Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
On The Peculiar Excellencies Of Handel's Music.
must appeal to the heart . The accent and emphasis must be expressed , and whatever effect the reading of the words is to produce , must be increased by the music . There are but few examples of Handel ' s possessing tune in the popular sense . He seldom is without air in its most refined application , and most commonly has an exuberance of subject for greater purposes . His harmony is in general well chosen and full ; his
expression sometimes faulty , but frequent ! } ' just ; and his facility great , from so much practice , sinking now and then to carelessness . In consequence of this general character , we find no songs of his in the style of Gary ' s tunes and the real English ballad . Mo ^ t of his oratorio and opera songs have air in them , some very fine . His chorusses are as yet unrivalled , and those form the broad base on which
his fame is built . They possess subject and contrivance , frequently expression , and most commonly facility , altogether producing a superior effect to any other chorusses yet known to the public . Their great number and variety shew his invention , that strong criterion of senilis . It will be found to hold true as a general remark , that where the words ar , e most sublime , the composition has most subject and expression ; and
this ought to be considered by those who hold words of no consequence : if they have no other than exalting the fancy of the composer ( which effect they certainly produce ) , we should , for the sake of music independently considered , make choice of works of imagination . Besides the advantages of superior genius and knowledge , Handel possesses anotherwithout which his genius and knowledge miht
, g have remained for ever unknown . He had an opportunity of presenting his works to the public , performed by the best band of the times , and of repeating his pieces until they were understood , and their superior merit felt . By these means they were impressed upon the mind , and at last became so congenial to our feelings , as almostto exclude the possibility of other music being performed .
Handel ' s music , then , having the great essentials of genius , skill , and facility , and being at first performed often enough to have its intention comprehended , and its merit felt and acknowledged , it necessarily keeps possession of the public favour , and its annual performance is expected with pleasure , and always considered as an entertainment of a superior kind . After this unequivocal and heart-felt praise , I may venture to point out what appear to be defects in this great musician .
The first thing that an enli ghtened modern composer would notice , is an inattention to the fort of the different instruments , more particularly apparent in the parts for trumpets , & c . which in general lie aukward and unkindly . At the time we acknowledge this , we should remark , that in those days such niceties did not exist , for they are some of the real improvements of modern music . Handel ' s concertos and chorusses , without the least alteration of harmony or melody in the subject ( as every real musician well knows ) might be improved in this point , and produce a very superior effect . M ,
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
On The Peculiar Excellencies Of Handel's Music.
must appeal to the heart . The accent and emphasis must be expressed , and whatever effect the reading of the words is to produce , must be increased by the music . There are but few examples of Handel ' s possessing tune in the popular sense . He seldom is without air in its most refined application , and most commonly has an exuberance of subject for greater purposes . His harmony is in general well chosen and full ; his
expression sometimes faulty , but frequent ! } ' just ; and his facility great , from so much practice , sinking now and then to carelessness . In consequence of this general character , we find no songs of his in the style of Gary ' s tunes and the real English ballad . Mo ^ t of his oratorio and opera songs have air in them , some very fine . His chorusses are as yet unrivalled , and those form the broad base on which
his fame is built . They possess subject and contrivance , frequently expression , and most commonly facility , altogether producing a superior effect to any other chorusses yet known to the public . Their great number and variety shew his invention , that strong criterion of senilis . It will be found to hold true as a general remark , that where the words ar , e most sublime , the composition has most subject and expression ; and
this ought to be considered by those who hold words of no consequence : if they have no other than exalting the fancy of the composer ( which effect they certainly produce ) , we should , for the sake of music independently considered , make choice of works of imagination . Besides the advantages of superior genius and knowledge , Handel possesses anotherwithout which his genius and knowledge miht
, g have remained for ever unknown . He had an opportunity of presenting his works to the public , performed by the best band of the times , and of repeating his pieces until they were understood , and their superior merit felt . By these means they were impressed upon the mind , and at last became so congenial to our feelings , as almostto exclude the possibility of other music being performed .
Handel ' s music , then , having the great essentials of genius , skill , and facility , and being at first performed often enough to have its intention comprehended , and its merit felt and acknowledged , it necessarily keeps possession of the public favour , and its annual performance is expected with pleasure , and always considered as an entertainment of a superior kind . After this unequivocal and heart-felt praise , I may venture to point out what appear to be defects in this great musician .
The first thing that an enli ghtened modern composer would notice , is an inattention to the fort of the different instruments , more particularly apparent in the parts for trumpets , & c . which in general lie aukward and unkindly . At the time we acknowledge this , we should remark , that in those days such niceties did not exist , for they are some of the real improvements of modern music . Handel ' s concertos and chorusses , without the least alteration of harmony or melody in the subject ( as every real musician well knows ) might be improved in this point , and produce a very superior effect . M ,