MUSICAL TOPICS.

Manawatu Standard, Volume XLIX, Issue 257, 28 September 1929, Page 7

MUSICAL TOPICS.

GEORGE FREDERIC HANDEL—--1685-1759. (By ‘‘Semibreve.’’) Of j all the great musicians living and dead, Handel’s name is possibly the most familiar to all people by reason of the popularity of the famous oratorio, “The Messiah,” with which is associated the name of the man who set the words to musio in the short space of twenty days. The year 1685 is prominent in the annals of musio for it saw the birth of Bach and Handel within a few miles of each other, Bach in Eisenach and Handel in Halle. Handel’s father began life as a barber, and married the widow of a man who followed the same profession. Our Handel was his second son, and was destined to be a lawyer. Handel, however, was devoted to musio from the very first, and his father did all he could to discourage him. All his father’s efforts were of no avail and finally Handel was placed under the care of Zachau, the organist of the Frauen Kirche, in his native city. The pupils had a natural bent for composition and produced work after work at a very tender ago. Fortunately, his general education was not neglected, and ho remained at school as long as most boys do. When his father died, his studies still went on, and at the age of seventeen Handel became organist of the Dom Kirche in Halle, and before long was regarded as the loading musician of the town. After holding the post in Halle for one year, he left tho church and the university, and made his way to Hamburg, whjch was a great musical centre in the early eighteenth century. Handel began his career there in a humble way by playing second violin in the opera orchestra, but spent his leasure hours in becoming familiar with all the organs and choirs in the place. He made powerful friends, and by so doing found himself in the centre of Hamburg s musical life. . In early days he produced bis first important work —The “Passion, n according to St. John, which was a new departure in the world of music. At the age of twenty the young genius produced his first opera, “Almira/* which was a brilliant success, this being the first of a series of operas which made his name famous in, the city of Hamburg. . Handel made bis way to Italy, staying there some two or three years, . visiting Florence, Rome and Venice. This Italian visit had a tremendous influence on his compositions later on, distinguishing his music from his other German contemporaries, notably Bach. His first Italian opera, “Rodrigo,” was produced in Ilorenco and afterwards “Agrippina” in Venice. The latter had a great reception from a distinguished audience which included some Englishmen of importance. It is thought that his decision to go to England was the result of invitations given then. HANDEL IN ENGLAND.

In the autumn of 1710 Handel arrived in England where ho found dramatic music at a. very low ebb; in fact, it might almost be said that he found no real competitors. People in London were anxious to know what he could do so he set to work to write the opera “Rosamond,” which ho completed in a fortnight. Not only was tho music a revelation, but the general production was along new lines, lor the period, the scenery was magnificent, and living birds flew about the stage. iho opera was a great success, and its author stepped into the first place in English musical life. , _ _ ~ In 1713 Handel set the Te Deum and Jubilate to music, which was performed at St. Paul’s Cathedral to mark the Peace of Utrecht. Queen Anno was not present, but it is thought she heard the work privately, for she settled an annuity upon the author. . . Handel had indeed “arrived in more than one sense. Great people smiled on him and rich men were happy to entertain him. He was a frequent guest ot Lord Burlington at his house in Piccadilly, then a secluded rural haunt ot London. ~ YVhcn Queen Anno died, George the First did not show any marked favour to Handel because the musician had shown no great loyalty to his appointments in Hanover. In this connection a good story is told which may not bo true. Tho King was passionately fond of music, and on tho occasion of a grand water party on tho Thamos it was arranged that Handel should provido tho music on a boat that followed the royal barge. The King was thrilled by what ho heard and asked the name of the musician; the name Handel was mentionod, whereupon there was an immediate reconciliation. When the King went back for a time to Hanover ho took Handel as a member of his suite. At a later poriod Handel accepted the post of musical director to the Duke of Chandos who lived in magnificent style at a placo known as Cannons near Edgware. It was at this place that Handel wrote the celebrated Chandos anthems, there being a splendid choir for which music had to bo provided, a daily service in tho chapel being a feature. The Duke gave Handel £IOOO as a reward for tho oratorio “Esther,” tho overture of which is sometimes heard to-da.y. ROYAL ACADEMY OF MUSIC.

Handel loft the service of tho Duke in 1721 and attached himself to a new so cioty called the Royal Academy of Music, which was bent on producing opera. Handel was appointed the society’s composer in chief. He went abroad to select singers for the now venture, and all kinds of people with wonderful names in tho musical world returned with him. The first of his works to be produced was “Radamisto,” on which occasion the audience stormed tho Opera House and crowds wore turned away. The Royal Family was presont and another great success stood to the composer’s credit. When George tho First died Handel was asked to compose the anthem for 'the coronation of the new King. Tho Bishop of London sent certain passages as suggestions to the musician, who, taking offence, wrote: “1 have read my Bible very well, and shall choose for myself.” Ono of tho anthems, “Zadok the Driest,” has been sung at evory coronation since Handel’s tlme ' LEAN TIMES. For somo years Handel workod away at opera and oratorios. Often ho met with disappointment and reverses; his finances were often at a low ebb through no fault of his own. Thero were difficulties with touchy singers, and in spito of the fact that he was by thou a naturalised Englishman tho fact that he was not Englirii by birth told against him. Added to this, ho had no special charm of manner; his appearance and temper were against him. Yet at heart ho was generous and, above all things, he was a conscientious and industrious musician. Few men of his calling have found the world altogether congenial, and Handel certainly was among the sufferers. Yet ho had hosts of friends as wo may gather from tho fact that a benefit given in 1738 brought him £BOG, and in the same year a statue was erected to him in Vauxhall Gardens. Handel took the Haymarkot Opera House in tho following year, intending to give a series of oratorios. “Saul” was produced thero. It was not an outstanding success, but it gave rho world tho famous “Dead ' March.” The same may bo said of “Israel in Egypt,” but tho season . wa3 a failure. It seemed that tho tide was flowing hard against him when suddenly there came a change. “THE MESSIAH.” Handel was asked to give a special performance in Dublin on behalf of three charitable societies. Willingly ho assented and set to work to produce the “Messiah.” lie went to Ireland a disappointed man, but the success of the new music and tho warmth .of his reception gave him new life and energy. The gentlemen of tho choirs of both cathedrals assisted in the first performance and “Mr Handell” played some concertos on the organ. The proceeds from the concert amounted to £4OO which amount was devoted to the societies mentioned. Handel received a warm welcome back to London for Pope and others championed his cause while he was away. London now was willing to listen to the “Messiah,” and at the first performance of the work in that city the audience spontaneously rose during tho singing of ttin “Hs.'leluinb rWr«.” T'-" Kirwr was

among them, and from that time it has beon the custom to stand when the chorus is being sung. In 1750 Handel conducted a performance of the oratorio at tho Foundling Hospital in London, an institution in which ho took a fatherly interest. He gave tho hospital an organ and promised to conduct an annual performance of the "Messiah.” Towards tho end of his life the master became totally blind, but he worked on heroically. On April 6, 1759, he conducted what was to bo his last performance of his great work; he fell ill that night and went to bod to die. Three thousand peoplo stood in Westminster Abbey to pay a last tribute to a man when he wns hurled.