Part 1 (1/2)

Handel.

by Romain Rolland.

PREFACE

For a proper appreciation of the colossal work of Handel many years of study and a book of some two hundred pages are very insufficient. To treat at all adequately of Handel's life and work needs a whole lifetime in itself, and even the indefatigable and enthusiastic Chrysander, who devoted his life to this subject, has hardly encompa.s.sed the task.... I have done what I could; my faults must be excused. This little book does not pretend to be anything more than a very brief sketch of the life and technique of Handel. I hope to study his character, his work, and his times, more in detail in another volume.

ROMAIN ROLLAND.

INTRODUCTION

BY THE EDITOR

Here in England we are supposed to know our Handel by heart, but it is doubtful whether we do. Who can say from memory the t.i.tles of even six of his thirty-nine operas, from whence may be culled many of his choicest flowers of melody? M. Rolland rightly emphasises the importance of the operas of Handel in the long chain of musical evolution, and it seems impossible for anyone to lay down his book without having a more all-round impression than heretofore of this giant among composers.

M. Saint-Saens once compared the position of a conductor in front of the score of a Handel oratorio to that of a man who sought to settle with his family in some old mansion which has been uninhabited for centuries.

The music was different altogether from that to which he was accustomed.

No nuances, no bowing, frequently no indication of rate, and often merely a ”sketched-in” ba.s.s.... Tradition only could guide him, and the English, who alone could have preserved this, he considers, have lost it.

Can it be recovered to any extent, and, if so, how?

Behind each towering figure of genius are to be found numbers of eloquent men who prepared the way for him; and amongst these precursors there is frequently discovered one who exercised a dominating influence over the young budding genius. Such an influence was exercised by Zachau on Handel, and M. Rolland rightly gives due importance to the consideration of this old master's teachings and compositions, a careful study of which should go far to supplying the right key to Handel's music. One of the great shortcomings in the general musical listener is a lack of the historical view of music. It is a long cry from Bach and Handel to Debussy and Scriabin, but we shall be all the better for looking well at both ends of the long musical chain which connects the unvoiced expression of the past with the vague yet certain hopes of the future.

No doubt we have hardly yet recovered from the false position into which we have all helped to place Handel. He was never the great Church composer which has been a.s.sumed for so long. Perhaps, rather, he leaned to the pagan side of life in his art. As Mr. Streatfeild says, ”You can no more call the _Messiah_ a work of art than you can call the _Book of Common Prayer_ popular as a masterpiece of literature.... Handel the preacher is laid for ever in the tomb, but Handel the artist with his all-embracing sympathy for human things and his delight in the world around him lives for evermore.” Handel has been greatly, almost wilfully, misrepresented; but he has played too great a part in the history of English music to be cast aside on this account. It is true that there are many difficulties in the way of a clearer understanding of his music. A two-hundred years' overgrowth of vain vocal traditions is not going to be torn away in the s.p.a.ce of a few years.

If the operas have been overlooked in favour of the oratorios, then his instrumental music has been even more neglected on account of the preponderance of his vocal movements. In a recent important contribution to Handelian biography only a few pages are given to the instrumental works. In this respect M. Rolland's clear and critical biography fills in a distinct _hiatus_.

Moreover, Handel sojourned in Germany, Italy, finally (and longest) in England--but never in France. M. Rolland, therefore, a Frenchman and the author of that brilliant work _Histoire de l'Opera en Europe avant Lulli et Scarlatti_, may, more than any other writer, be expected to bring a freshness of vision and an impartial judgment to bear on Handel's works.

_And he has not disappointed us._

A. E. H.

GEORGE FREDERICK HANDEL

HIS LIFE

The Handel family was of Silesian origin.[1] The grandfather, Valentine Handel, was a master coppersmith at Breslau. The father, George Handel, was a barber-surgeon, originally attached to the service of the armies of Saxony, then of Sweden, later of the French Emperor, and finally in the private service of Duke Augustus of Saxony. He was very rich, and purchased at Halle in 1665 a beautiful house, which is still in existence. He was married twice; in 1643 he married a widow of a barber, who was ten years older than himself (he had six children by her); and in 1683, the daughter of a pastor who was thirty years younger than he was: he had four children by her, of which the second was George Frederick.

Both parents sprang from that good old _bourgeois_ stock of the seventeenth century which was such excellent soil for genius and for faith. Handel, the surgeon, was a man of gigantic stature, serious, severe, energetic, religiously attached to duty, upright and affable in his dealings with those around him.

His portrait exhibits a large clean-shaven face which has the impression of one who never smiled. The head is carried high, the eyes morose; prominent nose and a pleasant but obstinate mouth; long hair with white curls falling on his shoulders; black cap, collar of lace, and coat of black satin: the aspect of a parliamentary man of his time.--The mother was no less st.u.r.dy a character. Of a clerical family on the maternal side as well as on the paternal side, with a spirit imbued with the Bible, she had a calm courage, which came out prominently when the country was ravaged by pestilence. Her sister and her elder brother were both carried off by the plague; her father was also affected. She refused to leave them and remained quietly at home. She was then engaged to be married.--This st.u.r.dy couple transmitted to their distinguished son in place of good looks (which he certainly had not, and which never disquieted him) their physical and moral health, their stature, their keen intelligence and common sense, their application to work, and the indestructible essence of their quiet, calm spirit.

George Frederick Handel was born at Halle on Monday, February 23, 1685.[2] His father was then sixty-three years, and his mother thirty-four.[3]