The Italian cantatas of Handel are likewise to be regarded as a less important branch, or even a component part of his operas, just as the chamber duets, anthems and similar compositions belong in the domain of his oratorios. For a brief survey of his works, it is therefore sufficient to confine ourselves to the opera and the oratorio. The opinion has been widespread and prevails even in our day, that so long as Handel occupied himself with the opera, he was obstinately pursuing the wrong path, which he only abandoned after many bitter experiences, in order henceforth to devote himself to the oratorio, for which nature had intended him. For it has always been considered one of the most marked characteristics of genius that it discovers the right way unconsciously, as it were, and impelled by inward necessity. According to this, Handel, with his forty operas, would have mistaken his true bent during the best forty years of his life. The opinion rests, however, upon the theory of an antithesis between the opera and the oratorio, which has never existed. During the hundred years preceding Handel's time, the two forms of art, simultaneous in origin, kept equal pace in their development. Through the changes wrought in the opera in the middle of the seventeenth century at Venice, and from the end of that period at Naples, solo song attained almost complete supremacy in that field, while in the oratorio there was still room for the chorus. The extraordinary pleasure derived from solo-singing is shown by the effort made to express the individual personality in music, and the opportunity of doing this is what attracted Handel to the opera. If we regard the poetic compositions employed by him in the light of their dramatic value, their delineation of character, the systematic management and increasing intensity of the action, they are not, for the most part, calculated to excite a profound interest. They are after the manner of all operatic poems in Italy in 1700, and generally derive their material from ancient history or from mythological lore. But the poets certainly show skill in so arranging their incidents that the personages concerned find opportunity to give utterance to their feelings. The portrayal of character, by means of music, was, then, the object in view. This Handel wished to accomplish in his operas, and, within the limits which he prescribed for himself, he was entirely successful. Not psychological processes, but psychological conditions were what he wished to represent in his arias, and the progress of the action lies always outside of the principal musical themes. That this was intentional with him, and also with the Italians of his time, is proved most clearly by the form of solo-song almost exclusively employed. The aria, as fashioned by Alessandro Scarlatti, is only adapted to a feeling which indeed rises above its original state, but soon returns to it. The recurrence of the first part at the end, after a weakly contrasting middle portion, is the image of a self-centred exclusiveness. The direct opposite of this form is that in which a slow movement is followed by a more rapid one, so that the feeling passes from rest to motion, from contemplation to activity. This is certainly the dramatic form, and therefore Handel's opera music is not dramatic in a narrow sense. But no one will attempt to deny that his style has also its artistic justification and is sure of producing great effects whenever the hearer concentrates his attention upon the characteristic picture presented, rather than upon the suspense resulting from an uninterrupted continuous action. With inexhaustible inventive power, Handel has drawn such pictures in his operas. No reproach is less deserved than that he has acquired a stereotyped manner and turns out his productions as if they were cast in a mould. Whenever the same forms and turns recur in his works, they express exactly what is demanded by the situation and is necessary for the accomplishing of a powerful effect. For the rest, he seizes every problem firmly and repeats himself as little as the circumstances of our lives are exactly repeated, even if they sometimes seem to show a general resemblance. His work, to be sure, lies almost wholly in the province of simple sensations—complicated, romantic, psychological conditions are out of his sphere. So-called ensemble movements, in which different persons with strongly-contrasting emotions confront each other, whose utterances it has become one of the most interesting tasks of the latter opera-composers to weave together upon the ground of a certain universal sympathy, are of comparatively rare occurrence in his compositions. Just as little does he concern himself to give expression to a mood which proceeds from a single scene, considered as such. The instrumental accompaniment, which finds herein one of its heaviest tasks, is always extremely simple and restrained. Everything really essential finds utterance through the singer. Singers of the highest order are therefore demanded by his operas, those who have not only command of the most highly perfected technique of their art, but whose creative mind enables them to become thoroughly imbued with the spirit of a piece of music. He lived in a time when the art of song on every side was in a condition of the highest cultivation, and it was under such influences that he was able to create those perfect specimens of characteristic and artistic song, found in almost superabundant measure in his operas. Because in our time this art has been lost, the beauty of Handel's opera arias remains for the most part concealed from us, but that another change will one day take place there is no doubt. An immediate revolution, to be sure, is not to be expected. Music has fallen by degrees from that lofty height, and only by degrees can she again attain unto it. What the operas of Handel will then signify to the world cannot to-day be even approximately estimated.
STATUE OF HANDEL IN PARIS OPERA HOUSE.
Reproduced from a photograph made for this work by special permission. One of four life-size statues placed in the vestibule of the Opera House, at the foot of the grand marble staircase.
Exactly the same characteristic form of musical representation which is peculiar to Handel's operas constitutes, in a still greater degree, the essence of his oratorios. From an external point of view the oratorios stand higher, because they are produced with so much richer musical resources and because, in order to employ these properly, a much higher order of art is required. The chorus, which was almost wholly excluded from the operas, is here made use of in manifold ways, taking at least equal rank with the solo-song, while it often predominates. But the inner worth of the oratorio is greater, because in this we are no longer concerned with transient emotions, confined to a narrow circle of fictitious personages, who, in their totality, are indifferent to us, but with the feelings aroused by momentous events in the world's history, by the deeds and sorrows of great men and women, by legends full of the deepest symbolism, by lofty, divine decrees, extending even to the life, sufferings and resurrection of Christ, the son of God. The mighty choruses in Handel's oratorios took a powerful hold upon his contemporaries, to whom they appeared in the light of something wholly new. His Italian predecessors were more or less wanting in that sense of the sublime which caused Handel to seize upon such material as demanded the full co-operation of a large body of singers, and in this very direction was displayed most strikingly the immense superiority of his genius and his strength as an artist. The imposing array of figures which he leads before us in his choral pictures is astounding. From the simplest choral melodies, like the songs of victory in "Saul" and in "Judas Maccabaeus," to the gigantically towering, yet easily animated masses of the chorus in "Israel in Egypt," they stand forth, exuberant in strength, overpowering in the impression they produce, but at the same time simple and easily understood, as if they were created by the power of Nature herself. And in the case of these choruses again, the equipment and co-operation of the orchestra are limited, the principal task devolving here also upon the singers. With Bach the effect consists in the complete blending of organ, chorus, and orchestral tone. The hearer must be conscious neither of those who sing nor those who play; the incorporeal essence of melody floats through the spaces of the church. In listening to Handel's choruses, one rejoices in the consciousness that it is human beings who are singing. Their tones are like the voice of a victorious army, of nations blessed by God, of all sympathetic humanity. The greater the number of people united in the expression of an emotion, the less of his individualism does each retain. An oratorio chorus, however marked its character, can still express only feelings of a strong and simple nature. Joy and sorrow! So far as the meaning of a piece of music can be interpreted, these two words paraphrase the utterances of Handel's choruses. Both are to be understood in their fullest significance; joy, from the bright, childish enjoyment of life, to the tumultuous bursts of exultation after victory won, from pious adoration to enthusiastic soaring up to God; sorrow, both as quiet sadness and deep, intensest mourning. But it is always one of these two emotions, which resounds full and clear. Mixtures of the two, such as often occur with Bach, are almost never found in Handel's music.
In the last century, the opinion became fully established that Handel was pre-eminently great in choral music, and, as there was a sudden revolution of taste at this time in the line of solo-song, his arias and glorious recitatives were thrown into the shade. But the only way in which it is possible to be just to the composer, is to acknowledge the latter as well as the former, to be necessary for the completeness of the ensemble, and dependent upon each other for their effect. Since the greater number of Handel's oratorios are biblical in subject, and since from the beginning a certain edificatory purpose was associated with this order of work, a strong desire prevailed in Germany to class them as church music. But to do this is to thrust them out of the free and elevated position which they rightfully hold. In them the distinction between the worldly and the ecclesiastical is done away with, nor could they with propriety be designated as religious in character, for, besides his biblical material, Handel has also employed for his compositions profane history (Alexander Balus), ancient mythology (Heracles, Semele, Acis and Galatea), legendary subjects (Theodora), and pure description (Alexander's Feast; Allegro and Pensieroso). A noble humanity was the ideal of his art, and this he has completely realized in his oratorios. The "Messiah" itself is no exception, but rather crowns them all in this respect.