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"That I know not, but I'll warrant she'll not be a dunce with Purcell. And you must admit, doctor, that your George Frederick Handel is much beholden to our Henry Purcell." "Vat?" cried Pepusch a little angrily. "Nein nein. Haendel the greatest composer of music in de vorld is." "I grant you his genius but he comes after Purcell.
And also he had a feeling that the genial Cantor always wrote in a closed room: his work smacked of stuffiness: there was not in his music that brave outdoor air that was breathed in others, not such great musicians, perhaps, but greater men more human than he. Like Beethoven or Haendel.
The styles of Palestrina and Vittoria, which are obviously dissimilar, are nevertheless more alike than those of Palestrina and Bach, Vittoria and Haendel; just as those of Bach and Haendel, dissimilar as they are, have a greater similarity than that which exists between those of Bach and Mozart, of Haendel and Haydn.
Aside from sonatas by Corelli, Locatelli, Tartini, Bach, Mozart, Beethoven, Haendel, Brahms and Schumann, nearly all the romantic and modern composers have contributed to it. And this music has all been written so as to show the character of each instrument at its best the piano, harmonic in its nature; the violin, a natural melodic voice, capable of every shade of nuance." That Mr.
I always remember what Moser once wrote in my autograph album: 'Rhythm and accent are the soul of music! "And what a shining goal is waiting to be reached! The correct interpretation of Bach, Haendel and the old Italian and French classics, and of the vast realm of ensemble music under which head come the Mozart and Beethoven violin sonatas, and those of their successors, Schumann, Brahms, etc.
The name is found in various forms; it seems originally to have been Haendeler signifying trader, but by the time the composer was born the spelling Haendel had been adopted. This is the correct German form of his name; in Italy he wrote his name Hendel, in order to ensure its proper pronunciation, and in England he was known, for the same reason, as Handel.
His impulse seems always a reflected thing, a desire to compete with some one on that person's terms. He writes fugues for organs and sonatas for violin solo under the influence of Bach, concerti grossi under the influence of Haendel, variations under that of Mozart, sonatas under that of Brahms. In vain one searches for a perfectly individual style throughout his works.
Just as Hofmannsthal imitates Hogarth, so Strauss imitates Mozart, affects his style, his turns, his spirit; inserts a syrupy air in the style of Haendel or Méhul in the first act; and jumbles Mozart with modern comic-opera waltzes, Haendel with post-Wagnerian incantations. And like Hofmannsthal's libretto, the score remains a superficial and formless thing.
The great line of composers which descended from Bach and Haendel for two centuries has wavered and diminished visibly during the last three decades. The proud tradition seems to have reached a temporary halt in Wagner and Bruckner and Brahms.
The unflagging inventive power of a Bach or a Haydn, the robustness of a Haendel or a Beethoven, the harmonious personality of a Mozart, were things he could not rival. He is even inferior, in the matter of style, to men like Weber and Debussy. There are many moments, one finds, when his scores show that there was nothing in his mind, and that he simply went through the routine of composition.
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