Dido's Lament

Handel had started to experiment with oratorios in 1732, after the success of a ballad opera called the Beggars Opera by Johann Pepusch and John Gay. His own operas had declined in popularity, and operas were expensive and difficult to produce (Barber, and Donald). An oratorio was basically the same thing as an opera, except there were no expensive sets and costumes (Bonds). Handel composed Messiah from August 22 to September 14, 1741, a space of only 3 weeks. After finishing the oratorio, he put it away and started to work on another oratorio, Saul. It sat collecting dust for months, until Handel was invited to Ireland to visit the Duke of Devonshire in early November of 1741. After a rather disappointing opera season in 1740 and 1741, Handel was eager to get to Dublin. The libretto for Messiah was written by Charles Jennens (who also wrote the libretto for Saul) in the summer of 1741. It contained a compilation of verses from the bible; it didn’t tell a story, but reflected on the life of Christ and the Christian message, which is why it is a popular performance with churches today (Barber, and Donald). Messiah contains a recitative, “He that dwelleth in heaven”, and an aria, “Thou shalt not break them”. A recitativeis a style of singing that is between a lyrical song and speech, and makes the words clearer and easier to understand. An aria is the lyrical movement or piece for solo voice with some kind

Welcome, dear family and relatives of Banquo, noble thanes and kinsmen. You have come far and to attend this funeral in Lochaber and pay tribute to my best friend and your brave soldier. His death was untimely and it is truly hard for me to speak of him now that he is deceased. I am here today not to speak of his death and that he is no longer here by my side but to speak of his times of great triumph. His death has hurt me and I will do whatever it takes to destroy the lives of those people who murder him. All of you and myself will mourn the loss of one of our great soldiers and my best friend.

The Italian opera and the German opera are two different fields that both share characteristics, some of which are paralleled, and some of which contrast. Specifically, Giuseppe Verdi and Richard Wagner use motifs such as: redemption through love, patriotism, and sacrifice which run throughout both of their operas. The theme of betrayal also seems to be echoed throughout both operas; yet they are each used to project a different response. The significance of this comparison demonstrates that Verdi and Wagner may allude to the same references, such as Victor Hugo, Shakespeare, and Byron, but the operas The Flying Dutchman (German opera) and that of Nabucco (Italian opera) are completely different in context, and musical style; perhaps even

Composing works derived from styles already in existence, he created an extremely unique and unprecedented genre of works. Thus Mozart became a trailblazer of the classical age. Music from this period consists largely of a lighter and clearer texture than the preceding Baroque music and is less intricate. One trademark especially evident in Mozart’s contribution to the classical period is the use of homophony. Examples of the homophonic effect are displayed in his piano concerto No. 23 and sonata No 16 in C. In these, the distinct pattern of an indubitable melody can be distinctly and easily recognized above the adjunct chordal accompaniment. Although Mozart contributed primarily to the growth of the classical era, he was also influenced by the works of Handel and Bach. Both were prominent composers of the baroque era. In some of his later works, Mozart indulged more in the incorporation of the previous baroque

Many musical scholars believe that J. S. Bach and G. F. Handel are the two most important, influential composers of the Baroque period. Both of these men were born in Germany in 1685, and since they came into existence around the same time, they share some similarities. As an introductory statement, Bach and Handel were born into two very different families. Handel did not come from a musical family; his father wanted him to study law. By age nine, his talent was too obvious for his father to ignore and Handel began to study with a local organist and composer. On the contrary, Bach came from a long line of musicians. Bach also had four sons which became gifted composers, in their own right. Bach, like Handel, also started as an organist

His career includes 42 operas, 29 oratorios, 16 organ concerti, over 120 cantatas, trios and duets, chamber music, odes, and many ecumenical pieces, his most famous work being the Oratorio “Messiah.” Composed in 1741, the oratorio was preformed first in Dublin in 1742. It had a scriptural text from the King James Bible and was written for modest vocal and instrumental forces. The work, although very much in the style of Handel, is a series of thoughts on the Christian idea of redemption and utilizes a mixture of traditions. After Handel’s death in 1759, the Oratorio began to gain popularity even further and was adapted to larger scale choirs and orchestras. Handel has very much influenced the world of music, especially through his operas, and has grown in popularity throughout the years. As the inventor of English Oratorios and being so well known for his Italian operas his style and influence is felt around the world even still in the music of today.

Not only is George Frideric Handel's Water Music extraordinarily beautiful, it also helped to establish the orchestral suite as a legitimate art form. Written to be performed outside instead of in a theater, it remains one of the most outstanding compositions in Handel's catalogue. Even though it is somewhat overplayed, the Water Music continues to be a very popular work of art. By nature of the venue this great work was to be performed in, Handel had to be very original in orchestration. His strong usage of woodwinds and percussion influenced countless composers such as the wind music of Mozart, Holst, Strauss, Beethoven, Vaughn-Williams, and even Stravinsky. Handel's music proved that he

Oratorios were performed in prayer halls, which was a sacred setting similar to the cantata. Oratorios were recitative and contained de capo arias and chorus, like the Italian opera. It was sung drama performed without staging or costumes. “The catholic church saw the power of operas and was quick to take on operas for sacred subjects, such as the lives of saints. However, the church also condemned operas for its power to seduce and dazzle, banning the performance of opera during Advent and Lent.”3 George Handel, an opera composer also composed Messiah, which was one of the best-known oratorios. Another important composer of this genre was Giacomo Carissimi, who wrote many early

Handel and Bach are considered two of the greatest composers of all time. However, when comparing the output of these two musicians, the diversity manifest in music in the era when they wrote immediately becomes apparent. Handel, although he used religious subject matter, is usually characterized as fundamentally a 'secular' composer. He composed for the concert hall, not the church, and primarily as a result of royal commissions. His music is strident, powerful, and large in scope. It is designed to entertain, rather than to spur contemplation (The pure power of Handel's 'Hallelujah Chorus', NPR, 2008). Bach, in contrast, often created music designed to be performed in sacred spaces. His music is more fluid and nuanced in style and designed more to spur contemplation and devotion rather than excite people's interest as a piece of entertainment.

Oratorio and cantata were two genres that re-emerged in the first half of the eighteenth century. They were already important musical alternatives to opera by the mid-seventeenth century, but differed in nearly every respect from the genres of the same names found in the early eighteenth century. As genres late in the period, they both bespoke the traditions from which they originally sprang and permitted new recombination of the musical elements of these same traditions.

Wolfgang Amadeus Mozart and Giuseppe Verdi both wrote exquisite Requiems. Since Mozart lived in the Classical era, and Verdi lived in the Romantic era, their compositions were written almost one hundred years apart. Though there are similarities in their pieces they differ in many ways.

Despite his success, life was not exactly easy for Handel. He was often criticized by members of the English social establishment because of his artistic endeavors. Some of them had considered italian operas silly, and some believed that his biblical dramas were profane. Case and point: Messiah, which he wrote, was well received in Dublin at its premiere in 1742. however, when it came to London a year later, it was clouded by controversy.

Music provided rhythm for chores, such as working in the field, and it was also used to celebrate important events as well as

The romantic period of music began in the 1820s and with it came a change of stylistic features. Beethoven largely impacted the new way that the music of the Romantic era was viewed. He made people perceive music as a true form of art made to be taken seriously, rather than just a fun time passer. Another reason for the change of music during that time was due to nationalism and exoticism. Nationalism promoted music, such as folk songs and dances, which was created for the purpose of supporting the nation. Exoticism had the opposite effect as nationalism. It caused audiences to listen to folk music from other nations and it allowed people to have a better understanding of unique qualities and cultures of surrounding nations. These factors led to the music during the Romantic period becoming more personal and emotion than it was in the previous classical era, although it still contained a melody, harmony, tone color, and a form. Much of the music from the Romantic era can be recognized by its melody. The melodies became wider, more irregular, and dramatic during this time. The harmony of Romantic music was further advanced as well. The composers learned how to use harmony to build the melody and intensify its emotionality, while at the same time experimenting freely with new chords. The tone color of music during this time was expanded allowing the quality of the sound of the music to improve. One of the most important changes that were made to the features of music during

Furthermore, memorable melodies, richly expressive harmony, and broad expanded forms characterized Romantic music. The once Classical tradition became heavily influenced by emotional elements, reduced formalism, and the implementation of often non-musical