GEORGE FREDERICK HANDEL.
GEORGE FREDERICK HANDEL.
Purcell became a copyist of Westminster, but he chiefly devoted12 his time to composing operas, as the managers of theatres offered him plenty of work. He also turned his attention to church music and anthems13. The year 1680 saw Purcell organist of the Abbey at the age of twenty-two, and soon afterwards he modestly brought out a book of sonatas15 for two violins, a bass16, and the harpsichord18 or organ, in the preface to which he said he had faithfully endeavoured a just imitation of the most famed Italian masters, and went on to explain that, lest the terms of art should puzzle his readers, adagio20 imported nothing but a very slow movement; presto21, largo22, and vivace, a very brisk, swift, or fast movement; and piano a soft one. Operas, anthems, and odes all seem to have flowed easily from his ready pen, and a list of them would only be tedious. Among his anthems, perhaps the best known is the one composed for the coronation of James II., "I was glad when they said unto me, we will go into the House of the Lord." The coronation of William and Mary, however, led to quite a stir in the inner circle of the Abbey, for Purcell allowed a number of persons to watch the ceremony from his organ-loft, charging them for admission. Now to this there was no objection, but when rumour23 related that the fees so obtained amounted to some hundreds of pounds, the Dean and Chapter, presuming that this was worth contending for, claimed the money as their dues. Purcell declared that he had a right to organ-loft fees; and the feeling must have run high, as in an old chapter note-book there runs the order that "Mr. Purcell, the organ blower, is to pay such money as was received by him for places in the organ-loft, in default thereof his place to be declared null and void." How the quarrel ended is not known. However, Purcell did not leave the Abbey, but went on with his flow of compositions, and won from the poet Dryden the statement that "here we have at length found an Englishman equal with the best abroad." It was to Purcell that Dryden turned for the music to his opera King Arthur, "for," he declared, "the artful hands of Mr. Purcell compose with so great a genius, that he has nothing to fear but an ignorant, ill-judging audience." Queen Mary seems to have had a liking24 for very popular music, and once seriously offended Purcell, when some of his compositions were being performed to her, by asking to have sung instead the old Scotch25 ballad26, "Cold and raw." So when he next had to compose a birthday ode for her, he carefully introduced the air of "Cold and raw." When the Queen died he wrote two beautiful anthems for the funeral service in the Abbey, "Blessed is the man," and "Thou knowest, Lord, the secrets of our hearts," of which a singer in the choir5 writes, "I appeal to all who were present, to those who understood music as well as to those who did not, whether they ever heard anything so rapturously fine and solemn, so heavenly in the operation, drawing tears from all, and yet a plain natural composition, which shows the power of music when 'tis rightly fitted and adapted to devotional purposes." At many a great public funeral since, this touching27 music of Purcell's has been used, and nothing has taken its place.
Delicate from his boyhood, it was early evident that Henry Purcell's life as organist of the Abbey was to be a short one, and in the year 1695 a pathetic little note was added to his song, "Lovely Albinia," stating that, "This is the last song the author sett before his sickness." His illness was just a wasting away, "dangerously ill in the constitution, but in good and perfect minde and memory, thanks be to God," to quote his own words. A touching account has been given, in Dr. Cumming's "Life of Purcell" of the closing scene in this bright young life:—
"He lay in a house on the west side of Dean's Yard, Westminster, from whence he could probably hear some faint murmurs28 of the Evensong service wafted29 from the old Abbey close by, some well-remembered phrase, perhaps, of one of his own soul-stirring anthems. The Psalms30 for the day (the 21st) to be chanted at that evening service, concluded with words he had set to music which the world was not likely soon to forget, music which still remains31 unsurpassed in truthfulness32 and dignity. A more noble or more fitting death-chant for a child of son" it would be difficult to find—
"'Blessed be the Lord God of Israel
From everlasting33, and world without end.
And let all the people say, Amen.'
"So his gentle spirit passed into the better world, there to continue his service of song and praise in fulness and perfection."
His own anthems were sung at his funeral; the organ he had so loved pealed35 out its rich farewell to him; and on his gravestone are these words in Latin—
"Dead? No, he lives, while yonder organ's sound,
And sacred echoes to the choir rebound36."
Dr. Blow went back to his old post as Abbey organist on the death of his pupil, and devoted himself to church music. "To this," he said, "I have ever especially consecrated37 the thoughts of my whole life. All the rest I consider but as blossoms and leaves. With this I began my youthful raptures38 in this art, with this I hope calmly and comfortably to end my days." His best known anthem14, "I beheld39, and lo!" was written within a week for James II., who had asked him if he could do as well as the Italian composers, and the king, much pleased with it, sent Father Peter to congratulate Blow after service. The priest, however, took it upon himself to add that, "in his opinion, it was somewhat too long." "That," replied Blow scornfully, "is only one fool's opinion. I heed40 it not."
Blow, who died and was buried opposite to Purcell in 1708, was considered by his fellow-musicians "to be the greatest master in the world for the organ, especially in his voluntaries, which he played gravely and seriously." The inscription41 on his grave declares "that his musical compositions are a far nobler monument to his memory than any that can be raised to him," and on the open music-book below is given the Gloria from his fine Jubilate in C major.
William Croft succeeded Blow as organist, and most of his musical compositions were written for special occasions; as, for example, his anthem, "I will give thanks," which was produced after the famous Blenheim victory. He, too, was of a lovable, kindly42 disposition43, and the inscription on his monument ends thus quaintly44: "He emigrated to the Heavenly Choir, with that Concert of Angels, for which he was better fitted, adding his Hallelujah. Awake up my glory! Awake lute45 and harp17! I myself will awake right early."
Half a century later, that prince among musicians, George Frederick Handel, was buried in the Poets' Corner. Though not of English birth or upbringing, he had become an English subject, and had found a warm welcome in the hearts of the English people. From babyhood he had shown the bent46 of his mind. Even his toys were tiny trumpets47, horns, and Jew's harps19, much to the annoyance48 of his kind old father, the well-known doctor in the German town of Halle, who thought this craze of George Frederick's should be forcibly put a stop to, and who decreed therefore, that "there was to be no more jingling49, neither was he to go into houses where music was practised."
The boy was outwardly submissive, but the longing50 within was too strong for him. Somehow he got possession of an old clavichord51, one of those muffled52 instruments on which musical monks53 could practise without disturbing the brethren, and this he smuggled54 up to a garret in the roof of the house, where, with storks55 to bear him company, he played away to his soul's content. It was in utter ignorance of all this, that Dr. Handel took the little boy with him once, when summoned to attend the Court at Sache-Weisseufels, where the reigning56 duke delighted in learning, art, and music. Naturally, George Frederick found his way to the organ-loft, where the good-natured organist lifted him up, for he was but seven, that he might touch the notes. To his surprise, the child began to play with a practised hand, and with so much style, that the Grand Duke, who heard him, sent for the doctor and begged him not further to thwart57 such a genius. So from this time forward the boy was allowed to study seriously, under the enthusiastic organist of the Liebfrauen Kirche in Halle, who taught him to play the harpsichord, the organ, the violin, the hautboy, and other instruments, besides the art of counterpoint. When, after years of study, he came to England, where Purcell's death had made a blank not yet filled up, he was received with open arms, his fame having preceded him. At once he was engaged to write an opera for the Queen's Theatre, and having discovered a libretto58 which greatly pleased him, a stirring story of the Crusades, his ideas poured forth59 so fast and so easily, that in a fortnight he had completed the work, and his "Rinaldo" was soon the rage of the season. Although Handel held the post of Kapellmeister to the Elector of Hanover, and had only been given leave of absence for a "reasonable time," he could not tear himself away from London, so well did he like the place and the people.
From operatic music he turned to oratorio60. The Duke of Chandos, who lived in almost regal state at his palace at Cannons61, maintained an orchestra and choir, so that the musical services of his private chapel might be as nearly perfect as possible. To Handel he offered the post of musical director, and thus, in church music, the great composer's genius found a new outlet62. The wonderful old Bible stories, with their vigour63 and dramatic force, and the stately Bible language, with its rich simplicity64, strongly appealed to him, and it is because of his oratorios65 and cantatas66 rather than through his other works, that the name and the memory of Handel remain for ever fresh among us. "Esther" was his first great work in this new line, first performed in a private house at Westminster by the children of the Chapel Royal, assisted by the choristers of the Abbey. So pleased were the guests, that a few days later the performance was repeated at the Crown and Anchor tavern67 in the Strand68, and would further have been given at the Opera House, had not the Bishop69 of London refused permission for any choristers to take part. Eventually, with a new band of singers, the oratorio was publicly given, by the king's command, in the Haymarket Theatre, "with a great number of voices and instruments," and it was specially announced that "there would be no acting70 on the stage, though the house would be fitted up in a decent manner for the audience." To this performance came all the royal family, while so great was the crowd, that hundreds were turned empty away, and six extra performances had to be at once arranged for.
"Deborah" and "Athaliah" soon followed, also "Acis and Galatea," which latter, though not sacred music, served to increase his popularity, his audiences numbering thousands. A great blow to him was the death of Queen Caroline, his kindest, most sympathetic friend, and in composing the anthem for her funeral in the Abbey he wrote from the depths of his sorrowing heart. Nothing could exceed the pathos71 or the sweetness of that music, with its undercurrent of desolate72 grief, and when, in the February of 1901, the Abbey was thronged73 with a great representative assembly, there to pay a last tribute of reverence74 to another queen, this anthem rang once more through the old walls.
Success to Handel was but a stepping-stone, leading him towards something higher. He was never satisfied with himself, but went on from strength to strength, conscious of his own power to produce music which should live for ever. His "Saul" and his "Israel in Egypt" showed how completely he could throw himself into the spirit of his subject, and through the pages of his music, Saul, Goliath and David, the Children of Israel, the Egyptians and Miriam, all spring into life for us. As we listen, the story takes new shape, and the events which surround it stand out with a new lurid75 light.
But the greatest work of all was not produced in London. Handel went on a visit to Dublin, where he found audiences "more numerous and polite than he had ever seen on like occasions," and the general enthusiasm "so put him in good spirits," that after completing a second series of concerts a special performance was announced, at which "Mr. Handel's new grand oratorio called 'The Messiah'" was to be given. Furthermore, as a great crowd was anticipated, ladies were begged to come without their hoops76, and gentlemen without their swords, for in this way quite another hundred persons could be accommodated.
"The finest composition of musick that was ever heard," was the verdict of that "grand, polite, and crowded audience," and a liberal sum was received for the "relief of the prisoners in the gaols," to which charity Handel, with peculiar77 appropriateness, had offered to devote the profits. Strange to say, the new work did not at once take root in London, but with repeated performances its triumph became steady and lasting34. The subject was a great one. The smallest mistake in dealing78 with it would have jarred painfully, and so little would have robbed that simple story of its majesty79. But Handel gave to it a new glory, a new splendid dignity, and to many a heart those familiar words have struck home with a reality hitherto undreamt of, through the beauty and the force of his music. Reverently80 he touched the great mystery, and as the story took life before his awe-struck eyes, he translated it into harmonies worthy81 of so vast a theme.
"I did think I did see all heaven before me, and the great God Himself," said Handel reverently, as he spoke82 of the Hallelujah Chorus, which so deeply impressed the audience in the Covent Garden Theatre on the first night that, one and all, with the king setting the example, they sprang to their feet and stood to the end. The musician had led them into the very Presence of God.
Other oratorios followed—"Samson," "Judas Maccabeus," and "Jephtha"—but none of them equalled "The Messiah." To this great work Handel had given freely of his best, before that dark cloud arose which saddened all his later days. For gradually blindness crept over him, till at last his sight departed for ever. In spite of this he continued to conduct his own works, and to the last insisted on being led to the organ, that he might play the concertos83 and voluntaries between the parts of his oratorios. And we hear how, when the fine solo in "Samson"—
"Total eclipse—no sun, no moon:
All dark amid the blaze of noon,"
was sung with great feeling at one performance, the sight of the blind composer sitting at the organ was so indescribably touching, that many present were moved to tears.
On the 5th of April, 1759, a notice appeared in the Public Advertiser that "The Messiah" would be performed in Covent Garden on the 6th of April for the last time in the season.
Handel conducted his work, was carried fainting from the hall, and in less than a week had passed away. His own wish, when he knew how near the end loomed84, was that he might die on Good Friday, "in hopes," he said, "of meeting my good God and sweet Saviour85 on the day of His resurrection." And in this trustful spirit he went to the God he had so worthily86 worshipped.
His funeral was intended to be private, but thousands came to it, and though no trace remains of the music sung on that occasion, I cannot help hoping that some boy's clear voice rang through the aisles87 as he sang "I know that my Redeemer liveth." Nothing would have been so fitting, and those are the words, nobler far than any epitaph, which the good taste of some friend caused to be inscribed88 on his monument in the Poets' Corner.
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1
aisle
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| n.（教堂、教室、戏院等里的）过道，通道 | |
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chapel
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| n.小教堂，殡仪馆 | |
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commonwealth
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| n.共和国，联邦，共同体 | |
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choirs
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| n.教堂的唱诗班( choir的名词复数 )；唱诗队；公开表演的合唱团；（教堂）唱经楼 | |
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choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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superstitious
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| adj.迷信的 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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cloisters
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| n.（学院、修道院、教堂等建筑的）走廊( cloister的名词复数 )；回廊；修道院的生活；隐居v.隐退，使与世隔绝( cloister的第三人称单数 ) | |
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specially
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| adv.特定地；特殊地；明确地 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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retired
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| adj.隐退的，退休的，退役的 | |
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devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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anthems
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| n.赞美诗( anthem的名词复数 )；圣歌；赞歌；颂歌 | |
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anthem
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| n.圣歌，赞美诗，颂歌 | |
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sonatas
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| n.奏鸣曲( sonata的名词复数 ) | |
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bass
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| n.男低音(歌手)；低音乐器；低音大提琴 | |
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harp
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| n.竖琴；天琴座 | |
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harpsichord
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| n.键琴（钢琴前身） | |
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harps
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| abbr.harpsichord 拨弦古钢琴n.竖琴( harp的名词复数 ) | |
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adagio
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| adj.缓慢的；n.柔板；慢板；adv.缓慢地 | |
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presto
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| adv.急速地；n.急板乐段；adj.急板的 | |
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largo
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| n.广板乐章；adj.缓慢的，宽广的；adv.缓慢地，宽广地 | |
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rumour
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| n.谣言，谣传，传闻 | |
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liking
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| n.爱好；嗜好；喜欢 | |
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scotch
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| n.伤口，刻痕；苏格兰威士忌酒；v.粉碎，消灭，阻止；adj.苏格兰(人)的 | |
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ballad
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| n.歌谣，民谣，流行爱情歌曲 | |
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touching
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| adj.动人的，使人感伤的 | |
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murmurs
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| n.低沉、连续而不清的声音( murmur的名词复数 )；低语声；怨言；嘀咕 | |
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wafted
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| v.吹送，飘送，（使）浮动( waft的过去式和过去分词 ) | |
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psalms
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| n.赞美诗( psalm的名词复数 )；圣诗；圣歌；(中的) | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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truthfulness
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| n. 符合实际 | |
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everlasting
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| adj.永恒的，持久的，无止境的 | |
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lasting
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| adj.永久的，永恒的；vbl.持续，维持 | |
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pealed
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| v.（使）（钟等）鸣响，（雷等）发出隆隆声( peal的过去式和过去分词 ) | |
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rebound
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| v.弹回；n.弹回，跳回 | |
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consecrated
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| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
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raptures
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| 极度欢喜( rapture的名词复数 ) | |
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beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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heed
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| v.注意，留意；n.注意，留心 | |
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inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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quaintly
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| adv.古怪离奇地 | |
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lute
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| n.琵琶，鲁特琴 | |
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46
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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trumpets
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| 喇叭( trumpet的名词复数 )； 小号； 喇叭形物； （尤指）绽开的水仙花 | |
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annoyance
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| n.恼怒，生气，烦恼 | |
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49
jingling
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| 叮当声 | |
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longing
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| n.（for）渴望 | |
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clavichord
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| n.（敲弦）古钢琴 | |
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52
muffled
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| adj.（声音）被隔的；听不太清的；（衣服）裹严的；蒙住的v.压抑，捂住( muffle的过去式和过去分词 )；用厚厚的衣帽包着（自己） | |
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monks
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| n.修道士，僧侣( monk的名词复数 ) | |
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smuggled
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| 水货 | |
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storks
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| n.鹳( stork的名词复数 ) | |
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reigning
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| adj.统治的，起支配作用的 | |
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thwart
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| v.阻挠，妨碍，反对；adj.横(断的) | |
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libretto
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| n.歌剧剧本，歌曲歌词 | |
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forth
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| adv.向前；向外，往外 | |
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oratorio
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| n.神剧，宗教剧，清唱剧 | |
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cannons
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| n.加农炮，大炮，火炮( cannon的名词复数 ) | |
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outlet
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| n.出口/路；销路；批发商店；通风口；发泄 | |
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vigour
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| （=vigor）n.智力，体力，精力 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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oratorios
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| n.（以宗教为主题的）清唱剧，神剧( oratorio的名词复数 ) | |
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cantatas
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| n.大合唱( cantata的名词复数 )；清唱剧 | |
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tavern
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| n.小旅馆，客栈；小酒店 | |
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strand
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| vt.使（船）搁浅，使（某人）困于（某地） | |
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69
bishop
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| n.主教，（国际象棋）象 | |
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70
acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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71
pathos
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| n.哀婉，悲怆 | |
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72
desolate
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| adj.荒凉的，荒芜的；孤独的，凄凉的；v.使荒芜，使孤寂 | |
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73
thronged
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| v.成群，挤满( throng的过去式和过去分词 ) | |
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74
reverence
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| n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬 | |
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75
lurid
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| adj.可怕的；血红的；苍白的 | |
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76
hoops
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| n.箍( hoop的名词复数 )；（篮球）篮圈；（旧时儿童玩的）大环子；（两端埋在地里的）小铁弓 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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78
dealing
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| n.经商方法，待人态度 | |
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79
majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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80
reverently
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| adv.虔诚地 | |
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81
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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82
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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83
concertos
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| n. [音]协奏曲 | |
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84
loomed
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| v.隐约出现，阴森地逼近( loom的过去式和过去分词 )；隐约出现，阴森地逼近 | |
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85
saviour
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| n.拯救者，救星 | |
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86
worthily
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| 重要地，可敬地，正当地 | |
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87
aisles
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| n. (席位间的)通道, 侧廊 | |
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88
inscribed
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| v.写，刻( inscribe的过去式和过去分词 )；内接 | |
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