George F. Handel Essay -- essays research papers

The Artistry of G.F.Handel(1685-1759)First PartHalle - Hamburg - Rome 1690-1712Its hard today to speak about Handels life and works without mentioning the similarities in the midst of him and Bach first of all they were born in the aforementioned(prenominal) year1685, even if its not a case than the most geniuses of the late baroque earned run average (Couperin, Telemann Scarlatti ) would have almost been all co-aged.Neverhless un corresponding Bach, Handel immortalised the name of a family of cheesemakers or of the Prince of Saxonys barber/surgeon -his father. And really it was under the influence and the strong expectations of the latter that like many other aspirants gentlemen, the young Haendel enrolled the university of Halle as a law student. But after his father death he decided not to pursue the legitimate career and began instead to perfection those skills as a musician which some three years of lessons taken in his hometown from the reknown organ player Wilhelm Zachau h ad awakened in him When in 1703 Haendel eventually left Halle and went to Hamburg as a violino in ripeno (an ordinary violin player in an orchestra) his bad talent as a attorney and good skills as an artist, both characterizing every sudden and proverbial decision taken by him in the future were both proved. At those times Hamburg, the moneymaking(a) capital city of Northern Germany, was well known also for its Gansenmarkt Thater (literally Theatre at the goose market), which workers were yet trying to create the millenary dream in pressurise of Goethe by combining Italian creativity with German methodology. And what better even if "oleographic" example can be brought to this aim if not the librettos of the operas represented at the Gansenmarkt dramatics between 1700 and 1720 ehich appear to be written in German with the execption of the Italian "belcanto" arias. A Ture master in this mixed and eclectic genre, neglecting the lutheran poetry (preferred by Bach) in favour of the Italian an Viennese writers (Zeno, Pariati, Pasquini etc.) was Reinhard Keiser who, naturally, claimed to be the master to all the new-comers, including Haendel who far from accepting this rule, successfully sought the friendship and maecenatism by Gian Gastone de Medici (1671- 1737) , son of the majestic Duke of Tuscany Cosimo III. And in what it seems it was in this environment that The young Haendel met Johann Mattheson, the most reknow... ...ovanni" (represented only in Prague in 1787) could only be hosted by the Dublin Catholic Theatre and neer saw the glories of the Covent Garden where at those times the Neapolitan composer Niccol&ograve Porpora, together with his pupil Roberto Farinelli had come to triumph and to outhshine Haendel himself. If the Same Farinelli is said to have taken the ships company of Haendel during one of the not infrequent "Querelles" made by the supporters of Theatre of nobility against modern impresarios, Haendel accuse d to have conspired against the king together with the so called Jacobites didnt take a great deal success anymore and in 1745 the representation of the beautiful opera Hercules had to be cancelled from tghe program of the Kings Theatre. So outshined by history the Master died in 1759 of the same blindness which had affected Bach after having arranged the last representation of the Messiah and having composed other oratorios such as Judas Maccabeus (1742), Alexander Balus (1748), Susanna (1749), Theodora (1750), Jephta (1752) . Its not a case then if the latter appear to be a quotation of the most famous Italian Oratorio ever Written Jephte (1749) by Giacomo Carissimi