About the Composer
George Frideric Handel (1685-1759)
Born in Halle, Germany, Handel spent a good deal of his youth hiding from his father in an upstairs attic, practicing the clavicord. Handel showed exceptional musical promise from a young age, and studied the organ, harpsichord, oboe and violin. But his father discouraged Handel’s musical interests, insisting that his son instead study law. Handel briefly obliged his father’s wishes, but after a short stint in law school he returned to his musical passions.
Traveling to Hamburg in 1703, Handel became the second violinist in the only regular opera company in Germany. When opera director Reinhard Keiser briefly left his position in 1704, Handel was given the chance to compose two operas for the company: Almira and Nero. The operas were relatively successful, but Keiser returned and Handel’s compositions were no longer needed. It was not until the Grand Duke of Tuscany sought Handel out that he began composing again, this time in Italy. Handel spent the next three years composing operas, oratorios, and cantatas in the Italian style. The two operas Handel composed in Italy, Rodrigo and Agrippina, were hits; Agrippina earned Handel worldwide recognition for his work. Following Agrippina’s success, Handel returned to Germany. He accepted a position at the electoral court at Hanover as Kapellmeister, the highest-ranking musical position in the court.
At this time the English were infatuated with opera, and there was a high demand in London for an Italian opera designed for the English audience. In 1711 Handel composed Rinaldo, which premiered at London’s Haymarket Theater. The opera was extremely well received by the English, and soon Handel was appointed “Master of the Orchester” at London’s newly formed Royal Academy of Music. Handel composed some of his greatest operas at the Academy, including Giulio Cesare, Tamerlano, and Rodelinda.
After 1725, the Academy began to face financial difficulties: singers were demanding more money and public interest was waning. Attendance became sparse. Handel would occasionally make light of an empty house with the phrase “Nevre moind; de moosic vil sound de petter” (Never mind, the music will sound better). Nevertheless, by 1728 the decision was made that the Royal Academy could sustain only five more years of regular opera performances, and then Handel would be out of a job. Immediately Handel sought out fresh singing talent from around Europe. Many of those he selected had never sung in England before. With this company he produced Esther, the first oratorio performed in London. Its great success may have been responsible for the shift in Handel’s musical focus in the years to come.
After leaving the Academy, Handel joined the Covent Garden Theater. He continued to compose new operas, including Ariodante and Alcina, but he had begun to concentrate on oratorio. Messiah, his most famous oratorio, was performed for charity benefit at the Foundling Hospital. It is said that King George II rose from his seat in praise during Messiah’s Hallelujah Chorus.
Following his death in 1759, Handel’s music fell out of favor with the public. For centuries, his operas were neglected. However, recently Handel’s operas Agrippina, Rodelinda, Rinaldo have begun to reenter the international operatic repertory. Handel’s most famous works, such as Water Music and Messiah, are regularly performed and enjoyed today.
Born in Halle, Germany, Handel spent a good deal of his youth hiding from his father in an upstairs attic, practicing the clavicord. Handel showed exceptional musical promise from a young age, and studied the organ, harpsichord, oboe and violin. But his father discouraged Handel’s musical interests, insisting that his son instead study law. Handel briefly obliged his father’s wishes, but after a short stint in law school he returned to his musical passions.
Traveling to Hamburg in 1703, Handel became the second violinist in the only regular opera company in Germany. When opera director Reinhard Keiser briefly left his position in 1704, Handel was given the chance to compose two operas for the company: Almira and Nero. The operas were relatively successful, but Keiser returned and Handel’s compositions were no longer needed. It was not until the Grand Duke of Tuscany sought Handel out that he began composing again, this time in Italy. Handel spent the next three years composing operas, oratorios, and cantatas in the Italian style. The two operas Handel composed in Italy, Rodrigo and Agrippina, were hits; Agrippina earned Handel worldwide recognition for his work. Following Agrippina’s success, Handel returned to Germany. He accepted a position at the electoral court at Hanover as Kapellmeister, the highest-ranking musical position in the court.
At this time the English were infatuated with opera, and there was a high demand in London for an Italian opera designed for the English audience. In 1711 Handel composed Rinaldo, which premiered at London’s Haymarket Theater. The opera was extremely well received by the English, and soon Handel was appointed “Master of the Orchester” at London’s newly formed Royal Academy of Music. Handel composed some of his greatest operas at the Academy, including Giulio Cesare, Tamerlano, and Rodelinda.
After 1725, the Academy began to face financial difficulties: singers were demanding more money and public interest was waning. Attendance became sparse. Handel would occasionally make light of an empty house with the phrase “Nevre moind; de moosic vil sound de petter” (Never mind, the music will sound better). Nevertheless, by 1728 the decision was made that the Royal Academy could sustain only five more years of regular opera performances, and then Handel would be out of a job. Immediately Handel sought out fresh singing talent from around Europe. Many of those he selected had never sung in England before. With this company he produced Esther, the first oratorio performed in London. Its great success may have been responsible for the shift in Handel’s musical focus in the years to come.
After leaving the Academy, Handel joined the Covent Garden Theater. He continued to compose new operas, including Ariodante and Alcina, but he had begun to concentrate on oratorio. Messiah, his most famous oratorio, was performed for charity benefit at the Foundling Hospital. It is said that King George II rose from his seat in praise during Messiah’s Hallelujah Chorus.
Following his death in 1759, Handel’s music fell out of favor with the public. For centuries, his operas were neglected. However, recently Handel’s operas Agrippina, Rodelinda, Rinaldo have begun to reenter the international operatic repertory. Handel’s most famous works, such as Water Music and Messiah, are regularly performed and enjoyed today.
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