top of page
Search

Händel

  • Writer: Carlos Alencar
    Carlos Alencar
  • Oct 1
  • 11 min read

Updated: Oct 4

Introduction:

Händel figures in a very select roster of great masters who were and are revered from the beginnings of the common practice period until contemporary times. With an extensive body of work, rich in meaning and extremely comprehensive, Händel was an idol to some of the greatest composers of our tradition, among them Beethoven. Together with the work of Bach (a personality with whom his life draws innumerable parallels), Händel's work structures much of what we know as the musical baroque and is, therefore, an essential component in the repertoire of every pianist.

Discovery and Formation:

On the 23rd of February, 1685, Georg Friedrich Händel was received into the world. Born into a family that had achieved relative status and fortune in the context of the small city of Halle, his father and namesake had ambitious plans for the little Georg; he was to study law. Therefore, when it was discovered that the little one was interested in music, the family's father proceeded to suppress such desire in favor of his original plan. However, as one can suppose considering the nature of this encyclopedia, the little one was able to secretly nurture his passion for music, on the frequent occasions of paternal absence; making use of a spinet, a keyboard instrument, similar to the harpsichord. Certainty, at this point, is an object difficult to reach, but, in a general computation, it is accepted the fact that, just like some other great masters of music, Händel was, to a great extent, self-taught during his first years.


It was at 7 years of age that the very juvenile Händel gave the first public shows of his technical development and passion for music. During a visit to the Duke of Weissenfels, for whom his father worked, the little one had the opportunity to play the organ in a chapel in the presence of the aforementioned Duke. Enormous was the astonishment of those present when, suddenly, they found themselves before what at the time was called "a prodigy". From this point on, music becomes official in the boy's life who, by the Duke's insistence, began to have formal lessons in this beautiful art, studying theory, counterpoint, organ, violin and being introduced to other instruments, such as the oboe. The master entrusted with the heavy task of guiding the little genius was Friedrich Wilhelm Zachow, a local organist from Halle, whose importance for the history of music is due mainly to his teaching and his influence on Händel's style. Under the tutelage of Zachow, the little Händel grew up, becoming an absurdly competent and, essentially, complete musician.

Hamburg:

In the year 1697, the same misfortune that, two years before, had befallen Bach's family, befell Händel's family: the death of the father-provider. Just as was the custom at the time, Händel had to bear part of the family's sustenance, a task that prevented him from dedicating himself entirely to music. Four years later, in 1701, Händel enrolls in the law course, where he remains until 1703, simultaneously attending university and dedicating himself to his musical formation. It was during this period that he exercised his first profession in the area of music, working as an organist in a church in his hometown, Halle. From this moment in his life emerge some stories of an uncertain character, whose main sources can be traced to the first biographies of this great master; considering their possible inveracity, I chose to make the material available in the bibliography for deepening, where interested parties can judge for themselves.


The fact is that, in 1703, when he was already close to finishing his period as a candidate for the organist position and, finally, receiving it formally, he decides to change scenery. He moves to Hamburg, at the time one of the great musical centers of Germany, with a strong emphasis on opera. In this vibrant cultural center, it did not take long for the young talent to find work, he conquered the post of violinist in the local opera orchestra. His refined technique and skills made themselves noticed. During this work of his, it is said that, on one occasion, in the absence of the orchestra's conductor, he himself assumed the direction of the group and his performance was so splendid that the position was granted to him; he was 18 years old.


Händel remained in the leadership of the group for 3 years, in this interval of time he had the opportunity to write his first opera: Almira. Shortly after the premiere of Almira, inspired by its relative success, Händel writes, in a hurry, a second opera, called Nero. The haste, as usual, proved to be the nemesis of perfection, making this second premiere a failure of the first category. Shortly afterwards Händel was dismissed from his post. The exact cause is uncertain, but it is known that the group was going through financial difficulties and it is quite possible that this choice was made with mind not on the music, but on the finances. Two years later, in 1707, Händel travels to Italy, where he will remain for 3 years.

Italy:

Italy can, in many aspects, be considered the womb of baroque music and to this great mother, Händel had to go to pay his services and homages, as later did Mozart, Liszt, Debussy and so many others. He arrived in Rome still at the beginning of 1707, a troubled time for the Romans. Since the beginning of the century, the Pope, at that time Clement XI, had prohibited opera, for considering it immoral and for some other political factors. The solution found by the musicians was to transfer the operatic language and expressiveness to the territory of the sacred, making the profane sacred. Oratorios became popular.


During these years, despite the prohibition of opera, Rome was a thriving cultural center, a center in which great musicians like Domenico Scarlatti, Corelli, Pasquini; all masters with whom Händel had the honor of interacting and vice-versa. During these years that he lived in Italian territory, the composer had the opportunity to cultivate his art, being influenced and also influencing those minds that surrounded him. Not only in the field of composition, but also in that of performance his art could flourish; from this time stand out the concerts he performed in the city of Venice, city of the eternal father of the baroque concerto: Vivaldi, at the time alive and inhabiting it.


The three most prominent works composed by Händel in Italy are the oratorio La Resurrezione, the sacred cantata Il Trionfo del Tempo e del Disinganno and the opera Agrippina, a great success that overshadowed that conquered by Almira when the young composer still lived in Hamburg. The success in Italy had everything to be realized and his musical career seemed finally to reach a high level, with his name already solidified; nevertheless, as usual with Händel, when one reaches or is close to a level, the time has come to change scenery. He left behind Rome and its paths.

Travels to England:

His departure from Italy was not unjustified. During his period there his name had grown not only regionally but also continentally and, because of that, a unique opportunity arose in Germany: that of working as master of the chapel for the court of Georg Ludwig, Elector of the Electorate of Hanover. Faced with such a prospect, Händel chose to leave Italy in search of the stability and enormous status that the work as master of the chapel of such a court would bring him. However, still in 1710, barely having re-established himself in his land, Händel, already employed, asks for a leave to travel to England, where more golden opportunities were arising and more doors were opening.


The great musician arrived in London still in 1710 and already at the beginning of the following year received the commission for an opera, from such commission arises the opera Rinaldo, an instant success. Once the time granted by the leave ended, he had to return to Hanover. In 1712 he asked for a second leave to go to London, aiming to repeat the success conquered by Rinaldo, but the operas of his second trip did not obtain as much success; from this trip the success occurred in the field of connections, having received his first commissions from the royalty and making several presentations on the organ of St. Paul's Cathedral.


The incessant trips to London and the utterly unprofessional overstepping of all limits established by the leave made the relationship between Händel and his employer, Georg Ludwig, harsh and bitter. However, by a curious irony of fate or a cunning stroke of luck, in 1714, Queen Anne of Great Britain dies, the last monarch of the House of Stuart. At first, nothing would be extracted from this. With the change of monarch perhaps the opportunity for new positions at court would arise or perhaps the investments in music would decrease, but Händel simply could not expect what, in fact, happened. Amidst various and strange rules of the grand game of succession, the crown happened to fall precisely on the head of Händel's employer: in the year 1714, ascends to the throne of Great Britain, Georg Ludwig. More popularly known as King George the First.

Reconciliation and Bankruptcies:

Eventually, from the joint action of several parties, the relations between Händel and George I could be re-established and the musician worked skillfully for the monarch, composing for him a variety of pieces and accompanying him on trips. During some of these trips, Bach and Händel tried, several times, to meet, but there were always impediments and the meeting of the giants never came to happen. The following years were spent composing, organizing the presentation of his operas and giving lessons to high members of the royalty, such as the children of the Prince of Wales.


In 1719, encouraged by the nobility, Händel actively participated in the creation of the Royal Academy of Music, an opera company that lasted until the year 1728, having been brought down by other companies that had a more popular proposal. Despite the dissolution of this organization financed by the nobility, Händel decided to open an operatic company on his own account in partnership with a businessman; the project had potential, but was eventually frustrated by plots and disputes of the nobility. In 1734 he tried to create yet another company, this one with an even superior potential, but the project failed. Each of these failures cost him thousands of pounds and, in 1737, Händel went bankrupt. The stress caused by such misfortunes and the excess of work led his health to decline, culminating in a nervous collapse that resulted in a paralysis of his right arm.


Following the medical recommendations given to him, he went to rest in the city of Aachen, famous for its thermal waters, and had a brief convalescence, being able to return to composing in very little time. Before the end of the year the master was already back in London. At this time he was very indebted and was threatened with prison if he did not pay them. Through a benefit concert organized by friends, he managed to escape prison, dedicating the following years to new projects, including some great oratorios like Israel in Egypt, which in their time were failures. Despite the relative success of some premieres, Händel's financial situation was still very difficult and a good part of the nobility had acquired a kind of prejudice against him. For such reasons, by the end of the 1730s he was once again close to bankruptcy.

Triumphs and Final Years:

The year 1741 came to change the tide of failures that Händel was facing. In this year, the musician was invited to do a tour of a beneficent character in Dublin, Ireland. The tour was an enormous success, in the manner of those he obtained in Italy. It is at this moment that he composes his most grand work and, quite possibly, one of the most grand works of the entire musical repertoire: The Messiah; definitely the king of oratorios. Upon returning to London, in 1743, Händel obtained a mixed reception, some great successes and some glorious failures.


After approximately two years in this routine, his situation became critical again. Nevertheless, with the premiere and publication of his oratorio Judas Maccabaeus, Händel obtained a small fortune and managed to defeat the conspiracy planned by the nobility, becoming a great national idol. From this ascension of his, emerge works like the immortal Music for the Royal Fireworks. With this success and others, he was able to, finally, obtain stability, now already counting his 64 years of age and a musical baggage that few ever attained.


The signs of age began to show. Afflicted by the same ailment that indirectly would lead to Bach's death, Händel was becoming blind and underwent a surgery that intended to restore his sight. The "ophthalmologist" who proposed to cure him was Sir John Taylor, the same wretched charlatan who had purported to cure Bach. This surgery only served to hasten the inevitable. Besides not being cured, after the procedure Händel became completely blind in the left eye and partially blind in the other. With age, that old paralysis of the arm returned, significantly hindering his musical performance. During the next years he had better and worse moments, but one thing was unanimous: his mind remained sharp and his memory untouched, the body gave up; the soul, did not. With the help of assistants, the great master was able to continue to compose, to revise old compositions and to organize presentations.


In the year 1748 his health declined much and very quickly; his public life had reached its end. Shortly before dying he made a last appearance, in a performance of the jewel of his crown: The Messiah, in 1749. During the event he fainted and that rendered him invalid; death arrived shortly after. Georg Friedrich Händel spent the last days of his life in bed; on April 13, 1749, Europe went to sleep with Händel, on the 14th it woke up without him. This supreme master of our art received a burial worthy of his persona, having been buried in Westminster Abbey, beside monarchs and scientists, in a select roster of great geniuses.

Essential Works:

Preludes

Although not as famous or grand as those of Bach or Chopin, Händel's preludes do constitute a musical legacy worthy of cultivation and exposure. In his work, the preludes assume two main functions: they can either introduce a multi-movement piece or be autonomous entities. Those of the first case are distributed throughout various genres that constitute his catalogue, those of the second case are concentrated mainly between HWV 561 and HWV 576. They are generally short pieces and not especially demanding, being accessible and able to be quickly absorbed by the intermediate pianist. They were written, for the most part, in the first two decades of the 18th century.

Fugues

Fulfilling his role as a composer for keyboard of the 18th century, Händel wrote, between 1705 and 1718, some fugues. They are a clear show of his complete dominion over polyphony and a living proof of his compositional mastery. They present themselves as an interesting addition to the baroque repertoire of the young pianist and an interesting path for those teachers interested in teaching the art of counterpoint to their students and who want to approach a style different from that seen in Bach's work. His fugues are comprised between HWV 605 and HWV 612, with six of these being part of a set of 6 Fugues or Voluntaries for Organ or Harpsichord.

Suites

Of all Händel's work for keyboard, these are, without a doubt, the ones that obtained the greatest prominence. Distributed between HWV 426 and HWV 455, the suites constitute some of the highest points in the pianistic repertoire of this great composer. Structured traditionally in the style of the baroque suite, these sublime successions of dances have enchanted and will continue to enchant many generations. The most famous of them is the Suite in G Minor HWV 432, such fame is due to its sixth movement, the very famous Passacaglia. Its difficulty can vary greatly between movements, ranging from pieces for well-advanced beginners to professional pieces.

Other Pieces

As usual, the work of this great master goes far beyond what is covered here. Below are some honorable mentions of noteworthy sets.


  • Arias: Strongly melodic pieces, mostly written in the 1710s and 1720s, many are written based on other works.


  • Arrangements: Throughout his musical career, Händel wrote a series of arrangements, with almost all of them written on themes from operas.

Further Reading and References:

Recent Posts

See All

Comments

Rated 0 out of 5 stars.
No ratings yet
Add a rating

Life without music would be a mistake.
Friedrich Nietzsche, Twilight of the Idols (1889)

bottom of page