Author: Christin

George Frederic Handel was born in Halle, Germany in 1685. Though there were no musicians in his family, his father recognized his talent and allowed him to study composition, organ, harpsichord, violin, and oboe with composer Friedrich Wilhelm Zachow. At an early age, he had a strong grasp of counterpoint and of Italian and German compositional tradition. In 1702, he began attending the University of Halle, and he soon began working as a cathedral organist. He spent much of his childhood education training to be a cathedral cantor, yet in 1703, he moved to Hamburg and began to focus on composing operas.

Handel frequently traveled to and from German, Italian, and English-speaking countries. From 1706-1710, he lived in Italy, studying Italian opera. He also spent a great deal of time in England developing oratorios and concertos. Over the course of his career, he wrote operas, concertos, oratorios, cantatas, suites, and sonatas. Unlike many composers who only achieved renown posthumously, Handel was beloved throughout much of his career.

Within the church, Handel is probably best known for his oratorios–Saul, Messiah, Israel in Egypt, Judas Maccabaeus, Joshua, and so on. Without  a doubt, his greatest contribution to the development of the oratorio was the use of the chorus. He borrowed from the Lutheran and south German traditions but relied heavily on the English forms as well. In A History of Western Music, Donald Grout writes, “The monumental character of Handel’s choral style fits the oratorio’s emphasis on communal rather than individual expression.”(1) Handel also found ways to illustrate the text of an oratorio through devices such as word-painting (using a musical figure to illustrate what the words are saying).

There is so much more about Handel that can be said in one blog post. His compositional expertise has provided the church, the orchestra, and the opera stage a vast and much-loved body of work.

I’ll give Donald Grout the last word:

Handel’s historical significance rests largely on his contribution to the living repertory of performed music. His music aged well because he adopted the devices that became important in the new style of the mid-eighteenth century. Handel’s emphasis on melody and harmony, as compared to the more strictly contrapuntal procedures of Bach, allied him with the fashions of his time. As a choral composer…he had no peer. He was a consummate master of contrast, not only in choral music but in all types of compositions. In the oratorios he deliberately appealed to a middle-class audience, recognizing social changes that would have far-reaching effects on music.(2)

Messiah–“Every valley shall be exalted”

Messiah–“There were shepherds abiding” (This recording is a little old, but it’s Robert Shaw conducting the Atlanta Symphony, so I had to include it!)

Israel in Egypt–“The people shall hear and be afraid”

Israel in Egypt–“The Lord shall reign for ever and ever”

Judas Maccabaeus–“See the conquering hero comes” (Sound familiar? It was later adapted to form the hymn “Thine be the Glory, Risen Conquering Son.”)

There are so many more on YouTube and iTunes, so feel free to keep listening!

One of the great things about Handel’s music is that many people find it (or at least Messiah) familiar. Many community choirs perform his oratorios, and churches will often host Messiah “sing alongs” around Christmas. There’s something about his music that makes you want to be part of it rather than just listening. (Or maybe that’s just me–is it just me?)

We often relegate Handel to Christmas and Easter. Would you like to hear him more year-round, or do you think that only hearing his works every so often makes the experience more special? What are some of your favorite works by Handel? I’d love to hear your thoughts!

Resources:
1. Grout, Donald Jay and Claude V. Palisca. A History of Western Music. London: W.W. Norton and Company, 2001.
2. Ibid.

When I saw that Purcell was included among the ranks of Bach and Handel, I was initially surprised. When I think of Purcell, I think almost exclusively of baroque opera–specifically Dido and Aeneas. (Side note: Check out Jessye Norman singing “Dido’s Lament” here. Among most singers, I’d say this is what Purcell is best known for.) However, he did write a number of choral anthems that are still often sung in churches and university choirs.

Born in England and trained in the choir of the Chapel Royal, Purcell began serving as composer-in-ordinary to the King in 1677 and organist to Westminster Abbey in 1679. During his time as composer-in-ordinary, he composed operas (all “semi-operas” except for Dido), anthems and birthday odes for Charles II, James II, and William and Mary. In 1690, he began writing theatrical music full-time.

Over the course of his career, he wrote an opera (in which the music is continuous) and several semi-operas (in which the music is not continuous), music for plays, single songs, and various types of church anthems. He was a trained singer (countertenor) and is known for his exquisite and intuitive setting of text. Of Purcell’s text setting, Carol Kimball writes, “He is considered unsurpassed in setting the English language; his music has an unerring sense for depicting human emotions in a real and touching dramatic way, unparalleled for that time and rarely equalled since.”(1)  H. Wendell Howard writes, “Purcell is to English sung what Shakespeare is to English spoken.”(2)

Throughout his short life, Purcell was loved and respected as a composer. His contemporary Thomas Tudway described him as “…the greatest Genius we ever had.”(3)  Purcell died of unknown causes in 1695 (though most people speculate tuberculosis) and was buried at Westminster Abbey.

I’ll be honest–for a long time, I found Purcell…underwhelming. It all sounded the same–pretty, but repetitive. I really didn’t know what to listen for, but now I believe that part of the reason he is so repetitive is because he sets such poignant texts. (It’s also partly because of the Baroque style, but that’s a whole other post…) Take, for example, “Hear my prayer, O Lord.” The text is based on Psalm 102: 1, and it states, simply, “Hear my prayer, O Lord, and let my cry come unto thee.” Through the use of both repetition and dissonance between the voices, Purcell builds tension, causing us to empathize with the plea of the Psalmist. Studying Purcell helped me to understand that good composers don’t just repeat things for the heck of it; they repeat things to cause you to feel and to understand the text.

There is so much of Purcell, both sacred and secular, that is worth listening to, but for the purposes of this post, I’m sticking to sacred texts.

“Rejoice in the Lord alway”

“Blessed is he that considereth the poor” 

“Remember not, Lord, our offences”

“O God, Thou art my God”

“Hear my prayer, O Lord”
(Having sung this one before, I can say that it is my favorite by far.)

 

So…what are your thoughts? Have you heard a lot of Purcell before? If not, what are your initial impressions? Do you find it easy to worship with this type of music, or do you find it distracting? Please do share!

 

Bonus: This has nothing to do with Purcell, but I came across it while looking for the Jessye Norman video. Who can resist a Jessye Norman/Kathleen Battle duet?
“He’s Got the Whole World in His Hands”

 

Resources:
1. Kimball, Carol. Song: A Guide to Art Song Style and Literature. Milwaukee: Hal Leonard, 2006. 357.

2. Howard, Wendell H., cited in Carol Kimball’s Song: A Guide to Art Song Style and Literature.

3. Tuppen, Sandra. The Purcell Society, “Biography of Henry Purcell.” http://www.henrypurcell.org.uk/purcell_biography.html. Accessed July 26, 2011.