George Frideric Handel

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George Frideric Handel (1685–1759). A musical giant of the late baroque period, George Frideric Handel was born in Germany but spent most of his adult life in England. He successfully combined German, French, Italian, and English musical styles in about 40 operas, 20 oratorios, and numerous other vocal pieces, instrumental works, and church music. Handel was born on February 23, 1685, in Halle, in Brandenburg. In addition to studying music, he was trained in the law at Halle University. Although appointed organist of the Halle Cathedral in 1702, he moved to Hamburg the next year, where he obtained a position as violinist, and later harpsichordist, in the opera orchestra. His St. John Passion was performed in 1704 and his first opera, Almira, in 1705. Handel then went to Italy, which was the musical center of Europe, where his work was already known. He met the leading musicians of the day and composed the operas Rodrigo and Agrippina, many Italian solo cantatas, Latin church music, and the oratorio La Resurrezione. In 1710 Handel succeeded his friend Agostino Steffani as director of music for the elector of Hanover. A few months later he left for London. His opera Rinaldo was received enthusiastically in London in 1711, and his Ode for the Queen’s Birthday and Utrecht Te Deum and Jubilate in celebration of the Treaty of Utrecht in 1713 won him a royal pension. As composer, producer, and director of operas, Handel continued until 1741 despite changing public tastes, backstage rivalries, and financial problems. In 1718 he became director of music to the duke of Chandos, for whom he composed the 12 Chandos Anthems and Haman and Mordecai, later reworked as Esther, the beginning of a string of oratorios that continued until 1752 with Jephtha. His famous Messiah was written for a performance in Dublin, Ireland, in 1742. Among Handel’s most popular works are the orchestral suites Water Music (1717) and Music for the Royal Fireworks (1749), both for wind and string band. He also composed about 80 overtures and was one of the great masters of the concerto grosso, in which a small group of soloists contrasts with the full orchestra. After recovering from several periods of poor health, Handel began to have trouble with his eyes in 1751. Two years later he was nearly blind. He died on April 14, 1759, and was buried in Westminster Abbey. Cite While every effort has been made to follow citation style rules, there may be some discrepancies. Please refer to the appropriate style manual or other sources if you have any questions. "George Frideric Handel." Britannica School, Encyclopædia Britannica, 8 Feb. 2020. school.eb.com/levels/middle/article/George-Frideric-Handel/274760. Accessed 30 Apr. 2020..

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Boston Early Music Festival Announces 2013 Festival
FOR IMMEDIATE RELEASE: April 1, 2012 CONTACT: Kathleen Fay, Executive Director | Boston Early Music Festival 161 First Street, Suite 202 | Cambridge, MA 02142 617-661-1812 | [email protected] | www.bemf.org BOSTON EARLY MUSIC FESTIVAL ANNOUNCES 2013 FESTIVAL OPERATIC CENTERPIECE , HANDEL ’S ALMIRA Cambridge, MA – April 1, 2012 – The Boston Early Music Festival has announced plans for the 2013 Festival fully-staged Operatic Centerpiece Almira, the first opera by the celebrated and beloved Baroque composer, George Frideric Handel (1685–1759), in its first modern-day historically-conceived production. Written when he was only 19, Almira tells a story of intrigue and romance in the court of the Queen of Castile, in a dazzling parade of entertainment and delight which Handel would often borrow from during his later career. One of the world’s leading Handel scholars, Professor Ellen T. Harris of MIT (Massachusetts Institute of Technology), has said that BEMF is the “perfect and only” organization to take on Handel’s earliest operatic masterpiece, as it requires BEMF’s unique collection of artistic talents: the musical leadership, precision, and expertise of BEMF Artistic Directors Paul O’Dette and Stephen Stubbs; the stimulating and informed stage direction and magnificent production designs of BEMF Stage Director in Residence Gilbert Blin; “the world’s finest continuo team, which you have”; the highly skilled BEMF Baroque Dance Ensemble to bring to life Almira ’s substantial dance sequences; the all-star BEMF Orchestra; and a wide range of superb voices. BEMF will offer five fully-staged performances of Handel’s Almira from June 9 to 16, 2013 at the Cutler Majestic Theatre at Emerson College (219 Tremont Street, Boston, MA, USA), followed by three performances at the Mahaiwe Performing Arts Center (14 Castle Street, Great Barrington, MA, USA) on June 21, 22, and 23, 2013 ; all performances will be sung in German with English subtitles.
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This Is Normal Text
AN EXAMINATION OF WORKS FOR SOPRANO: “LASCIA CH’IO PIANGA” FROM RINALDO, BY G.F. HANDEL; NUR WER DIE SEHNSUCHT KENNT, HEISS’ MICH NICHT REDEN, SO LASST MICH SCHEINEN, BY FRANZ SCHUBERT; AUF DEM STROM, BY FRANZ SCHUBERT; SI MES VERS AVAIENT DES AILES, L’ÉNAMOURÉE, A CHLORIS, BY REYNALDO HAHN; “ADIEU, NOTRE PETITE TABLE” FROM MANON, BY JULES MASSENET; HE’S GONE AWAY, THE NIGHTINGALE, BLACK IS THE COLOR OF MY TRUE LOVE’S HAIR, ADAPTED AND ARRANGED BY CLIFFORD SHAW; “IN QUELLE TRINE MORBIDE” FROM MANON LESCAUT, BY GIACOMO PUCCINI by ELIZABETH ANN RODINA B.M., KANSAS STATE UNIVERSITY, 2006 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2008 Approved by: Major Professor Dr. Jennifer Edwards Copyright ELIZABETH ANN RODINA 2008 Abstract This report consists of extended program notes and translations for programmed songs and arias presented in recital by Elizabeth Ann Rodina on April 22, 2008 at 7:30 p.m. in All Faith’s Chapel on the Kansas State University campus. Included on the recital were works by George Frideric Handel, Franz Schubert, Reynaldo Hahn, Jules Massenet, Clifford Shaw, and Giacomo Puccini. The program notes include biographical information about the composers and a textual and musical analysis of their works. Table of Contents List of Figures ................................................................................................................................ vi List of Tables ..............................................................................................................................
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