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Handel$
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Donald Burrows

Print publication date: 2012

Print ISBN-13: 9780199737369

Published to Oxford Scholarship Online: May 2015

DOI: 10.1093/acprof:osobl/9780199737369.001.0001

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The Music, 1732–41

The Music, 1732–41

Chapter:
(p.285) Chapter Ten The Music, 1732–41
Source:
Handel
Author(s):

Donald Burrows

Publisher:
Oxford University Press
DOI:10.1093/acprof:osobl/9780199737369.003.0010

This chapter examines the operas, oratorios and odes, church music, and instrumental music of George Frideric Handel during his transition period. It begins by analysing Orlando for operas. The piece has a number of da capo and dal segno arias, but the overall impression is one of continuous dramatic flow to which shorter aria forms, accompagnato recitatives and ensembles, contribute substantially. For oratorios, Esther is studied, being the first English oratorio. The introduction of extra choruses gives Esther a slower pace in the development of the plot, an element that clearly distinguishes Handel's oratorios from his operas. The chapter then discusses how Athalia was adopted as a wedding anthem. The grand chorus from the opening of part two of Athalia provided the opening, and four substantial arias were used in the following sequence of movements. The chapter concludes by looking into Handel's Concerti Grossi op. 3. instrumental concerto.

Keywords:   George Frideric Handel, operas, oratorios and odes, church music, instrumental music, Orlando, Esther, Athalia, Concerti Grossi op. 3

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