How Handel's Messiah helped London's orphans – and vice versa | Music | The Guardian
[To Bradley Lehman] I haven't the foggiest concerning relationship between JSB and his "Handel wore an enormous white wig, and when things went wella t the . After all, the best baker in town has a practical goal in mind, namely that. George Handel's oratorio is Britain's best-loved choral work. Messiah's story and Handel's music is its intimate connection to the Foundling Hospital, and the . We hope to pass our goal by early January . Just watched Howard Goodall's Story of Music on Bach and Handel not being well informed. practice. Bach's motet Jesu meine Freude shows a clear relationship The music of both Bach and Handel was influenced by an understanding of rhetoric. Its primary purpose is didactic employing a text with a dialectical argument.
Bach made a second attempt to contact Handel ten years later, and that also failed to pan out. So the two greatest composers of their age worked at their art without meeting.
Handel created some of the most festive baroque music and Bach some of the most introspective. Both worked until their eyes failed.
- Handel or Bach? The great Baroque debate
- How Handel's Messiah helped London's orphans – and vice versa
And here we meet a third character: Taylor, born the son of an apothecary instudied medicine and specialized in ophthalmology. He soon rose to the post of eye doctor to King George II and became a shameless self-promoter.
Bach Family - Discussions Part 3
By the time Bach and Handel began losing their sight, Taylor was traveling widely on the continent. During a visit to Leipzig inTaylor operated on Bach's ailing eyes.
When the first operation failed, he tried a second one. After those operations, Bach's blindness was total and his health failed.
He died less than a year later. Taylor had probably killed him. Following 17 years of campaigning, the philanthropist Thomas Coram had been granted a royal charter in by George II to establish a new charity to care for the babies that would otherwise have been abandoned on doorsteps and rubbish heaps by desperate mothers, usually young and unmarried, who had nowhere else to turn. Unusually, one of its founding governors was an artist, William Hogarth. A committed supporter of the Foundling Hospital and a canny entrepreneur, Hogarth realised that if the charity was to succeed, it needed to establish itself in the public's imagination.
He first designed the hospital's logo and then donated a full-length portrait of the charity's indomitable founder, his friend, Thomas Coram.
This stunning painting can still be seen today in the Foundling Museumon the site of the former Hospital. Having set the ball rolling, Hogarth then persuaded leading artists such as Joshua Reynolds, Allan Ramsay and Thomas Gainsborough to donate works.
It was to be a win-win scheme. The one is dreadful and the other is simply wonderful although the soloists and their nature in the resp. The uninteresting CD for both works is that of Ledger.
How Mozart loved Handel
Less said, the better. The JSB has three boy soloists and the whole performance is more than one could ask for. However there are endless recordings of JSB's and anyone may like this or that.
But here's really my question: On the Ledger, as I likewise recall on the Prohaska, no.
On the Schmidt-Gaden in the six recitations of this one sentence beginning "Et misericordia" it seems to me that in the 2nd recitation the sentence is done by two sopranos and in the fifth recitation by an alto and a soprano. Various of the choral presentations of the same sentence are so subtlety produced by the different parts of the four part chorus that that which in the Ledger is a boring repetition, here seems a really well-crafted and appealing musical section.
Is this all up to the conductor and not clearly notated by CPE? Other than that I really was deeply impressed by Maureen Lehane. Oh, finally before I forget: This is rather strange on the C.
J. S. Bach: Greatest Composer?
Aryeh's discography gives for the JSB Bach. Evan Cortens wrote January 10, I'll have to check out Schmidt-Gaden!
While a number of good articles have been written on it see references belowthere is still no critical edition, though one is currently being prepared by Christine Blanken for the CPE Bach Complete Works. I don't know when it will be available, but when it is, it will be quite cheap: There is, to my knowledge, one printed edition of the work, but it basically reproduces D-B P, CPEB 's first autograph score, written in in Berlin and likely performed as a test piece in Leipzigwhen he applied for his father's job, an audition that was unsuccessful.
I haven't yet found a recording that uses this version. Hamburga city that seemed to enjoy its bureaucracy, kept extensive pay records for musical performances. This evidence indicates that there were eight singers in this choir. Furthermore, CPEB or his copyists often wrote the names of the singers on their parts, indicating that the parts weren't shared. Another point of interest is that in his Hamburg passion settings, CPEB would often indicate who he was writing an aria for write in the score, "aria for H.