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George Frideric Handel German Baroque Era Composer (1685-1759)
Hey Kids, Meet George Frideric Handel German Baroque Era Composer (1685-1759) George Frideric Handel was born on February 23, 1685 in the North German province of Saxony, in the same year as Baroque composer Johann Sebastian Bach. George's father wanted him to be a lawyer, though music had captivated his attention. His mother, in contrast, supported his interest in music, and he was allowed to take keyboard and music composition lessons. His aunt gave him a harpsichord for his seventh birthday which Handel played whenever he had the chance. In 1702 Handel followed his father's wishes and began his study of law at the University of Halle. After his father's death in the following year, he returned to music and accepted a position as the organist at the Protestant Cathedral. In the next year he moved to Hamburg and accepted a position as a violinist and harpsichordist at the opera house. It was there that Handel's first operas were written and produced. In 1710, Handel accepted the position of Kapellmeister to George, Elector of Hanover, who was soon to be King George I of Great Britain. In 1712 he settled in England where Queen Anne gave him a yearly income. In the summer of 1717, Handel premiered one of his greatest works, Water Music, in a concert on the River Thames. The concert was performed by 50 musicians playing from a barge positioned closely to the royal barge from which the King listened. It was said that King George I enjoyed it so much that he requested the musicians to play the suite three times during the trip! By 1740, Handel completed his most memorable work - the Messiah. -
The Music the Music-To-Go Trio Wedding Guide Go Trio Wedding
The MusicMusic----ToToToTo----GoGo Trio Wedding Guide Processionals Trumpet Voluntary.................................................................................Clarke Wedding March.....................................................................................Wagner Jesu, Joy of Man’s Desiring...................................................................... Bach Te Deum Prelude.......................................................................... Charpentier Canon ................................................................................................. Pachelbel Air from Water Music............................................................................. Handel Sleepers Awake.......................................................................................... Bach Sheep May Safely Graze........................................................................... Bach Air on the G String................................................................................... Bach Winter (Largo) from The Four Seasons ..................................................Vivaldi MidMid----CeremonyCeremony Music Meditations, Candle Lightings, Presentations etc. Ave Maria.............................................................................................Schubert Ave Maria...................................................................................Bach-Gounod Arioso......................................................................................................... Bach Meditation from Thaïs ......................................................................Massenet -
12. Musicians Were Not Free to Do What They Wanted. Bach Was the ______Choice for the Leipzig Position
33 12. Musicians were not free to do what they wanted. Bach was the ______ choice for the Leipzig position. Chapter 19 Third German Composers of the Late Baroque 13. What do you find important/interesting about Bach's 1. (433) Besides the nobility, where else could musicians situation at Leipzig? be hired? [There's no specific answer expected.] Town councils 14. (438) How did Bach learn composition? TQ: How do 2. Identify the nobility who dabbled in music. you think composition is taught today? Johann Ernst, prince of Weimar, violinst/composer; Frederick Copying and arranging the music of other composers; you the Great, flute/composer; his sister Anna Amalia, spend three years of music theory learning the rules; princess of Prussia, played harpsichord and listen to compositions, analyze scores; spot techniques organ/composed vocal and instrumental music, collected that could be used a library of scores; her niece Anna Amalia, duchess of Saxe-Weimar, keyboard player, composer (two 15. What was Bach's method in composing instrumental Singspiels), patron music? What came first? What was his procedure in composing recitative? [TQ: Would you expect that? 3. How were the English patrons? How did public concerts Why or why not?] Did he always get his compositions get started? right the first time? He reworked pieces. [TQ: Have you Not as wealthy; skilled musicians, who were underpaid, had to ever turned in work from one class to satisfy the find other means of income requirement of another?] Away from the keyboard; a good melody/theme; write the 4. (438) What about copyright and royalties? melody first; I would expect that he needed the Weak copyright laws offered no protection; no royalties; lots accentuation of the text first; no, he refined them; he of pirating adapted earlier works for other purposes/occasions 5. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
© in This Web Service Cambridge University Press
Cambridge University Press 978-0-521-81841-4 - Handel on the Stage David Kimbell Index More information Index Aachen (Aix-la-Chapelle), 43 Blathwayt, Colonel John, 25 Abingdon, Unicorn Th eatre, 178 Boethius, 65 Académie de Musique et de Danse, Paris, 99 Boiardo, Matteo Maria, Accademia degli Infuocati, Florence, 165 Orlando innamorato , 58 - 9 Adelung, Johann Christoph, 120 Bononcini, Giovanni, 29 , 30 , 49 , 51 , 87 , 160 , Addison, Joseph, 20 , 23 , 123 , 169 , 172 161 , 199 , 201 , 203 Alden, David, 186 , 193 , 194 Astarto, 30 , 198 Algarotti, Francesco, 170 , 180 Astianatte, 30 , 202 Amadei, Filippo, 198 , 199 , 200 Calfurnia , 200 Anne, Princess, 58 Ciro , 198 , 200 Anne, Queen, 16 , 18 , 19 , 21 , 73 Crispo , 198 , 200 Annibali, Domenico, 38 , 176 Griselda , 198 Arbuthnot, Dr John, 18 , 19 , 24 Erminia , 200 , 201 Arcadia (Accademia degli Arcadi), 13 – 14 , 57 , Farnace , 200 68 , 85 , 87 , 167 Xerse , 160 Ariosti, Attilio, 30 , 200 , 201 , 203 B o r d o n i , F a u s t i n a ( s e e F a u s t i n a ) Artaserse , 200 Boschi, Giuseppe Maria, 166 , 168 , 170 , Aquilio Consolo , 200 199 , 203 Coriolano, 30 , 171 , 200 Brandenburg-Prussia, 1 Dario , 200 Brockes, Barthold Hinrich, 2 Elisa , 202 Brown, Lady Margaret, 45 Lucio Vero , 202 Burlington, 3rd Earl of (Richard Boyle), 19 , Teuzzone , 202 24 , 33 , 73 Vespasiano , 200 Burney, Dr Charles, 44 , 59 , 68 , 69 , 80 – 2 , 122 , Ariosto, Ludovico, 32 , 59 , 60 , 151 145 , 156 – 7 , 176 Orlando furioso , 59 , 151 Burrows, Donald, 18 , 42 , 136 Aristotle, 54 , 72 , 80 , 81 Arne, Th omas -
HANDEL Acis and Galatea
SUPER AUDIO CD HANDEL ACIS AND GALATEA Lucy Crowe . Allan Clayton . Benjamin Hulett Neal Davies . Jeremy Budd Early Opera Company CHANDOS early music CHRISTIAN CURNYN GEOR G E FRIDERICH A NDEL, c . 1726 Portrait attributed to Balthasar Denner (1685 – 1749) © De Agostini / Lebrecht Music & Arts Photo Library GeoRge FRIdeRIC Handel (1685–1759) Acis and Galatea, HWV 49a (1718) Pastoral entertainment in one act Libretto probably co-authored by John Gay, Alexander Pope, and John Hughes Galatea .......................................................................................Lucy Crowe soprano Acis ..............................................................................................Allan Clayton tenor Damon .................................................................................Benjamin Hulett tenor Polyphemus...................................................................Neal Davies bass-baritone Coridon ........................................................................................Jeremy Budd tenor Soprano in choruses ....................................................... Rowan Pierce soprano Early Opera Company Christian Curnyn 3 COMPACT DISC ONE 1 1 Sinfonia. Presto 3:02 2 2 Chorus: ‘Oh, the pleasure of the plains!’ 5:07 3 3 Recitative, accompanied. Galatea: ‘Ye verdant plains and woody mountains’ 0:41 4 4 Air. Galatea: ‘Hush, ye pretty warbling choir!’. Andante 5:57 5 5 [Air.] Acis: ‘Where shall I seek the charming fair?’. Larghetto 2:50 6 6 Recitative. Damon: ‘Stay, shepherd, stay!’ 0:21 7 7 Air. Damon: ‘Shepherd, what art thou pursuing?’. Andante 4:05 8 8 Recitative. Acis: ‘Lo, here my love, turn, Galatea, hither turn thy eyes!’ 0:21 9 9 Air. Acis: ‘Love in her eyes sits playing’. Larghetto 6:15 10 10 Recitative. Galatea: ‘Oh, didst thou know the pains of absent love’ 0:13 11 11 Air. Galatea: ‘As when the dove’. Andante 5:53 12 12 Duet. Acis and Galatea: ‘Happy we!’. Presto 2:48 TT 37:38 4 COMPACT DISC TWO 1 14 Chorus: ‘Wretched lovers! Fate has past’. -
Foreword Publisher Codes
FOREWORD The following catalog is a complete, up-to-date listing of the Full and String Orchestra music available for purchase from the TODA Prescribed Music List. The catalog is organized into sections—the Full Orchestra is broken down by TODA Grade Level and sorted by composer/arranger last name, and the String Orchestra is broken down by TODA Grade Level and sorted by title. Each entry also lists the Luck’s catalog number and the publisher code. If you need further information, such as timing, instrumentation, or description of the work, please visit our website, www.lucksmusic.com. Our searchable database is the most complete online service of its kind, with information on more than 26,000 titles. AUDIO AND SCORE SAMPLES: Audio (♪) and score (F) samples are available through the Luck’s Music Library online searchable database. Listen and preview thousands of titles at www.lucksmusic.com. TRANSPOSED WINDS: On many of the titles listed you will find a (T) to indicate that transposed wind parts are available from Luck’s Music Library. Transposed winds are included in the set of parts, or may be purchased separately. Luck’s Music Library is proud to serve the educational needs of teachers and students by making the original standard orchestra literature available and accessible. DISCOUNTS: Luck’s Music Library offers a 10% institutional discount on most titles. Please give a Purchase Order number with your order if one is required. FREE SHIPPING: Luck’s Music Library offers free shipping on orders over $100 upon request. We encourage you to take advantage of our Approval Service. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XXVII, Number 2 Summer 2012 FROM THE PRESIDENT’S DESK SUMMER 2012 I would like to thank all the members of the Society who have paid their membership dues for 2012, and especially those who paid to be members of the Georg-Friedrich-Händel Gesellschaft and/or friends of The Handel Institute before the beginning of June, as requested by the Secretary/Treasurer. For those of you who have not yet renewed your memberships, may I urge you to do so. Each year the end of spring brings with it the Handel Festivals in Halle and Göttingen, the latter now regularly scheduled around the moveable date of Pentecost, which is a three-day holiday in Germany. Elsewhere in this issue of the Newsletter you will find my necessarily selective Report from Halle. While there I heard excellent reports on the staging of Amadigi at Göttingen. Perhaps other members of the AHS would be willing to provide reports on the performances at Göttingen, and also those at Halle that I was unable to attend. If so, I am sure that the Newsletter Angelica Kauffmann, British, born in Switzerland, 1741-1807 Portrait of Sarah Editor would be happy to receive them. Harrop (Mrs. Bates) as a Muse ca. 1780-81 Oil on canvas 142 x 121 cm. (55 7/8 x 47 5/8 in.) Princeton University Art Museum. Museum purchase, Surdna Fund The opening of the festival in Halle coincided and Fowler McCormick, Class of 1921, Fund 2010-11 photo: Bruce M. White with the news of the death of the soprano Judith Nelson, who was a personal friend to many of us. -
Baroque Chamber Music – Syllabus Course Overview
Baroque Chamber Music – Syllabus Course Overview: What exactly does it mean to play Baroque music “stylistically”? Is there a real difference between what is “musical” in the standard repertoire as opposed to the Baroque repertoire? Find out the answers while improving your chamber music skills and enjoyment in this intense May Term course taught by a leading master in the field. Bring your group, or join a new one in the class. Vocalists, strings and wind players all welcome, as we work on music of Bach, Handel, Telemann, Purcell, Rameau, Vivaldi, and more. Baroque and Modern instruments both welcome; keyboardists may play piano or harpsichord. The goal is to demystify Baroque performance practice while encouraging lively, passionate, and intelligent music making. Students will achieve: Greater familiarity with the Baroque repertoire Skills of ornamentation and improvisation Elements of Baroque style Continuo skills for keyboard players and cellist/gambists Shaping and breathing needs in melodic lines Improved chamber music skills, particularly in rhythm and imitative playing James Richman has performed Baroque music with artists including Paula Robison, Jean-Pierre Rampal, Anner Bylsma, Stanley Ritchie, Jaap Schroeder, and Michael McCraw, and has coached vocalists including Jessye Norman, Jose Van Damm, and Christine Brandes, as well as Baroque specialists Julianne Baird, Drew Minter, Ann Monoyios, Jeffrey Thomas, and Bernard Deletré. For several years an associate of the renowned accompanist Samuel Sanders, he has coached Baroque chamber music at Juilliard, Mannes, Manhattan School of Music and Yale, in addition to Master Classes associated with performances all over the United States. He has performed numerous concerts of Baroque chamber music at Lincoln Center in New York, Princeton University, the Juilliard School, Aston Magna Festival, as well as at the Boston Early Music Festival, Festival d’Aix-en-Provence, Tage Alte Musik Regensburg, UNAM Mexico City, and many other major venues Other Information: Classroom location – TBA. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVI, Number 1 April 2001 HANDEL’S SCIPIONE AND THE NEUTRALIZATION OF POLITICS1 This is an essay about possibilities, an observation of what Handel and his librettist wrote rather than what was finally performed. Handel composed his opera Scipione in 1726 for a text by Paolo Rolli, who adapted a libretto by Antonio Salvi written for a Medici performance in Livorno in 1704.2 Handel’s and Rolli’s version was performed at the King’s Theater in the Haymarket for the Royal Academy of Music.3 The opera has suffered in critical esteem not so much from its own failings as from its proximity in time to the great productions of Giulio Cesare, Tamerlano and Rodelinda which preceeded it. I would like to argue, however, that even in this opera Handel and Rolli were working on an interesting idea: a presentation of Roman historical material in ways that anticipated the ethical discussions that we now associate with the oratorios. If that potential was undermined by what was finally put on stage, it is nevertheless interesting to observe what might have been. Narrative material from the Roman republic was potentially difficult on the English stage of the early eighteenth century. The conquering heroes of the late Roman republic particularly—Sulla, Pompey, and especially Caesar—might most easily be associated with the monarch; but these historical figures were also tainted by the fact that they could be identified as tyrants responsible for demolishing republican freedom. Addison’s Cato had caused a virtual riot in the theatre in 1713, as Whigs and Tories vied to distance themselves from the (unseen) villain Caesar and claim the play’s stoic hero Cato as their own. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XXXI, Number 2 Summer 2016 HANDEL’S GREATEST HITS: REPORT FROM HALLE THE COMPOSER’S MUSIC IN EIGHTEENTH-CENTURY BENEFIT CONCERTS Buried in The London Stage are advertisements for concerts including or devoted to Handel’s music. Starting in the 1710s and continuing through the eighteenth century, musicians of all types used Handel’s music on their concert programs, most especially during their benefit evenings.1 These special events were dedicated to promoting a sole performer (or other members of the theatrical staff at a particular playhouse or concert hall). As was tradition, performers would have organized these events from beginning to end by hiring the other performers, renting the theater, creating advertisements, soliciting patrons, and The Handel Festival in Halle took place this year from programming the concert. Advertisements suggest that singers Friday, May 27 to Sunday, June 12, 2016 with the theme “History – and instrumentalists employed Handel’s music in benefit concerts Myth – Enlightenment.” Following the pattern established last year, for their own professional gain. They strategically programmed the Festival extended over three weekends. The Opening Concert, particular pieces that would convey specific narratives about their which had been a feature of recent Festivals, was not given. Instead, own talents, as well as their relationship to the popular composer. the first major musical event was the premiere of the new staging Benefit concerts were prime opportunities for performers of Sosarme, Re di Media at the Opera House, using performing to construct a narrative, or a story, through their chosen program. materials prepared by Michael Pacholke for the Hallische Händel- On the one hand, concert programs allowed performers to Ausgabe (HHA). -
SUGGESTIONS for LISTENING Duple Meter: • Johann Sebastian Bach (1685–1750), Brandenburg Concerto No
1 LESSON 4: RHYTHM AND METER u SUGGESTIONS FOR LISTENING duple meter: • Johann Sebastian Bach (1685–1750), Brandenburg Concerto No. 2, third movement (1721). • Wolfgang Amadeus Mozart (1756–1791), Piano Sonata in A Minor, K. 310, third movement (1778). • Franz Joseph Haydn (1732–1809), Symphony No. 104, fourth movement (1795). • Ludwig van Beethoven (1770–1827), Symphony No. 7, fourth movement (1813). • Franz Schubert (1797–1828), Military March, op. 51, no. 1 (1818). • Robert Schumann (1810–1856), Album for the Young, “Soldiers’ March” (1848). • Piotr Il’yich Tchaikovsky (1840–1893), The Nutcracker, Overture (1892). • John Philip Sousa (1854–1932), “The Thunderer” (1889). • Johannes Brahms (1833–1897), Rhapsody, op. 119, no. 4 (1893). • Scott Joplin (c. 1867–1917), “The Easy Winners” (1901). • “You Do Something To Me” (Cole Porter, from Fifty Million Frenchmen, 1929). • “Embraceable You” (George and Ira Gershwin, from Girl Crazy, 1930). • “Where or When” (Richard Rodgers and Lorenz Hart, from Babes in Arms, 1937). • “I’m Old Fashioned” (Jerome Kern and Johnny Mercer, from You Were Never Lovelier [film], 1942). • “The Lonely Goatherd” (Richard Rodgers and Oscar Hammerstein, from The Sound of Music, 1959). • Fifteen Character Pieces: Ballad. triple meter: • George Frideric Handel (1685–1759), Water Music, Allegro Maestoso (1717). • Johann Sebastian Bach (1685–1750), French Suite No. 3 in B Minor, Minuet (1725). • Wolfgang Amadeus Mozart (1756–1791), Piano Sonata in F Major, K. 332, first movement (1783). • Franz Joseph Haydn (1732–1809), String Quartet in G Major, op. 77, no. 1, third movement (1799). • Ludwig van Beethoven (1770–1827), Symphony No. 3 in E∫ Major (“Eroica”), first movement (1805).