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Handle verb To use the hands. Handle noun That part of vessels, instruments, etc. Handle noun That of which use is made; the instrument for effecting a purpose; a tool.

Webster Dictionary. Handle noun the appendage to an object that is designed to be held in order to use or move it; "he grabbed the hammer by the handle" "it was an old briefcase but it still had a good grip" Handle verb be in charge of, act on, or dispose of; "I can deal with this crew of workers" "This blender can't handle nuts" "She managed her parents' affairs after they got too old" Handle verb interact in a certain way; "Do right by her" "Treat him with caution, please" "Handle the press reporters gently" Handle verb deal with verbally or in some form of artistic expression; "This book deals with incest" "The course covered all of Western Civilization" "The new book treats the history of China" Handle verb touch, lift, or hold with the hands; "Don't handle the merchandise" Handle verb handle effectively; "The burglar wielded an axe" Handle verb show and train; "The prize-winning poodle was handled by Mrs.

Priscilla Prescott". Handel noun a prolific German baroque composer remembered best for his oratorio Messiah Handel noun the music of Handel.

Handle Illustrations. Handel Illustrations. Popular Comparisons. Adress vs. Comming vs. Speech vs. Neice vs. Label vs. Chief vs.

Teat vs. Beeing vs. Genius vs. Protestor vs. Planing vs. Attendance vs. Beggar vs. Nylon vs. Extention vs. Cancelation vs. Latest Comparisons Mantid vs.

Vino vs. Verify vs. Vision vs. Soy vs. Invent vs. Crochet vs. Demiromantic vs. Modify vs. Wool vs. Teared vs. Pot vs. Absorbance vs.

Hospital vs. Landmark vs. Kakuro vs. Trending Comparisons. Choppy vs. Glycerol vs. Porridge vs. Lightning vs.

Freezer vs. Tent vs. Domme vs. Pimiento vs. Tactic vs. Exoteric vs. Pentagon vs. 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.

He was a member of a very musical family. His sister Fanny Burney was a celebrated performer. He travelled widely and he wrote a large number of books about music in Europe and an extremely important book for Handel scholars about the centenary celebrations when Messiah was performed in Westminster Abbey, along with some other works.

Not just about the details, but about the reception of the music, which I think is extremely interesting. You talked about the beginnings of the field of the study of music history, of musicology.

Do you think that Handel and his colleagues would have considered themselves in this context — as the latest in a line of musicians, carrying the field onwards?

The answer to your question is that, to a large extent, Handel and Bach regarded themselves as professionals, as serious composers, but what they were doing was writing music for now.

It was assumed that each generation would move on from the one before. Handel would revive old pieces, but this idea about writing for posterity is quite a new idea, and not really one that I think was in the forefront of their minds.

Before that, it was assumed that each generation made its own music and would move on from the music of the past. Bach and Haydn, then the music of Handel and J.

It would be like, you know, travelling by horse and cart when you could get the train. What would be the point of that?

Why would you play an old fashioned recorder when you could play on a modern flute? It would just be a daft thing to do. But people began to take the idea of looking at the past seriously.

This is a very interesting moment in music, because it then also affects the role of new music. In which case, what does new music do — what is it for?

Each generation will make improvements on the one before. Burney did claim to have met Handel once, when he was a schoolboy in Chester, and actually it was when Handel was on the way to Dublin to perform Messiah.

He had the manuscript of the script of Messiah with him, so he got in touch with the local cathedral organist, and gathered some singers together for a sing-through.

So I can, sir. But not at first sight. It is! The thing about Delany is that she lived pretty much the whole of the 18th century.

She was born in , and she died at a great age. She was also a voluminous letter writer, very well-educated, absolutely passionate about music, but also personally well connected.

She knew him well and was a great supporter and friend. So was her brother, Bernard Granville. The two of them corresponded about Handel.

She was married twice and her second husband was a man called Patrick Delany, the Chancellor of Christ Church Cathedral at the time of the first performance of Messiah.

Let me see if I can find one. I hope you find Mr Handel well. I bid compliments to him. He has no more real admirer of his great work than myself.

His wonderful Messiah will never be out of my head. This is just two friends, writing about another friend.

When Handel lost his sight towards the end of his life, Mrs Delany writes:. And indeed so do many other friends.

In the year , I first saw Mr Handel. He was introduced to my uncle Stanley by Mr Heidegger, the famous manager of the opera, and the most ugly man that ever was formed.

Then she plays the spinnet to Handel, a small domestic keyboard instrument, and her uncle asks if she thinks she will ever play as well as Mr Handel.

This is the great thing about the 17th century. You get a lot of very colourful, feisty characters — men and women. You mentioned his going blind towards the end of his life.

How much longer did he live after that? The onset of blindness was, I think, towards the end of the s, and he lived to So certainly by the last five years of his life, he was totally blind.

He had to give up active participation in performances, although he did still play the organ. But he could no longer direct performances, and handed over those duties to his assistants.

But was he accepted at the time of his death to have been a great genius? There was a public monument to him in Vauxhall Pleasure Gardens, which is not there anymore, and the same sculptor, a Frenchman called Roubiliac, made the one that was put up in the nave at Westminster Abbey.

This is a good indication of his standing and his status at the time of his death. Is that your favourite Handel composition?

No two pieces are alike, which means that there are so many pieces which have a wonderful appeal in their own right.

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Handel noun a prolific German baroque composer remembered best for his oratorio Messiah Handel noun the music of Handel. Handle Illustrations.

Handel Illustrations. Popular Comparisons. Adress vs. Comming vs. Speech vs. Neice vs. Label vs. Chief vs. Teat vs. Beeing vs. Genius vs.

Protestor vs. Planing vs. Attendance vs. Beggar vs. Nylon vs. Extention vs. Cancelation vs. Latest Comparisons Mantid vs.

Vino vs. Verify vs. Vision vs. Soy vs. Invent vs. Crochet vs. Demiromantic vs. Modify vs. Wool vs. Teared vs. Pot vs. Absorbance vs.

Hospital vs. Landmark vs. Kakuro vs. 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.

He was a member of a very musical family. His sister Fanny Burney was a celebrated performer. He travelled widely and he wrote a large number of books about music in Europe and an extremely important book for Handel scholars about the centenary celebrations when Messiah was performed in Westminster Abbey, along with some other works.

Not just about the details, but about the reception of the music, which I think is extremely interesting. You talked about the beginnings of the field of the study of music history, of musicology.

Do you think that Handel and his colleagues would have considered themselves in this context — as the latest in a line of musicians, carrying the field onwards?

The answer to your question is that, to a large extent, Handel and Bach regarded themselves as professionals, as serious composers, but what they were doing was writing music for now.

It was assumed that each generation would move on from the one before. Handel would revive old pieces, but this idea about writing for posterity is quite a new idea, and not really one that I think was in the forefront of their minds.

Before that, it was assumed that each generation made its own music and would move on from the music of the past. Bach and Haydn, then the music of Handel and J.

It would be like, you know, travelling by horse and cart when you could get the train. What would be the point of that?

Why would you play an old fashioned recorder when you could play on a modern flute? It would just be a daft thing to do. But people began to take the idea of looking at the past seriously.

This is a very interesting moment in music, because it then also affects the role of new music. In which case, what does new music do — what is it for?

Each generation will make improvements on the one before. Burney did claim to have met Handel once, when he was a schoolboy in Chester, and actually it was when Handel was on the way to Dublin to perform Messiah.

He had the manuscript of the script of Messiah with him, so he got in touch with the local cathedral organist, and gathered some singers together for a sing-through.

So I can, sir. But not at first sight. It is! The thing about Delany is that she lived pretty much the whole of the 18th century.

She was born in , and she died at a great age. She was also a voluminous letter writer, very well-educated, absolutely passionate about music, but also personally well connected.

She knew him well and was a great supporter and friend. So was her brother, Bernard Granville. The two of them corresponded about Handel.

She was married twice and her second husband was a man called Patrick Delany, the Chancellor of Christ Church Cathedral at the time of the first performance of Messiah.

Let me see if I can find one. I hope you find Mr Handel well. I bid compliments to him. He has no more real admirer of his great work than myself.

His wonderful Messiah will never be out of my head. This is just two friends, writing about another friend. When Handel lost his sight towards the end of his life, Mrs Delany writes:.

And indeed so do many other friends. In the year , I first saw Mr Handel. He was introduced to my uncle Stanley by Mr Heidegger, the famous manager of the opera, and the most ugly man that ever was formed.

Then she plays the spinnet to Handel, a small domestic keyboard instrument, and her uncle asks if she thinks she will ever play as well as Mr Handel.

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