1. Hallelujah! The Music of George Frederic Handel

6. I. Some Surprising Facts About Handel A. 1 st composer whose music has been performed continuously. Why? C. “Borrowed” melodies from other composers B. Some works just rehash earlier compositions. D. Musical Values: write music that “sells”; don’t worry about being original; cover, even steal other people’s work. H. actively tried to write music with wide popular appeal.

7. D. Musical Values: write music that “sells”; don’t worry about being original; cover, even steal other people’s work.

8. Are My Values Universal?

9. II. Handel’s Biography and Its Influence

10. Bach’s Travels Handel’s Travels Handel = Cosmopolitan

11. II. Handel’s Cosmopolitan Biography and Its Influence A. Halle, Hamburg, and Handel’s German Legacy 2. 17th, 18th cent. = development of distinct national styles 3. German Traits: Counterpoint, Imitation 1. Born: Halle, 1685

12. 4. Dieterich Buxtehude, Organist at Lübeck

13. ?

14. Buxtehude Fugue Theme Handel Fugue Theme

15. II. Handel’s Biography and Its Influence A. Halle, Hamburg, and Handel’s German Legacy B. Italy and the Allure of Opera 2. Tuneful, singable melody: 3. Vocal virtuosity: 4. Forms: recitative and da capo (ABA) aria e.g. “He Shall Feed His Flock” 1.(1706) meets Corelli, A. Scarlatti

16. II. Handel’s Biography and Its Influence A. Halle, Hamburg, and Handel’s German Legacy B. Italy and the Allure of Opera C. England 1.French Influences: esp. French Overture (Lully) operatic curtain raiser in 2 sections 2. The English Choral Tradition  slow or moderate tempo + “pickup note” rhythms  faster section beginning w/ fugue-like imitation

17. G. F. Handel

18. II. Handel’s Biography and Its Influence A. Halle, Hamburg, and Handel’s German Legacy B. Italy and the Allure of Opera C. England 1. French Influences 2. The English Choral Tradition 3. From Opera to Oratorio

19. III. Oratorio A. Defined: ≅ “unstaged drama on religious subject” B. Late Baroque Recitative and Aria 1. Recitativo secco (semplice) 2. Recitativo accompagnato 3. Aria 1. Plot, dialogue, characters, action (like opera) 2. Not Staged 3. Adds Choruses to Recitative and Aria 4. Plots usually Biblical (e.g., “Messaiah”) C. Why Oratorio? 1. No costumes; scenery 2. English = vernacular + no expensive Italian singers 3. Stories familiar (and not morally suspect)

20. IV. Bach vs. Handel A.Bach = Learned Intellectual, extraordinary Craftsman B. Handel = Populist, Showman

21. V. Handel, the Dramatist in Action: V. Handel, the Dramatist in Action: “The Flocks Shall Leave Their Mountain” from Acis and Galetea 7. The flocks shall leave their mountains, 6. The woods their turtle dove, 7. The nymphs forsake the fountains 6. 'ere I forsake my love. Torture! Fury!Rage!Despair, I cannot bear! Techniques: Walking bass, ImitationDuet Love Duet in Counterpoint with Rage Aria Dialogue

22. VI. (With Thanks to Handel) Three Ways to Think About Music: A. Wonderful Patterns in Sound B. Something that Embeds Cultural Values C. Something that Offers a Unique Experience