His oratorios, including a few early works, number about 20, and to
these may well be added one or two of the serenatas (especially L'Allegro,
in spite of its jocularity in part) and a few of the larger church works. His
principal librettists were Chas. Jennens and Thos. Morell, but the pith
of two works (Samson and L'Allegro) came from Milton, and other poets,
like Dryden, Pope and Gay, were represented. The substance of most of
the works was, of course, Biblical.
It would be quite impossible to mention all the noted singers to whom much of Handel's popular success was due, but a brief enumeration of some may be of interest. In addition to the two mezzo-sopranos, Francesca Cuzzoni (d. 1770), in London in 1722-8 and 1734, and Faustina Bordoni (d. 1781), in London in 1726-8, whose rivalry lasted about 20 years, the most famous male sopranists were Antonio Bernacchi (d. 1756), in London in 1716-7 and 1729-30, later a great teacher at Bologna, Senesino [Francesco Bernardi] (d. c. 1750), in London in 1720-7 and 1730-5, finally engaged against Handel, Giovanni Carestini (d. 1760), in London in 1733-5, Gioacchino Conti (d. 1761), in London in 1736, and (in the hostile company) two pupils of Porpora, Farinelli [Carlo Broschi] (d. 1782), in London in 1734-6, later in court service at Madrid, and Caffarelli [Gaetano Marjorano] (d. 1783), in London in 1738. These last were life-long rivals for the highest place in the operatic world.
These are but examples of the many singers of the age whose dexterity as vocalists and interpreters made them long renowned.
It remains to refer to Handel's services to instrumental music.
He was a superior organist, and to most of his oratorio performances
contributed what were called 'concertos,' partly probably
extemporaneous, partly later published. These works are distinctly
concertistic, rather than churchly, and they stand detached
from the German school, to which they technically belong, in
their disregard of chorale-material. He used the orchestra of
his day with dramatic variety and power, in accompaniments, in
many overtures and in some incidental numbers. Without distinctly
advancing established forms, he brought into them the
freshness of idea, effectiveness of plan and vigor of treatment
that marked his vocal writing. His clavier style was much less
important, though often interesting.
In all, he wrote some 70 overtures, usually on the French plan.
The orchestra as he found it was much stronger in the wood-wind than
is now common, and the harpsichord or organ far more indispensable.
Unfortunately for historic accuracy, several of his best-known
works have been greatly modified by later adapters (as, notably,
The Messiah by Mozart in 1789).
A special word should be added about the charges of plagiarism that have been made against Handel. It is clear that he occasionally
