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He clearly enjoyed company; his friends often talk about him attending dinner parties, and obviously music-making is an extremely sociable activity.

But it seems that at the end of the day, when all of that was done, he would go home to Brook Street and shut the door. He was an intensely private man.

You get a lot of administrative records, stuff like that, but very little where they write about their thoughts and feelings. Just part of the mystery of creativity.

All you can say is that there is simply no evidence. But what can you say? I think we have to be cautious about that kind of inference.

So, he became a British subject and worked for the British royal family. But do you think he was always seen to be German?

He was a composer who was German by birth, lived in London, and wrote most of his most celebrated music in Italian.

It was an extremely international business. Actually, they did. There was an awful lot of travel around Europe, and the singers in particular were, to a large extent, foreign stars who were brought in as attractions.

A little like football clubs today. But his celebrated tenor was a man called John Beard, who had been a choirboy at the Chapel Royal.

Then you get starry Italian sopranos who were brought in — competing superstars. Yes, I did hear of a very funny story about two Italian opera singers coming to blows on stage.

So these are enormous egos, massive rivalries. Just like premiership footballers today, as you said. Do you think Handel himself had a big ego?

From the evidence that there is, I would say no. Of course, many of these stories will have been embellished over the years, but they must have elements of truth.

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One of his collaborators was a violinist called Matthew Dubourg, who led the orchestra in the first performances of the Messiah. Part of the aesthetic of Baroque music was the performers would add ornament and embellishment and cadenzas to the line, and even then it was a matter of debate about how far you should go with this.

All these anecdotes reflect aspects of character, of course. Well, as there are so many books about Handel, I tried to choose ones that cover different bases.

Donald Burrows is an absolutely world-leading scholar and academic, and this is a very serious scholarly book.

Of course, they all have their part in trying to get a picture of the man. Inevitably, there are bits that have got more attention than others.

The vast majority of his music was dramatic in one sense or another — either operas or oratorios — but for the entire time of his life in London, his whole adult life from , he was paid as a member of the royal household as composer to the Chapel Royal, as well as a separate pension as music master to the royal princesses.

He essentially only worked out music for special occasions: weddings, baptisms, memorials, thanksgiving services, things like that.

But the relationship with the Chapel Royal provided him not only with a regular income, but with a source of singers. It was a very well-organised institution that provided great training for singers, and also for composers, and provided him with a source for choruses for his oratorios, but also soloists.

A number of the men singers in his oratorios had been, and still were, members of the Chapel Royal. So it was a very close relationship, and one that went on throughout his life.

Donald Burrows has gone into the detail in a fascinating way. So it provides an important thread. So quite a lot of singers would have known Purcell, often as boys, who then worked with Handel — like John Beard, his famous tenor, and Bernard Gates.

I find this really interesting, and I think you can hear it in the music. Some of the choices of text. Handel has this long-standing relationship with the Chapel Royal, and his initial fame was for his work in Italian opera.

Is an oratorio what you get if you add those two things together? Well, in many ways it is. I mean, the English 18th-century oratorio was a new thing, and Handel to a very large extent was responsible for, if not inventing it, then certainly fashioning it into its full form.

You can see a progression of style through his English oratorios, I think. They are to a large extent a combination of sacred music — choruses and solos, things like fugues, old-fashioned, rather academic type of things — with drama.

Of course we should remember that a large part of the reason for the oratorio coming into existence at all was the simple practical consideration that the theatres were closed in Lent, and the public wanted something to listen to.

So composers turned the wonderfully dramatic stories of the Old Testament — Saul and Samson and all those sorts of things —into dramas.

If you listen to the last scene of Saul , with Saul visiting the Witch of Endor and the death of Jonathan… They are fantastically dramatic, personal pieces.

They have often been staged. Even at the time, there was a huge amount of controversy about the extent to which sacred words, the words of the Bible , should be turned into something as light-hearted and flippant as opera.

What was driving that change? One of the things you need to remember about Handel is that he was absolutely a professional. This is what opera composers did, he was working to a market.

In this, he is absolutely in distinction to a composer like Bach, who pursued what, even in his own time, was becoming a slightly old-fashioned model of having a job, and writing to the job.

Bach did what all of his predecessors did, which was get a job with a nobleman, or at a court, or as a town composer, something like that, where the employer would tell you what to do, and you did that.

Handel was a freelance composer. And the fact is, by the s, the fad for Italian opera was on the wane. That was for the usual reasons: it was partly to do with the factions within the royal family, who were always falling out with each other.

Opera was very expensive, as it is now. Okay, great. Then we see Handel developing oratorio, making it his own. A provocative title!

I should note that this book can be tricky to get hold of. The pieces are very much collaborations, and how a composer chooses their wordsmiths — their librettists — is a key feature of musical history.

Some have chosen to do it themselves, like Wagner , so they have complete control over the artwork. Again, often this is a question of practicality.

He worked with a man called Miller on Joseph and His Brethren , one of his lesser-known oratorios, but Miller then died.

So he turned back to Jennens. Jennens was a fascinating character, again revealing a different side of 18th century thought.

He was much more high class than Handel, he was landed gentry with a beautiful big house. He clearly had significant mood swings, he was very prickly and his letters are kind of funny sometimes in how readily he takes offence.

He sees plots against him all the time. Handel is well-known himself to be short-tempered and rather grumpy, but comes across in their correspondence as rather more diplomatic.

Jennens was a great letter writer. They worked together on an oratorio on the subject of Saul, which is one of my favourite Handel works.

But the important thing about Jennens was that he was a very good poet. The name of Jesus is hardly mentioned at all. It assumes that the listener already knows the story, and what it provides is a sort of commentary on the meaning and the significance of this story.

And it does it in a beautiful, very moving and well-structured way. It is an extraordinary achievement. Forgive me, but how does it work, between a librettist and a composer?

Practically speaking, I mean. Jennens compiled this selection of scriptural quotations in advance, then handed it over? He wrote it first, then sent it to Handel.

Well, as I say, her background is that she wrote about 18th century thought. The oratorio is a crucial link into the whole current of Enlightenment thought.

She describes the character of the man so well, his wide circle of friendship, and puts him in the context of the Enlightenment, politics and finance, his family.

Also, she brings out the importance of Jennens to Messiah. And it is a remarkable one. One of the wonderful things about reading about the 18th century is that you have such an enormous wealth of visual artefacts that go with it.

And, again, another contrast with Bach, actually, who lived in the small town of Leipzig. He was certainly well-off, yes.

He was very much at the mercy of fashion, and changes of pace, things like that. There were periods when his finances went into a bit of a tailspin, but by the end of his life, he was certainly comfortably off.

His house in Brook Street, now a museum , is a very fine Georgian townhouse. The reason I chose Burney was that, again, I wanted to cover the variety of sources that you have available when looking at Handel.

One of the interesting things about the 18th century is that it was the era which, in a sense, invented the idea of the music scholar, the music historian.

The first serious attempts at writing scholarly music history and biographies of composers date from the 18th century. Not always reliable, but funny.

He knew Bach and Handel, and lots of people. Handel was, in fact, the subject of the first book-length biography of a composer ever published, which is an interesting indication.

It was written after his death by John Manwairing. For example, it gets the year of his birth wrong, which also appears on the monument to him in the nave of Westminster Abbey.

He was himself a composer and musician, a little bit younger than Handel — the people he knew were more of the circle of Mozart, later in the 18th century.

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