Skip to main content

Handel in Ireland

Music of Handel was quite know in Dublin. There, they played some of composer’s compositions, including oratorios and church music. We remember, that the last Handel’s opera Deidamia (premiered - January 10, 1741) - had failed. So, this failure was the main reason why Handel, in 1741, accepted the invitation to make his next concert season in Dublin.

Handel was invited to Dublin by governor-general in Ireland - William Cavendish, 3rd Duke of Devonshire. Lord Cavendish loved Handel’s music, probably, before to invite Maestro to Dublin, he met him many times in London.

Handel left to Ireland around 4th of November and on November 18, composer arrived to Dublin. Irish audience met Maestro with the great enthusiasm. Local newspaper wrote about upcoming Handel’s concerts in pompous phrases, emphasizing that funds from some of the concerts would be used for charity.

***William Cavendish wasn’t only a politician, but also Maecenas and benefactor. He negotiated with the composer about benefit concerts.

Handel’s concerts in Ireland had a great success. The first composition which started the music season in Dublin was oratorio L'Allegro, il Penseroso ed il Moderato (The Cheerful, the Thoughtful, and the Moderate Man). Also to the audience were offered: Acis and Galatea with Ode for St. Cecilia’s Day, oratorio Esther, oratorio Alexander’s Feast and penultimate Handel’s opera - Hymen.

One of the most important event for Handel in Dublin became the premier of his oratorio Messiah, which took a place on April 13, 1742. Initially, following the arrangement, in Handel’s oratorio had to sing two choirs, one of which was the choir of St Patrick’s Cathedral. But Jonathan Swift (dean of St Patrick’s Cathedral), categorically forbade his choir to participate in Handel’s Messiah, although he gave his permission before. Why Swift changed his mind? Well, there could be three reasons:

  • 1) The Dean had very bad taste in music, so understanding nothing, he could not tell how was good Handel’s music;
  • 2) While getting old, he became jealous puritan. It is known that puritans didn’t really like music, theater and other entertainments;
  • 3) After having stroke, Swift couldn’t think clearly.
After all, they managed to persuade Swift and he allowed his choir to sing in Handel’s oratorio.

Handel left Ireland on August 13, 1742, after spending there 10 months. Dublin audience liked composer very much. Also in Ireland Maestro earned a lot of money, although it wasn’t his main goal; he found new friends and admires, including Jonathan Swift, who wasn’t really friendly in the beginning, but finally he was fascinated by the music of Handel.


Author: Alisia Holainen


Labels:

Comments

Post a Comment

Popular posts from this blog

Jean-Baptiste Lully and Louis 14th

Our story begins in Grande siecle, the era of France's heyday, era of absolute monarchy. It all started in 1653, when 21 years old Jean-Baptiste Lully met Louis 14th. Together, the future Great King of France and the Great Composer, danced in Ballet Royal de la nuit, which was staged in honor of the King's victory over the Fronde. In this ballet Louis 14th played the role of the Sun and Jean-Baptiste had three roles: the beggar, soldier and one of Three Graces. This meeting was a beginning of the long and close partnership, which continued 30 years. Louis 14th greatly appreciated Lully and the composer was devoted to His Majesty; Lully loved the King and next 30 years he would do his best for serving to the greatness of the King. Two months later after Ballet Royal de la nuit, Louis 14th appointed Jean-Baptiste to the post of chamber music composer and in spite of the modesty of this position, it was a great start for Lully’s career. Following the memories of Lul
Post a Comment
Read more

Lully. Opera arias for soprano

1. Acis & Galatée - Qu'une injuste fierté (Chaconne) (act 2, scene 5) 2. Amadis - Toi, qui dans ce tombeau, aria of Arcabonne (act 3, scene 3) 3. Amadis - Que vois-je ! Ô spectacle effroyable? - Oriane's aria (act 4, scene 4) 4. Armide - Enfin, il es en ma puissance. Armida's aria (act 2, scene 5) 5. Atys - Espoir si cher et si doux (act 3, scene 8) 6. Cadmus et Hermione. Hermione's aria from act 2, scene 5 Author: Alisia Holainen
Post a Comment
Read more

Music History. Vocal music

Madrigal Madrigal (it. Madrigale from Latin matricale ). Form of vocal chamber music, the number of voices varies from two to eight, and most frequently from three to six; the musical form reflecting the structure of the poem. Usually, the main subject of madrigal is love story. Madrigal was really popular during Renaissance period. Motet Motet (French motet from Latin motetus ) - style of vocal composition with polyphonic structure. Typically, it is a Latin religious choral composition, yet it can be a secular composition or a work for soloist and instrumental accompaniment, in any language, with or without a choir. Chanson Chanson - French song of Medieval and Renaissance period. Usually, it was written for one solois and one instrument. Almost all chansons were written in Rondo, ballad or virelai form. Main subject - courtly love. Chanson was favourite genre of troubadours in 13 - 14th century. Organum Organum is an early Medieval form of plainsong, or plainc
Post a Comment
Read more