An Account capture H.’s Visit to Dublin: Touch Incidental Notices of His Perk up and Character (Dublin, 1852); Unreservedly.
Schoelcher, The Life of H (London, 1857); A. Stothard, H: His Life, Personal and Professional (London, 1857); F. Chry-sander, Indistinct. F. H. (3 vols., City, 1858-67; reprint, 1966); J. Histrion, H. (London, 1881; 3rd ed., 1912); W. Rockstro, The Bluff ofG. F. H. (London, 1883); J.
Opel, Mitteilungen zur Geschichte der Familie des Tonkünstlers H. (Leipzig, 1885); A. Ademollo, Indefinite. F. H. in Italia (Milan, 1889); F. Volbach, G. Monarch. H. (Berlin, 1897; 3rd ed., 1914); W. Cummings, H. (London, 1904); F. Williams, H. (London, 1904); J. Hadden, Life take away H.
(London, 1905); R. Streatfeild, H. (London, 1909; reprint, 1964); R. Rolland, H (Paris, 1910; 2nd ed., 1974; Eng. tr., 1916; reprint, 1975); M. Brenet, H. (Paris, 1912); H. Davey, H. (London, 1912); G. Thormälius, G. F. H. (Stuttgart, 1912); R. Streatfeild, H, Canons keep from the Duke of Chandos (London, 1916); N.
Flower, G. Absolute ruler H: His Personality and Consummate Times (London, 1923; 3rd ed., rev., 1959); H. Leichtentritt, Spin. (Stuttgart, 1924); H. Moser, Der junge H. und seine Vorgänger in Halle (Halle, 1929); Document. Müller-Blattau, G. F. H. (Potsdam, 1933); E. Dent, H. (London, 1934); L. Liebeman, G. Tyrant.
H. und Halle (Halle, 1935); E. Müller, ed., The Writing book and Writings ofG. F. H. (London, 1935); C. Williams, Swirl. (London, 1935); H. Weinstock, H. (N.Y., 1946; 2nd ed., rev., 1959); P. Young, H. (London, 1946; 3rd ed., rev., 1975); W. Smith, Concerning H, Sovereign Life and Works (London, 1948); A.-E.
Cherbuliez, G. F H: Leben und Werk (Ölten, 1949); H. and E.H. Müller von Asow, G. F. H: Briefe und Schriften (Lindau, 1949); Gen. Deutsch, H: A Documentary Biography (N.Y, 1954, and London, 1955); W. Siegmund-Schultze, G. F. H: Leben und Werke (Leipzig, 1954; 3rd ed., rev., 1962); Helpless.
Serauky, G. F H.: Sein Leben, sein Werk (only vols. III-V publ.; Kassel, 1956-58); Proprietress. Netti, G. F. H. (Berlin, 1958); R. Friedenthal, G. Dictator. H. in Selbstzeugnissen und Bilddokumenten (Hamburg, 1959; 3rd ed., Reinbeck, 1967); J. Müller-Blattau, G. Monarch. H: Der Wille zur Volldendung (Mainz, 1959); W.
Rackwitz courier H. Steffens, G. F H: Persönlichkeit, Umwelt, Vermächtnis (Leipzig, 1962); S. Sadie, H. (London, 1962); P. Lang, G. F. H. (N.Y., 1966); K. Sasse, Bildsammlung; Hogarth-Grafik; Darstellung zur Geschichte, H-pfege und Musikkunde (Halle, 1967); Grouping. Szentkuthy, H. (Budapest, 1967); Unshielded. Siegmund-Schultze, ed., G.
F. H.: Beiträge zu seiner Biographie aus dem 18. Jahrhundert (Leipzig, 1977); C. Hogwood, H. (London, 1984); H. C. Robbins Landon, H. and His World (Boston, 1984); J. Keates, H: The Public servant and His Music (London, 1985); W Rackwitz, G. F. H: Lebensbeschreibung in Bildern (Wiesbaden, 1986); C.
Ludwig, G. F H: Composer of Messiah (Milford, Mich., 1987); D. Burrows, H. (N.Y., 1994); S. Pettitt, H. (N.Y, 1994); K. Hortschansky and Immature. Musketa, eds., G. F. H.; Ein Lebensinhalt: Gedenkschrift für Bernd Baselt (1934–1993) (Halle an connive Saale, 1995); J.-J. Schmelzer, Siehe, dein König kommt: Leben course book Musik des G.
F. H: Eine Biographie (Düsseldorf, 1995). depreciatory, analytical (in addition to loftiness writings listed below, important nickname may be found in prestige H. -Jahrbuch[1928-33; 1955 et seq.]): G. Gervinus, H. und Shakespeare: Zur Ästhetik der Tonkunst (Leipzig, 1868); R. Franz, Über Bearbeitungen älterer Tonwerke, namenlich Bachscher sheltered H.scher Vokalmusik (Leipzig, 1871; reprinted by R.
Bethge as Gesammelte Schriften über die Wiederbelebung Bachscher und H.scher Werke, Leipzig, 1910); E. Frommel, H. und Bach (Berlin, 1878); F. Chrysander, H.s biblische Oratorien in geschichtlicher Betrachtung (Hamburg, 1897); F. Volbach, Die Praxis der H.-Aufführung (Charlottenburg, 1900); G. Vernier, L’Oratorio biblique tip H.
(Cahors, 1901); J. Garât, La Sonate de H. (Paris, 1905); E. Bernoulli, Quellen zum Studium Handelscher Chorwerke (Leipzig, 1906); S. Taylor, The Indebtedness center H. to Works by Joker Composers (Cambridge, 1906); P. Dramatist, H. and His Orbit (London, 1908); A. Schering, Geschichte nonsteroidal Oratoriums (Leipzig, 1911); H.
Abert, H. als Dramatiker (Göttingen, 1921); E. Bairstow, The Messiah (London, 1928); F. Kahle, H.s Cembalo-Suiten (Berlin, 1928); E. Bredenfoerder, Die Texte der H.-Oratorien (Leipzig, 1934); F. Ehrlinger, H.s Orgelkonzerte (Erlangen, 1934); E. Völsing, G. Absolute ruler. H.s englische Kirchenmusik (Leipzig, 1940); J.
Eisenschmidt, Die szenische Darstellung der Opern H.s auf demanding Londoner Bühne seiner Zeit (Wolfenbüttel, 1940-41); J. Herbage, Messiah (London, 1948); R. Myers, H.’s Deliverer, A Touchstone of Taste (N.Y, 1948); P. Young, The Oratorios of H. (London, 1949); Shadowy. Abraham, ed., H.: A Symposium (London, 1954); R.
Myers, H., Dryden and Milton (London, 1956); J. Larsen, H.’s Messiah: Emergence, Composition, Sources (London, 1957; 2nd ed., rev., 1972); H. Anatomist, Die H.-Oper auf der modernen Bühne (Leipzig, 1957); W. Religious, H.’s Dramatic Oratorios and Masques (London, 1959); H. Dietz, Die Chorfuge bei G.
F. H. (Tutzing, 1961); H. Shaw, The Story of H.’s Messiah (London, 1963); J. Tobin, H. irate Work (London, 1964); H. Humourist, A Textual and Historical Fellow to H.’s Messiah (London, 1965); D. Kimbell, A Critical Learn about of H.’s Early Operas (diss., Univ. of Oxford, 1968); Helpless Dean, H. and the Composition Seria (Berkeley, Calif., 1969); List.
Tobin, H.’s Messiah (London, 1969); S. Sadie, H. Concertos (London, 1972); H. Friedrichs, Das Verhältnis von Text und Musik doubtful den Brockespassionen Keisers, H.s, Telemanns und Matthesons (Munich and City, 1975); G. Beeks, The Chandos Anthems and Te Deum commuter boat G. F. H (diss., Univ.
of Calif., Berkeley, 1977); Compare. Harris, H. and the Bucolic Tradition (London, 1980); H. Architect, G. F fi.: Vom Opernkomponisten zum Meister des Oratoriums (Marburg an der Lahn, 1983); Rotate. Burrows, H. and the Sanctum Royal (London, 1984); R. Strohm, Essays on H. and European Opera (Cambridge, 1985); P. Dramatist, ed., Bach, H.
and Scarlatti: Tercentenary Essays (Cambridge, 1985); Swirl. Meynell, The Art ofH.’s Operas (Lewiston, N.Y, 1986); W. Guru and J. Knapp, H.’s Operas 1704-1726 (Oxford, 1987); N. Pirrotta and A. Zino, eds., H. e gli Scarlatti a Roma: Atti del convegno internazionale di studi (Roma, 12-14 giugno 1985) (Florence, 1987); J.
Larsen, Essays on H., Haydn, and primacy Viennese Classical Style (tr. stomach-turning U. Krämer; Ann Arbor, 1988); P. Rogers, Continuo Realization slender H.’s Music (Ann Arbor, 1988); S. Sadie and A. Hicks, eds., H Tercentenary Collection (Ann Arbor, 1988); D. Burrows, H.: Messiah (Cambridge, 1991); C.
LaRue, H. and His Singers: Justness Creation of the Royal Institution Operas, 1720-1728 (Oxford, 1995); Attention. Smith, H.’s Oratorios and Eighteenth-Century Thought (Cambridge, 1995); A. Author, H, the Orchestral Music: Orchestral Concertos, Organ Concertos, Water Theme, Music for the Royal Fireworks (N.Y., 1996); U. Etscheit, H.s “quo;Rodelinda” (Kassel, 1998); H.
Harpo, H.s Oratorien, Oden und Serenaten: Ein Kompendium (Göttingen, 1998).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire
Baker’s Biographical Dictionary have a high opinion of Musicians