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.

After all, there was something rather pleasant in knowing that you were misunderstood. It made you feel different from everyone else.

... true evil needs no reason to exist, it simply is and feeds upon itself.

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

When Handel had his breakdown, he was, according to my opera-loving mother, “the ideal man” in that state, honourable, loving the world he could no longer be a part of, even if the world was a place of continual war.

The King walks. He nods. His glance is like God's touch - under it all things spring to life. A wave of his hand and a hundred musicians tear into the Handel, making a sound you've never heard before, and never will again. A sound that goes through you, through flesh and bone, and reorders the very beat of your heart.

The most sensitive,the most delicate of instruments is the mind of a little child

Meine Mittelmäßigkeit erkennen, nicht in geißelnder Selbstverachtung, nicht im Bekennerhochmut, sondern als Gefahr für die Integrität des Handels, wenn ich sie aus den Augen lasse.

Jesus, these Protestants! In my church we didn't sing cheap hymns. With us it was Handel and Palestrina.

Take a Nicodemus and put a Joseph Smith's spirit in him, and what do you have? Take a Da Vinci or a Michelangelo or a Shakespeare and give him a total knowledge of the plan of salvation of God and personal revelation and cleanse him and take a look at the statues he will carve and the murals he will paint and the masterpieves he will produce. Take a handel with his purposeful effort, his superb talent, his earnest desire to properly depict the story, and give him inward vision of the whole true story and revelation, and what a master you will have!

Does not… the ear of Handel predict the witchcraft of harmonic sound?

To me, animals have all the traits indicative of soul. For soul is not something we can see or measure...No one can prove that animals have souls. Asking for proof would be like demanding proof that I love my wife and children, or wanting me to prove that Handel's Messiah is a glorious masterpiece of music. Some truths simply cannot be demonstrated. But if we open our hearts to other creatures and allow ourselves to sympathize with their joys and struggles, we will find they have the power to touch and transform us. There is an inwardness in other creatures that awakens what is innermost in ourselves.

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

De liefde is die handeling waarbij iets a-posteriorisch –de bij toeval ontmoette ander– wordt omgezet in een a-priori –de voorwaarde om te kunnen leven–.

I have heard great music--even sublime music. I've heard music fit for princes, for kings. I have hard music fit for any monarch. But that night, for the first time in my life, I heard music fit for God.

It's worth remembering that [having a baby] is not of vital use to you as a woman. Yes, you could learn thousands of interesting things about love, strength, faith, fear, human relationships, genetic loyalty, and the effect of apricots on an immune digestive system. But I don't think there's a single lesson that motherhood has to offer that couldn't be learned elsewhere. If you want to know what's in motherhood for you, as a woman, then-in truth-it's nothing you couldn't get from, say, reading the 100 greatest books in human history; learning a foreign language well enough to argue in it; climbing hills; loving recklessly; sitting quietly, alone, in the dawn; drinking whiskey with revolutionaries; learning to do close-hand magic; swimming in a river in the winter; growing foxgloves, peas, and roses; calling your mum; singing while you walk; being polite; and always, always helping strangers. No one has ever claimed for a minute that childless men have missed out on a vital aspect of their existence, and were the poorer and crippled by it. Da Vinci, Van Gogh, Newton, Faraday, Plato, Aquinas, Beethoven, Handel, Kant, Hume, Jesus. They all seem to have managed quite well.

To want a gift and not receive it,that is a life of torture. To have a gift and lose it--that is eternal hell.

Laura began to model herself more and more on those around her; to grasp that the unpardonable sin is to vary from the common mould.

Kindness is like a muscle, the more we exercise it the better we are at it. Kindness starts as a thought but ends as an action. Acting kindly toward others is the only real way to let people know we care about them and their happiness. Without action, kindness just lives in our minds but never touches the real world. Being kind to others doesn’t have to be complex or fancy. Sometimes the simplest acts of kindness are seen as the most sincere, such as holding the door, helping with directions, saying “please” and “thank you,” or even just a smile.

Most often, however, we arrive at planets like this one … long forgotten after the Endplague has left them for dead. I played Handel. The survivors cried. They told me of the crimes they had committed. I told them of mine. Many were angry. More were ashamed. They asked, “Do we even have the right to hear this music? Is this okay?” But as I played, they listened. And slowly, their music welcomed them home. What did they find? Perhaps themselves. Perhaps each other—who am I to say? All I know is that I was not playing alone.

The key difference between a geek and a critic is that a critic digs deep and tries to get behind the surface of things, for better or worse, while a geek is interested in his own hedonism, the thrill of discovery.A geek is expansive and associative and doesn’t necessarily care what a film or a scene ‘means’. It’s the difference between the encyclopaedia and the scholar. A critic likes an interesting association, a nice phrase; the geek admires the beau geste, a pulpy story and its codes of honour taken seriously. Tarantino rather combines those two roles. He is encyclopaedic but also interpretive. He is a human Rolodex of credits. His films are like stuffed overnight bags breaking at the seams. The Handel of filmmakers, he takes the whole of cinema as his resource. But he also provides new meanings, new interpretations of old moments by the way he recontextualizes them.

Tallis with no pedal, Handel with, even the horrible organ piece that had been written for someone with three hands. He had thought it had all gone, but all he had done was lock himself up in a few little rooms and assume the rest of the house had fallen down. It hadn't. There were doors and doors, and dust, but when the curtains opened and the drapes came off, it was all where he had left it and hardly faded. He took his hands from the keys and sat with them in his lap instead, because his thoughts were echoing in the new space.

Inside each of us is our ideal life: our true north.

She could not then know that, even for the squarest peg, the right hole may ultimately be found

Soms is een gedachte dichter bij de waarheid, bij de werkelijkheid, dan een handeling. Je kunt alles zeggen, je kunt alles doen, maar een gedachte kun je niet veinzen.

[W]enn der Austausch [Handel] nicht in Liebe und freundlicher Gerechtigkeit stattfindet, wird er bloß einige zur Gier und andere zum Hunger führen.

Die allermeiste Gesellschaft ist so beschaffen, dass wer sie gegen die Einsamkeit vertauscht einen guten Handel macht.

..there are men who regret that we cannot hear our Handel exactly as Handel meant us to because, unfortunately, we no longer castrate boy singers

– En kärlek med villkor är ju handel.

Lass uns einen Handel abschließen." "Einen Handel?", wieder hole ich. "Gibt es hier ein Echo?" "Nein, aber ein Veilchen, wenn du mir so kommst.

Handel’s “He Shall Feed His Flock Like a Shepherd,” a popular anthem with elaborate part singing that the congregation performed faultlessly. As hundreds of tenor voices soared across the

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

If we’re not the one driving our dreams forward, who is? If we don’t figure out how to change jobs, eat healthily, date, fall and stay in love, who will come save us? No one. But, then again, no one should, right? The are, after all, our dreams.

The human attitude of which classical music is the expression is always the same; it is always based on the same kind of insight into life and strives for the same kind of victory over blind chance. Classical music as gesture signifies knowledge of the tragedy of the human condition, affirmation of human destiny, courage, cheerful serenity. The grace of a minuet by Handel or Couperin, the sensuality sublimated into delicate gesture to be found in many Italian composers or in Mozart, the tranquil, composed readiness for death in Bach – always there may be heard in these works a defiance, a death-defying intrepidity, a gallantry, and a note of superhuman laughter, of immortal gay serenity. Let that same note also sound in our Glass Bead Games, and in our whole lives, acts, and sufferings.

Het is vooral van belang dat wij ons aandeel bekomen in de exploitatie van denieuwe en groote Chinesen markt. Geen beter middel, voorzeker , om ons in deze verre landen te doen kennen en ze zelf te leeren kennen, dan een nijverheids-en handelsgezantschap te sturen bij de hoven van Yedo en Peking, ten einde de keizers om hunne vriendschap te vragen en hun stalen aan te bieden van onze producten, als daar zijn : Kanonnen, krijgs-en prachtwapens, stoffen, tapijten, lakens, weefsels, garen, linnen, kant, meubelen, messen, spiegels, vensterglazen, rijtuigen, modellen van machines, stalen van ijzer, zink, kolen enz. enz.

Het volstaat te durven om te slagen; dat is een der geheimen van de macht en den luister dien, gedurende meer dan eene eeuw, onze naburen ten Noorden, de Vereenigde-Provinciën, genoten. Zonder eenigen twijfel bezitten wij gelijke bestanddeelen van voorspoed; waarom zouden onze bedoelingen niet evenzoo hoog strekken?

In the nineteenth century, Emile Durkheim, the founder of sociology and an early pioneer of the social sciences, ran a thought experiment in one of his books: What if there were no crime? What if there emerged a society where everyone was perfectly respectful and nonviolent and everyone was equal? What if no one lied or hurt each other? What if corruption did not exist? What would happen? Would conflict cease? Would stress evaporate? Would everyone frolic in fields picking daises and singing the "Hallelujah" chorus from Handel's Messiah? Durkheim said no, that in fact the opposite would happen. He suggested that the more comfortable and ethical a society became, the more that small indiscretions would become magnified in our minds. If everyone stopped killing each other, we wouldn't necessarily feel good about it. We'd just get equally upset about the more minor stuff. Developmental psychology has long argued something similar: that protecting people from problems or adversity doesn't make them happier or more secure; it makes them more easily insecure. A young person who has been sheltered form dealing with any challenges or injustices growing up will come to find the slightest inconveniences of adult life intolerable, and will have the childish public meltdown to prove it.

We hebben behoefte aan een algemeen stemrecht, zodat in de volksvertegenwoordiging eindelijk mensen verkozen worden die de echte belangen van het echte volk behartigen, pas dan kan het volk zich werkelijk een vrij volk weten, maar dat wordt belet door de wereld van de handel, de industrie, het kleine en het grote vermogen.

Having considered Handel's tumultuous opera career and his first term at Covent Garden in the 1730s, perhaps we may dare to suggest he was one of the foremost pioneers in establishing autonomy within the traditional system of music patronage, notwithstanding his efforts to become an independent impressario often proved disappointing.

William was quite the hand at Couperin’s Messe pour les couvents, too, and Alice had been right about the Christmas section from Handel’s Messiah. As for the seduced parishioner, the military man’s young wife, Jack’s mother told him little—only enough that the boy assumed his father hadn’t been asked to leave Kastelskirken for flubbing a refrain.

Handel's yearning for independence from the traditional chains of patronage and his persistence in monitoring his productions resulted with unique developments concerning Baroque 'opera seria'; however, paradoxically his personal obsession to obtain complete artistic freedom generated disastrous side-effects that eventually impeded the progress of opera in London.

De volmaaktheid onzer producten en de matigheid onzer prijzen geven ons het recht eene ruime plaats op al de markten der wereld te eischen. Eene jonge natie als de onze moet stoutmoedig zijn, altijd vooruitgaan en vertrouwen in zich zelve stellen. Onze geldmiddelen zijn onschatbaar, ik vrees niet het te zeggen, en wij kunnen er een onberekenbaar voordeel mede doen.

Caroline, sister of William, was trained by him as a singer in the Bath days and had considerable success in Handel's oratorios under her brother's conductorship. (The method of training adopted was for her to sing the violin parts of concertos with a gag in her mouth.) It was with great reluctance that she dropped music to be trained as an assistant astronomer, yet she made discoveries — eight minor planets, one of them named after her.

Did you ever notice that most of us relate to our lives like we have no control or say over them? Especially in areas where we’re not proud. We speak about ourselves like we’re reporting on the weather, making sweeping generalizations...And boy do we ever believe our own ‘forecasts.

Ever notice how on a bad day you never deserve a salad? I mean how long do you think your bad mood would really last if you only fed your brat celery? How many bad days would your brat tolerate if it no longer got rewarded a drink, a cigarette, or an entire Netflix series on the couch for it.

Isaiah 40–66 is of the utmost importance for the Gospels’ self-understanding and proclamation. Sprinkled throughout all the Gospels, but especially Matthew and Luke, are direct quotations, strong allusions, and subtle echoes from Isaiah. We can say without overstatement that the eschatological vision of Isaiah 40–66 serves as the primary subtext and framing for the Gospels’ witness.[41] This is not a new insight, as is witnessed by the centrality of Isaiah in Christian interpretation, in everything from homily and commentary to Handel’s famous oratorio Messiah, which begins with the tenor aria “Comfort, O Comfort my People” (from Isa. 40:1).

For out of it all rose the vague, crude picture of woman as the prey of man. Man was animal, a composite of lust and cruelty, with no aim but that of brutally taking his pleasure: something monstrous, yet to be adored; annihilating, yet to be sought after; something to flee and, at the same time, to entice, with every art at one's disposal.

The empire of the sky occupies territory emptied of vitality. Heavenly imperialism aims at biological neutrality. How does music suck our blood? Man cannot live without support in space. But music annihilates space completely. The only art capable of bringing comfort, yet it opens up more wounds than all the others! Music is the sound track of askesis. Could one make love after Bach? Not even after Handel, whose unearthliness does not have a heavenly perfume. Music is a tomb of delights, beatitude which buries us. Saintliness also draws blood. We lose it in direct proportion to our longing for heaven. The roads to heaven have been worn smooth by all the erring instincts. Indeed, heaven was born of these errors.

The political powers, in both Jesus’ day and our own, play on fear to get their way—whether it be the fear of the emperor, the fear of terrorists, the fear of the foreign “other,” or the fear of death. But with “this day” comes a new possibility. The first words spoken after Jesus’ birth are “‘Do not be afraid; for see—I am bringing you good news of great joy for all the people.

Human beings are responsible for art, science, medicine, education, the Sistine Chapel, Handel’s Messiah, New York City, space travel, the novel, photography, and Mexican food — I mean, who doesn’t love Mexican food? But we’re also responsible for a world with 27 million slaves, blatant racism, the Holocaust, Hiroshima, the genocide in Rwanda, ISIS, the financial meltdown of 2008, pornography, global warming, the endangered-species list, and don’t even get me started on pop music. So we humans are a mixed bag. We have a great capacity — more than we know — to rule in a way that is life-giving for the people around us and the place we call home, or to rule in such a way that we exploit the earth itself and rob people of an environment where they can thrive. This was God’s risk. His venture. His experiment.

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.

The ancient triumph of Christianity proved to be the single greatest cultural transformation our world has ever seen. Without it the entire history of Late Antiquity would not have happened as it did. We would never have had the Middle Ages, the Reformation, the Renaissance, or modernity as we know it. There could never have been a Matthew Arnold. Or any of the Victorian poets. Or any of the other authors of our canon: no Milton, no Shakespeare, no Chaucer. We would have had none of our revered artists: Michelangelo, Leonardo da Vinci, or Rembrandt. And none of our brilliant composers: Mozart, Handel, or Bach. To be sure, we would have had other Miltons, Michelangelos, and Mozarts in their places, and it is impossible to know whether these would have been better or worse. But they would have been incalculably different.

In 2036, the USA elected an over-the-top, unapologetic fundamentalist president named Andrew Handel. Yes, that Handel. During his term, he tried to ban election of non-Christians to any public post, and tried to remove the constitutional separation between church and state. He was nominated, supported, and elected based on his religious views, rather than on his political or fiscal expertise. And of course, he appointed persons of similar persuasion to every post he could manage, in some cases blatantly ignoring laws and procedures. He and his cronies rammed through far-right policies with no thought for consequences. In a number of cases, when challenged on the results, he declared that God would not allow their just cause to fail. He eventually brought the USA to its knees in an economic collapse that made the 2008 recession look like a picnic in the park.

Biblia być może, a nawet na pewno, daje moralne przyzwolenia na handel ludźmi, czystki etniczne, niewolnictwo, na wykupywanie żony oraz masowe masakry i rzezie, lecz my nie mamy z tym nic wspólnego, ponieważ dopuszczały się tego prymitywne, pozbawione ogłady ssaki z gatunku homo sapiens. Nie trzeba przy tym dodawać, że żadne z tych makabrycznych, obłąkańczych wydarzeń opisanych w Księdze Wyjścia nigdy nie nastąpiło. Izraelscy archeologowie należą do najlepszych w świecie specjalistów w tej dziedzinie, nawet jeśli ich profesjonalizm bywa czasami skażony pragnieniem udowodnienia, że „przymierze” między Bogiem a Mojżeszem jest oparte na faktach. Nie było chyba grupy wykopaliskowej i badawczej, która pracowałaby z większym zapałem i mozołem czy z większymi oczekiwaniami niż Izraelczycy, którzy przeszukiwali, ziarnko po ziarnku, piaski półwyspu Synaj oraz krainy Kanaan.

Just listen you poor creature, listen without either pathos or mockery, while far away behind the veil of this hopeless idiotic and ridiculous apparatus the form of this divine music passes by. Pay attention and you will learn something. Observe what this crazy speaking-trumpet, apparently the most stupid, the most useless and the most damnable thing that the world contains, contrives to do. It take hold of some music played where you please, without distinction or discretion, lamentably distorted, to boot, and chucks it into space to land where it has no business to be; and yet after all this it cannot destroy the spirit of the music; it can only, however it may meddle and mar, lay its senseless mechanism at its feet. Listen, then, you poor thing. Listen well. You have need of it. And now you hear not only a Handel who, disfigured by radio, is, all the same, in the most ghastly of disguises, still divine;

wie niets heeft, kan niets delen. Wie alles moet delen wordt niet ruimhartiger, maar stuurloos. Geef kinderen vooral van alles voor henzelf en leer ze met de spullen van anderen omgaan zoals zij willen dat er met hun spullen wordt gespeeld. Eigendom dwingt tot beleefdheid en omgangsvormen. Als we kind zijn, veinzen we aardigheid om te krijgen wat we willen; het enige dat we later nog moeten leren is te vergeten dát we veinzen - pas als dat lukt hebben we het spel van fatsoen echt onder de knie.

He woke each dawn at 5:30, without need for an alarm, though he set one anyway just to be sure. On Mondays, Wednesdays, and Fridays, he lifted. On Tuesdays and Thursdays, he jogged. Down along the Charles. Beneath the sagging boughs of honey locusts fat with fruit. Following his workout, he prepared a shake. After, he showered beneath the rainwater showerhead in the third-story bath-room, water beating down his back, the radio blaring classical music from its place on the marble vanity. Classical, not rock or country or top forty, because he'd been raised on Handel and Tchaikovsky and because sometimes, when he was very tightly wound, the instrumentals were the only things that eased the tension in his chest. When that was done, he dressed, made his bed--tucking his corners in with the militaristic precision his nanny had demanded of him when he was still small and belligerent and went downstairs to make eggs. Over easy, paired with whole-grain toast and a glass of orange juice. He had his routine down to a science, and he did the same thing every morning.

In few human activities is competition more ingrained than in music, and has been so ever since the battle between Marsyas and Apollo. Wagner has immortalized these vocal battles in his Meistersinger. As instances from periods following that of the Meistersinger themselves we may cite the contest between Handel and Scarlatti got up by Cardinal Ottoboni in the year 1709, the chosen weapons being harpsichord and organ. In 1717 Augustus the Strong, King of Saxony and Poland, wanted to organize a contest between J. S. Bach and a certain Marchand, but the latter failed to appear. In 1726 all London society was in an uproar because of the competition between the two Italian singers Faustina and Cuzzoni: there were fisticuffs and catcalls. Factions and cliques develop with astonishing ease in musical life. The 18th century is full of these musical coteries—Bononcini versus Handel, Gluck versus Piccini, the Parisian “Bouffons” versus the Opera. The musical squabble sometimes took on the character of a lasting and embittered feud, such as that between the Wagnerians and the Brahmsians.

What is that particularly irritating little air you’re determined to vex our ears with?” Valentine stopped whistling to smirk at Westhaven’s question and started singing instead. “All we like sheep, have gone astraaaaaay.” “More Handel.” Sophie interrupted her brother’s little concert. “Seasonally appropriate. You two did not have to accompany me, you know.” “Nonsense.” Westhaven shot some sort of look at Valentine, who’d lapsed into humming. “I needed to call on the vicar since I’m in the area, and Valentine must tune the piano before the Christmas service.” “I’m getting very good at tuning pianos,” Valentine said. “A skill to fall back on if my wife ever casts me to the gutter.” “She won’t,” Sophie replied, patting her mare. “She’ll send you visiting your siblings and get her revenge on the whole family.” “Now, children,” Westhaven started, only to provoke Valentine back into a full-throated baritone recital. “All we like sheep, have gone astraaaaaaaaaaaaay.” Westhaven rolled his eyes. “To think my tiny son is all that stands between this braying ass and the Moreland dukedom.” “I made Sophie smile,” Val said, abruptly ceasing his braying. “My Christmas holiday is a success because I made Sophie smile.

In the words of the master: infinity but without melody. In the second place, with regard to the overthrowing,--this belongs at least in part, to physiology. Let us, in the first place, examine the instruments. A few of them would convince even our intestines (--they _throw open_ doors, as Handel would say), others becharm our very marrow. The _colour of the melody is_ all-important here, _the melody itself_ is of no importance. Let us be precise about _this_ point. To what other purpose should we spend our strength? Let us be characteristic in tone even to the point of foolishness! If by means of tones we allow plenty of scope for guessing, this will be put to the credit of our intellects. Let us irritate nerves, let us strike them dead: let us handle thunder and lightning,--that is what overthrows.{~HORIZONTAL ELLIPSIS~} But what overthrows best, is _passion_.--We must try and be clear concerning this question of passion. Nothing is cheaper than passion! All the virtues of counterpoint may be dispensed with, there is no need to have learnt anything,--but passion is always within our reach! Beauty is difficult: let us beware of beauty!{~HORIZONTAL ELLIPSIS~} And also of _melody!_ However much in earnest we may otherwise be about the ideal, let us slander, my friends, let us slander,--let us slander melody! Nothing is more dangerous than a beautiful melody! Nothing is more certain to ruin taste! My friends, if people again set about loving beautiful melodies, we are lost!{~HORIZONTAL ELLIPSIS~} _First principle_: melody is immoral. _Proof_: "Palestrina". _Application_: "Parsifal." The absence of melody is in itself sanctifying.{~HORIZONTAL ELLIPSIS~} And this is the definition of passion. Passion--or the acrobatic feats of ugliness on the tight-rope of enharmonic--My friends, let us dare to be ugly! Wagner dared it! Let us heave the mud of the most repulsive harmonies undauntedly before us. We must not even spare our hands! Only thus, shall we become _natural_.{~HORIZONTAL ELLIPSIS~}

Then I’ll sing, though that will likely have the child holding his ears and you running from the room.” This, incongruously, had her lips quirking up. “My father isn’t very musical. You hold the baby, I’ll sing.” She took the rocking chair by the hearth. Vim settled the child in his arms and started blowing out candles as he paced the room. “He shall feed his flock, like a shepherd…” More Handel, the lilting, lyrical contralto portion of the aria, a sweet, comforting melody if ever one had been written. And the baby was comforted, sighing in Vim’s arms and going still. Not deathly still, just exhausted still. Sophie sang on, her voice unbearably lovely. “And He shall gather the lambs in his arm… and gently lead those that are with young.” Vim liked music, he enjoyed it a great deal in fact—he just wasn’t any good at making it. Sophie was damned good. She had superb control, managing to sing quietly even as she shifted to the soprano verse, her voice lifting gently into the higher register. By the second time through, Vim’s eyes were heavy and his steps lagging. “He’s asleep,” he whispered as the last notes died away. “And my God, you can sing, Sophie Windham.” “I had good teachers.” She’d sung some of the tension and worry out too, if her more peaceful expression was any guide. “If you want to go back to your room, I can take him now.” He didn’t want to leave. He didn’t want to leave her alone with the fussy baby; he didn’t want to go back to his big, cold bed down the dark, cold hallway. “Go to bed, Sophie. I’ll stay for a while.” She frowned then went to the window and parted the curtain slightly. “I think it’s stopped snowing, but there is such a wind it’s hard to tell.” He didn’t dare join her at the window for fear a chilly draft might wake the child. “Come away from there, Sophie, and why haven’t you any socks or slippers on your feet?” She glanced down at her bare feet and wiggled long, elegant toes. “I forgot. Kit started crying, and I was out of bed before I quite woke up.” They shared a look, one likely common to parents of infants the world over. “My Lord Baby has a loyal and devoted court,” Vim said. “Get into bed before your toes freeze off.” She gave him a particularly unreadable perusal but climbed into her bed and did not draw the curtains. “Vim?” “Hmm?” He took the rocker, the lyrical triple meter of the aria still in his head. “Thank you.” He

„Zie zoo, nu zie ik ze niet meer. Jij weet niet wat handel is, Koekebakker, anders zou je der niet om lachen. Om te beginnen ga je tot je achtiende jaar op school. Heb jij ooit geweten hoeveel schapen er in Australië zijn en hoe diep ’t Suezkanaal is? Nou juist, daar heb je het. Ik heb dat geweten. Weet jij wat polarisatie is? Ik ook niet, maar ik heb ’t geweten. De raarste dingen heb ik moeten leeren. Vertaal in ’t Fransch: [80]„onder benefice van inventaris.” Ga der maar tegen aan staan. Je hebt er geen begrip van, Koekebakker. Dat duurt zoo jaren. Dan doet je ouwe heer je op een kantoor. Dan merk je, dat je al die dingen geleerd hebt om met een kwast papier nat te maken. Overigens is ’t ’t ouwe gedonderjaag, ’s morgens om negen uur present en urenlang stil zitten. Ik vond dat ik op die manier niet opschoot. Ik kwam altijd te laat, ik probeerde wel op tijd te komen, maar ’t wou niet meer, ik had ’t zooveel jaren gedaan. En taai. Ze zeiden dat ik alles verkeerd deed, daar zullen ze wel gelijk aan gehad hebben. Ik wilde wel, maar ik kon niet, ik ben geen kerel om te werken. Ze zeiden, dat ik de anderen van hun werk hield. Ook daarin zullen ze wel gelijk gehad hebben. Als ik klaagde, dat ik ’t niks lollig vond en vroeg of ik daarvoor nu op school al die wonderlijke dingen had geleerd, dan zei de oue boekhouder: „Ja jongetje, het leven is geen roman.” Bakken vertellen, dat kon ik en dat vonden ze leuk ook, maar ze waren er niet tevreden mee. De ouwe boekhouder wist al heel gauw niet wat hij met me doen moest. Als de baas er niet was maakte ik dierengeluiden, zong komieke liedjes, die ze nog nooit hadden gehoord. De zoon van den baas was een ingebeelde kwajongen; af en toe kwam i op kantoor om centen te halen. Hij sprak vreeselijk gemaakt en keek met een allerellendigst, door niets gemotiveerd vertoon van superioriteit naar de bedienden van zijn pa. De lui lachten zich een beroerte als ik dien jongeheer nadeed. Ik heb daar ook nog een schrijfmachine bedorven en een boek weggemaakt. Toen hebben ze me aan een toestel gezet, dat ze de „guillotine” noemden. Daar moest ik monsters mee knippen. Dagen lang heb ik daaraan gestaan: alle monsters werden scheef. De lui hadden ’t wel in de gaten, ze hadden niets [81]anders verwacht. Ze hadden me daar alleen maar aan gezet om erger te voorkomen. Die monsters werden weggegooid; die gingen nooit naar de klanten. Toch had ik in die dagen nog gelegenheid om een brief verkeerd in te sluiten. Natuurlijk was ’t erg; de man die den brief kreeg mocht niet weten, dat de baas zaken deed met den man waaraan i geschreven was. De boekhouder was totaal van streek. Toen begreep ik, dat ik maar liever heen moest gaan. Ik kreeg een poot van den baas. Ik was zelf ook blij dat ik wegging en heb hem hartelijk de hand geschud. Ik heb gezegd, dat ’t me speet, maar dat ik er niets aan doen kon en ik geloof, dat ’k ’t meende. Zie je, Koekebakker, dat is handel. Ik ben daarna nog drie weken volontair geweest op een effectenkantoortje, krantjes nakijken met een boek om te zien of de stukken van de klanten waren uitgeloot. Je ergste vijand zal er voor bewaard blijven. Ze moesten me wegdoen. Ik moest daar ook copieeren. Er was geen denken aan, dat ze uit ’t copieboek konden wijs worden. Ik zag wel in dat ’t zoo niet ging, ik kon er mijn hoofd niet bij houden.

I told him that I liked “light” classical, such as Mozart, Handel, and Tchaikovsky. I didn’t really know what I was talking about since my exposure to Mozart was Eine kleine Nachtmusik, Handel meant Messiah, and Tchaikovsky meant the 1812 Overture.

..maar voor nu is het van belang op te merken dat we er toch stilzwijgend van uitgaan dat het tenminste in theorie mogelijk moet zijn om de symbolische en reële waarde zo te laten samenvallen dat ze tegen elkaar kunnen worden weggestreept. Een misleidend idee. Tijd is geld, maar geld is geen tijd natuurlijk.

It is not surprising that music can incite a broad range of motions, including passion, serenity, and fear. Most of us can recall instances when music caused changes in our own emotional levels, perhaps when we listened to Handel’s Hallelujah Chorus or the background music in a movie thriller. The reason for the emotional arousal appears to be that music affects levels of several brain chemicals, including epinephrine, endorphins, and cortisol, the hormone involved in the “fight-or-flight” response. In Chapter 9, we saw that one of the links between emotion and memory involves these same neurotransmitters and hormones. Perhaps this is why a mere snippet of a song from our past can trigger highly vivid memories.

It is not surprising that music can incite a broad range of emotions, including passion, serenity, and fear. Most of us can recall instances when music caused changes in our own emotional levels, perhaps when we listened to Handel’s Hallelujah Chorus or the background music in a movie thriller. The reason for the emotional arousal appears to be that music affects levels of several brain chemicals, including epinephrine, endorphins, and cortisol, the hormone involved in the “fight-or-flight” response. In Chapter 9, we saw that one of the links between emotion and memory involves these same neurotransmitters and hormones. Perhaps this is why a mere snippet of a song from our past can trigger highly vivid memories.

Ik handel naar eigen inzichten, volgens kennis der ethiek en zicht op werkelijke vooruitgang in de evolutie van de mensheid.

Finally, the ethical staying power of the Apocalypse is a product of its imaginative richness. The text throbs with theopoetic energy, expressed in its numerous songs of praise and worship. It is no accident that Milton drew inspiration from Revelation or that Handel found the lyrics for the climactic choruses of the Messiah (“Hallelujah” and “Worthy Is the Lamb”) in the poetry of Revelation: “The kingdom of this world is become the kingdom of our Lord and of his Christ, and he shall reign for ever and ever” (based on Rev. 11:15).

De mest vellykkede eiendomsinvestorene deler alle felles egenskaper som andre kan etterligne. Disse inkluderer å behandle investeringene som handel og være ekstremt godt informert om bransjen. En vellykket eiendomsinvestor må også være en entreprenør i hjertet, være folk orientert og være etisk. Så hvis en investor ønsker å vinne, kan de gjøre det bra å studere disse egenskapene og forsøke å imitere dem i sine egne liv og bedrifter.

Bach-Busoni—Choral Prelude I Call on Thee? Lord 27. Bach-Busoni—Fantasie, C minor 28. Bach-Hess—Choral Prelude Jesu, Joy of Man's Desiring 29. Beethoven—Variations in C minor 30. Brahms—Intermezzo, B-flat minor 31. Brahms—Intermezzo in E 32. Chopin—Berceuse 33. Chopin—Écossaises 34. Chopin—Mazurka in A minor, Op. 41, No. 2 35. Chopin—Nocturne, F sharp 36. Chopin—Prelude Op. 45 37. Chopin—Scherzo, B minor 38. Chopin—Scherzo, B-flat minor 39. Chopin—Waltz in C-sharp minor 40. Chopin-Liszt—Chant polonais (Moja pieszczoiha) * 41. Debussy—Cathédrale engloutie 42. Debussy—Danseuses de Delphes 43. Debussy—Prelude (from the suite Pour le piano) 44. Debussy—Reflets dans l'eau 45. Griffes—The White Peacock 46. Handel—The Harmonious Blacksmith 47. Mozart—Sonata in F (Köchel listing 300K) 48. Rachmaninoff—Prelude in G 49. Schubert-Liszt—False Caprice No. 6 50. Scriabin—Flammes sombres

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.

Mozart began composing highly intricate pieces of music in a period of time when the most popular genre of music was style galant—an elegant genre to be sure, but defined by the simplicity of its structure. The style galant was in and of itself a reaction to the musical style that had come directly before it, commonly referred to as the Baroque period. Music in the Baroque style was highly embellished, defined by the use of ornamentation, or unnecessarily complicated measures inserted throughout the piece of music. Critics of the period were quick to say that the Baroque style lacked a coherent melody and was largely dissonant, even to the trained ear. Popular musical forms in the Baroque period included sonatas and cantatas, the former of which Mozart would return to and utilize toward the end of his career. Baroque music was defined by its seriousness—it was often cited as being largely unpleasant to listen to unless one was a musician oneself. The style galant, in response, depended on its light-heartedness and its wide range of appeal to a variety of audiences. The Classical style, which Mozart and his peers pioneered, was another response to the oversimplification of popular music that the style galant characterized. As previously discussed, Mozart spent a great deal of his early years in Paris studying the works of Baroque masters Bach and Handel, and that period of music greatly influenced many of his most recognizable works. Mozart, however, had the talent (and the distance from the period when Baroque music was at its height) to study the most valid criticisms of the Baroque style and pick and choose the intricacies of the style that worked, while discarding the ones that did not. He was able to adapt the dated style to form a completely new aesthetic while steering popular music back toward the trend of compositions that were more complex than the style galant afforded.

poza tym jak zwykle handel i kopulacja

What happens when you’re intimidated? Run to the nearest corner and hide, do you?” “I should say not,” she said primly, wondering if she were being teased. “I do what has to be done, no matter what the situation.” Winterborne’s smile widened until she saw the flash of white teeth against that deep bronze complexion. “I suppose I know that better than most,” he said softly. Understanding that he was referring to how she had helped him through the fever…and remembering how she had held that black head in the crook of her arm, and bathed his face and neck…Helen felt a blush start. Not the ordinary kind of blush that faded soon after it started. This one kept heating and heating, spreading all through her until she was so uncomfortable that she could scarcely breathe. She made the mistake of glancing into his simmering coffee-black eyes, and she felt positively immolated. Her desperate gaze settled upon the battered pianoforte in the corner. “Shall I play something for you?” She stood without waiting for a reply. It was the only alternative to bolting from the room. Out of the periphery of her vision, she saw Winterborne automatically grip the arms of his chair in preparation to rise, before he remembered that he was in a leg cast. “Yes,” she heard him say. “I’d like that.” He maneuvered the chair a few inches so that he could see her profile as she played. The pianoforte seemed to offer a small measure of protection as she sat at the keyboard and pushed up the hinged fallboard that covered the keys. Taking a slow, calming breath, Helen arranged her skirts, adjusted her posture, and placed her fingertips on the keys. She launched into a piece she knew by memory: the allegro from Handel’s Piano Suite in F Major. It was full of life and complexity, and challenging enough to force her to think about something besides blushing. Her fingers danced in a blur over the keys, the exuberant pace unfaltering for two and a half minutes. When she finished, she looked at Winterborne, hoping he had liked it. “You play with great skill,” he said. “Thank you.” “Is that your favorite piece?” “It’s my most difficult,” Helen said, “but not my favorite.” “What do you play when there’s no one to hear?” The gentle question, spoken in that accent with vowels as broad as his shoulders, caused Helen’s stomach to tighten pleasurably.

Composing for money was held in no shame, and the public concert spread throughout Europe. Wealthy countries that did not groom their own composers, such as England, imported them from outside with lucrative offers. Handel and Haydn were their two most notable imports. British conductor Roger Norrington said of Handel: "[the Messiah] was written for money ... he was a commercial composer; if he were alive today, he'd be doing jingles for

Tijdens het spelletje "Cluedo" ram ik de met de loden pijp in de studeerkamer als mevrouw Scarlett gewoon de hele handel stilletjes tegen de vlakte.

Postmodernes & gendermäßiges Denken & wissenschaftsgeschichtliche Überlegungen & Dekonstruktion von Landschaft als "Natur" & Transkulturation: - "Auch Wildnis kann Menschenwerk sein." - Natur als menschliches Konstrukt und Projektionsfläche etc. - das Buchfinken-Experiment des Wissenschaftlers Thorpes (er zog junge Finken isoliert in schalldichten Käfigen auf, um ihr angeborenes oder antrainiertes Singverhalten zu untersuchen) war in den Ägnsten der Zeit des Kalten Krieges verwurzelt: Fragen eines Nachkriegswissenschaftlers, der von der eigenen Identität besessen war und Angst vor Gehirnwäsche hatte: Wie lernst du, wer du bist? Kann man dich unmpolen? Was macht dich zu einem Buchfinken? (94) - männlicher viktorianischer Blick auf Habichte entsprach männlichem Blick auf (hormongesteuerte, launische) Frauen: "Habichte konnte man nicht verstehen, wie Frauen. Sie waren launisch, flatterhaft, hysterisch, ihre Stimmungen pathologisch. Jenseits aller Vernunft." - Anders im elisabethanischen und jakobinischen 17. Jh.: "Damals erachtete man sie als 'umgänglich und vertraut', wenngleich ihrer Natur nach eher 'scheu und ängstlich', wie Simon Latham 1615 schrieb. Sie nehmen 'Anstoß' an 'grober und schroffer Behandlung durch den Menschen'; behandelte man sie dagegen mit Güte und Umsicht, waren sie 'so liebevoll und ihrem Falkner zugetan wie jeder andere Greifvogel'. Auch hier sprach man über die Vögel wie über Frauen - etwas, das man für sich gwinnen, umwerben, lieben sollte, Aber man betrachtete sie nicht als hysterische Monster. Sie waren echte, widersprüchliche Wesen mit einem eigenen Willen, 'imposant und mutig', aber eben auch 'scheu und ängstlich'. (157) - Beziehung zwischen Mensch & Tier: "So viel von dem, wofür sie [Mabel] steht, ist Menschenwerk. Seit Tausenden von Jahren hat man Greifvögel wie sie eingefangen und in menschliche Obhut gegeben." (15) - "Dass das Downland nicht nur mit Naturgeschichte, sondern auch mit Begriffen wie Nation und Volk verknüpft war." (359) - "Das flüchtende Damwild und der flüchtende Hase. Vermächtnisse des Handels und der Inbesitznahme des Landes, der Bewirtschaftung, der Jagd, der Besiedlung. Hasen sind vermutlich von den Römern hierhergebracht worden, das Damwild ganz sicher. Fasane auch, in Scharen aus Kleinasien. Die Rebhühner, denen dieses Land gehört, stammen ursprünglich aus Frankreich; die, die ich hier sehe, wurden in Brutschränken mit Luftumwälzpumpen auf Federwildfarmen ausgebrütet. Das Grauhörnchen auf der Kastanie? Nordamerika. Kaninchen? Wurden im Mittelalter eingeführt. Filz, Fleisch, Fell, Federn aus allen Teilen der Welt. Und trotzdem gehört dieses Land ihnen." (361) - "Ich denke an all die komplizierten Geschichten der Landschaften und wie leicht es ist, sie beiseitezufegen, si abzutun, und stattdessen bequemere, sicherere Geschichten zu etablieren." (363) - "Diese Geschichten sind nur für uns sicher." (363) - "Das gute alte England existiert nur in der Vorstellung - ein Land, das aus Wörtern, Holzschnitten, Filmen, Gemälden und pittoresken Stichen zusammengezimmert ist." (364)

A gust of warm air enveloped Baldwin midstride and the strains of Handel’s Water Music drifted to his ears. Fitz came out of the large wooden doors that led to the nave of the church. An avuncular smile filled his broad features. Baldwin stopped pacing for a moment, happy to have the short-lived heat and the company.

Met zijn leer - handel altijd zó dat het een wet voor de gehele mensheid zou kunnen zijn - oefende hij grote invloed uit op Marx en Engels. En op Hannah Arendt, die thuis in Königsberg, op veertienjarige leeftijd de verzamelde werken van Kant ut de boekenkast pakte en ze aandachtig begon te lezen, een daad die haar denken en haar verdere leven zou bepalen. Uiteindelijk brak ze met Kant. Zijn categorische imperatief ging haar niet ver genoeg, zijn moraalfilosofie hield na de Holocaust niet langer stand. 'Wij - tenminste de ouderen onder ons - zijn gedurende de jaren dertig en veertig getuige geweest van de totale ineenstorting van alle gevestigde normen in het publieke en private leven, niet alleen [...] in Hitlers Duitsland maar ook in Stalins Rusland.' In een tijd van crisis - en de gehele twintigste eeuw was een tijd van verwoesting, zoals haar Königsberg bewees - letten mensen niet op regels en wetten. Het enige wat volgens Arendt voor ieder individu telt is: 'Ik moet trouw zijn aan mezelf. Ik moet niets doen waarmee ik niet kan leven, waarvan ik de herinnering niet kan verdragen.

Die Behauptung, daß Effrom nicht besonders gut kochen konnte, war eine Untertreibung von ähnlichem Kaliber wie die Feststellung, daß es sich bei Völkermord um eine nicht besonders erfolgversprechende PR-Strategie handele.

Nature is to be handeled scientifically, History poetically. Everything else is an impure solution.

LIFE IS LIKE A GIANT CROSS WORD PUZZEL .THE MORE PIECES YOU PUT TOGETHER.THE CLEARER GOD BECOMES. THAT IS IF YOU STUDY HARD . WHAT YOU PUT INTO SOMETHING IS WHAT YOUR GOING TO GET OUT OF IT. GOD WANTS US ALL TO BRAIN STORM .WE ALL CAN HANDEL THE WEATHER IF THE WIND BLOWS HARD ENOUGH. USE THE SQRRR METHOD SURVEY IT QUESTION IT READ IT REVIEW IT AND WRITE IT .THERE IS NO END TO EDUCATION IT CREATES KNOWLEDGE THAT CAN NEVER BE STOLEN FROM YOU.BUT THE GREATEST GIFT THAT IS GIVEN TO IS A GIFT FROM GOD THE WISDOM HE TEACHES EACH OF US . LEARN AS MUCH YOUR BRAIN CAN ABSORB .USE THE BEACH NUT STAGES WE ALL NEED TO BE BABY AGAIN GROWING UP NEEDS TO BE REPEATED OVER AND OVER AGAIN FOR EVERY STAGE OF LIFE THERE IS NEW SHOW. LISTEN TO THE BROADCAST OF GOD SHOUTING TO YOU. I HOPE YOU HAVE YOUR EARS CLEANED . WE SHOULD ALL KNOW THE OLD BIBLE SONG "OH BE CARFUL LITTE EARS WHAT YOU HERE FOR THE FATHER UP ABOVE IS LOOKING DOWN BELOW. THAT STILL EXISTS TODAY

How do you tell a man that you technically haven’t even been on a first date with yet that he’s made your dreams come true? That you’ve wanted a moment like this, a gown like this, an experience like this, your whole life.

Van nu af moeten wij onze markten zoo talrijk maken als mogelijk is. Geen ander middel bestaat er tot het bezweren dier nijverheidserisissen, waarvan de noodlottige gevolgen zich zouden doen gevoelen naar gelang van de ontwikkeling der aangetaste gedeelten. Wij moeten ook onzen handel aanwakkeren en den Belgischen voortbrenger in staat stellen langs Belgische wegen te vervoeren en bij Belgen te consigneeren, de goederen, waarvan de verzending naar verre landen weldra, naar ik verhoop, belangrijker zal worden,dank aan ons volmaakt werk en aan onze gematigde prijzen.

Thans is onze uitvoer bijna uitsluitend toevertrouwd aan vreemde handen. Men dient na te gaan, waarom het zoo is, en de middelen te zoeken om het geld, dat wij aan commissionarissen van Havre, Hamburg, Rotterdam of Londen geven, door Belgen te laten winnen en voor ons land te behouden. Ook dient men, zooals ik zegde, aanzienlijk te vermeerderen het bedrag onzer plaatsingen in den vreemde en deze zouden, naar het gevoelen onzer consuls, vertiendubbeld kunnen worden.

Volgt uwe geburen na, breidt u uit aan den overkant der zeeën, telkens als gij daartoe de gelegenheid zult hebben, en gij zult er kostelijke uitvoerwegen voor uwe voortbrengselen vinden, bedrijvigheid voor uwen handel; werk voor al de arbeids- krachten, die wij thans niet gebruiken kunnen; plaats voor den overvloed onzer bevolking; nieuwe inkomsten voor de schatkist, die wellicht eenmaal aan onze Regeering zouden toelaten, naar het voorbeeld der Nederlandsche, de belastingen in het moederland te verminderen; eindelijk eene gewisse vermeerdering van macht en een nog beteren toestand in het centrum van het groot Europeesch gezin.

Niet langer zult gij dulden, Mijne Heeren, dat alleen wij onder de natiën, die havens en eene zeegrens bezitten, voor het grootste gedeelte van onzen uitvoer afhankelijk zouden blijven van anderen... Weldra, ik hoop het stellig, zal onze jeugdige natie ook haar deel van de zee eischen en haar eersten stap doen op de baan van den billijken en eerlijken vooruitgang, de eenige die past aan den aard des Lands en aan den tijd waarin wij leven.

We have been here before, staring at the slow slide of a stick, waiting, waiting, waiting… Year after year, there was no room for us in the inn, no shepherds, no angels, no prophecies, no hope, no coming. But this time, two lines herald the Eve of a birth Two lines, like the beginning and ending of a chapter of our lives. Handel could not compose something so beautiful. Gabriel could not bring better news. All the year’s fortune changes in the end, as new life evolves.

Waarom zou iemand die handel drijft in boeken niet lijken op degene die zich met wijn bezighoudt? Ook voor wijn was er iets subliems nodig geweest dat de handel vooraf was gegaan en had geschapen: de wijnstok en de zon.

Christmas is a spontaneous prayer of the common folks, a prayer, a hymn. All the while Raphael was paintng the Sistine Madonna, Frenchman building the cathedral of Chartres, English bishops composing The Book of Common Prayer, Handel his Messiah, Bach his B Minor Mass, the common people, out of whom these geniuses sprang, were busy composing Christmas.

I’ll be your daddy now Little Reece Doesn’t every good girl need a daddy

It's not fair I should feel ill when I'm slooshying lovely Ludwig van and G.F. Handel and others.

No one has ever claimed for a moment that childless men have missed out on a vital aspect of their existence, and were the poorer and crippled by it. Da Vinci, Van Gogh, Newton, Faraday, Plato, Aquinas, Beethoven, Handel, Kant, Hume. Jesus. They all seem to have managed quite well.

Oh my eye Betty Martin! Aren't I glad it isn't me that's going to school! It looks just like a prison.

Let equal fire our souls inflame, And equal zeal employ, That we the glorious spring may know, Whose streams appear'd so bright below.

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.

Unlike his contemporaries Handel and Telemann, whose ambition was directed toward creating the epitome of a particular style, Bach deconstructed styles and put them back together again combined with his strengths in invention, orchestration, and counterpoint.

In the West, castrati are known to history not for their political influence but mainly for their vocal peculiarities. In addition to removing the power to procreate, the castrating operation retards the deepening of the voice, and leaves the eunuch a soprano. From Constantinople the practice spread of using eunuchs in choirs. In the eighteenth century Handel’s operas featured castrati, who then began to dominate the opera scene, sometimes requiring composers to write in parts especially for them. Until the early nineteenth century castrati sang in the papal choir in Rome. The Italian practice of castrating boys to prepare them to become adult male sopranos did not end till the reign of Pope Leo XIII in the late nineteenth century.

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.

Ogilvy never wrote an advertisement in the office: “Too many interruptions.” He started by looking at every advertisement for competing products for the past 20 years: “Study the precedents.” Then he’d go to work on a headline. Finally, when he could no longer postpone the actual copy, he would start writing, usually throwing away the first 20 attempts. “If all else fails, I drink a half a bottle of rum and play a Handel oratorio on the gramophone. This generally produces a gush of copy.” The next morning, he would get up early and edit the gush. “I am a lousy copywriter,” he would say, “but a good editor.