Theodora and Susanna
In my preface to Evolution Old and New I imply a certain dissatisfaction with Theodora and Susanna, and imply also that Handel himself was so far dissatisfied that in his next work, Jephtha (which I see I inadvertently called his last), he returned to his earlier manner. It is true that these works are not in Handel’s usual manner; they are more difficult and more in the style of Bach. I am glad that Handel gave us these two examples of a slightly (for it is not much) varied manner and I am interested to observe that he did not adhere to that manner in Jephtha, but I should be sorry to convey an impression that I think Theodora and Susanna are in any way unworthy of Handel. I prefer both to Judas Maccabæus which, in spite of the many fine things it contains, I like perhaps the least of all his oratorios. I have played Theodora and Susanna all through, and most parts (except the recitatives) many times over, Jones and I have gone through them again and again; I have heard Susanna performed once, and Theodora twice, and I find no single piece in either work which I do not admire, while many are as good as anything which it is in my power to conceive. I like the chorus “He saw the lovely youth” the least of anything in Theodora so far as I remember at this moment, but knowing it to have been a favourite with Handel himself I am sure that I must have missed understanding it.
How comes it, I wonder, that the chorale-like air “Blessing, Honour, Adoration” is omitted in Novello’s edition? It is given in Clarke’s edition and is very beautiful.
Jones says of “With darkness deep”, that in the accompaniment to this air the monotony of dazed grief is just varied now and again with a little writhing passage. Whether Handel meant this or no, the interpretation put upon the passage fits the feeling of the air.