If I Could Choose Only One Work By...HANDEL
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- เผยแพร่เมื่อ 18 ม.ค. 2023
- It Would Have To Be...Saul
Not Handel's best-known oratorio, perhaps, but it's unquestionably a comprehensive masterpiece, epic in scale and lavish in color.
The List So Far:
1. Ravel: Ma Mère l’Oye (Mother Goose Ballet)
2. Bruckner: Symphony No. 7
3. Schubert: String Quintet in C major
4. Shostakovich: Symphony No. 4
5. Mahler: Symphony No. 2 “Resurrection”
6. Tchaikovsky: The Nutcracker
7. Debussy: Preludes for Piano (Books 1 & 2) - เพลง
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Oh how difficult it is for me NOT to choose Acis and Galatea (with its elements of humor and magic that foreshadow late Mozart and Mendelssohn), or Theodora with its lyricism and pathos, or Israel in Egypt which features some of the greatest, gloomiest choral music the world has ever seen. And how I wish I could choose the Chandos Anthems because no one listens to these masterpieces, and the fact that the complete set has been recorded only once is heartbreaking.
Now that I’ve vented a bit, I’m going to choose Dixit Dominus, a work that brought together everything Handel had learned about German and Italian music. What other 22 year old (besides Mozart and Mendelssohn) ever composed with such skill and authority? I’ve heard this piece several hundred times in my life and I hope to hear it several hundred times more, because I’ll never tire of its brilliant counterpoint, harmonic inventiveness, it’s dramatic use of silences and dynamic contrasts (which, for a Baroque piece, are astonishing), and finally its sheer rhythmic punch.
Thank you Dave for the recommendation - I did not know this piece but a local choral society did it last night so I went along and thoroughly enjoyed it. Yes, the choice has to be an oratorio, as Handel virtually invented the genre and it had a huge influence on the British choral singing tradition. And with this one, and several others, you virtually get an opera as well. I suspect many audiences appreciated it more than Handel's Italian operas as it was in their native tongue and retold and enlivened a dramatic story that they would be familiar with from church. (Hearing it inspired me to reread the complete story from 1 and 2 Samuel.)
Mine's a "boring" choice: Messiah! Likely every person's first introduction to Handel. Everything is there: great arias, super choral fugues, memorable tunes, and it's in English! Since Cancrizans is the subject's father, he'll also agree with me!
It's difficult to choose just one, but if I had a car trip of several hours I'd go all the way listening to Concerto Grosso in D minor op 6 no 10. It's sublime!!!
I don't care what Cankerantz wants. I'm taking Messiah.
Those of us who tune into the Coronation on May 6 will be hearing one of Handel's most well known works, my favorite, the first Coronation Anthem, Zadok the Priest, written for the Coronation of King George II in 1727 and performed at every Coronation since. I am not sure if the other two Coronation Anthems will be played. The "fourth" Coronation Anthem is also one of my favorites, The Arrival of the Queen of Sheba. from the Oratorio Solomon.
I'd go with the Allegro, not least for 'As Steals the Morn' which is one of the most beautiful duets he (or anyone else) has ever written:-)
I'm glad you mentioned Alexander's Feast because that would be my choice. The words (by Dryden) are several steps above the usual, and are a gift to Handel to demonstrate, in all its variety, the "power of music". Fabulous solos, especially the two for bass, and some of the best choruses GFH ever wrote. And no danger of over-familiarity as you get with Messiah. Ah you've made me want to listen to it again!
My first thought- Guilio Ceasare! Very long opera, gazillions of arias, nice coloratura bits. Va tacito! Intrigue, murder, love etc. And you can insert other arias from other operas if the great benevolent Cancrizans was merciful!
Not only are the works you choose interesting; but your rationale for choosing them is fascinating.
Francois Couperin (1668-1734) - Harpsichord Music: First Book (1713)
Francois Couperin was a renowned French baroque composer who bridged the gap between Lully and Rameau. While he wrote some splendid secular chamber music and sacred vocal music, it is for his four volumes of harpsichord music, published in Paris in 1713, 1717, 1722, and 1730, that he is best remembered. These volumes were much admired by J. S. Bach who exchanged letters with Couperin. Many of Couperin's keyboard pieces have evocative, picturesque titles and have been likened to miniature tone poems. IMO, no musical library of keyboard music is complete without them. I could have chosen any one of the four books but decided on the first one (about 180 minutes of music) just to demonstrate how original and mature Couperin's art was right from the get-go.
All Hail Couperin le Grand !
If you can come up with 1001 composers to choose one work by, more power to you!
I love Handel and I love all his works, but my favorites are his oratorios. My top 5
- Saul
- Belshazzar
- Alexander Balus
- Israel in Egypt
- Samson
I love military oratorios 😍
Me? Coronation anthem ' My heart is inditing@' The best of the four by a mile and it has everything - pathos, tenderness, wonderful writing and magnificence! A mini symphony and oratorio all in one.
A suggestion for Vivaldi: his opus 3, L' estro armonico. A superb effort, with no weak links. J.S. Bach was, as is well-known, much taken with this work, as evidenced by his multiple transcriptions from it.
In my mind, even before you said "Saul", it was one of the four or five works that I pondered proposing. "Saul" is glorious. Just think of its carillon filled orchestration for one of the work's numbers. The work is dramatic and very beautirul and full of character.
I support your plan. Keep'em coming, Mr. Hurwitz!
Another great choice! It's between Saul and Op. 6 for me. They both have sublime music and the drama of Saul is compelling.
Sibelius: violin concerto, because it's the best violin concerto ever. Every single note is exactly where it needs to be, while at the same time it's pure emotion and a deep look into Sibelius' soul.
That's a great choice.
Agree with this, and I guess the origin story of the concerto also "reveals" a lot about him as a person and ambitions.
Difficult to choose. But I go for Theodora. It's the only oratorio or opera based on a novel, I think, and is a step beyond the other oratorios in the complexity of what it does musically, dramatically and emotionally. Providing an unparalleled aesthetic experience whilst being at the forefront of artistic endeavour in its time - it seems for instance to have been heavily influenced by Richardson's Clarissa in its treatment of the heroine. And the music is sublime. Reminds me of other late works of genius, such as Shakespeare's Tempest or Emma, or late Ibsen or the Bm Mass, or Brothers Karamazov. Interesting that Handel cut Morell's original more-triumphalist ending where Romans are converted by Theodora's example, and finished with the more modest-seeming O Love Divine - in G minor; creating an ending of unparalleled depth - mystical, really. The musical treatment of the words 'That we the glorious spring may know, Whose streams appeared so bright below' I find quite astonishing and deeply moving. He seems to have outrun the tastes of his audience and flopped; although the contemporary cognoscenti thought highly of it and when it was revised in the 1870s(?) a Musical Times contributor identified it as the greatest of his works, and one of the greatest pieces of music ever, effectively. I must say, the hairs bristled on the back of my neck through every note when I first watched it in The Glyndebourne performance. That has happened rarely at quite such an intensity: Richter's Schubert, Ferrier's O and E, Horenstein's Mahler's 9.
Theodora is Handel's greatest work, and he seems to have thought so himself, when asked late in life. He just kept getting better, and Jheptha, his very last oratorio, is also a masterpiece. I have never seen Saul in live performance, so I can't judge, but it sounds promising.
I would choose Giulio Cesare, arguably the best opera ever ! But, as you rightly pointed out, David, English oratorios are more representative of the mature Handel's genius, and it would therefore make sense to choose one of them. The choice is then difficult, among many masterpieces, but I would go for Theodora, a late work, because of its emotional depth and so many stunning arias and choruses. It was also, apparently, its preferred work !
Thank you, once again for introducing me to an unfamiliar work. I’ve heard of Saul, but have never actually heard it…but with your nudge, I will be looking it up as soon as I finish this message… my instant thought was Giulio Cesare (my favorite of his operas). With gratitude as always, for expanding my listening experience with new, wonderful music. Best wishes from California.
About Bach, I think that a work that represents him well is "Das Wohltemperiete Klavier". Although it is not a choral work as many may prefer, it has all the melodic and counterpoint elements that are so characteristic of the composer, in addition to being a very influential work.
Giving a second thought, I'd choose a work less grand and exalted than Saul not because I like it better. Two things I can be sure of when choosing only one work by Handel. One, I'd be pisst off as hell and two, even in that mood I'd slant towards evoking the beauty, joys and goodness of life, enchanting it with pace and diversity well balanced. So I'd choose Odyssey over Illiad, Winters Tale or Tempest over the tragedies. So with Handel I'll choose Alexander Feast. No one composed a more enchanting banquet. Handel never came closer to Haydn in being cheerful, serene, in its refined orchestration, wit and brilliance. It has Purcellian touches, Vivadian fiery, part writing as uproarious as Beethoven.Naturally, it has Handels free wheeling spontaneity at its finest.
A great choice! In fact it was almost my choice, but then I tipped toward Solomon. Saul is a towering masterpiece with a drama ofS hakesperian proportions. It also has the richest orchestration of all the Handel oratorios, as you pointed out. But what prompted me to turn toward Solomon are those magnificent double choruses that punctuate most scenes in that work. And then there is that gorgeous, charming love music in Act One, where Solomon and his Queen celebrate their connubial bliss. One further suggestion, this time for Berlioz: Again, a hard choice among some of the most boldly creative works to come from a Romanticists' pen. However, there is one work that towers over all the rest: his Wagnerian-length opera, Les Troyens. Long underappreciated, but now in the standard repertoire, it is arguably the greatest opera by a French composer, and counts, at least in my reckoning, as Berlioz' greatest masterpiece--among many worthy of choice.
I agree about Berlioz.
What’s the best recording of Saul, Dave? I know only Rene Jacobs’ Handel Oratorios CD. Anything better, guys?
The recording of Saul by Harry Christophers and his choir/ensemble The Sixteen (label: Coro) is also splendid, especially for its very 'English' polished choral singing. It also features Christopher Purves and Sarah Connolly, both excellent soloists. The interpretation is maybe generally less dramatic and exciting than the Jacob's version, but of impeccable taste, and also less eccentric.
Fine versions, both. My fave was Mackerras, but you've got to find it.
@@DavesClassicalGuide Cheers, Dave. Love your channel!
my favorite work of handel....? the organ concerto op 7 no 5 with its staccato movement. original work which surprises and which remains my flagship work of this composer ..... and then I like all the concertos for organ of handel, what profusion of idea in these works....!
Love the Handel selection!, thank you!!
Now, looking forward, I can't wait to see what you come up with for Beethoven-when you finally get to him. I can't help but think such a decision will be a difficult one, so...I'm here to help :-).
In a couple of your videos, you say to go ahead and submit future suggestions here in the "comments" section, so here we go...
How about the one work you always put on a dress shirt and tie right before you make a video to talk about it. You know the one 🙂
So...why that particular work? Because, arguably, it literally has just about everything our Mr. Beethoven has ever done or expressed in a single piece of music. In other words, every major compositional form or idea he's taken and adopted as his own, from his early, to his middle, to his late periods, is given its ultimate expression within these four movements. And as disparate as some of these elements are, they all manage to come together in the most organic, seamless, "meant-to-be" summary of the musical life of the man that can be found anywhere in his entire output. Specifically:
A) Sonata-Allegro Form - which, as we know, Beethoven inherited from Haydn & Mozart, representing the influences of his early years. And as we know, he carried that model with him, and used it again and again, throughout his life-not the least of which was in the glorious first movement of this final symphony of his. And he uses it brilliantly!
B) Sturm and Drang - a kind of expression always so close to Beethoven's heart, but particularly-and above all-in his epic "middle-period" works. Music lovers, who prefer the rousing, dramatically-themed, and highly-accessible pre-Romantic gestures of this era to the more introverted, enigmatic and obtuse abstractions of so much the late period, will find much to make them feel right back at home here. This autumnal work is proof that the same virile, indomitable spirit that once set the world on fire with such instant "grabbers" as the 5th Symphony and the "Appassionata" Sonata was still alive and well.
C) Speaking of late works, it goes without saying that there are plenty of musical elements here that tie this work with a lot of other late masterpieces. One of these, is the extensive use of contrapuntal forms-fugues, etc, which, as we know, pop up a lot in the last sonatas and quartets. Also fairly unique to the last period, is the start-and-stop uses of recitative-like passages, particularly in the finale (specifically in the cellos and basses). And speaking of extensive, the whole "theme and variations" idea, as part of a multi-movement work, really picked up steam in Beethoven's last works, and this symphony is no exception, as we can see from how much it is used in the final movement (arguably, that's the general overriding form of it).
D) Finally, there is all the, thrilling, transcendent vocal/choral writing, which hearkens all the way back to the very precocious early "Cantata on the Death of Emperor Joseph II", the middle-period opera "Fidelio", and lastly, the great "Missa Solemnis". Beethoven's choral writing, at its best, is so personal and so characteristic of who he was as a composer, that as far apart in time as these four works were written, they all seem to inhabit much the same expressive sound-world. So yeah, that's another big tie-in for the compositional "universe" that is Beethoven's output. And the fact that this is the only symphony of his that uses it, make it all even more special.
So there it is. If the idea is to present a work that has all the elements that express who this-or-that composer is uniquely about, at least to Cancrizans satisfaction, this one gets my vote. Thank you for your time and patience reading through this.
I've never been able to understand how so-called classical music lovers can flock to hear Messiah every December and not want to go further and explore all of the treasures he wrote in that form. And Saul is certainly the one I would save if I were saving one. Of the operas it would be Giulio Cesare.
But I'm going to be contrary and perverse and go for the Op. 6 concerti grossi set, all twelve, as Handel's legacy. Incredible, often dazzling variety of moods and affects, sometimes daring harmonies, ingenious ideas which to my mind surpass the Brandenburgs where Bach had so much more to work with instrumentally.
Handel was fundamentally a vocal composer, true, but Op.6 partakes of that "vocality" and often quotes ideas and tunes that appeared in his operas and oratorios.
After six decades I'm still a classical music novice (can't read music, can't distinguish pitch, got kicked out of cello in junior high school); and so I choose Water Music suites if only because they got me into "early" music-- even before I flunked cello. (Dorati/LSO; but not a recommendation-- it's just the one that hooked me).
A suggestion for Richard Strauss. I believe that the work chosen must pay heed to his obsession with the soprano voice, his work in the theatre, his mastery of orchestration, and not least that he is one in the surprisingly small group of composers who has a sense of humor, and, more to the point, succeeds in implementing it in some of his works. All these boxes are ticked by the choice of Der Rosenkavalier.
👍😁👍😂😁and David is a perfect storyteller. A wonderful series of talks and I am very curious what will be the choice for Beethoven, Brahms and Mozart. At the end we will have a wonderful playlist. And if you add your favourite recording...☀️👍😎☀️
Thank you. That's the idea!
Wowza - I was going to say Saul!
For much the same reasons, I think Belshazzar would better represent Handel. It's a dramatic work too (okay, the plot isn't THAT tense), but I think the choral parts in Belshazzar are richer and show more of the composer's work in that area.
Two queries if I may:
1. Is there a chamber work by Handel you would recommend to a beginner in his oeuvre? I’m underdeveloped in baroque music but I’m working on it. And thanks for introducing me to Biber!
2. Any chance of a Classics Today review of the Jupiter album “Eternal Heaven” which is basically a collection from various Handel operas and vocal works? I really loved “Vivaldi”, a combination of opera arias and some of his greatest concertos. Both feature the gorgeous vocal stylings of mezzo Lea Desandre.
'Solomon' and 'Israel in Egypt' are not too shabby, either. Great choral-writing, including double choruses, in Solomon, and in the latter, lots of vivid tone-painting of all the plagues besetting the Egyptians...^^
I would choose Serse. The arias are so beautiful! The operas are the very best of Handel's production.
Saul sounds promising, need to hear the whole oratorio.
Get the Mackerras, DG Archiv.
Great choice! Saul is fabulous. I’d also put Israel in Egypt into the mix. Very approachable with the plagues all so brilliantly depicted.
Today’s choice: Beethoven Bb String Quartet op. 130.
Surely Ottone, re di Germania was Händel's greatest work! Those melting oboes in the overture immediately grab the attention, it was written for an absolute all-star cast (and was the only Händel opera in which Farinelli sung), it is generally more rousing than Cesare, the aria's are as fantastic, and the story contains pirates! Petrou's recent recording of it is wonderful, but McGegan's old 1993 recording is still the one to get!
Ottone is fabulous, and I think Petrou's recent recording may be the best Handel opera recording so far.
I really enjoy these offerings to Cancrizans! Just one small quibble: Messiah's libretto is based on about a half and half selection of texts from the Old Testament and New Testament. However, most of the best-known selections are from the OT, and the whole flavor of the work is very much OT, especially emphasizing the promise of the Messiah to the Jewish people (and by extension, all of humanity). So I wonder if it might be seen as a kind of extension of Handel's love of OT texts in his other oratorios? Just a thought.
An interesting point!
My favorite, and apparently Handel's as well, is Theodora. But it is atypical, not being a biblical story at all, and some of the music seems to point beyond the "Baroque", to a new world of music that Handel did not live to elaborate on. Listen to the duet "To thee thou glorious son of worth" or the aria "Lord to thee each night and day" and try to place them in any notion of the "Baroque" as we normally think of it.
Exactly--it's a masterpiece, and incredibly moving, but also a bit atypical for our purposes here, I think. I love it, though.
I have several Handel favorites - Alexander's Feast, Orlando (that heavenly Act 1 Trio!), Saul's funeral march, Acis and Galatea, Israel in Egypt (full of amazing choruses!) The Op.6 Concerti Grossi may be more famous but I am partial to Op.3
More than Bach, I prefer Handel's Italianate vocal style, infectious dance rhythms, and often profound psychology in his operatic characters on par with Mozart.
I'd go for 'Solomon' - 'Welcome as the dawn of day' is beyond compare- couldn't BEAR to consign it to the abyss....
Should be interesting when we get to Bach. How do you not choose a sacred work? with B minor Mass edging out Matthew Passion? On the other hand, there're the pedagogical works, most notably WTC. Then again just for listening pleasure and underscoring Vivaldi's influence, the Brandenburgs. Looking forward!
Speaking of Handel's contemporary Bach, I'm going to cast my vote here for the b minor Mass. As much as I love the Brandenburg concerti and other works of Bach's, I believe that his "one work" has to be a religious one. The Passions will probably get lots of votes, but they have too many recitatives for me and I think the Mass is the greatest thing Bach ever wrote and pretty close to the greatest thing anyone ever wrote.
For me it would be "Theodora", as for me, it is the most emotionally draining work Handel ever wrote. It's also interesting as being an oratorio from church history as opposed to directly from either the Old Testament or the New Testament.
If only you had also recommended a specific recording!
Have a look at my video on the Ideal Handel Oratorios.
For Beethoven, I’d choose an album of symphonies 5 and 7 as two of the most perfect works ever composed. Also, they make you happy to be alive.
For a fantastic modern orchestra in fantastic modern sound I’d opt for Pittsburgh/Honeck.
That's a great record.
I will defer to you on this Dave, not being omniscient re Handel. I do have a soft spot for Solomon, though, for those choruses especially.
I’m thinking about this interesting assignment and having trouble with Olivier Messiaen. I don’t think Turangalila is especially representative, exciting as it is. I also thought of Vingt Regards, and the Quartet, but then those don’t have the range of colour of his orchestral stuff however marvellous they are. So, maybe controversially, I’d pick his opera Saint Francois d’Assise. It really sums up everything, the colours, the birds, the rhythms, the challenging devoutness, the block composition, the characteristic percussion, the almost infuriating length and doggedness that challenges the listener. Huge chorus at the end. If there were only one thing, that’d tell you everything you need to know about the composer :)
I think Turangalila is entirely representative. It has all of those same elements (except the religious stuff). Good enough for me.
Dave that’s fine.
And if I’m religious it’s only in the most peculiar way, as D Bowie once said
But hmm I don’t think Cancizans would be happy if we bypassed Messiaen’s most important lifetime motivation?
Tossing in a vote for Brahms symphony no. 4.
By the way, Handel so clearly showcases the headless nature of Cancricans' irascibility. I read somewhere of Handel's productivity (maybe in Hogwood's biography?), that to find something comparable, you would have to take the entire output of J.S Bach and place it beside Beethoven's complete oeuvre, and that would equal Handel's works!
Is it really fair among such a prolific body of (often master-)works to be allowed to choose but one work? In comparison to for example composers like Mascagni or Leoncavallo, I think not! 🤬
(Okay, I know, nobody promised us, that Gods, or for that matter their Highpriests, would be fair!)
Saul is a great choice! But I was also glad to hear a passing, but honorable mention for the instrumental Op. 6 sets, too...I would like to make a perhaps obvious one work suggestion for the composer to survive by: Hovhaness Mysterious Mountain, his 2nd Symphony. His first received some discouraging appraisals from Bernstein and Copland at Tanglewood, but his 2nd made his career and became a blueprint for a ton of his future works in this genre and others. You know, there is a direct parallel here with Sibelius for that matter, too, except his 1st wasn't trashed, and the blueprint laid out in his 2nd wasn't always followed so literally in subsequent works, but both men's 2nd Symphony's really made their names and set a high bar for their remaining symphonies to live up to, with varying degrees of expression...those two works/composers get my vote!
Rachmaninov too, if we're looking at parallels. And like Hovhaness, R's first symphony got the frosty reception from the establishment figures of the day ("If there was a conservatory in Hell, this symphony would win 1st place down there...", etc., etc.). Of course, the follow-up-no "2"-fared WAY better, as we all know, and is still a major staple of the concert repertoire.
@@bsdml Good call on that...and all 3 inhabit a sound world that is completely their own
Kancrezans lol, hilarious I was wondering how to spell it before you got the chance.
Dvorak - Cello Concerto. Why? Because no other cello concerto in the repertory is near as beautiful as this one (sorry Elgar). As Brahms said, if I know I could compose for cello like this...
I'm going to go with obvious here and say Messiah. :)
Why not Gulio Cesar .his best opera more duets, choruses and more dramatic arias
I suspect that the jealous god Cancrizans will ignore whatever we mere mortals may suggest for JS Bach, who was arguably his most devoted acolyte. Surely Cancrizans would insist on Art of Fugue, for selfish reasons?
Actually, he's jealous.
To pick Art of Fugue would mean I'd just have to stop listening to Bach.
For me it’s Semele
I have to go with Messiah. (I know, I know!!!)
Same plot as in Nielsen's opera.
Er...yeah. That's what happens when your source is the Bible.
@@DavesClassicalGuide Yes, of course, but the libretto could have been modified.
It's bizarre: I love Bach quite madly, but his contemporary, Handel, leaves me completely cold. And I think Cancrizans would agree with me. 😉
He doesn't.
They are both great, but in very different ways. My verdict: Bach is cool, Handel is hot. There is always a certain distancing in Bach, a fundamental reliance on the keyboard even in his vocal works, while with Handel it's all about the voice, even in his instrumental music.