George frideric handel short biography

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92.

  • ^ Bukofzer, M. (1983) Music in the Baroque Era. From Monteverdi to Bach, p. Although the Italian opera format began to wane in popularity, Handel adapted by turning his focus towards oratorios, a shift that would define his later success and legacy. His father, Georg Händel, 63 when his son was born, was an eminent barber-surgeon who also served as surgeon to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[3] According to John Mainwaring, his first biographer, "Handel had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed.

    The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. The audience, thunderstruck with the grandeur and sublimity of his style,[11] applauded for Il caro Sassone.

    The move to London

    In 1710, Handel became Kapellmeister to George, Elector of Hanover, who would become King George I of Great Britain in 1714.[9]:[38] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710.

    Handel eagerly accepted the role, dedicating himself to composing numerous operas that catered to the tastes of the English royalty, including Queen Anne and King George I. His tenure at the Royal Academy marked a period of prolific creativity, yet the financial struggles of the academy presented ongoing challenges. The company, never fully profitable because of the inordinately high salaries commanded by the star singers, ended in financial collapse by late 1728, but much of the success it did enjoy may be attributed to Handel, who provided a succession of excellent operas (one of the best is Giulio Cesare in Egitto of 1724) featuring the castrato Senesino, the prima donna Cuzzoni, and, from 1726, the rivalry that became scandalous between Cuzzoni and another leading soprano, Faustina.

    A Celebration of his Life and Times 1685–1759. This prestigious position allowed him to showcase his remarkable talents and solidify his reputation in the competitive world of opera. Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op.

    6/7.

    Handel's works were edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (100 vols., Leipzig, 1858–1902).

    Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries.

    Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are particularly noteworthy. His time in London allowed him to explore new creative avenues, collaborating with influential figures and engaging with the city’s cultural milieu. His career began in Germany, where he initially faced opposition from his father regarding his musical aspirations.

    Despite fluctuating fortunes, Handel was known for his financial generosity, leaving his estate to his servants and charities upon his death. Despite the absence of a traditional family life, he formed deep connections with other musicians and patrons and was known for his generosity toward friends and those less fortunate.

    Success: Master of the Orchestra at Royal Academy

    In 1719, George Frideric Handel achieved a significant milestone in his career by being appointed as the Master of the Orchestra at the Royal Academy of Music in London, the first Italian opera company in the city.

    His oratorios resonated deeply with audiences, allowing him to maintain a successful career even as Italian opera waned in popularity. ISBN 0-4600-3161-9. 

    • References

    • Abraham, Gerald (1954), Handel: a symposium, Oxford University Press 
    • Burrows, Donald (1994), Handel, Oxford University Press, ISBN 0-19-816470-X 
    • Burrows, Donald (1997), The Cambridge Companion to Handel, Cambridge University Press, ISBN 0-521-45613-4 
    • Chrissochoidis, Ilias.

      In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (it even received praise from Richard Wagner).

      george frideric handel short biography

      Amongst the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Rolland also highly estimated Acis and Galatea, like Winton Dean, who wrote that "the music catches breath and disturbs the memory".[17] During Handel's lifetime it was his most performed work.

      Handel was a canny investor: he put money into South Sea stock in 1716 when prices were low [18] and had sold up by 1720 when the South Sea credit bubble burst in one of the greatest financial cataclysms in fiscal history.[19]

      Royal Academy of Music (1719–34)

      In May 1719 Handel was ordered by Lord ChamberlainThomas Holles, the Duke of Newcastle to look for new singers.[20] Handel travelled to Dresden to attend the newly built opera.

      Since the Early Music Revival the fifty operas he wrote were performed in opera houses and concert halls.

      Recent decades have also seen the revival of a number of secular cantatas and what one might call 'secular oratorios' or 'concert operas'.