See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

German court musicians, as See also:

• LATE

But its authenticity, while strongly upheld by Chrysander, has recently been as strongly assailed on See also:

• INTERNAL

The See also:

• TRIUMPH (triumphus)

In 1712 Handel returned to London and spent a year with See also:

• ANDREWS, JAMES PETTIT (c. 1737–1797)
• ANDREWS, THOMAS (1813–1885)

The fashionable Londoner would travel 9 See also:

• MILES, NELSON APPLETON (1839— )

But the public seemed to want operas, and, if opera had no scope for his genius, at all events he could See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

See also:

• SAMSON (1135-1211)
• SAMSON (cf. Heb. shemesh, " sun ")
• SAMSON, JOSEPH ISIDORE (1793-1871)

Roubilliac, ' By a dramatic coincidence Handel's See also:

• BLINDNESS

He was not even conservative, and he hardly took the pains to ascertain what an art-form was, so long as something externally like it would convey his See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

He was no slave to singers, as is amply testified by many anecdotes. Nor was he See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

This had as great effect upon his few but important secular English works as upon his other oratorios. Acis and Galatea, Semele and Hercules, are in fact secular oratorios; the choral music in them is not ecclesiastical, but it is large, independent and polyphonic. We must remember, then, that Handel's scheme of oratorio is operatic in its origin and has no historic connexion with such principles as might have been generalized from the practice of the German Passion music of the time; and it is sufficiently astonishing that the chorus should have so readily assumed its proper place in a scheme which the public certainly regarded as a sort of Lenten biblical opera. And, although the chorus owes its freedom of development to the disappearance of theatrical necessities, it becomes no less powerful as a means of dramatic expression (as opposed to dramatic action) than as a purely musical resource. Already in Athalia the " Hallelujah " chorus at the end of the first act is a marvel of dramatic truth. It is sung by Israelites almost in despair beneath usurping tyranny; and accordingly it is a severe double See also:

• FUGUE (Lat. fuga, flight)

His sense of fitness in expression was of little use to him in opera, because opera could not become dramatic until musical form became capable of developing and blending emotions in all degrees of See also:

• CLIMAX, JOHN (c. 525–600 A.D.)

In every art there is an See also:

• ANTITHESIS (the Greek for " setting opposite ")

And it is merely a See also:

• LOCAL

And here it is very noticeable that Handel derived no credit, either with his own public or with us, from whole movements that are not of his own designing. In Israel in Egypt, the choruses " Egypt was glad when they departed," " And I will exalt Him," " See also:

• THOU, JACQUES AUGUSTE DE [THUANUS] (1553-1617)
• THOU, NOM

If Handel had attempted to explain his methods to the musicians of his age, he would probably have found himself alone in his opinions as to the property of musical ideas. He did not trouble to explain, but he made no concealment of his sources. He left his whole musical library to his copyist, and it was from this that the sources of his work were discovered. And when the whole See also:

• SERIES (a Latin word from serere, to join)

But the true plagiarist is the man who does not know the meaning of the ideas he copies, and the true creator is he in whose hands they remain or become true ideas. The theme " He led them forth like See also:

• SHEEP
• SHEEP (from the Anglo-Saxon sceap, a word common in various forms to Teutonic languages; e.g. the German Schaf)

In the short See also:

• CARILLON

Lastly, Handel's See also:

• PRIMITIVE

He was an extremely rapid worker, and his later works are dated almost day by day as they proceed. From this we learn that the Messiah was sketched and scored within twenty-one days, and that even Jephtha, with an interruption of nearly four months besides several other delays caused by Handel's failing sight, was begun and finished within seven months, representing hardly five weeks' actual writing. Handel's extant works may be roughly summarized from the edition of the Handelgesellschaft as 41 Italian operas, 2 Italian oratorios, 2 German Passions, i8 English oratorios, 4 English secular oratorios, 4 English secular cantatas, and a few other small works, English and Italian, of the type of oratorio or incidental dramatic music; 3 Latin settings of the Te Deum; the (English) Dettingen Te Deum and Utrecht Te Deum and Jubilate; 4 See also:

• CORONATION (Lat. corona, crown)