[309] In Rinaldo, the air, Ah crudel il pianto mio, the first part is a sorrowful largo, the second a furious presto.—The finest example of this freedom is the air of Timotheus at the beginning of the second act of Alexander’s Feast. The two parts in this air differ not only by the movements but by the instrumental colouring, by the harmonic character, and by the very essence of the thought; they are two different poems which are joined together, but each being complete in itself.
[310] Examples; Teseo, Medea’s Moriro, ma vendicata; Amadigi air, T’amai quant’il mio cor.
[311] Riccardo I, air, Morte, vieni.
[312] In the airs da capo of Ariodante, the second part is restricted to five bars.
[313] L’Allegro ed Penseroso, 1st air, Part 3, Come with native lustre shine; after the 2nd part comes a recitative, then the chorus sings the Da Capo.—In Alexander’s Feast the air, He sung Darius, great and good; after the 2nd part comes a recitative, then the Da Capo with Chorus, but altogether free; to speak truly, the Da Capo is only in the instrumental accompaniment.
[314] Handel has found a musical language passing by imperceptible steps from recitativo secco, almost spoken, to recitativo accompagnato, then to the air. In Scipione (1726) the phrases of the accompanied recitative are enshrined in small frameworks of spoken recitative (see p. 23 of the Complete Handel Edition, the air, Oh sventurati). The final air in the first act is a compromise between speech and song. The accompanied recitative runs naturally into the air.
[315] In the chain of Recitatives and Airs of all kinds which succeed or mingle themselves with it, with an astonishing freedom reflecting one after another, or even at the same time the contradictory ideas which course through Roland’s mind, Handel does not hesitate to use unusual rhythms, as the 5-8 here which gives a stronger impression of the hero’s madness.
[316] It is necessary to consider to some extent the Arias buffi. Some have denied Handel the gift of humour. They cannot know him well. He is full of humour, and often expresses it in his works. In his first opera, Almira, the rôle of Tabarco is in the comic style of Keiser and of Telemann. It is the same feeling which gives certain traits a little caricaturesque to the rôle of St. Peter in the Passion after Brockes. The Polyphemus in Acis and Galatea has a fine amplitude of rough buffoonery. But in Agrippina Handel derived his subtle irony from Italy; and the light style with its minute touches and its jerky rhythms from Vinci and Pergolesi (to the letter) appear with Handel in Teseo (1713). Radamisto, Rodelinda, Alessandro, Tolomeo, Partenope, Orlando, Atalanta afford numerous examples. The scene where Alexander and Roxane are asleep (or pretend to be) is a little scene of musical comedy. Serse and Deidamia are like tragi-comedies, the action of which points to opéra comique. But his gift of humour takes another turn in his oratorios, where Handel not only creates complex and colossal types, such as Delilah or Haraphah in Samson, or as the two old men in Susanna, but where his Olympian laugh breaks out in the choruses of L’Allegro, shaking the sides of the audience with irresistible laughter.
[317] See especially Hugo Goldschmidt: Treatise on Vocal Ornaments, Volume I, 1907; Max Seiffert: Die Verzierung der Sologesänge in Haendels Messias (I.M.G., July-September, 1907, and Monthly Bulletin of I.M.G., February, 1908); Rudolf Wustmann: Zwei Messias-probleme (Monthly Bulletin I.M.G., January, February, 1908).
[318] M. Seiffert has given a description of the whole series of copies of Handel Operas and Oratorios in the Lennard collection of the Fitzwilliam Museum at Cambridge. There are to be found there (in pencil) the indication of the ornaments and vocalises executed by the singers. According to M. Seiffert these indications were by Christopher Smith, the friend and factotum of Handel. According to Mr. Goldschmidt they were put in at the end of the eighteenth century. In any case they show a vocal tradition which affords a good opportunity of preserving for us the physiognomy of the musical ornaments of Handel’s time.