Haendel jako kompozytor angielski
- Autorzy: Piotr Rostwo-Suski
- Czasopismo: Pro Musica Sacra, 7 2009, s. 67
Abstrakt:
Handel As An English Composer
(Summary)
In the British music historiography G. F. Handel is regarded as a representative of domestic tradition, because he had contribution to the development of specifically English genres of sacred and secular music. In the first chapter of this paper Handel’s output in field of service and anthem is generally characterized. The author points out signs of H. Purcell’s and W. Croft’s music influence and denotes an importance of Italian experiences (first of all, of the settings of vespers psalms written in Rome) for stylistic countenance of Handel’s concerted anthems and Morning Service canticles. Connections between compositions for Anglican Church and his oratorian masterpieces are discussed too.
Eternal source of light divine by Handel (composed for Queen Anne’s birthday) is his only work belonging to the English court ode tradition. Deep Purcell’s influence is observed (in the opening alto arioso), as well as features typical for composer’s early operas style. Handel wrote music for two Cecilian odes by John Dryden. One of them, Alexander’s Feast, or the Power of Music, by the reason of dramatic elements, occupies a special place among English compositions dedicated to the Saint Patroness of Music. Later Handel’s ode for St Cecilia is far more in accordance with the convention (particularly in “requisitional” using of instrumentation).
During his stay at James Brydges (Earl of Carnarvon) in Cannons Handel composed music for two English masques assigned for court theatre. Both are in many aspects typical (but least in musical style) for late Baroque theatre Haendel jako kompozytor angielski 83 pieces written by English poets and composers. Both have been remade some years later. Esther – thoroughly revised – has become first Handel’s English oratorio; Acis and Galatea has been changed into “serenata in tre parti” (with bilingual text).
Like Purcell, Handel wrote some incidental music for theatre (which was intended for optional using in scenic spectacles), though much less than his famous predecessor. The most important part of this small output includes instrumental and vocal pieces composed for Comus by John Milton and Alceste by Thomas Smollett.
The final part of the paper is devoted to ideoligical, polital, intelectual, religious and moral context of Handel’s oratorios in the British reality of the first half of the 18th century. The author – in the reference to superb book Handel’s Oratorios and the 18th Century Thought by Ruth Smith – pays attention here on both to the sphere of imponderables, as well as on “temporary” allusiveness, referring to current affairs.
(Summary)
In the British music historiography G. F. Handel is regarded as a representative of domestic tradition, because he had contribution to the development of specifically English genres of sacred and secular music. In the first chapter of this paper Handel’s output in field of service and anthem is generally characterized. The author points out signs of H. Purcell’s and W. Croft’s music influence and denotes an importance of Italian experiences (first of all, of the settings of vespers psalms written in Rome) for stylistic countenance of Handel’s concerted anthems and Morning Service canticles. Connections between compositions for Anglican Church and his oratorian masterpieces are discussed too.
Eternal source of light divine by Handel (composed for Queen Anne’s birthday) is his only work belonging to the English court ode tradition. Deep Purcell’s influence is observed (in the opening alto arioso), as well as features typical for composer’s early operas style. Handel wrote music for two Cecilian odes by John Dryden. One of them, Alexander’s Feast, or the Power of Music, by the reason of dramatic elements, occupies a special place among English compositions dedicated to the Saint Patroness of Music. Later Handel’s ode for St Cecilia is far more in accordance with the convention (particularly in “requisitional” using of instrumentation).
During his stay at James Brydges (Earl of Carnarvon) in Cannons Handel composed music for two English masques assigned for court theatre. Both are in many aspects typical (but least in musical style) for late Baroque theatre Haendel jako kompozytor angielski 83 pieces written by English poets and composers. Both have been remade some years later. Esther – thoroughly revised – has become first Handel’s English oratorio; Acis and Galatea has been changed into “serenata in tre parti” (with bilingual text).
Like Purcell, Handel wrote some incidental music for theatre (which was intended for optional using in scenic spectacles), though much less than his famous predecessor. The most important part of this small output includes instrumental and vocal pieces composed for Comus by John Milton and Alceste by Thomas Smollett.
The final part of the paper is devoted to ideoligical, polital, intelectual, religious and moral context of Handel’s oratorios in the British reality of the first half of the 18th century. The author – in the reference to superb book Handel’s Oratorios and the 18th Century Thought by Ruth Smith – pays attention here on both to the sphere of imponderables, as well as on “temporary” allusiveness, referring to current affairs.