3 MOVE TO LONDON
organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been dissatised,
and in 1703 he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gnsemarkt.[15] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His rst
two operas, Almira and Nero, were produced in 1705.[16]
He produced two other operas, Daphne and Florindo, in
1708. It is unclear whether Handel directed these performances.
3 Move to London
3.2
3 MOVE TO LONDON
3.4
3.3
Oratorio
In 1733 the Earl of Essex received a letter with the following sentence: Handel became so arbitrary a prince,
that the Town murmurs. The board of chief investors
expected Handel to retire when his contract ended, but
Handel immediately looked for another theatre. In cooperation with John Rich he started his third company
at Covent Garden Theatre. Rich was renowned for his
spectacular productions. He suggested Handel use his
small chorus and introduce the dancing of Marie Sall,
for whom Handel composed Terpsicore. In 1735 he
introduced organ concertos between the acts. For the
rst time Handel allowed Gioacchino Conti, who had no
time to learn his part, to substitute arias.[47] Financially,
Ariodante was a failure, although he introduced ballet
suites at the end of each act.[48] Alcina, his last opera with
a magic content, and Alexanders Feast or the Power of
Music based on John Drydens Alexanders Feast starred
Anna Maria Strada del P and John Beard.
In April 1737, at age 52, Handel apparently suered a
stroke which disabled the use of four ngers on his right
hand, preventing him from performing.[49] In summer the
disorder seemed at times to aect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the aiction was rheumatism, a
stroke or a nervous breakdown, he recovered remarkably
quickly .[50] To aid his recovery, Handel had travelled to
Aachen, a spa in Germany. During six weeks he took long
hot baths, and ended up playing the organ for a surprised
audience.[51] It was even possible for him to write one of
his most popular operas, Serse (including the famous aria
Ombra mai f, better known as Handels largo, he wrote
for the famous castrato Caarelli), just one year after his
stroke.[52][53]
3.4
Oratorio
LATER YEARS
invited Handel to Dublin, capital of the Kingdom of Ireland, to give concerts for the benet of local hospitals.[70]
His Messiah was rst performed at the New Music Hall in
Fishamble Street on 13 April 1742, with 26 boys and ve
men from the combined choirs of St Patricks and Christ
Church cathedrals participating.[71] Handel secured a balance between soloists and chorus which he never surpassed.
Later years
Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate
In 1749 Handel composed Music for the Royal Fireworks; to his niece Johanna, however four codicils distributed
estate to other relations, servants, friends and
12,000 people attended the rst performance.[73] In 1750 much of his
[77]
charities.
he arranged a performance of Messiah to benet the
Foundling Hospital. The performance was considered a Handel owned an art collection that was auctioned
great success and was followed by annual concerts that posthumously in 1760.[78] The auction catalogue listed
continued throughout his life. In recognition of his pa- approximately seventy paintings and ten prints (other
tronage, Handel was made a governor of the Hospital the paintings were bequeathed).[78]
5.1
Catalogues
Works
5.1 Catalogues
The rst public catalogue of Handels works appeared in
John Mainwarings Memoirs of the composer (1760).[80]
Between 1787 and 1797 Samuel Arnold compiled a 180volume collection of Handels workshowever it was far
from complete.[81] Also incomplete was the collection
produced between 1843 and 1858 by the English Handel
Society (found by Sir George Macfarren).[82]
The 105-volume Hndel-Gesellschaft (Handel Society)
edition was published between 1858 and 1902mainly
due to the eorts of Friedrich Chrysander. For modern performance, the realisation of the basso continuo reects 19th century practice. Vocal scores drawn from the
edition were published by Novello in London, but some
scores, such as the vocal score to Samson are incomplete.
6 Legacy
LEGACY
6.1
Reception
Handel has generally been accorded high esteem by fellow composers, both in his own time and since.[86] Bach
attempted, unsuccessfully, to meet with Handel while he
was visiting Halle.[87] Mozart is reputed to have said of
him, Handel understands aect better than any of us.
When he chooses, he strikes like a thunder bolt.[88] To
Beethoven he was the master of us all... the greatest
6.2 Borrowings
Since 1831, when William Crotch raised the issue in
his Substance of Several Lectures on Music, scholars
have extensively studied Handels borrowing of music
from other composers. Summarising the eld in 2005,
Richard Taruskin wrote that Handel seems to have been
the champion of all parodists, adapting both his own
works and those of other composers in unparalleled numbers and with unparalleled exactitude.[89] Among the
composers whose music has been shown to have been
re-used by Handel are Alessandro Stradella, Gottlieb
Muat, Alessandro Scarlatti, Domenico Scarlatti[90]
Giacomo Carissimi, Georg Philipp Telemann, Carl Heinrich Graun, Leonardo Vinci, Jacobus Gallus, Francesco
Antonio Urio, Reinhard Keiser, Francesco Gasparini,
Giovanni Bononcini, William Boyce, Agostino Steani,
Francesco Gasparini, Franz Johann Habermann, and numerous others.[91]
In an essay published in 1985, John H. Roberts demonstrated that Handels borrowings were unusually frequent
even for his own era, enough to have been criticised
by contemporaries (notably Johann Mattheson); Roberts
suggested several reasons for Handels practice, including Handels attempts to make certain works sound more
6.4
Veneration
6.3
Homages
9
from Messiah. French composer and autist Philippe
Gaubert wrote his Petite marche for ute and piano based
on the fourth movement of Handels Trio Sonata, Op.
5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for
piano. In 1911, Australian-born composer and pianist
Percy Grainger based one of his most famous works on
the nal movement of Handels Suite No. 5 in E major
(just like Giuliani). He rst wrote some variations on the
theme, which he titled Variations on Handels 'The Harmonious Blacksmith' . Then he used the rst sixteen bars
of his set of variations to create Handel in the Strand,
one of his most beloved pieces, of which he made several versions (for example, the piano solo version from
1930). Arnold Schoenberg's Concerto for String Quartet
and Orchestra in B-at major (1933) was composed after
Handels Concerto Grosso, Op. 6/7.
6.4 Veneration
Handel is honoured with a feast day on 28 July in the
liturgical calendar of the Episcopal Church, with Johann
Sebastian Bach and Henry Purcell. In the Lutheran Calendar of Saints Handel and J.S. Bach share that date
with Heinrich Schtz, and Handel and Bach are commemorated in the calendar of saints prepared by The Order of Saint Luke for the use of the United Methodist
Church.[93]
6.5 Film
In 1942, Handel was the subject of the British biopic The
Great Mr. Handel directed by Norman Walker and starring Wilfrid Lawson. It was made at Denham Studios by
the Rank Organisation, and shot in technicolour.
Handel Commemoration in Westminster Abbey, 1784
7 See also
Handel Reference Database
Letters and writings of George Frideric Handel
List of compositions by George Frideric Handel
List of operas by Handel
Publications by Friedrich Chrysander
Valentine Snow
Will of George Frideric Handel
Drexel 5856
10
References
Notes
REFERENCES
[1] Handel entry in Collins English Dictionary, HarperCollins Publishers, 1998, which gives the common variant George Frederick (used in his will and on his funeral
monument) alongside the pronunciation of his last name.
The spelling Frideric is used on his 1727 application for
British citizenship.
[24] George Frideric Handel: Volume 1, 16091725: Collected Documents edited by Donald Burrows, Helen Coffey, John Greenacombe, Anthony Hicks
[25] National Portrait Gallery, p. 88
11
[86] BBC Press Release. Bbc.co.uk. 13 January 2009. Retrieved 13 April 2012.
[87] Dent 2004, p. 23
[88] Young, Percy Marshall (1 April 1975) [1947]. Handel
(Master Musician series). J.M.Dent & Sons. p. 254. ISBN
0-460-03161-9.
[89] Richard Taruskin, The Oxford History of Western Music,
Oxford University Press, 2005, vol. 2, chapter 26, p. 329,
ISBN 0195222717
[90] Alexander Silbiger, Scarlatti Borrowings in Handels
Grand Concertos, The Musical Times, v. 125, 1984, pp.
9394
[91] A comprehensive bibliography through 2005 can be found
in Mary Anne Parker, G. F. Handel: A Guide to Research,
Routledge, 2005, ISBN 1136783598, pp. 114.135
[92] John H. Roberts, Why Did Handel Borrow?", in Handel:
Tercentary Collection, edited by Stanley Sadie and Anthony Hicks, Royal Musical Association, 1985, pp. 83
92, ISBN 0-8357-1833-6
[93] For All the Saints: A Calendar of Commemorations for
United Methodists, ed. by Clifton F. Guthrie (Order of
Saint Luke Publications, 1995, ISBN 1-878009-25-7) p.
161.
Sources
12
Burrows, Donald (1997). The Cambridge Companion to Handel. Cambridge Companions to Music.
Cambridge University Press. ISBN 0-521-45613-4
Bukofzer, Manfred F., Music in the Baroque Era
From Monteverdi To Bach, Read Books, UK, 2008
ISBN 1443726192 ISBN 9781443726191
Chrissochoidis, Ilias. Early Reception of Handels Oratorios, 17321784: Narrative Studies
Documents (PhD dissertation, Stanford University,
2004), available through UMI.
Chrissochoidis, Ilias. "Handel at a Crossroads:
His 17371738 and 17381739 Seasons ReExamined", Music & Letters 90/4 (November 2009),
599635.
EXTERNAL LINKS
Chrissochoidis, Ilias. "'hee-haw ... llelujah': Handel among the Vauxhall Asses (1732)", EighteenthCentury Music 7/2 (September 2010), 221262.
Dean, Winton; Knapp, John Merrill (1987). Handels Operas, 17041726. 1. Oxford: Clarendon
Press. ISBN 0-19-816441-6.
Dean, Winton (2006). Handels Operas, 1726
1741. The Boydell Press.
Deutsch, Otto Erich (1955). Handel: A Documentary Biography.
Dent, Edward Joseph (2004). Handel. R A
Kessinger Publishing. ISBN 1-4191-2275-4.
Frosch, W. A., The case of George Frideric
Handel, New England Journal of Medicine,
1989; 321:765769, 14 September 1989.
content.nejm.org
Harris, Ellen T. (general editor) The librettos of
Handels operas: a collection of seventy librettos documenting Handels operatic career New York: Garland, 1989. ISBN 0-8240-3862-2
Harris, Ellen T. Handel as Orpheus. Voice and Desire in the Chamber Cantatas Harvard University
Press, 2001. ISBN 0-674-00617-8
Hicks, Anthony (2013), Handel, George Frideric,
Grove Music Online, Oxford University Press (subscription required)
Hicks, Anthony, (1998), Handel, George Frederick in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, Vol. Two, pp. 614626. London:
MacMillan Publishers, Inc. ISBN 0-333-73432-7
ISBN 1-56159-228-5
9 External links
Handel material in the BBC Radio 3 archives
Howell, Ian. How to Handle Spelling Hndel. The
Countertenor Voice (February 2011).
Howell, Ian. Guiding Handels Legacy: An Interview with Handel House Museum Director Sarah
Bardwell. The Countertenor Voice (May 2011).
Works by George Frideric Handel at Project Gutenberg
Works by or about George Frideric Handel at
Internet Archive
Works by George Frideric Handel at LibriVox (public domain audiobooks)
Edward Dents Handel biography at Project Gutenberg
The second volume of Winton Dean for Handels
Operas covering the years 17261741
Friedrich Chrysanders Handel biography (in German)
Biographical details web site
13
Handel Houses:
The Handel House Museum
The Hndel-Haus in Halle, Saxony-Anhalt
Handel Reference Database
Digitized images of Old English Songs, containing
works by Handel, housed at the University of Kentucky Libraries Special Collections
Scores and recordings
Free scores by George Frideric Handel in the Open
Music Library
Free scores by George Frideric Handel at the
International Music Score Library Project: includes
Complete Works Edition (Ausgabe der Deutschen
Hndelgesellschaft)
Free scores by George Frideric Handel in the Choral
Public Domain Library (ChoralWiki)
The Mutopia Project provides free downloading of
sheet music and MIDI les for some of Handels
works.
Free typeset sheet music of Handels works from
Cantorion.org
Handel cylinder recordings, from the Cylinder
Preservation and Digitization Project at the
University of California, Santa Barbara Library.
Handels Sheet Music by free-scores.com
Kunst der Fuge: George Frideric Handel MIDI
les
14
10
10
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