George Handel Quotes

Raphael paints wisdom, Handel sings it, Phidias carves it, Shakespeare writes it, Wren builds it, Columbus sails it, Luther preaches it, Washington arms it, Watt mechanizes it.

I should be sorry if I only entertained them. I wished to make them better.

I should be sorry if I have only succeeded in entertaining them; I wished to make them better.

When Handel was asked why his music was so cheerful, he replied, “I can’t make any other. I write as I feel. When I think on God my heart is so full of joy that the notes dance and leap from my pen.” —George Frideric Handel

What the music offers in a good opera is something that comes from a region that precedes the concrete concept of drama and, strictly speaking, stands outside the world of drama. Opera does not permit men to appear in nakedly logical acts, for the music dissolves feelings and thoughts into melodies and rhythms, harmonies and counterpoints, which in themselves have no conceptual meaning. Thus in opera objective situations may very well become entirely subjective expressions. Because of its paradoxical nature opera is capable of paradoxical effects; it can express purely sensuously the most profound abstractions, and the musical drama, exerting a mass effect far more than does the spoken drama, is much more primitive as drama than the spoken theatre; it must render conflict and character in immediate symbols.

Between 1714 and 1830, every king of England was named George. They were all members of the House of Hanover, which is in Germany. It rather embarrassed the English to have to import their royal family from Germany, but they didn’t have much choice. They’d more or less run out of Stewarts. (Well, no entirely, but that’s another story.) Anyway, the first four Hanoverians were all called George. To make them easier to tell apart, they were numbered, with typical Germanic efficiency, George I, George II, George III, and George IV.

Here’s the venue layout. We have three main stages here, here and here. We’ve got Johnny Cash, Lillie Langtry and Karen Carpenter headlining. George Handel and Glen Miller are putting together some fusion thing for the chill-out tent.” “Johnny Cash,” said Pius. “Isn’t he in Hell?” “We got him on secondment.” “You’ve got the damned performing at our festival?” “No, The Damned are still alive and touring down on Earth,” said Joan, grinning. No one else smiled. “Whoosh,” said Evelyn, passing a hand over her head.

A study of Handel’s operas and other dramatic works in addition to the undramatic and hence atypical Messiah will disclose a Handel largely unknown: a composer with a remarkable sense for dramatic human character. He saw men and women where others have seen only historical-mythical busts.

Well Josie,” my dad turned to me suddenly. “I think you and Samuel have earned the right to name the colt. Whaddya think?” I looked at Samuel expectantly, but he just shrugged, dipping his head in my direction as he deferred to me. “Go ahead, Josie.” “George Frederic Handel,” I said impulsively. Jacob and my dad groaned loudly in unison and hooted in laughing protest. “What the hell kind of name is that, Josie?” My brother howled. “He’s a composer!” I cried out, embarrassed and wishing I had taken a minute to think before I blurted out the first thing that came to my head. A smile played around Samuel’s lips as he joined in the fray. “He wrote the music that Josie played last night at the church service.” “I just thought the colt should have a Christmas name, and Handel’s Hallelujah Chorus is synonymous with Christmas!” I defended and then cringed as Jacob and my dad burst out laughing again. My dad wiped tears of mirth from his eyes as he tried to get control of himself. “We’ll call him Handel,” he choked out. “It’s a very nice name, Josie.” He patted my shoulder, still chuckling. I felt like I was ten years old.

The early to mid-1780s were years of exponential growth for Mozart, not only in terms of his family and career but in his style and exposure as a composer and musician. He met Gottfried van Swieten, a Viennese government official who was a keen patron of musicians at this time. He gave Mozart access to his formidable library of compositions, and Mozart delved into study of the works of some famous predecessors, most notably Johann Sebastian Bach and George Frideric Handel. Access to the breadth of their work highly influenced many of Mozart’s works in the year to come, as he shifted to a more Baroque style in many of his compositions. This influence can most clearly be heard in his opera The Magic Flute, as well as Symphony No. 41. It was also at this time, and perhaps influenced by his study of the greats that came so recently before him, that Mozart wrote one of his greatest liturgical pieces, Mass in C minor. It was performed for the first time in 1783 when Wolfgang and Constanze traveled to Salzburg in order to visit Mozart’s father and sister.