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Updated: June 16, 2025
There is scarcely any padding; there are many of Handel's most perfect songs and most gorgeous choruses; and the architecture of the work is planned with a magnificence, and executed with a lucky completeness, attained only perhaps elsewhere in "Israel in Egypt" for which achievement Handel borrowed much of the bricks and mortar from other edifices.
Orlando is one of Handel's most original operas; he seems always to have derived a peculiar inspiration from the poems of Tasso and Ariosto, as in the case of Rinaldo.
Most of them were produced at the Haymarket Theatre, either under Handel's own management or under the auspices of a company known as the Royal Academy of Music. Handel's success made him many enemies, and he was throughout his career the object of innumerable plots on the part of disappointed and envious rivals.
Most biographers have, however, assumed that Handel's first halt in Italy would have been made at Florence, in view of the fact that Gian Gastone de' Medici is known to have been at Florence from June 1705 to November 1706.
"I know not what you call my bass," said Heyward, piqued at her remark, "but I know that your safety, and that of Cora, is far dearer to me than could be any orchestra of Handel's music." He paused and turned his head quickly towards a thicket, and then bent his eyes suspiciously on their guide, who continued his steady pace, in undisturbed gravity.
Its germ and its necessities of organism and development lie far, far back in the soul's world-history; and it is but later, if at all, when the organic growth is at an end, that times and individuals can fashion it in their paltry passing image. No; we may be as strong and as pure as Handel's audiences, and our music yet be less strong and pure than theirs.
Handel's serious music was never written for popular audiences; in his later oratorios he sometimes admittedly wrote down to the taste of the middle classes, but we have the records of his conversations with Gluck, Hawkins, and others to prove how little respect he had for that taste.
As a contrapuntal feat it remains, with some of Bach's organ fugues and Bach's and Handel's choruses, a veritable miracle of musical art not of ingenuity alone, for each separate fibre in the musical web has character and combines with the other fibres to produce an ensemble of overwhelming strength and beauty.
Handel's visit to Halle this year is of peculiar interest because of the attempt made by J. S. Bach to become acquainted with him. Forkel's biography of Bach is the only authority for this story.
The inventor was to play his own interpretations of Handel's Largo, a favorite selection of Ole Bull, and one which the inventor and the great virtuoso had played together some years before. Miss Clendenning had taken her place at the piano, Nathan standing beside her to turn the leaves of the accompaniment.
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