Kimberly riordan

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  • Handel’s father was against him playing music. Handel would sneak in the attic to play his Harpsichord without his father’s acknowledgement. His father died when Handel was 12 years of age, after that Handel played music religiously.
  • He moved to Hamburg in 1703 and played in the opera orchestra under Reinhard Keiser (1674 – 1739), and his first opera was produced there in 1705
  • He settled in England in 1712.
  • Handel was appointed musical director of the new Royal Academy of Music, an opera house that thrived until the public taste shifted away from Italian opera
  • Show diagram on board of the non staged event!
  • During his last decade he gave regular performances of Messiah, usually with about 16 singers and an orchestra of about 40, in aid of the Foundling Hospital.
  • Kimberly riordan

    1. 1. GEORGE FREDERIC HANDEL (1685-1759)
    2. 2. GEORGE FREDRIC HANDEL <ul><li>Born in Halle, Germany </li></ul><ul><li>Father was a wealthy barber/surgeon that believed that Handel should never enter the music field. </li></ul><ul><li>Handel never married. </li></ul>
    3. 3. EARLY YEARS <ul><li>Learned opera style through playing the violin. </li></ul><ul><li>First opera was at age 20. </li></ul><ul><li>Was known as a success early in life. </li></ul><ul><li>Age 25 appointed as the conductor for the Elector of Hanover. </li></ul>
    4. 4. GREATEST EUROPEAN COMPOSERS DURING THE BAROQUE PERIOD
    5. 5. G. F. HANDEL <ul><li>Best Known As: Composer of Messiah </li></ul>
    6. 6. HE WAS RENOWNED AS VIRTUALLY THE GREATEST ORGANIST AND HARPSICHORDIST IN THE WORLD <ul><li>Hander </li></ul>
    7. 7. G.F. HANDEL <ul><li>1720 Founded the Royal Academy of Music </li></ul><ul><ul><li>Purpose: presentation of Italian Opera </li></ul></ul><ul><ul><li>Italian opera, sung in Italian, serious themes, serious plots, high aristocratic form of entertainment. </li></ul></ul><ul><ul><li>wrote about 45 operas </li></ul></ul>
    8. 8. ACCOMPLISHMENTS <ul><li>Giulio Cesare (1723), Orlando (1733), and Alcina (1735). </li></ul><ul><li>His oratorios include Israel in Egypt (1739), Saul (1739), and Jephtha (1752). His church music includes the Chandos Anthems (1718) and Coronation Anthems (1727). Composed a number of great orchestral works, such as the famous Water Music (1717) and Royal Fireworks Music (1749). </li></ul>
    9. 9. NEW OPERATIC FORMS COMPOUND HANDEL’S PROBLEM <ul><li>Success of John Gay’s The Beggar’s Opera. </li></ul><ul><li>Ballad or Dialogue Opera : opera with spoken text, light, humorous, sung in the vernacular language. </li></ul><ul><li>http://www.free-ed.net/free-ed/Humanities/Opera/OperaComment_VOD.asp </li></ul>
    10. 10. ORATORIO <ul><li>Eventually stripped of staging and costumes etc. </li></ul><ul><li>At the end of the Baroque it was simply a “non-staged event.” </li></ul><ul><li>Middle and late oratorio used no acting, staging, costumes. -- Concert version. </li></ul><ul><li>Based upon a biblical story </li></ul>
    11. 11. ORATORIO <ul><li>Sudden change in fashion in London; oratorios replace operas as favored entertainment </li></ul><ul><li>Oratorio – unstaged narrative work for voices, chorus & orchestra, usually on religious themes </li></ul><ul><li>More generally, a move to new, Classical, style in opera puts Handel on the operatic shelf for 200 years </li></ul>
    12. 12. LATER YEARS <ul><li>Middle class identified with the Old Testament stories found in Handel’s oratorio’s. (Freeing of the Hebrews…. Promised Messiah) </li></ul><ul><li>Concerts given in benefit to the poor, hospitals, orphanages. </li></ul>
    13. 13. MESSIAH <ul><li>Christmas: prophecy and coming of Christ. </li></ul><ul><li>Easter: The passion of Christ </li></ul><ul><li>Redemption: detailing how to live through faith. </li></ul>
    14. 14. HANDEL’S LAST YEARS <ul><li>He lost his eyesight during the last years of his life due to cataracts. </li></ul>
    15. 15. HANDEL BURIED IN WESTMINSTER ABBEY <ul><li>Note the wrong date on the grave marker. </li></ul>
    16. 16. <ul><li>Handel is the greatest composer who ever lived. I would bare my head and kneel at his grave. </li></ul><ul><li>- Ludwig Van Beethoven </li></ul>
    17. 17. WORKS CITED <ul><li>Abraham, Gerald (1954), Handel: a symposium, Oxford University Press </li></ul><ul><li>Burrows, Donald (1994), Handel, Oxford University Press, ISBN 0-19-816470-X </li></ul><ul><li>Burrows, Donald (1997), The Cambridge Companion to Handel, Cambridge University Press, ISBN 0-521-45613-4 </li></ul><ul><li>Chrissochoidis, Ilias. &quot;Early Reception of Handel's Oratorios, 1732–1784: Narrative – Studies – Documents&quot; (Ph.D. dissertation, Stanford University, 2004), available through UMI. </li></ul><ul><li>Chrissochoidis, Ilias. &quot;Handel at a Crossroads: His 1737–1738 and 1738–1739 Seasons Re-Examined&quot;, Music & Letters 90/4 (November 2009), 599–635. </li></ul>
    18. 18. CONTINUED <ul><li>Chrissochoidis, Ilias. &quot;Handel, Hogarth, Goupy: Artistic intersections in Handelian biography&quot;, Early Music 37/4 (November 2009), 577–596. </li></ul><ul><li>Chrissochoidis, Ilias. &quot;'hee-haw ... llelujah': Handel among the Vauxhall Asses (1732)&quot;, Eighteenth-Century Music 7/2 (September 2010), 221–262. </li></ul><ul><li>Dean, Winton; Knapp, John Merrill (1987). Handel's Operas, 1704–1726. Oxford: Clarendon Press. ISBN 0-19-816441-6. </li></ul><ul><li>Dean, Winton (2006). Handel’s Operas, 1726–1741. The Boydell Press. http://www.boydell.co.uk/43832682.HTM. </li></ul><ul><li>www.life.com </li></ul>

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