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Updated: June 16, 2025
Any phase of life can be understood only by associating with it some different phase. Sokrates himself has taught us how the homely things illustrate the grand things. If we turn to the art of musical composition and inquire into some of the differences between our recent music and that of Handel's time, we shall alight upon the very criticism which Mr.
These were "Lotario," 1729; "Partenope," 1730; "Poro," 1731; "Ezio," 1732; "Sosarme," 1732; "Orlando," 1733; "Ariadne," 1734; and also several minor works. Handel's operatic career was not so much the outcome of his choice as dictated to him by the necessity of time and circumstance. As time went on, his operas lost public interest.
Indeed, there was only one person in the house when they came; for Amelia's inclinations, when she gave a loose to them, were pretty eager for this diversion, she being a great lover of music, and particularly of Mr. Handel's compositions. Mrs.
Whatever effect Venice, with its weird and mysterious beauty, with its marble palaces, façades, pillars, and domes, its magnificent shrines and frescoes, produced on Handel, he took Venice by storm. Handel's power as an organist and a harpsichord player was only second to his strength as a composer, even when, in the full zenith of his maturity, he composed the "Messiah" and "Judas Maccabæus."
He did not go straight back to Hanover, but stayed at Duesseldorf again, where the Elector was evidently desirous of keeping him as long as possible, for the Elector himself wrote more than once to Hanover to make excuses for Handel's prolonged absence from his official duties. Handel may well have felt that Hanover was a dull place as compared with London.
Lowe at Drury Lane. The words suggest that the anonymous author was familiar with the Epilogue to Purcell's King Arthur; Handel's music is neither in his own style nor in Purcell's, but resembles the poorest sort of English patriotic song of the early eighteenth century.
A pupil may be able to get through Handel's Largo, for instance; though his fingers are uncertain he can make the theme sound half-way respectable, while a piece in rapid tempo will be quite beyond him. The faults were in the Largo just the same, but they did not show. Rapid music reveals them at once.
Those other oldsters, Blow, Byrd, and Playford, were married men; and Arne, the composer of "Rule Britannia," married, at the age of twenty-six, Cecilia Young, an eminent singer in Händel's company, and the daughter of an organist. She continued to sing, and he to write music for her. At the age of sixty-eight he died, singing a hallelujah.
Count Flemming was evidently vain of his own musicianship, and this made him feel all the more hurt at Handel's obstinate refusal to accept his invitations.
"Soliman the Magnificent" is evidently resolved to do justice to his title on this occasion with his carefully-powdered wig, frills, maroon-colored coat, and buckled shoes; and as he makes his progress up the room, the company draw aside for him to reach his favorite seat near Handel. A trio of Corelli's is gone through; then Madame Cuzzoni sings Handel's last new air; Dr.
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