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CosmopolitanGeorge Federic HandelThe Beginning:Born on February 23, 1685 to Georg and Dorothea Handel.His family had absolutely no musical talent.Handels father was against him becoming a musician.Wouldnt let him own a musical instrument. Wanted him to go to law school.Handel went to law school to please his father but then chose to pursue his career in music. Performed for the Duke at the age of 7, which enabled him to become a student of Friedrich Wilhelm Zacchow.Taught Handel composition, the organ, the violin and the oboe.

George Frederic Handel was born in Halle, Germany on February 23, 1685 to Georg and Dorothea Handel. Oddly enough, he was born into a family that had no musical talent what-so-ever. Although music didnt run in the family, Handels musical talent had spoken for itself by the time he was 10. Handels father was actually very much against him becoming a composer and was insistent that he study law. To please his father, Handel finished his courses in law, but then continued on to pursue his music career. Handels father wouldnt even allow him to have his own musical instrument but somehow Handel found ways to practice without his father ever finding out. At the age of 7, he performed for the Duke and his court at Weissenfels, Germany on the keyboard. Because of that performance, Handel became a student of Friedrich Wilhelm Zacchow who was a composer and an organist. Zacchow was very skilled in many areas and not only taught him composition; he also taught him the organ, the violin, and the oboe.

2True Talent:By 1965 Handel was able to compose for each of those instruments as well as many others.Between 1696 1701 Handel composed many works but, sadly, the church cantatas and all of his chamber music pieces during those years have since disappeared. Training from Zacchow was the only formal musical instruction Handel received; otherwise he was self taught.First official job was at the age of 17 as a church organist in Halle. Handel made contact with a German composer during that time, Georg Philipp Telemann, who introduced him to Agostino Seffani which really sprouted his ambition for opera.Handel played as the church organist for 1 year, resigning in 1703, and moved to Hamburg, Germany where he became a violinist at the Goosemarket Theater.

By 1695 Handel was able to compose for each of these instruments as well as many others. From 1969 to 1701, Handel had already composed many works. Sadly, the church cantatas and almost all of his chamber music pieces that he composed during those years have since disappeared. Training from Zacchow was the only form of musical instruction Handel really ever received, otherwise he was self taught. His first official job was at the age of 17 as a church organist in his hometown of Halle. During this time, Handel made contact with a German composer by the name of Georg Philipp Telemann which led to a meeting with composer, Agostino Seffani. After these events, Handels ambition for opera really sprouted. Handel only played as the church organist for 1 year, resigning in 1703, and moved to Hamburg, Germany where he became a violinist at the Goosemarket Theater.

3Opera:1704- Composed first opera titled Almira. VERY successful opera; started his career.Ran for a total of twenty performances. Left Germany in the autumn of 1706 for Italy.First stopped in Florence then moved onto Venice, Rome and Naples meeting a lot of musicians along the way.Composed 2 great operas there; Rodrigo and Agrippina.Composed several chamber works and sacred compositions.In 1704, while in Hamburg, Germany, Handel composed his first Opera which he gave the title of Almira. It was a very successful opera for Handel, running for twenty performances and started his operatic career. Although Germany had proven successful, Handel felt the need to move on. He followed this desire by picking up and moving to Italy, the birth place of the opera style. He left in the autumn of 1706 and first stopped in Florence then moved onto Venice, Rome, and Naples; meeting a lot of the Italian musicians. Handel was able to compose 2 great operas there; Rodrigo and Agrippina. He also composed several chamber works and sacred compositions.

4World Traveler:Left Italy in 1710 for a job in Hannover, Germany as a conductor. This job only lasted for 1 year.Left for London where he met with the manager of Kings Theater.After composing that opera, he returned to Hannover and then onto London.London was now his new home.Composed music for harpsichord, chamber ensembles, orchestra and many works for royal occasions.Offered a chance to compose an opera and did so within 2 weeks; titling it Rinaldo.

Handel left Italy in the spring of 1710 for a job as a court composer and conductor in Hannover, Germany. Although he moved to take this job, it didnt last for long. By the end of the year, Handel had left for London where he met with the manager of the Kings Theater. He was offered a chance to compose an opera and within two weeks he had composed another successful opera, Rinaldo. After completion of that opera, Handel returned to Hannover. He, again, wanted to go back to London. Differing from the first trip, Handel was granted permission for a second trip to London, but from this one, he never returned from and never looked back. London being his new home, Handel composed music for harpsichord, chamber ensembles and orchestra, as well as many works for royal occasions. 5London:Queen Anne, Queen of England, loved Handels works.Offered him an annual salary of two hundred pounds. In 1714, Handel had to face his previous employer from Germany when he became King George I of England.Handel won over the King in 1719 by the performance of Water Music.This performance gained the Kings support to join in on the Royal Academy of Music which showcased Handels greatest operas:Radamisto, Giulio Cesar, Tamerlano and Rodelinda.That academy collapsed a few years later forcing Handel to form a new company, New Royal Academy of Music, with a Swiss entrepreneur.

Queen Anne, the Queen of England at that time, was so impressed with Handels work she offered him an annual salary of two hundred pounds. It wasnt until 1714 that Handel had to face his absence from Germany when his previous employer became King George I of England. It took Handel until 1719 to win over the King, which he did with the performance of Water Music, and gained his support to join in on the Royal Academy of Music for performances of opera which showcased some of Handels greatest operas: Radamisto, Giulio Cesare, Tamerlano and Rodelinda. The academy then went onto collapse a few years later, so Handel was forced to form a new company, New Royal Academy of Music, the following year with a Swiss entrepreneur.

6ChangeIn April 1737 Handel suffered a stroke and retired to Aachen to recover.Although retired Handel finished off his operatic career by creating Imeneo & Deidamia in 1741. He also composed work for Messiah during that time as well.Italian opera had grown less popular in London at this time but Handel seemed to fare much better with his oratorios opposed to his operas with the audiences in London anyways.He took several old operas and made revisions; incorporating the oratorio style which proved to be quite a success for him.Handel was once again leading the field with his oratorios like he once previously had with his Italian Operas.He continued to produce a few operas a year but unfortunately Italian opera had grown less popular in London. In April of 1737 Handel suffered a stroke and retired to Aachen to recover. Although retired, in 1738, Handel was back and as determined as ever to begin another opera endeavor. This endeavor finished off his operatic career by creating Imeneo and Deidamia, his last operas, in 1741. During this time, Handel composed his work for which he is now known for, Messiah. Handel fared much better with the audiences in London with his oratorios as opposed to his operas. Handel wanted to test the grounds by taking some of his past operas and making small revisions; incorporating the oratorio style. This actually proved to be quite a success, earning Handel a healthy profit. Handel, again, was leading the field with his oratorios like he had once previously done with his Italian operas. Handel continued composing about 2 oratorios yearly until 1751 when his eyesight began to diminish. At that point, Handel was only able to revise his earlier works and even that required assistance from someone else. He was also able to improvise on the organ and harpsichord during public performances. Handel had many accomplishments during the last decade of his life, adding Italian cantatas, several concertos and a bunch of other works to his already twenty major works. Handel passed away in London on April 14, 1759. The last musical performance Handel was able to experience was his own, Messiah, on April 6 of that same year.

7The End:Composed 2 oratorios yearly until 1751 when his eyesight began to diminish.At this point, he was only able to revise his earlier works.He was also able to improviseon the organ and harpsichord during public performances.During the last decade of his life he:Added several Italian cantatas, several concertos and a bunch of other works to his already twenty major works.Handel died in London on April 14, 1759. The last musical performance Handel was experienced was his own, Messiah, on April 6.

Handel continued composing about 2 oratorios yearly until 1751 when his eyesight began to diminish. At that point, Handel was only able to revise his earlier works and even that required assistance from someone else. He was also able to improvise on the organ and harpsichord during public performances. Handel had many accomplishments during the last decade of his life, adding Italian cantatas, several concertos and a bunch of other works to his already twenty major works. Handel passed away in London on April 14, 1759. The last musical performance Handel was able to experience was his own, Messiah, on April 6 of that same year.

8Great Influence:Handel was a great influence on other composers and later generations. His use of contrasting textures, use of dynamics, beautiful melodies and expressive motifs were a few of his strong points.Mozart was always familiar with Handels works and enjoyed them throughout his life.Observers believe that through Mozarts liturgical music that Mozarts knowledge of Handel was deep and thorough.Mozart reworked the opening movement of Handels funeral music for Queen Caroline for his own composition; Requiem.

Wolfgang Amadeus MozartGeorge Frederic Handel had a great influence on other famous composers and later generations. His operas and oratorios were very appealing and were always able to please a crowd. His contrasting textures, use of dynamics, beautiful melodies and expressive motifs were just a few of Handels strong points. Mozart, as a young child, was very familiar with Handels works and continued to enjoy them throughout his life. Observers now say it is obvious through Mozarts liturgical music that Mozarts knowledge of Handel was deep and thorough. Mozart even reworked the opening movement of Handels funeral music for Queen Caroline for his own composition; Requiem.9Influence Cont....Handels oratorios, most famous Messiah, was the major influence Handel left on later generations. Mozart re-orchestrated Messiah adding in many instruments to the composition making it an even greater masterpiece. This piece also went on to influence Mendelssohn and Beethoven.Beethoven mentioned on numerous occasions that Handel was the greatest composer who ever lived.Only naming a few, most of the nineteenth century composers were influenced by Handel. Handel and Bach are usually spoken about together and go hand in hand. Although Bach had great influence, Handels was more direct and obvious. Handel is known as one of the greatest composers of the late Baroque period and probably the most internationally famous musician. Handels oratorios, most famous being the Messiah, was the major influence Handel left on later generations. Mozart actually re-orchestrated this piece, adding in many instruments to the composition. Even without the revisions Mozart made to the piece, it would have survived, but with those revisions it became an even greater masterpiece. This piece also went on to influence Mendelssohn and Beethoven. Many of Beethovens grand themes sounds like they could have been written by Handel. Beethoven mentioned on numerous occasions that Handel was the greatest composer who ever lived. Although Ive only named a few, most the nineteenth century composers were influenced by Handel. Handel and Bach are usually spoken together, and in some ways, go hand in hand. But it is said now that Handels influence, although not more or less than Bachs, was more direct and obvious. Handel is now known as one of the greatest composers of the late baroque period and, during his lifetime, was probably the most internationally famous musicians.

10Composition History:MessiahComposed in 1741, it was one of Handels most popular oratorios in the English language.Text put together by Charles Jennens from the King James Bible and the Book of Common Prayer.First performed in Dublin, Ireland on April 13, 1742.Didnt appear in London till 1 year later.Gained popular quickly and was one of the best known and most performed works in Western music.

Messiah, one of Handels most popular English-language oratorios, was composed in 1741. The text was scriptural text put together by Charles Jennens from the King James Bible and also the Book of Common Prayer. Messiah was first performed in Dublin, Ireland on April 13, 1742 but didnt appear in London until around a year later. Before the first performance Handel made many modifications to the piece, mostly to match what he had available in Dublin. It gained popularity very quickly and easily became one of the best-known and most performed works in Western music. 11Messiah Cont.Handel began working on the piece on August 22 and complete it in 24 days. Completed Part I by August 28, Part II by September 6 and Part III by September 12. Composition contains 259 pages, all full of scratched our notes, unfilled bars and other uncorrected errors.Handel wrote the letters SDG Soli Deo Gloris, To God alone the glory at the end of this work. Messiah was his 6th work in the oratorio genre.Structured to resemble a conventional opera but not in the dramatic form. Written for vocal and instrumental parts. After Handels death, Messiah was revised and made more adaptable for performances on a much larger scale; with giant orchestras and choirs. Mozart also updated the piece a bit by amplifying its orchestration.Messiah is made up of 43 different parts, most broken up into 3-5 minute intervals. Handel began working on the piece on August 22 and the music for Messiah was complete in 24 days. Records show that he had completed Part I by August 28, Part II by September 6 and Part III by September 12. This was followed up by 2 days of filling up and the work was than published on September 14. The 259 page composition shows signs of scratched out notes, unfilled in bars and many other uncorrected errors. Richard Luckett, a musical scholar, says the number of errors is remarkably small in consideration of the length of the document. At the end of the composition, Handel wrote the letters SDG Soli Deo Gloria, To God alone the glory. Followers of Handels believe this to mean this composition was written of divine inspiration. As discussed previously, Handel was initially known for his career in Italian opera but turned to English oratorio in the 1730s because of public popularity. Messiah was his sixth work in the oratorio genre. Messiah is structured to resemble a conventional opera but not in the dramatic form. There are no impersonations of characters and little speech. Handel wrote Messiah for vocal and instrumental parts with peaks in the composition for the individual numbers. After Handels death, Messiah was modified and made more adaptable for performances on a much larger scale; with giant orchestras and choirs. Mozart also updated the piece a bit as well by amplifying its orchestration. Although many changes have been made to the piece, most contemporary performances show a greater resemblance towards Handels original piece. Messiah is made up of 43 different parts, most broken up into 3 5 minute intervals. For this particular purpose, I will be creating a listening guide for 2 of the last parts of Messiah. The first part being The Trumpet Will Sound and the second, Worthy is The Lamb That Is Slain.

12-Listening Guide-The Trumpet Shall Sound0:00 3:000:00 Begins in major mode, cheerful and upbeat. Notes start lower, being played in a scale, ascending upwards. 0:13, main melody switches to the trumpet. Dynamics of the trumpet become very loud and dominant. Operatic soloist enters.

1:00 Strings mixture takes over the melody. Soloist enters back into the piece, accapela style. Sound is conjunct with enough repetition to make the piece feel familiar but still adding in new. Soloist holds out multiple notes for several seconds; showing a wide range. Soloist takes a break while the trumpet comes back in.

2:00 Tension builds, as the notes are played crescendo. Soloist sings with great meaning and depth, adding to the dynamics of the piece. Trumpet takes on a softer sound, highlighting the words of the piece. He again, sings scales, in a lower, more narrow range, then repeates the same in a higher range.

3:00 Soloist sings only a few words, holding out the ends of each words for at least a meter or two, following the notes being played by the trumpet and the strings. Seems to be a brief pause in the piece around 3:28. Tone of music changes momentarily into minor mode. Singer stops singing, instruments have their own solo moment. 0:00Composition begins in major mode, very cheerful and upbeat. The notes start lower, being played in a scale, ascending upwards. The cheerful beat sets the tone for the song right from the beginning of the piece. Around 0:13, melody switches over to what sounds like the trumpet, giving a break in the previous melody. 0:30The dynamics of the trumpet become very loud and dominant, crescendo-ing as the other instruments are added back into the melody. The piece is a very catchy tune with excellent form. A male opera soloist enters, singing bass, but quickly moves up the scale. Now that this soloist has entered, it takes over the main sound of the song. 1:00Strings mixture takes over the melody for a few measures with no words being sung. When the soloist enters back into the piece it is in acapela style for a few words. The sound is very conjunct with enough repetition to make the piece feel familiar but still maintaining the great form with new additives. Singer has a very wide range, the notes seem to follow. 1:30Soloist holds out the same note for numerous seconds, following the sound up and down and then back up again, almost sounding like scales. He again, shows off a pretty wide range. Again, the soloist takes a break while the trumpet comes back in, playing the leading roll. Its still maintaining its cheerful sound; major mode.2:00Tension seems to build, as the notes are played crescendo. The soloist sings with great meaning and depth, adding to the dynamics of the song. The trumpet takes on a softer sound while it is the only instrument being played with the soloist; most likely to highlight the words of the piece. 2:30 Again, he sings scales, in a lower, narrow range, then repeating the same, in the higher range. There seems to be a lot of repetition appearing already in the piece. The words are different, but the notes are being played over and over again. 3:00Soloist sings only a few words, holding out the ends of each words for at least a meter or two, following the notes being played by the trumpet and strings. Seems to be a brief coda around 3:28; an ending to the piece, but really its just a pause in the music.3:30Tone of music changes momentarily into a minor mode. Singer stops singing and instruments have their own solo moment. Again, they revert back to the same melody that has been continuously played throughout the whole piece. The sound is still conjunct, has great dynamics and tone.

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The Trumpet Shall Sound4:00 7:004:00 Singer comes back in, melody slows and changes into minor mode. Song now sounds very sad and lowly; much different than in previous measures. Sings with great emotion, adding to the timbre of the piece. Strings enter into the melody while the trumpet fades.

5:00 Soloist singing in the very low range. Tempo seems to stay pretty even while the drama is being portrayed very well. Although frequent repeats in the music, it seems to keep your attention. Musical instruments slow dramatically and another brief pause in the music occurs and quickly switches back to major mode. Trumpet added back in, tempo picks up drastically.

6:00 Soloist takes a brief break for one measure and enters back in with a higher range of notes. He hits some rather high notes, different from what we are used to hearing from this point previous. Music then softens, strings slow and soloist carries on singing his scales. Soloist takes a brief break while the strings have a pleasant solo.

7:00 Drama seems to be added back into the piece, mostly by the singers voice and then moves into the strings. Trumpet takes on a very robust beat in the melody. Form is still rather good, but starting to feel a little off balance with newness; we are hearing a lot of repeats in the piece. Still being played in major mode, happy and cheerful. Seems to be building and building on itself. 4:00Singer comes back in, melody slows down significantly, changes into minor mode. The song now sounds very sad and lowly; much different than in the previous measures. 4:30Soloist sings with great emotion, adding to the timbre of the piece. Strings are playing the melody now, trumpet has pretty much faded. Its a very simple melody but the strings add a strong dynamic to the piece. Again, soloist is singing scales. 5:00Singing in the very low, narrow range. Tempo seems to stay pretty even while the drama is portrayed very well through the strings as well as the soloist. Although repeating frequently, it still seems to keep your attention. 5:30Musical instruments slow dramatically. Another brief pause in the music and then it quickly switches back to major mode. The trumpet is added back in. The piece becomes very happy again, tempo picks up drastically and the tempo quickens. The soloist voice changes accordingly as well; singing in a bright cheery tone.6:00Soloist takes a brief break for one measure, and enters back in with a higher range of notes. He hits some rather high notes, different from what we are used to hearing from this point forward. Trumpet accentuates certain notes in the music, almost playing on an off beat. 6:30Music softens, strings slow down a bit, soloist carries on singing scales. Soloist takes a brief break while the strings have a pleasant solo. The dynamic of the instruments seems to mimic that of the singer; sometimes following him up and down, but sometimes offering something different, but complimenting. 7:00Drama seems to be added back into the piece, mostly by the singers voice, then translates into the strings. Trumpet takes on a very robust beat in the melody, mimicking that of the singers exact notes. The form is still rather good, but starting to feel a little off balance with newness; Im just hearing a lot of repeating in the piece. 7:30Still being played in the major mode, happy and cheerful. Seems like the piece is building and building on itself; plotting for something big at the ending. Again, the words are being repeated over and over again. Scales are sung, again.

14The Trumpet Shall Sound8:00 9:008:00 Trumpet becomes prominent in the piece, not a solo, but the dynamic played louder than the strings. Soloist and instruments slow down the tempo dramatically, hinting that the end may be near. Soloist hits a very low note and holds it with power. Singer stops and instruments have the attention; trumpet being center stage. Melody is smooth, tempo even conjunct.

9:00 Tempo slows way down, trumpet plays a few prominent notes and the piece ends all on the same note in unison. 8:00Trumpet becomes prominent in the piece, not having a solo, but the dynamic played louder than the strings. Soloist and instruments slow down the tempo dramatically. Hints that the end may be coming near. Soloist hits a very low note and holds it; giving off a lot of power. 8:30Singer stops, strings and other instruments have all the attention. Trumpet seems to take center stage as well. You can pick it out among the group very easily. The melody is still smooth, tempo even with previous measures and the sound very conjunct. 9:00Tempo slows way down, the trumpet plays a few prominent notes and the piece ends all on the same note in unison.

15-Listening Guide-Worthy is the Lamb that was Slain0:00 1:000:00 Song starts off very strong right off the bat. Chorus begins together, in unison, on the same note. You can pick out all different parts; soprano, alto, etc. Song is in minor mode, almost sounding dreary. Piece eventually picks up, tempo increasing. A brief pause occurs and the tempo slows again.

1:00 Sound is conjunct and catchy. Melody and harmony blend well together. Song picks up again, in major mode. Has great rhythm, gets you tapping along. It is very fast and staccato. Just the men are singing at this point, with few instruments in the background. Women are now singing, again, with a few instruments in the background. Both women and men now blend together, singing a round. 0:00Song starts very strong right off the bat. The chorus begins all together, in unison, on the same note. Very strong. You can pick out the several different parts; soprano, alto, etc. Song is in minor mode, has a dreary sound. 0:30Piece picks up, tempo definitely increases. Pauses, tempo goes back to slow, minor mode. Very sad and lonely; accentuated by the chorus. Lower voices are singing alone now. 1:00The sound very conjunct and catchy. The melody and harmony blend well together. The song picks up once again, now in major mode. It has a great rhythm to it, kind of gets you tapping along. The piece gives you a sense of running, or chasing. Its very fast and staccato. 1:30Just the men are singing now, and very few instruments are playing in the background. Now, the women sing, again very little instruments. Both men and women now blend together, singing in a round. They have the stage. The instruments are still playing the melody but very quietly.

16Worthy is the Lamb that was Slain2:00 3:002:00 Men and women still singing in a round, strings are playing the melody but the voices have the audience. Tempo is quickened, just when you thought it couldnt get any quicker. Form is great and the dynamics are very loud, strong and powerful. Both men and women are singing scales together, splitting again and beginning a new round.

3:00 Trumpet is added into the piece, drama at an all time high. Subject is building up and building up. Tempo still very quick. Starting to near the end of the piece so they begin to slow down. Trumpet is very prominent. Chorus holds out the notes for a measure, very dramatic ending to such a fast paced piece. 2:00They are still singing in a round, strings are playing the melody but the chorus has the audience. The tempo has quickened again, just when you thought it couldnt get any quicker. The form is great in these piece and the dynamics are very loud, very strong and powerful. 2:30Both men and women are singing scales together, then they split again and start singing in a round. Between the men and women they are covering a very wide range. The different harmonies and melody blend together very well. 3:00The trumpet is added into the piece, drama at an all time high. Building up and building up. Tempo is still very quick and in the major mode.3:30Starting to near the end of the piece so they start to slow down. The trumpet is very prominent. Chorus hold out the notes for a measure, dramatic ending to such a fast paced piece.

17Works Citedhttp://www.8notes.com/school/history/handel.asp

http://www.notablebiographies.com/Gi-He/Handel-George-Frideric.html

http://ezinearticles.com/?Bach-And-Handel-(Their-Influence-On-Future-Composers)&id=1126027

http://www.rhapsody.com/#/artist/george-frideric-handel/album/handels-messiahhttp://www.8notes.com/school/history/handel.asphttp://www.notablebiographies.com/Gi-He/Handel-George-Frideric.htmlhttp://ezinearticles.com/?Bach-And-Handel-(Their-Influence-On-Future-Composers)&id=1126027http://www.rhapsody.com/#/artist/george-frideric-handel/album/handels-messiah18