Instruct: Given a question, retrieve passages that can help answer the question.
Query: When did Handel move to England?
George Frideric (or Frederick) Handel (/ˈhændəl/;[lower-alpha 1] born Georg Friedrich Händel[lower-alpha 2] [ˈɡeːɔɐ̯k ˈfʁiːdʁɪç ˈhɛndl̩](listen); 23 February 1685 (O.S.) [(N.S.) 5 March] – 14 April 1759)[2][lower-alpha 3] was a German, later British, Baroque composer who spent the bulk of his career in London, becoming well-known for his operas, oratorios, anthems, and organ concertos. Handel received important training in Halle-upon-Saale and worked as a composer in Hamburg and Italy before settling in London in 1712; he became a naturalised British subject in 1727.[5] He was strongly influenced both by the great composers of the Italian Baroque and by the middle-German polyphonic choral tradition.
Handel also seemed to use and understand "notes inégales" in many of his works. However, like often in the French literature, there are also inconsistencies which have never been fully explained where dots start and then stop for no clear reason, but as Newman has observed, mostly this happens towards the approach to cadences. But in general, in many of his suites, and even his orchestral music, the application of "notes inégales" finds a solid home in Handel. Most obvious are in some of the Ouvertures, but there are many movements where a subtle "notes inégales" works well, such as in the Sarabande of the E Minor suite (from the set of Eight Great Suites; his earliest compilation); and numerous Menuets throughout his keyboard and even some of his orchestral works. Even in his orchestral music, and vocal music, Handel can have some very "French" moments – some of the menuets in particular, keyboard as well as orchestral, can work well with a subtle "notes inégales", despite Handel's very intercontinental lineage. Whether in Germany or England, he was clearly a master at the French "notes inégales" as well as the Ouverture style. He was strongly influenced by Georg Muffat's nephew, who will be discussed below, and perhaps that is a part of Handel's reception of the French Style of playing. And occasionally one finds movements that don't seem necessarily "French", as over the years, Handel did develop a very strong "English" style that was unique to him, but nonetheless, sound very much more "revealed" when subjected to "notes inégales" aka inequality procedure.
Furthermore, grand opera had a high degree of spectacle in it. In the 17th century, when opera first came to England, it prompted enormously complex theatrical stagings to present illusions of ghosts, mythological figures, and epic battles. When Handel's arrival in England spurred a new vogue for English opera, it also caused a new vogue for imported opera, no matter the content, so long as it would create an enormous visual impact. Although some of the "Tory Wits" like Pope and John Gay wrote opera librettos (the two combining for "Acis and Galatea" with Handel), opera was a spectacular form of theater that left too little room for dramatic acting for most of the playwrights. Pope argued in "The Dunciad" that Handel's operas were "masculine" in comparison to Italian and French opera. While this is a musical commentary, it is also a commentary on the amount of decoration and frippery put on the stage, on the way that Handel's operas concentrated on their stories and music rather than their theatrical effects.
George Frideric Handel's operas comprise 42 musical dramas that were written between 1705 and 1741 in various genres. He began composing operas in Germany and then for a brief time in Italy to modest success. It was not until he moved to England that he found great success in the genre. His first opera in England, "Rinaldo" (1711), was met with enthusiasm, and several more Italian operas soon followed. However, Handel's place as the central figure of opera in England during the eighteenth century was not solidified until, under the influence of Thomas Arne, he began composing large-scale works with English language texts. Though almost all his English language works are technically oratorios and not operas, several of them, such as "Semele" (1743), have become an important part of the opera repertoire. Handel's first opera (opera seria - serious Italian opera) was "Almira" (1705).
Mainwaring has Handel traveling to Berlin the next year, 1698.[44] The problem with Mainwaring as an authority for this date, however, is that he tells of how Handel's father communicated with the "king"[lower-alpha 13] during Handel's stay, declining the Court's offer to send Handel to Italy on a stipend[49] and that his father died "after his return from Berlin."[50] But since Georg Händel died in 1697, either the date of the trip or Mainwaring's statements about Handel's father must be in error. Early biographers solved the problem by making the year of the trip 1696, then noting that at the age of 11 Handel would need a guardian, so they have Handel's father or a friend of the family accompany him, all the while puzzling over why the elder Handel, who wanted Handel to become a lawyer, would spend the sum to lead his son further into the temptation of music as a career.[51] Schoelcher for example has Handel traveling to Berlin at 11, meeting both Bononcini and Attilio Ariosti in Berlin and then returning at the direction of his father.[52] But Ariosti was not in Berlin before the death of Handel's father,[53] and Handel could not have met Bononcini in Berlin before 1702.[54] Modern biographers either accept the year as 1698, since most reliable older authorities agree with it,[lower-alpha 14] and discount what Mainwaring says about what took place during the trip or assume that Mainwaring conflated two or more visits to Berlin, as he did with Handel's later trips to Venice.[55]
Perhaps to fulfill a promise to his father or simply because he saw himself as "dedicated to the liberal arts," on 10 February 1702 Handel matriculated at the University of Halle.[56] That university had only recently been founded—in 1694 the Elector created the school, largely to provide a lecture forum for the jurist Christian Thomasius who had been expelled from Leipzig for his liberal views.[13] Handel did not enroll in the faculty of law, although Handel almost certainly attended his lectures[57] Thomasius was an intellectual, academic and religious crusader who was the first German academic to lecture in German. A firm Lutheran, he nevertheless strongly advocated the separation of church and state, famously denouncing the witch trials then prevalent. Lang believes that Thomasius instilled in Handel a "respect for the dignity and freedom of man's mind and the solemn majesty of the law," principles that would have drawn him to and kept him in England for half a century.[58] Handel also there encountered theologian and professor of Oriental languages August Hermann Francke, who was particularly solicitous of children, particularly orphans. The orphanage he founded became a model for Germany, and undoubtedly influenced Handel's own charitable impulse, when he assigned the rights of Messiah to London's Foundling Hospital.[59]
However, Handel became his main focus; and apart from the book already mentioned, he also published "Handel and the Opera Seria" (Berkeley, 1969), and a more general "Essays on Opera" (Oxford, 1990, 2/1993). His definitive two-volume work on Handel operas was published in 1987 and 2006, and set new standards in Handel scholarship and did much to help the revival of stagings of Handel's operas.
The incidental music was published in full a few months after the first performance; however, it is unlikely that Handel received any payment for either the performance or publication of the music. It is likely that the work was the first of Handel's music to be performed in England.
"Ezio" is the last of three operas Handel composed to texts by the most famous librettist of the day, Metastasio, the other two being "Siroe" and "Poro". Many of the long passages of recitative in the Metastasio original were cut in Handel's version, London audiences preferring to move more swiftly from one aria to the next. Unlike most of Handel's operas, there are no duets or other ensembles in the piece at all, only recitatives and arias. "Ezio" was performed just five times in Handel's lifetime, one contemporary noting of it that it was "a New Opera, Clothes & all ye Scenes New - but did not draw much Company" (at that time scenery and costumes were often drawn from stock, entirely new costumes and scenes were an added attraction.) Nevertheless, King George II attended every performance but one.
In February 1727, a petition was presented to the House of Lords to grant Handel the status of a British subject as this was the only method available to do so. In order for the petition to be valid before it could be considered, Handel was obliged to provide evidence that he had taken the Oath of Supremacy and the Oath of Allegiance as well as entering into communion with the Church of England. The petition was accepted and brought before Parliament as a private bill and added to a bill for naturalising Louis Sekeyhaye and others. Prior to Second Reading, Handel took the oaths in the presence of the House of Lords. The certificate that he had accepted communion with the Church of England was also presented, though it was suggested that Handel accepted just to conform with the law and maintained elements of his Lutheranism while praising the Church of England for affording him protection under which he would not "suffer any molestation or inconvenience on account of his religious principles." The bill passed through parliament and was granted Royal Assent by the King with the Norman French phrase "" (Let it be done as it is desired).
Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; "Messiah" was his sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens's text is an extended reflection on Jesus as the Messiah called Christ. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. In Part II, Handel concentrates on the Passion and ends with the "Hallelujah" chorus. In Part III he covers the resurrection of the dead and Christ's glorification in heaven.
Handel brought Durastanti back to England for his 1733–34 season, when she sang in revivals of "Ottone" and "Il pastor fido", as well as several "pasticcios". By this time she was probably in her fifties, and had been singing professionally for over thirty years. It is testimony to her enduring abilities that an aristocratic opera-lover of the time, Lady Bristol, was moved to comment: 
Opera seria, the form of Italian opera that Handel composed for London, focused overwhelmingly on solo arias and recitatives for the star singers and contained very little else; they did not feature separate choruses. With the English oratorios Handel had the opportunity to mix operatic arias in English for the soloists with large choruses of the type that he used in the Coronation anthems. The oratorios found a wider audience among more social classes than the aristocratic audience who had sponsored and enjoyed Handel's Italian operas. "Solomon" was widely recognised by commentators of the day as a eulogy for Georgian England, with the just and wise King Solomon representing King George II and the mighty, prosperous kingdom of Israel reflecting the similarly happy state of England at the time of the work's premiere, in the view of its creators.
At the end of his manuscript Handel wrote the letters "SDG"—', "To God alone the glory". This inscription, taken with the speed of composition, has encouraged belief in the apocryphal story that Handel wrote the music in a fervour of divine inspiration in which, as he wrote the "Hallelujah" chorus, "he saw all heaven before him". Burrows points out that many of Handel's operas, of comparable length and structure to "Messiah", were composed within similar timescales between theatrical seasons. The effort of writing so much music in so short a time was not unusual for Handel and his contemporaries; Handel commenced his next oratorio, "Samson", within a week of finishing "Messiah", and completed his draft of this new work in a month. In accordance with his frequent practice when writing new works, Handel adapted existing compositions for use in "Messiah", in this case drawing on two recently completed Italian duets and one written twenty years previously. Thus, ' from 1722 became the basis of "O Death, where is thy sting?"; "His yoke is easy" and "And he shall purify" were drawn from ' (July 1741), "Unto us a child is born" and "All we like sheep" from ' (July 1741). Handel's instrumentation in the score is often imprecise, again in line with contemporary convention, where the use of certain instruments and combinations was assumed and did not need to be written down by the composer; later copyists would fill in the details.
Handel joined 640 KFI Los Angeles in 1989 doing a weekend legal show called "Handel On The Law." On July 16, 1993, Handel began broadcasting in morning drive, replacing the prior morning team. Prior to January 2014, "The Bill Handel Show" aired from 5 a.m. to 9 a.m., and was heavily news based. The first hour was primarily discussion of Handel's personal life, letters to the show, and banter with other staffers. The light banter in the 5 a.m. hour was cut when, in January 2014, the show moved to its current 6 a.m. to 10 a.m. time slot.
John Valentine was born in Leicester, England, the son of John Valentine and his wife Sarah. By 1759 John Valentine owned and operated a music shop on New Bond Street in Leicester, which he later moved to other locations. He sold instruments and music and taught lessons in various instruments including keyboard and horn. Valentine performed at concerts in the area mostly as a violinist or violist, and played in the Handel Commemoration concerts in memorial for George Frederic Handel in London in 1784.
Opera seria, the form of Italian opera that Handel composed for London, focused overwhelmingly on solo arias and recitatives for the star singers and contained very little else; they did not feature separate choruses. With the English oratorios Handel had the opportunity to mix operatic arias in English for the soloists with large choruses of the type that he used in the Coronation anthems. Jennens provided a text with well-rounded characters and dramatic effects. The collaboration with Jennens was not without tension; Jennens referred in a letter to the "maggots" in Handel's head and complained that Handel wanted to end the work with a chorus of "Hallelujahs" that the librettist did not feel was appropriate as at the end of the piece Israel has been defeated in battle and the King and Crown Prince both killed, whereas the Hallelujahs would be suited to the celebrations at the opening of the work when David has killed Goliath. Jennens got his way; in the completed version "Saul" does not end with a chorus of "Hallelujahs" but there is such a chorus where Jennens had wanted one.
The Harmonious Blacksmith is the popular name of the final movement, "Air and variations", of George Frideric Handel's Suite No. 5 in E major, HWV 430, for harpsichord. This instrumental air was one of the first works for harpsichord published by Handel and is made up of four movements. An air is followed by five doubles (variations in the English division style): semiquavers in the right hand; semiquavers in the left hand; semiquaver triplets in the right and left hands; and finally demisemiquavers in both hands.
Around the time of 1720, G. F. Handel had just left his native land of Germany to London, accepting his new position at the Royal Academy of Music. Before that, Handel had already moved to England in 1712, spending his time based at the Burlington House before becoming house composer at Cannons in Middlesex. It has been suggested that the move to Cannons was related to the fact that in 1717 there was reduced demand for his services in central London because operatic productions were experiencing a temporary downturn. At the end of Handel's stay at Cannons, the Duke and his friends helped him establish a new opera company in London, the so-called Royal Academy of Music.
"Parnasso in festa" is Handel's only full scale "festa teatrale" or "serenata", a form popular in Italy to celebrate royal weddings and other festive state occasions, but rare in England. From the above newspaper description, it can be seen that there was one set only, the singers were in costume but probably did not move around on the stage, and the musical emphasis was on entertainment and variety rather than, as in the operas, depth of emotion and sometimes tragic feelings. The choruses referred to were probably performed, as in Handel's Italian operas, by no greater forces than the soloists singing together.
There are two surviving quotes of Handel about "Theodora". Morell quotes Handel as saying "The Jews will not come to it because it is a Christian story; and the ladies will not come because it is a virtuous one." Handel's colleague Burney took note when two musicians asked for free tickets for "Messiah" and Handel responded "Oh your servant, meine Herren! you are damnable dainty! you would not go to "Theodora" - there was room enough to dance there, when that was perform"!
There have been a number of explanations proffered as to why this movement was called "The Harmonious Blacksmith", and by whom. The name was not given by Handel and was not recorded until early in the 19th century, when the movement became popular on its own (while Handel's music remained popular in England continuously after his death, it was only very selectively known.)
From September 8, 2009 to February 12, 2010, Handel aired an additional show from noon to 2 p.m. on KFI after Dr. Laura Schlessinger moved from KFI to another Los Angeles talk station, 980 KFWB. Handel's afternoon show was syndicated to a handful of affiliates, though Premiere Radio Networks did not aggressively market the show. (It aired at the same time as the much more prominent "The Sean Hannity Show".) Handel quit the show after five months.
"The Purcell counter-tenor 'tenor' did not flourish in England much beyond the early years of the [eighteenth] century; within twenty years of Purcell's death Handel had settled in London and "opera seria", which was underpinned entirely by Italian singing, soon became entrenched in British theatres". In parallel, by Handel's time, castrati had come to dominate the English operatic stage as much as that of Italy (and indeed most of Europe outside France). They also took part in several of Handel's oratorios, though countertenors, too, occasionally featured as soloists in the latter, the parts written for them being closer in compass to the higher ones of Purcell, with a usual range of A to E. They also sang the alto parts in Handel's choruses. It was as choral singers within the Anglican church tradition (as well as in the secular genre of the glee) that countertenors survived as performers throughout the 18th and 19th centuries. Otherwise they largely faded from public notice.
James Taylor Move formed in early 1967 when an Adelaide discotheque-owner wanted a house band. The original line-up was Kevin Peek on guitar (ex-Hurricanes, John E. Broome and the Handels), Trevor Spencer on drums, Alan Tarney on organ and bass guitar (John E. Broome and the Handels), and Robert John Taylor on lead vocals. John E Broome and the Handels was an R&B group from Adelaide that relocated to the United Kingdom, Peek and Tarney had returned to Australia. Not long after forming they won the South Australian finals of the Hoadley's Battle of the Sounds and in July they traveled to Melbourne to compete in the national final.
Enrica Freifrau von Handel-Mazzetti was born in Vienna in 1871 and her father, Baron Heinrich Hypolith of Handel-Mazzetti, died young before her birth. She was educated well, studying history and languages. After her mother died, she went to live with a bachelor uncle, Baron Anton von Handel-Mazzetti, in Steyr in 1901. Her cousin was the botanist Heinrich von Handel-Mazzetti. She moved with her uncle to Linz when he was promoted in 1911. This was in the middle of her most productive period when her books were being serialised in magazines as well as being published and enthusiastically received.