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Updated: May 7, 2025
These two works were written in verse; but in De Unges Forbund, "The Young Men's League," 1869, a political satire, he abandoned verse, and all his subsequent dramas have been written in prose. In 1873 came Keiser og Galilaeer, "Emperor and Galilean." Since then he has published a number of social dramas which have attracted world-wide attention.
During these six months in Germany, Handel reverted for a moment to German music; he set what is known as the Brockes Passion, a sacred cantata in verse by the Hamburg poet Brockes, which had already been set once by Keiser. Later on it was set to music again by two of Handel's former friends, first by Telemann, and then by Mattheson.
But the younger friend, now full of the importance of nineteen years, and being the successor to the great Reinhard Keiser, is not disposed to yield the clavecin, even to his versatile friend. A quarrel that narrowly escapes ruining the melodious swan-song of Cleopatra, is postponed till after the final curtain. Then it takes the form of a duel.
But he was taciturn, and rarely spoke even to his own family, and spent on them almost less money than words. Another opera composer of the time was Reinhard Keiser. He married a woman who, with her wealth and her voice, rescued his operatic ventures from bankruptcy. These make a rather sordid and unromantic group.
Shortly, Harriet, the daughter, had carried the news from house to house in the neighborhood, and horses were running at full speed from place to place until all preparations were made for taking relief to those whom Mr. Eddy had left in the morning. William Johnson, John Howell, John Rhodes, Mr. Keiser, Mr. Sagur, Racine Tucker, and Joseph Varro assembled at Mr. Richey's immediately.
Opera management at Hamburg was no less precarious than it was in London; Keiser could not afford the Italian singers patronised by the German princes, and his performances had often to be helped out by amateurs of all classes. On one occasion the harpsichord-player failed him; Handel took his place at short notice, and his musicianship was at once recognised.
As a composer, Keiser had a singular fluency of melody in a style that hovers between those of Germany and Italy; had he been a man of more solid character he might have accomplished greater things.
The opera had three performances only. In the very same season Keiser re-set Nero to music himself, and brought it out under the title of Octavia; shortly afterwards he did the same with Almira, which was performed in August of the same year.
A contemporary of his was Reinhard Keiser, who died three years later at the age of sixty-six, and who wrote one hundred and sixteen operas for the German stage. Like his contemporary, Händel, he attempted management, and like Händel went into a magnificent bankruptcy, but quite unlike the woman-hater Händel, he married his way out of poverty.
A Passion oratorio by Keiser was produced at the same time, it may well have been that Handel's work, youthful and conventional as it is, was enough to arouse the jealousy of both Keiser and Mattheson.
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