Page:A Dictionary of Music and Musicians vol 1.djvu/669

This page has been proofread, but needs to be validated.

HANDEL. 657

HANDEL COMMEMORATION.

lished at Vienna by Künike, representing Handel without a wig. There is an unfinished plate, supposed to be unique, which represents him holding a scroll of music, and has a likeness to the portrait by Denner; and another, almost unique, 'Etch'd by D. C. Read from a Picture by Hogarth in his possession,' which is contemptible as a portrait and as a work of art.

Beside these, a picture said to be by Hogarth and to represent Handel, has been copied in mezzotint by C. Turner, which has no claim to consideration on either of those grounds.

The best are the two prints by Faber and Houbraken.

The following is a list of his works:—

2 Italian Oratorios; 'Il Trionfo del Tempo e del disinganno' (1707–8), and 'La Resurrezione' (1708).

1 German 'Passion' (1717–18).

19 English Oratorios: 'Esther'* (1720), 'Deborah'* (1733), 'Athalia'* (1733), 'Saul'* (1738), 'Israel'* (1738), 'Messiah'* (1741), 'Samson'* (1741), 'Joseph' (1743), 'Hercules'* (1744), 'Belshazzar'* (1744), 'Occasional'* (1746), 'Judas Maccabaeus'* (1746), 'Alexander Balus'* (1747), 'Joshua'* (1747), 'Solomon'* (1748), 'Susanna'* (1748), 'Theodora'* (1749), 'Jephtha'* (1751), 'Triumph of Time and Truth' (1757).

5 Te Deums: 'Utrecht'* (1713). 2 'Chandos'* (1718–20), Queen Caroline's* (?1737), 'Dettingen'* (1743).

6 Psalms; 'Dixit Domlnus'* et 'Gloria' (1707). 'Laudate'* et 'Gloria' (1707). 'Laudate' et 'Gloria' (1707–9), 'Nisi Dominus' (1707–9). Utrecht 'Jubilate' (1713), Arrangement of Utrecht 'Jubilate' (?1737).

20 Anthems; 12 'Chandos'(* 10) (1718–20). 4 'Coronation'* (1727), 1 'Wedding' (performed 1736), 1 'Funeral'* (1737), 1 'Dettingen' (1743), 1 'Foundling Hospital' (1749).

Arrangements of 4 of the 'Chandos' Anthems for the Chapel Royal (?1727).

Some Recits. in a Wedding Anthem (pasticcio) for the Marriage of the Princess Anne, taken from Athalia, and from the seventh Chandos Anthem (1734).

1 Motet: 'Silete, venti'* (1707–9).

Miscellaneous sacred: a 'Gloria'* (1707–9). 'Kyrie' (1707–9), 'Magnificat' (? 1707–9); 3 Hymns, 'The Invitation.' 'Desiring to love,' and on 'The Resurrection' (1742).

3 German Operas; 'Almira' (1704). 'Nero' (performed 1705), 'Florindo und Daphne' (1706).

39 Italian Operas: 'Roderigo'* (1706). 'Agrippina'* (1707), 'Silla' (1707–9), 'Rinaldo' (1711), 'Pastor Fido' (1712), 'Teseo' (1712), 'Amadigi' ('Oriana' at Hamburg) (?1715), 'Radamisto'* ('Zenobia' at Hamburg) (?1720), Muzio Scævola'* (1721), 'Floridante'* (?1721), 'Ottone'* (1722), 'Flavio'* (1723), 'Giulio Cesare'* (1723), 'Tamerlano'* (1724), 'Rodelinda'* (1725), 'Scipione'* (1726), 'Alessandro'* (or 'Roxana') (1726), 'Admeto' (?1727), 'Riccardo 1°.'* (1727), 'Siroe'* (1728), 'Tolomeo'* (1728), 'Lotario'* ('Judith' at Hamburg) (1729), 'Partenope'* (1730), 'Poro'* ('Cleofida' at Hamburg) (1731), 'Ezio'* (?1731), 'Sosarme'* (1732), 'Orlando'* (1732), 'Arianna'* (1733), 'Ariodante'* (1734), 'Alcina'* (1735), 'Atalanta'* (1736), 'Giustino'* (1736), 'Arminio'* (1736), 'Berenice'* (1737), 'Faramondo'* (1737), 'Serse'* (1738), Airs in 'Jupiter in Argos' (pasticcio) (1739), 'Imeneo'* (1738–40), 'Deidamia'* (1740).

Fragments of 'Flavio Olibrio,' an opera which Handel abandoned after the beginning. 'Lucio Vero' was a mere pasticcio (1747) containing not one note of new music.

Fragments of 'Titus' (?1731); Recits. to 'Semiramide,' 'Arbace,' and 'Calo Fabrizio' (pasticci, 1733–4); 5 pieces and an Overture to 'Orestes' (pasticcio, 1731); Overture to 'Alessandro Severo' (pasticcio, 1738); and fragments of an Opera without name or date.

1 English Opera, 'Alcestes' (1749) called 'Alcides' by Dr. Arnold, partly used in 'The Choice of Hercules.'

2 Italian Serenatas: 'Aci, Galatea, e Poliferno'* (1708), 13 Airs and Choruses for 'Parnasso in Festa' (performed 1734).

2 English Serenatas: 'Acis and Galatea'* (1721). 'Semele'* (1743).

1 English Interlude, 'The Choice of Hercules'* (1750).

1 Italian Intermezzo, 'Terpsichore' (performed, 1734).

4 Odes; Queen Anne's 'Birthday Ode'* (1712), 'Alexander's Feast'* (1736), 'Dryden's Ode,' on 'St. Cecilia's Day'* (1739), 'L'Allegro, il Penseroso, ed il Moderato'* (1740).

2 Chamber Trios: 'Se tu non lasci amore,' 'Quel fior che all' alba ride' (1708).

24 Chamber Duets: 13 called 'Hanover Duets' (1711); 2, 'Quel fior.' 'No, di vol' (1741); 3, 'Beato in ver,' 'No, di vol,' 'Fronda leggiera' (1742); 1, 'Qual seria' (1745); 5. 'Gio net Tartarei,' 'Caro autor' (1), 'Caro autor' (2), 'Ah, nella sorte,' 'Spero indarno' (n. d.).

1 Italian Duet, 'L'amore innocente.' unpublished and lost (performed March 28. 1738).

94 Cantatas: 1, 'Passion.' German (1704); 12, called 'Hanover' (1711); 79 written in Italy, unpublished (1706–12); 2, 'Cecilia. volgi.' 'Sei del cielo' (1736).

7 French Songs (1707–9).

19 English Songs (v.d.). found separate or in various Song-books (1715–1756).

1 English Air, unpublished. 'For ever let his sacred raptures' (n. d.).

16 Italian Airs and Canzonets, unpublished (n. d.).

INSTRUMENTAL.

6 Sonatas (Trios), lost, (1694).

12 Sonatas (Solos). Op. 1 (published 1732).

6 Sonatas (Trios). Op. 2 (published 1732).

6 Concertos (Hoboy). Op. 3 (published 1734).

1st Set.. 6 Organ Concertos* (7 parts). Op. 4 (published 1734).

7 Sonatas (Trios). Op. 5 (published 1735).

12 Grand Concertos.* Op. 6 (1739. Published 1739).

2nd Set. 6 Organ Concertos* (2 with 7 Instrumental parts) (published 1741). The Instrumental parts to these (published 1760).

3rd Set. 6 Organ Concertos* (7 Instrumental parts). Op. 7 (1740–51. Published 1761).

3 Organ Concertos (7 Instrumental parts) (published 1797) (Arnold).

Concertante in 9 parts (1735), 'Water Musick' in 7 parts (1715).

Tunes in the 'Alchymist' (1732), 'Forest Music' (1741–2), 'Fireworks Music'* (1749), Hornpipe (1740), Sonata for 2 Violins (1736), Sonata in 5 parts (1736); Sonata for Violin, Sonata for Hoboy, Violin, and Viola, and an Overture (n. d.).

MUSIC FOR HARPSICHORD.

4 Pieces, in Holland (?1710).

1st Set. Suites de Pièces (published 1720).

4 Minuets and a March (published 1720).

2nd Set. Suites de Pièces (published 1738).

6 Pieces (published 1798). 4 Pieces (published 1859 by the German Handel Society), Six Fugues for Organ or Harpsichord* (1720 Published 1735).

[ J. M. ]

HANDEL, COMMEMORATION OF. Early in 1783 three musical amateurs, Viscount Fitzwilliam, Sir Watkin Williams Wynn, and Joah Bates, conceived the idea of celebrating the centenary of the birth of Handel (1684–5) by performing some of his works on a scale then unprecedented in England. The scheme being supported by the leading musical professors and the Directors of the Concert of Ancient Music (who undertook the arrangement of the performances), and warmly entered into by the King, it was determined to carry it into effect by giving two performances in Westminster Abbey (where Handel was buried), and one at the Pantheon. The first performance was given in the Abbey on Wednesday morning, May 26, 1784; it consisted of 'The Dettingen Te Deum,' one of the Coronation Anthems, one of the Chandos Anthems, part of the Funeral Anthem, and a few other fragments. The second was on Thursday evening, May 27, at the Pantheon, and comprised various songs and choruses, sacred and secular, four concertos and an overture. The third was at the Abbey on Saturday morning, May 29, when 'Messiah' was given. These performances were so attractive as to lead to s repetition of the first day's music, with some little variations, at the Abbey, on Thursday morning, June 3, and of 'Messiah,' at the same place, on Saturday morning, June 5. The orchestra (erected at the west end of the nave, and surmounted by an organ built for the occasion by Green) contained 525 performers, viz. 59 sopranos, 48 altos, 83 tenors, and 84 basses; 48 first and 47 second violins, 26 violas, 21 violoncellos, 15 double basses, 6 flutes, 26 oboes, 26 bassoons, 1 double bassoon, 12 trumpets, 12 horns, 6 trombones, 4 drums, and the conductor (at the organ), Joah Bates. The principal vocalists, who are included in the above enumeration, were Madame Mara, Miss Harwood, Miss Cantelo, Miss Abrams, Miss Theodosia Abrams, and Signor Bartolini; Rev. Mr. Clerk, Dyne, and Knyvett, altos; Harrison,