Gallia, lamentation,sacred trilogy (Oratorio)

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Purcell seems, however, to have been the first to see the possibility of a national English opera;--his music to Dryden's "King Arthur," and to the "Indian Queen," is considered very beautiful; "his recitative was as rhetorically perfect as Lulli's, but infinitely more natural, and frequently impassioned to the last degree; his airs are not in the Italian form, but breathe rather the spirit of unfettered natural melody, and stand forth as models of refinement and freedom. Arne's "Artaxerxes," a translation from Metastasia's libretto, adapted to melodious music, were deservedly popular, and long retained a place on the stage.

Nevertheless, when the Italian opera became an institution in England, the national opera made no further progress. During the last few years the former seems to have practically died out in England, and it remains to be seen in what form the English opera will revive and flourish once more as a national product.

Mackenzie, Sir Arthur Sullivan, Mr. The end of the sixteenth and end of the seventeenth centuries form what has been called "the golden age of English music--aye for all musical Europe--of the madrigal. Nowhere was the cultivation of that noble form of pure vocal music, whether in composition or in performance, followed with more zeal or success than in England.

Among her most important composers were John Dowland, Ford, Henry Lawes, John Jenkens, Pelham Humphreys, Wise, Blow, Henry Purcell--great in secular and ecclesiastical works, in instrumental and in vocal--Croft and Weldon; all were predecessors of Handel, who, though one of the greatest of German composers, lived nearly fifty years in England, composed several operas and all his famous oratorios for England, and is therefore not unjustifiably added to the list of English composers.

The opera was first introduced into France by Cardinal Mazarin early in the seventeenth century, but the lyrical drama owes its origin in that country to Lulli, who also introduced into it the ballet, which was a favourite pastime of the young king Louis XIV. The ballet has since become an integral part of the French and also of the later Italian operas. It was Lulli, again, who extended the "meagre prelude" of the Italian opera into the overture as we now know it. But as the rise and progress of the French opera is fully portrayed in the following musical sketches, it is needless to trace it further here.

Germany--equally with Italy the land of music, but of harmonious in contra-distinction to melodic music, which belongs most properly to Italy, well named the land of song--was much later in developing her musical powers than Italy, but she cultivated them to grander and nobler proportions; for to Germany we owe the magnificent development of instrumental music, which culminates in the form of the sonata for the piano, and in that of the symphony for the orchestra, in the hands of such masters as Bach, Haydn, Mozart, Beethoven.

The first German opera or singspiel , "Adam und Eva," by Johann Theil, was performed in , but it became national through the works of Reinhard Keiser, whose opera "Basilino" was performed in The growth of a national opera in Germany and France, competing with that of Italy, induced also the rise of party quarrels between the adherents of the several schools; and the history of music demonstrates the fact, often seen in the history of politics, that in such contentions the real point at issue--the excellence of the subject in question--is lost sight of in the fierce strife of opponents; the broader issues are obscured in the narrowing influences of mere partizanship, wherein each side on principle shuts its eyes equally to the merits of its adversary and to its own faults.

Thus in the following sketches are recorded the quarrels between the adherents of Lulli and Rameau, Handel and Bonacini, Piccini and Gluck, Mozart and Salieri, Weber and Rossini, and in the present day between the advocates of Wagner's "Music of the Future" and those of the "Music of the Past. This is not, however, the place to discuss the importance of such strife, nor the comparative advantages and disadvantages of its existence or non-existence--but it is as well to draw attention to it in order to point out that in the history of music the belligerents are usually blind to the important fact that, inasmuch as nations differ essentially in ways of thought and action, in character, temperament, and fundamental nature, so also must the various phases of art differ which are their mediums of expression.

The history of the art of music is divisible into two great epochs--the first dating from its birth about three centuries ago under the impelling influences of the Renaissance, to the end of the eighteenth century, when pseudo-classicism had given all it had to give; the second dating from the rise of Romanticism in the beginning of the nineteenth century to the present day. The revival of the "forgotten world of old romance--that world of wonder and mystery and spiritual beauty," no longer crippled by lack of science, and fettered by asceticism, was to music, that youngest of the arts, a novel influence, which pushed it vigorously in a new direction, towards the more direct expression of the cravings of humanity--making it more human , more the fitting medium expression of this democratic age.

The true romantic feeling has been described as "the ever present apprehension of the spiritual world, and of that struggle of the soul with earthly conditions. In the opera Gluck was one of the earliest masters who came under the influence of the new movement, and he anticipated Wagner in many of his reforms. He decreased the importance of the singer, and increased that of the orchestra, elaborated the recitative, and made the music to follow the rhythm of the words, and he also gave importance to the dramatic expression of the human emotions.

Gounod, is, of course, unmistakably under the same influence, and may be considered as the direct descendant of Gluck, and there is every reason to suppose that he is the last great composer of the grand opera of France, as Verdi is undeniably that of the Italian opera. The most remarkable figure of the movement, he who has carried it to its utmost limits, is Richard Wagner. At first he refused for his compositions the name of "Music of the Future," and desired for them the more comprehensive term of "Work of Art of the Future.

Wagner has attempted to unite the three arts of Painting, Poetry, and Music: All the most refined arts are called in to contribute to the idea. This was Wagner's aim. His latter works, 'Tristram and Isolde,' the 'Niebelungen Ring,' and 'Parsifal,' are the actuation of the theory, or at least are works showing what is the way towards the aim. Walter Pater, writing upon the fine arts, tells us that " All art constantly aspires towards the condition of music It is the art of music which most completely realises this artistic ideal, this perfect identification of form and matter.

In its ideal consummate moments, the end is not distinct from the means, the form from the matter, the subject from the expression; they inhere in and completely saturate each other; and to it, therefore, to the condition of its perfect moments, all the arts may be supposed constantly to tend and aspire. Music, then, and not poetry, as is so often supposed, is the true type or measure of consummate art. Therefore, although each art has its incommunicable element, its untranslatable order of impressions, its unique mode of reaching the 'imaginative reason,' yet the arts may be represented as continually struggling after the law or principle of music, to a condition which music alone completely realises.

We may rest assured--as assured as Emerson or Matthew Arnold concerning the illimitable possibilities of poetry--that the future has great riches in store for all lovers of music. Giants, indeed, are they who are no longer among us, but it is not derogatory to these great ones to believe and hope that--life being "moving music" according to the definition of the Syrian Gnostics--the world will yet be electrified by the genius of successors worthy of such royal ancestry as Handel and Mozart, Beethoven and Wagner.

The growth and development of German music are eminently noteworthy facts in the history of the fine arts. In little more than a century and a-half it reached its present high and brilliant place, its progress being so consecutive and regular that the composers who illustrated its well-defined epochs might fairly have linked hands in one connected series.


Handel, who was his contemporary, having been born the same year, spoke of him with sincere admiration, and called him the giant of music. Haydn wrote--"Whoever understands me knows that I owe much to Sebastian Bach, that I have studied him thoroughly and well, and that I acknowledge him only as my model. In like manner have the other luminaries of music placed on record their sense of obligation to one whose name is obscure to the general public in comparison with many of his brother composers. Sebastian Bach was born at Eisenach on the 21st of March , the son of one of the court musicians.

Left in the care of his elder brother, who was an organist, his brilliant powers displayed themselves at an early period. He was the descendant of a race of musicians, and even at that date the wide-spread branches of the family held annual gatherings of a musical character. At this period Germany was beginning to experience its musical renaissance.

The various German courts felt that throb of life and enthusiasm which had distinguished the Italian principalities in the preceding century in the direction of painting and sculpture. Every little capital was a focus of artistic rays, and there was a general spirit of rivalry among the princes, who aspired to cultivate the arts of peace as well as those of war.

The aged man listened while his youthful rival improvised on the old choral, "Upon the Rivers of Babylon. Our musician rapidly became known far and wide throughout the musical centres of Germany as a learned and recondite composer, as a brilliant improviser, and as an organist beyond rivalry. Yet it was in these last two capacities that his reputation among his contemporaries was the most marked. It was left to a succeeding generation to fully enlighten the world in regard to his creative powers as a musical thinker.

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Though Bach's life was mostly spent at Weimar and Leipsic, he was at successive periods chapel-master and concert-director at several of the German courts, which aspired to shape public taste in matters of musical culture and enthusiasm. But he was by nature singularly retiring and unobtrusive, and recoiled from several brilliant offers which would have brought him too much in contact with the gay world of fashion, apparently dreading any diversion from a severe and exclusive art-life; for within these limits all his hopes, energies, and wishes were focalised.

Yet he was not without that keen spirit of rivalry, that love of combat, which seems to be native to spirits of the more robust and energetic type. In the days of the old Minnesingers, tournaments of music shared the public taste with tournaments of arms. In Bach's time these public competitions were still in vogue. One of these was held by Augustus II. Here Bach's principal rival was a French virtuoso , Marchand, who, an exile from Paris, had delighted the king by the lightness and brilliancy of his execution.

They were both to improvise on the same theme. Marchand heard Bach's performance and signalised his own inferiority by declining to play, and secretly leaving the city of Dresden. Augustus sent Bach a hundred louis d'or, but this splendid douceur never reached him, as it was appropriated by one of the court officials. In Bach's half-century of a studious musical life there is but little of stirring incident to record. The significance of his career was interior, not exterior. Twice married, and the father of twenty children, his income was always small even for that age.

Yet, by frugality, the simple wants of himself and his family never overstepped the limit of supply; for he seems to have been happily mated with wives who sympathised with his exclusive devotion to art, and united with this the virtues of old-fashioned German thrift. Three years before his death, Bach, who had a son in the service of the King of Prussia, yielded to the urgent invitation of that monarch to go to Berlin.

He was not only the patron of Voltaire, whose connection with the Prussian monarch has furnished such rich material to the anecdote-history of literature, but of all the distinguished painters, poets, and musicians whom he could persuade by his munificent offers but rarely fulfilled to suffer the burden of his eccentricities.

Frederick was not content with playing the part of patron, but must himself also be poet, philosopher, painter, and composer. On the night of Bach's arrival Frederick was taking part in a concert at his palace, and, on hearing that the great musician whose name was in the mouths of all Germany had come, immediately sent for him without allowing him to don a court dress, interrupting his concert with the enthusiastic announcement, "Gentlemen, Bach is here.

Shortly before Bach's death, he was seized with blindness, brought on by incessant labour; and his end was supposed to have been hastened by the severe inflammation consequent on two operations performed by an English oculist. He departed this life July 30, , and was buried in St.

John's churchyard, universally mourned by musical Germany, though his real title to exceptional greatness was not to be read until the next generation. Sebastian Bach was not only the descendant of a widely-known musical family, but was himself the direct ancestor of about sixty of the best-known organists and church composers of Germany.

As a master of organ-playing, tradition tells us that no one has been his equal, with the possible exception of Handel. He was also an able performer on various stringed instruments, and his preference for the clavichord[B] led him to write a method for that instrument, which has been the basis of all succeeding methods for the piano. Bach's teachings and influence may be said to have educated a large number of excellent composers and organ and piano players, among whom were Emanuel Bach, Cramer, Hummel, and Clementi; and on his school of theory and practice the best results in music have been built.

That Bach's glory as a composer should be largely posthumous is probably the result of his exceeding simplicity and diffidence, for he always shrank from popular applause; therefore we may believe his compositions were not placed in the proper light during his life. It was through Mozart, Haydn, and Beethoven, that the musical world learned what a master-spirit had wrought in the person of John Sebastian Bach. The first time Mozart heard one of Bach's hymns, he said, "Thank God! I learn something absolutely new. These works, from their largeness and dignity of form, as also from their depth of musical science, have been to all succeeding composers an art-armoury, whence they have derived and furbished their brightest weapons.

In the study of Bach's works the student finds the deepest and highest reaches in the science of music; for his mind seems to have grasped all its resources, and to have embodied them with austere purity and precision of form. As Spenser is called the poet for poets, and Laplace the mathematician for mathematicians, so Bach is the musician for musicians.

While Handel may be considered a purely independent and parallel growth, it is not too much to assert that without Sebastian Bach and his matchless studies for the piano, organ, and orchestra, we could not have had the varied musical development in sonata and symphony from such masters as Haydn, Mozart, and Beethoven. Three of Sebastian Bach's sons became distinguished musicians, and to Emanuel we owe the artistic development of the sonata, which in its turn became the foundation of the symphony. To the modern Englishman Handel is almost a contemporary. Paintings and busts of this great minstrel are scattered everywhere throughout the land.

He lies in Westminster Abbey among the great poets, warriors, and statesmen, a giant memory in his noble art. A few hours after death the sculptor Roubiliac took a cast of his face, which he wrought into imperishable marble; "moulded in colossal calm," he towers above his tomb, and accepts the homage of the world benignly like a god. Exeter Hall and the Foundling Hospital in London are also adorned with marble statues of him.

There are more than fifty known pictures of Handel, some of them by distinguished artists. In the best of these pictures Handel is seated in the gay costume of the period, with sword, shot-silk breeches, and coat embroidered with gold. The face is noble in its repose. Benevolence is seated about the finely-shaped mouth, and the face wears the mellow dignity of years, without weakness or austerity. There are few collectors of prints in England and America who have not a woodcut or a lithograph of him.

His face and his music are alike familiar to the English-speaking world. Handel came to England in the year , at the age of twenty-five. Four years before he had met, at Naples, Scarlatti, Porpora, and Corelli. That year had been the turning-point in his life. With one stride he reached the front rank, and felt that no musician alive could teach him anything. Like German literature, German music is a comparatively recent growth. What little feeling existed for the musical art employed itself in cultivating the alien flowers of Italian song.

Even eighty years after this Mozart and Haydn were treated like lackeys and vagabonds, just as great actors were treated in England at the same period. Handel's father looked on music as an occupation having very little dignity. Determined that his young son should become a doctor like himself, and leave the divine art to Italian fiddlers and French buffoons, he did not allow him to go to a public school even, for fear he should learn the gamut. But the boy Handel, passionately fond of sweet sounds, had, with the connivance of his nurse, hidden in the garret a poor spinet, and in stolen hours taught himself how to play.

At last the senior Handel had a visit to make to another son in the service of the Duke of Saxe-Weissenfels, and the young George was taken along to the ducal palace. The boy strayed into the chapel, and was irresistibly drawn to the organ. His stolen performance was made known to his father and the duke, and the former was very much enraged at such a direct evidence of disobedience.

The duke, however, being astonished at the performance of the youthful genius, interceded for him, and recommended that his taste should be encouraged and cultivated instead of repressed. From this time forward fortune showered upon him a combination of conditions highly favourable to rapid development. Severe training, ardent friendship, the society of the first composers, and incessant practice were vouchsafed him. As the pupil of the great organist Zachau, he studied the whole existing mass of German and Italian music, and soon exacted from his master the admission that he had nothing more to teach him.

Thence he went to Berlin to study the opera-school, where Ariosti and Bononcini were favourite composers. The first was friendly, but the latter, who with a first-rate head had a cankered heart, determined to take the conceit out of the Saxon boy. He challenged him to play at sight an elaborate piece. Handel played it with perfect precision, and thenceforward Bononcini, though he hated the youth as a rival, treated him as an equal.

On the death of his father Handel secured an engagement at the Hamburg opera-house, where he soon made his mark by the ability with which, on several occasions, he conducted rehearsals. He went down with his friend Mattheson, who it seems had been offered the same terms. They both returned, however, in single blessedness to Hamburg.

A dispute in the theatre resulted in a duel. The only thing that saved Handel's life was a great brass button that shivered his antagonist's point, when they were parted to become firm friends again. While at Hamburg Handel's first two operas were composed, "Almira" and "Nero. Handel had had enough of manufacturing operas in Germany, and so in July he went to Florence. Here he was cordially received; for Florence was second to no city in Italy in its passion for encouraging the arts.

Its noble specimens of art creations in architecture, painting, and sculpture produced a powerful impression upon the young musician. In little more than a week's time he composed an opera, "Rodrigo," for which he obtained one hundred sequins. His next visit was to Venice, where he arrived at the height of the carnival. One night at a masked ball, given by a nobleman, Handel was present in disguise. He sat at the harpsichord, and astonished the company with his playing; but no one could tell who it was that ravished the ears of the assembly. Presently another masquerader came into the room, walked up to the instrument, and called out: To satisfy the Venetian public, Handel composed the opera "Agrippina," which made a furore among all the connoisseurs of the city.

So, having seen the summer in Florence and the carnival in Venice, he must hurry on to be in time for the great Easter celebrations in Rome.

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Here he lived under the patronage of Cardinal Ottoboni, one of the wealthiest and most liberal of the Sacred College. The cardinal was a modern representative of the ancient patrician. Living himself in princely luxury, he endowed hospitals and surgeries for the public.

He distributed alms, patronised men of science and art, and entertained the public with comedies, operas, oratorios, puppet-shows, and academic disputes. Under the auspices of this patron, Handel composed three operas and two oratorios. Even at this early period the young composer was parting company with the strict old musical traditions, and his works showed an extraordinary variety and strength of treatment.

From Rome he went to Naples, where he spent his second Italian summer, and composed the original Italian "Aci e Galatea," which in its English version, afterwards written for the Duke of Chandos, has continued a marked favourite with the musical world. Thence, after a lingering return through the sunny land where he had been so warmly welcomed, and which had taught him most effectually, in convincing him that his musical life had nothing in common with the traditions of Italian musical art, he returned to Germany, settling at the court of George of Brunswick, Elector of Hanover, and afterwards King of England.

He received commission in the course of a few months from the elector to visit England, having been warmly invited thither by some English noblemen. On his return to Hanover, at the end of six months, he found the dull and pompous little court unspeakably tiresome after the bustle of London. So it is not to be marvelled at that he took the earliest opportunity of returning to the land which he afterwards adopted. At this period he was not yet twenty-five years old, but already famous as a performer on the organ and harpsichord, and as a composer of Italian operas.

When Queen Anne died and Handel's old patron became King of England, Handel was forbidden to appear before him, as he had not forgotten the musician's escapade; but his peace was at last made by a little ruse. Handel had a friend at court, Baron Kilmansegge, from whom he learned that the king was, on a certain day, going to take an excursion on the Thames. So he set to work to compose music for the occasion, which he arranged to have performed on a boat which followed the king's barge. As the king floated down the river he heard the new and delightful "Water-Music. Let us take a glance at the society in which the composer moved in the heyday of his youth.

His greatness was to be perfected in after-years by bitter rivalries, persecution, alternate oscillations of poverty and affluence, and a multitude of bitter experiences. But at this time Handel's life was a serene and delightful one. Rival factions had not been organised to crush him.

Lord Burlington lived much at his mansion, which was then out of town, although the house is now in the heart of Piccadilly. The intimate friendship of this nobleman helped to bring the young musician into contact with many distinguished people. It is odd to think of the people Handel met daily without knowing that their names and his would be in a century famous. The following picture sketches Handel and his friends in a sprightly fashion: He is walking with Richard Savage. As Signor Handel, 'the composer of Italian music,' passes by, Savage becomes excited, and nudges his friend, who takes only a languid interest in the foreigner.

Johnson did not care for music; of many noises he considered it the least disagreeable. He has just nodded patronisingly to Bononcini in the Strand, and suddenly meets Handel, who cuts him dead. Nothing disconcerted, the dean moves on, muttering his famous epigram It is the Duke of Chandos, who is inquiring for Mr. Presently a deformed little man, in an iron-grey suit, and with a face as keen as a razor, hobbles out, makes a low bow to the burly Handel, who, helping him into the chariot, gets in after him, and they drive off together to Cannons, the duke's mansion at Edgeware.

There they meet Mr. Addison, the poet Gay, and the witty Arbuthnot, who have been asked to luncheon. The last number of the Spectator is on the table, and a brisk discussion soon arises between Pope and Addison concerning the merits of the Italian opera, in which Pope would have the better if he only knew a little more about music, and could keep his temper. Arbuthnot sides with Pope in favour of Mr. Handel's operas; the duke endeavours to keep the peace. Handel probably uses his favourite exclamation, 'Vat te tevil I care! He had a private chapel, and appointed Handel organist in the room of the celebrated Dr.

Pepusch, who retired with excellent grace before one manifestly his superior. On week-days the duke and duchess entertained all the wits and grandees in town, and on Sundays the Edgeware Road was thronged with the gay equipages of those who went to worship at the ducal chapel and hear Mr. Handel play on the organ. The duke was himself attacked on one occasion; and those who could afford it never travelled so far out of town without armed retainers.

Cannons was the pride of the neighbourhood, and the duke--of whom Pope wrote,. But his name is made still more illustrious by the Chandos anthems. They were all written at Cannons between and , and number in all eleven overtures, thirty-two solos, six duets, a trio, quartet, and forty-seven choruses. Some of the above are real masterpieces; but, with the exception of 'The waves of the sea rage horribly,' and 'Who is God but the Lord? And yet these anthems were most significant in the variety of the choruses and in the range of the accompaniments; and it was then, no doubt, that Handel was feeling his way toward the great and immortal sphere of his oratorio music.

Indeed, his first oratorio, 'Esther,' was composed at Cannons, as also the English version of 'Acis and Galatea. But Handel had other associates, and we must now visit Thomas Britton, the musical coal-heaver. Britton was great among the great. He was courted by the most fashionable folk of his day. He was a cultivated coal-heaver, who, besides his musical taste and ability, possessed an extensive knowledge of chemistry and the occult sciences.

Britton did more than this.

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He gave concerts in Aylesbury Street, Clerkenwell, where this singular man had formed a dwelling-house, with a concert-room and a coal-store, out of what was originally a stable. On the ground-floor was the small-coal repository, and over that the concert-room--very long and narrow, badly lighted, and with a ceiling so low that a tall man could scarcely stand upright in it.

The stairs to this room were far from pleasant to ascend, and the following facetious lines by Ward, the author of the "London Spy," confirm this: Nevertheless, beautiful duchesses and the best society in town flocked to Britton's on Thursdays--not to order coals, but to sit out his concerts. Let us follow the short, stout little man on a concert-day. The customers are all served, or as many as can be. The coal-shed is made tidy and swept up, and the coal-heaver awaits his company. There he stands at the door of his stable, dressed in his blue blouse, dustman's hat, and maroon kerchief tightly fastened round his neck.

The concert-room is almost full, and, pipe in hand, Britton awaits a new visitor--the beautiful Duchess of B She is somewhat late the coachman, possibly, is not quite at home in the neighbourhood. Here comes a carriage, which stops at the coal-shop; and, laying down his pipe, the coal-heaver assists her grace to alight, and in the genteelest manner escorts her to the narrow staircase leading to the music-room. Forgetting Ward's advice, she trips laughingly and carelessly up the stairs to the room, from which proceed faint sounds of music, increasing to quite an olla podrida of sound as the apartment is reached--for the musicians are tuning up.

The beautiful duchess is soon recognised, and as soon in deep gossip with her friends. But who is that gentlemanly man leaning over the chamber-organ? That is Sir Roger L'Estrange, an admirable performer on the violoncello, and a great lover of music. He is watching the subtile fingering of Mr. Handel, as his dimpled hands drift leisurely and marvellously over the keys of the instrument.

There, too, is Mr. Bannister with his fiddle--the first Englishman, by-the-by, who distinguished himself upon the violin; there is Mr. Woolaston, the painter, relating to Dr. Pepusch of how he had that morning thrown up his window upon hearing Britton crying "Small coal! John Hughes, author of the "Siege of Damascus. Abiell Whichello; while in the extreme corner of the room is Robe, a justice of the peace, letting out to Henry Needler of the Excise Office the last bit of scandal that has come into his court.

And now, just as the concert has commenced, in creeps "Soliman the Magnificent," also known as Mr. Charles Jennens, of Great Ormond Street, who wrote many of Handel's librettos, and arranged the words for the "Messiah. Pepusch takes his turn at the harpsichord; another trio of Hasse, or a solo on the violin by Bannister; a selection on the organ from Mr.

Handel's new oratorio; and then the day's programme is over. Dukes, duchesses, wits and philosophers, poets and musicians, make their way down the satirised stairs to go, some in carriages, some in chairs, some on foot, to their own palaces, houses, or lodgings. We do not now think of Handel in connection with the opera. To the modern mind he is so linked to the oratorio, of which he was the father and the consummate master, that his operas are curiosities but little known except to musical antiquaries.

Yet some of the airs from the Handel operas are still cherished by singers as among the most beautiful songs known to the concert-stage. In Handel was engaged by a party of noblemen, headed by his Grace of Chandos, to compose operas for the Royal Academy of Music at the Haymarket. In the course of eight years twelve operas were produced in rapid succession: They made as great a furore among the musical public of that day as would an opera from Gounod or Verdi in the present.

The principal airs were sung throughout the land, and published as harpsichord pieces; for in these halcyon days of our composers the whole atmosphere of the land was full of the flavour and colour of Handel. Many of the melodies in these now forgotten operas have been worked up by modern composers, and so have passed into modern music unrecognised. It is a notorious fact that the celebrated song, "Where the Bee sucks," by Dr.

Arne, is taken from a movement in "Rinaldo. The most celebrated of these operas was entitled "Otto. Pepusch, who had never quite forgiven Handel for superseding him as the best organist in England, remarked of one of the airs, "That great bear must have been inspired when he wrote that air. On the second night the tickets rose to four guineas each, and Cuzzoni received two thousand pounds for the season. The composer had already begun to be known for his irascible temper.

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It is refreshing to learn that operatic singers of the day, however whimsical and self-willed, were obliged to bend to the imperious genius of this man. In a spirit of ill-timed revolt Cuzzoni declined to sing an air. She had already given him trouble by her insolence and freaks, which at times were unbearable. Handel at last exploded. He flew at the wretched woman and shook her like a rat. I always knew you were a fery tevil," he cried, "and I shall now let you know that I am Beelzebub, the prince of de tevils! So, when Carestini, the celebrated tenor, sent back an air, Handel was furious.

Rushing into the trembling Italian's house, he said, in his four- or five-language style--"You tog!

Language: English

If you vill not sing all de song vaat I give you, I vill not pay you ein stiver. The dissonance of the tuning-up period of an orchestra is disagreeable to the most patient. Handel, being peculiarly sensitive to this unfortunate necessity, always arranged that it should take place before the audience assembled, so as to prevent any sound of scraping or blowing. Unfortunately, on one occasion, some wag got access to the orchestra where the ready-tuned instruments were lying, and with diabolical dexterity put every string and crook out of tune.

All the bows are raised together, and at the given beat all start off con spirito. The effect was startling in the extreme. The unhappy maestro rushes madly from his place, kicks to pieces the first double-bass he sees, and, seizing a kettle-drum, throws it violently at the leader of the band. The effort sends his wig flying, and, rushing bareheaded to the footlights, he stands a few moments amid the roars of the house, snorting with rage and choking with passion. Like Burleigh's nod, Handel's wig seemed to have been a sure guide to his temper. When things went well, it had a certain complacent vibration; but when he was out of humour, the wig indicated the fact in a very positive way.

The Princess of Wales was wont to blame her ladies for talking instead of listening. These were "Lotario," ; "Partenope," ; "Poro," ; "Ezio," ; "Sosarme," ; "Orlando," ; "Ariadne," ; 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.

The audiences dwindled, and the overflowing houses of his earlier experience were replaced by empty benches. This, however, made little difference with Handel's royal patrons. The king and the Prince of Wales, with their respective households, made it an express point to show their deep interest in Handel's success. In illustration of this, an amusing anecdote is told of the Earl of Chesterfield. During the performance of "Rinaldo" this nobleman, then an equerry of the king, was met quietly retiring from the theatre in the middle of the first act. Surprise being expressed by a gentleman who met the earl, the latter said, "I don't wish to disturb his Majesty's privacy.

Handel paid his singers in those days what were regarded as enormous prices. Senisino and Carestini had each twelve hundred pounds, and Cuzzoni two thousand, for the season. Towards the end of what may be called the Handel season nearly all the singers and nobles forsook him, and supported Farinelli, the greatest singer living, at the rival house in Lincoln's Inn Fields. From the year the career of Handel was to be a protracted battle, in which he was sometimes victorious, sometimes defeated, but always undaunted and animated with a lofty sense of his own superior power.

Let us take a view of some of the rival musicians with whom he came in contact. Of all these Bononcini was the most formidable. He came to England in with Ariosti, also a meritorious composer. Factions soon began to form themselves around Handel and Bononcini, and a bitter struggle ensued between these old foes.

The same drama repeated itself, with new actors, about thirty years afterwards, in Paris. The battle between Handel and Bononcini, as the exponents of German and Italian music, was also repeated in after-years between Mozart and Salieri, Weber and Rossini, and to-day is seen in the acrimonious disputes going on between Wagner and the Italian school. Bononcini's career in England came to an end very suddenly.

It was discovered that a madrigal brought out by him was pirated from another Italian composer; whereupon Bononcini left England, humiliated to the dust, and finally died obscure and alone, the victim of a charlatan alchemist, who succeeded in obtaining all his savings. He was also a great singing master, famous throughout Europe, and upon this his reputation had hitherto principally rested.

He came to London in , under the patronage of the Italian faction, especially to serve as a thorn in the side of Handel. His first opera, "Ariadne," was a great success; but when he had the audacity to challenge the great German in the field of oratorio, his defeat was so overwhelming that he candidly admitted his rival's superiority. But he believed that no operas in the world were equal to his own, and he composed fifty of them during his life, extending to the days of Haydn, whom he had the honour of teaching, while the father of the symphony, on the other hand, cleaned Porpora's boots and powdered his wig for him.

Another Italian opponent was Hasse, a man of true genius, who in his old age instructed some of the most splendid singers in the history of the lyric stage. He also married one of the most gifted and most beautiful divas of Europe, Faustina Bordoni. The following anecdote does equal credit to Hasse's heart and penetration: In after-years, when he had left England, he was again sent for to take Handel's place as conductor of opera and oratorio. There are also Dr. Pepusch, the Anglicised Prussian, and Dr.

Greene, both names well known in English music. Pepusch had had the leading place, before Handel's arrival, as organist and conductor, and made a distinct place for himself even after the sun of Handel had obscured all of his contemporaries.

Great Musical Composers - German, French, and Italian

He wrote the music of the "Beggar's Opera," which was the great sensation of the times, and which still keeps possession of the stage. Pepusch was chiefly notable for his skill in arranging the popular songs of the day, and probably did more than any other composer to give the English ballad its artistic form. The name of Dr. Greene is best known in connection with choral compositions.

His relations with Handel and Bononcini are hardly creditable to him. He seems to have flattered each in turn. He upheld Bononcini in the great madrigal controversy, and appears to have wearied Handel by his repeated visits. The great Saxon easily saw through the flatteries of a man who was in reality an ambitious rival, and joked about him, not always in the best taste. From to Handel's life presents the suggestive and often-repeated experience in the lives of men of genius--a soul with a great creative mission, of which it is half unconscious, partly yielding to and partly struggling against the tendencies of the age, yet gradually crystallising into its true form, and getting consecrated to its true work.

In these eight years Handel presented to the public ten operas and five oratorios. It was in that the great significant fact, though unrecognised by himself and others, occurred, which stamped the true bent of his genius. This was the production of his first oratorio in England.

He was already playing his operas to empty houses, the subject of incessant scandal and abuse on the part of his enemies, but holding his way with steady cheerfulness and courage.

Charles GOUNOD : Oratorios

Twelve years before this he had composed the oratorio of "Esther," but it was still in manuscript, uncared for and neglected. It was finally produced by a society called Philharmonic, under the direction of Bernard Gates, the royal-chapel master. Its fame spread wide, and we read these significant words in one of the old English newspapers--"'Esther,' an English oratorio, was performed six times, and very full. Shortly after this Handel himself conducted "Esther" at the Haymarket by royal command. His success encouraged him to write "Deborah," another attempt in the same field, and it met a warm reception from the public, March 17, For about fifteen years Handel had struggled heroically in the composition of Italian operas.

With these he had at first succeeded; but his popularity waned more and more, and he became finally the continued target for satire, scorn, and malevolence. In obedience to the drift of opinion, all the great singers, who had supported him at the outset, joined the rival ranks or left England. In fact, it may be almost said that the English public were becoming dissatisfied with the whole system and method of Italian music.

Colley Cibber, the actor and dramatist, explains why Italian opera could never satisfy the requirement of Handel, or be anything more than an artificial luxury in England: The quarrel between the great Saxon composer and his opponents raged incessantly both in public and private.

The newspaper and the drawing-room rang alike with venomous diatribes. Handel was called a swindler, a drunkard, and a blasphemer, to whom Scripture even was not sacred. The idea of setting Holy Writ to music scandalised the Pharisees, who revelled in the licentious operas and love-songs of the Italian school. All the small wits of the time showered on Handel epigram and satire unceasingly. The greatest of all the wits, however, Alexander Pope, was his firm friend and admirer; and in the "Dunciad," wherein the wittiest of poets impaled so many of the small fry of the age with his pungent and vindictive shaft, he also slew some of the most malevolent of Handel's foes.

Fielding, in Tom Jones , has an amusing hit at the taste of the period--"It was Mr. Western's custom every afternoon, as soon as he was drunk, to hear his daughter play on the harpsichord; for he was a great lover of music, and perhaps, had he lived in town, might have passed as a connoisseur, for he always excepted against the finest compositions of Mr. So much had it become the fashion to criticise Handel's new effects in vocal and instrumental composition, that some years later Mr.

Sheridan makes one of his characters fire a pistol simply to shock the audience, and makes him say in a stage whisper to the gallery, "This hint, gentlemen, I took from Handel. The composer's Oxford experience was rather amusing and suggestive. We find it recorded that in July , "one Handell, a foreigner, was desired to come to Oxford to perform in music.

And, notwithstanding the barbarous and inhuman combination of such a parcel of unconscionable scamps, he [Handel] disposed of the most of his tickets. His third oratorio, "Athaliah," was received with vast applause by a great audience. Some of his university admirers, who appreciated academic honours more than the musician did, urged him to accept the degree of Doctor of Music, for which he would have to pay a small fee.

The characteristic reply was a Parthian arrow: In Handel was obliged to close the theatre and suspend payment. His failure as an operatic composer is due in part to the same causes which constituted his success in oratorio and cantata. It is a little significant to notice that, alike by the progress of his own genius and by the force of conditions, he was forced out of the operatic field at the very time when he strove to tighten his grip on it.

His free introduction of choral and instrumental music, his creation of new forms and remodelling of old ones, his entire subordination of the words in the story to a pure musical purpose, offended the singers and retarded the action of the drama in the eyes of the audience; yet it was by virtue of these unpopular characteristics that the public mind was being moulded to understand and love the form of the oratorio. From to Handel composed and produced a number of operatic works, the principal ones of which were "Alcina," ; "Arminio," ; and "Berenice," He also during these years wrote the magnificent music to Dryden's "Alexander's Feast," and the great funeral anthem on the occasion of Queen Caroline's death in the latter part of the year We can hardly solve the tenacity of purpose with which Handel persevered in the composition of operatic music after it had ruined him; but it was still some time before he fully appreciated the true turn of his genius, which could not be trifled with or ignored.

In his adversity he had some consolation. His creditors were patient, believing in his integrity. The royal family were his firm friends. Southey tells us that Handel, having asked the youthful Prince of Wales, then a child, and afterward George the Third, if he loved music, answered, when the prince expressed his pleasure, "A good boy, a good boy! You shall protect my fame when I am dead. It is also an interesting fact that the poets and thinkers of the age were Handel's firm admirers. They defended him in print, and never failed to attend his performances, and at his benefit concerts their enthusiastic support always insured him an overflowing house.

The popular instinct was also true to him. The aristocratic classes sneered at his oratorios and complained at his innovations. His music was found to be good bait for the popular gardens and the holiday-makers of the period. Jonathan Tyers was one of the most liberal managers of this class. He was proprietor of Vauxhall Gardens, and Handel incognito supplied him with nearly all his music. The composer did much the same sort of thing for Marylebone Gardens, furbishing up old and writing new strains with an ease that well became the urgency of the circumstances. Fountagne, "as I have been told, was an enthusiast in music, and cultivated most of all the friendship of musical men, especially of Handel, who visited him often, and had a great predilection for his society.

This leads me to relate an anecdote which I have on the best authority. While Marylebone Gardens were flourishing, the enchanting music of Handel, and probably of Arne, was often heard from the orchestra there. One evening, as my grandfather and Handel were walking together and alone, a new piece was struck up by the band. Fountagne,' said Handel, 'let us sit down and listen to this piece; I want to know your opinion about it. Fountagne,' said Handel, 'it is very poor stuff; I thought so myself when I had finished it.

The period of Handel's highest development had now arrived. For seven years his genius had been slowly but surely maturing, in obedience to the inner law of his being. He had struggled long in the bonds of operatic composition, but even here his innovations showed conclusively how he was reaching out toward the form with which his name was to be associated through all time.

The year was one of prodigious activity. The oratorio of "Saul" was produced, of which the "Dead March" is still recognised as one of the great musical compositions of all time, being one of the few intensely solemn symphonies written in a major key. Several works now forgotten were composed, and the great "Israel in Egypt" was written in the incredibly short space of twenty-seven days.

Of this work a distinguished writer on music says--"Handel was now fifty-five years old, and had entered, after many a long and weary contest, upon his last and greatest creative period. His genius culminates in the 'Israel. In these twenty-eight colossal choruses we perceive at once a reaction against and a triumph over the tastes of the age.

The wonder is, not that the 'Israel' was unpopular, but that it should have been tolerated; but Handel, while he appears to have been for years driven by the public, had been, in reality, driving them. His earliest oratorio, 'Il Trionfo del Tempo' composed in Italy , had but two choruses; into his operas more and more were introduced, with disastrous consequences; but when, at the zenith of his strength, he produced a work which consisted almost entirely of these unpopular peculiarities, the public treated him with respect, and actually sat out three performances in one season!

He was not yet popular with the musical dilettanti , but we find no more catering to an absurd taste, no more writing of silly operatic froth. Our composer had always been very fond of the Irish, and, at the invitation of the lord-lieutenant and prominent Dublin amateurs, he crossed the channel in He was received with the greatest enthusiasm, and his house became the resort of all the musical people in the city of Dublin.

One after another his principal works were produced before admiring audiences in the new Music Hall in Fishamble Street. The crush to hear the "Allegro" and "Penseroso" at the opening performances was so great that the doors had to be closed. The papers declared there never had been seen such a scene before in Dublin. Handel gave twelve performances at very short intervals, comprising all of his finest works. In these concerts the "Acis and Galatea" and "Alexander's Feast" were the most admired; but the enthusiasm culminated in the rendition of the "Messiah," produced for the first time on 13th April The performance was a beneficiary one in aid of poor and distressed prisoners for debt in the Marshalsea in Dublin.

So, by a remarkable coincidence, the first performance of the "Messiah" literally meant deliverance to the captives. The principal singers were Mrs. Born June 17, in Paris, France. Died October 17, in Saint-Cloud, France. By Babylon's Wave, for men's chorus. Le calme, romance without words No. La cigale et la fourmi, partsong. D'un coeur qui t'aime, for double chorus also with piano or organ.

Funeral March of a Marionette, for piano or orchestra in D minor. Impromptu for piano in G major, CG Ivy Le lierre , romance without words for piano in B flat major. Marche nuptiale, for piano or piano, 4 hands in F major. Marche pontificale, for orchestra "Marche romaine". Marche religieuse, for orchestra in C major "Marche festivale".

Marche solennelle, for orchestra or piano, piano 4 hands, or organ in E flat major. Mass for a capella chorus. Meditation on Prelude No. La nonne sanglante, opera. Pedal Piano Concerto in E flat major. Petit quatour, for string quartet in C major. Les pifferari, impromptu for piano in F major. Preludes and Fugues 6 for piano, CG