And Economic Factors Affect The Composition Of Handel's Judas Maccabaeus '?
Discuss the effect that political and economic factors had on the composition of Handel’s Judas Maccabaeus. ‘Judas Maccabaeus’ is an oratorio composed by George Friderick Handel and was written to be first performed in 1747. The piece was written in honor of the duke of Cumberland to acknowledge his success in the battle of Culloden during the Jacobite rebellion. The political links with the work had a clear influence on the final outcome of the piece, and this is shown through its story and the audiences responses after the release. Perhaps less obviously, there were also economic factors that played their part in the works composition, dictating the direction and style. Before the 19th century, composers comparable with Handel relied on a patronage system for financial
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income. Solely depending on sales and interest in and of composition proved insufficient in providing a regular salary, meaning musicians turned to institutions such as the church, the courts and the noble class, to provide them with a secure job. A composer received payment to please his patron, to produce music for a specific occasion, and therefore restrictions on the expression of the musician’s creativity existed. This resulted in the rise in appeal of self-employed musicianship, as demand for musical entertainment within the middle classes grew. John Banister is one prime example of those that noticed this, and his circumstances pushed him to become one of the most influential characters in this new move away from patronage. On 18th April 1662, after joining the 24 violins in 1660, John Banister was granted the authority to choose 12 violinists to accompany the king to Portsmouth to meet Catherine of Braganza.
The king, Charles II, had a profound interest in the ways of the French musicians, and wished to have a band resembling the nature of Vingt-quatre violins du roi, it was this band to which John Banister was given orders to direct, instruct and pay. An offered salary of 600l per year was a secure amount for the period, however, in reality, it is questionable as to whether or not Banister did in fact actually receive this payment. On 29 March 1667 the 24 Violins fabricated a case against Banister, stating all occasions on which they believed there had been unfair distribution of the money. Despite evidence for this, it may have come as a result of Banister himself not receiving his salary which he had been informed to share, and therefore by no fault of his own, could not fulfil the bands payments. In response to his money worries, Banister turned away from the old system of the time, and propelled himself in to a new musical world, directed at the middle classes, as opposed to the
aristocracy. In 1672, John Banister took matters into his own hands, organising a series of public concerts in his own home, hosting many of the areas most celebrated performers and a large crowd of the public, each paying a shilling for admission, with included refreshments. Although according to other sources, Banister already hosted concerts in Fleet Street during the 1660s, the first newspaper advertisement published for them was not until 1672. The occurrence of these concerts broke down the elitism that had dominated music in that period and music became more available to the midddling sort, which since the reign of Elizabeth I was growing in both size and wealth. Handel himself, fled to England, escaping the church and the courts to find a less pressured noble patronage, for which he became an opera impresario. The production of Nicola Haym’s arrangement of Giovanni Bononcini’s Camilla on 30th march 1706, promoted the new found popularity of the Italian-style opera in England, collecting support for Handel’s upcoming move in 1710 to England in order to release his Italian-style opera, Rinaldo in 1711. The aristocracy loved Italian Opera, and so Handel pursued the possible employment prospects to the city of London. Italian Operas were generally based on Greek or Roman mythology or great historical events, thus requiring education for a solid understanding. Its extravagant staging, with its costumes and scenery were viewed as unnecessary by the middling sort, and the use of Castrati singers was thought of as an abomination due to lack of education on the subject matter. The middling sort preferred the Oratorio, which is a piece of music based upon a biblical text. Most of the audience would easily be able to understand the oratorio due to its accessibility and the fact they were wrote in England, and based upon an English church anthem. Music became a commodity and consumer product. Composers such as Handel had to adjust their work to fit the audience response in order to obtain any financial benefit. It is for this reason Handel switched from opera to oratorio. He too, had money worries, which in some cases, lead to him withdrawing some of his work in attempt to lessen financial loss. He himself advertised this, apologising to his patrons. This was after Handel suffered from a long 18 month illness in which he could not support himself financially, which is also the reason why in the opinion of many, ‘Judas Maccabaeus’ is not his best work. A letter produced by the Earl of Shaftesbury highlights how ill Handel was. This fact however can be omitted as due to political circumstances of the time, ‘Judas Maccabaeus’ received a great response. In a letter to William Shetstone, Lady Luxbury speaks of the largely positive response to the oratorio, this is reiterated by Thomas Morell, the librettist of the work himself, as he explains its great success too. As well as financial influence directing Handel towards the composition of Judas Maccabaeus, it being an oratorio, there was also key political events happening at the time of composition which would have influenced both Handel and Morell. The oratorio is set in to three parts and aims to tell a biblical story, it was intended to compliment the Duke of Cumberland upon his return from the battle of Culloden, in the Jacobite rebellion. The story of the work reflects closely the events that had happened around the time of composition, and although Handel composed the work before the ending of the rebellion, its timing proved to be perfect in its release. The Jacobite rebellion related to the dispute of dominance of religions within Britain at the time. In 1685 when James II was on the thrown, he was exiled to France as his Catholicism became apparent. The French accepted him and he stayed there, and despite his many attempts to regain the thrown for the Stuarts, the closest they came was his sons, James II’s, attempt in 1745. He sailed over to Scotland to raise the highlanders who had agreed to support him if he arrived with an army of no less than 3,000. Despite their major advantage of England being at war, and therefore having a lack of supplies and organisation, the rebellion still failed. Letters written by the Archbishop of York to the king at the time, show his frustration at the apparent absence of arms and information, but also show the fear of the people, explaining that if possible they would all flee upon attack. This was a frightful time for many Britons and perhaps explains why Judas Maccabaeus proved so popular and why Handel endeavored to complete the work. Despite the Jacobite’s defeat in Derby in the December, the matter was not resolved until the decisive battle of Culloden had been won. To raise spirits in London and Briton, a musical work was called upon, and Handel thought to make his contribution. The piece raised the patriotic spirit within the country and for some was viewed as a celebration of survival as the oratorio was performed one year after the Jacobite’s final defeat. Richard Powney in Templum Harmoniae, describes the applause for the oratorio, explaining that despite Handel’s origin, his piece achieved a patriotic response in London. ‘Judas Maccabaeus’ was not popular with everybody. Charles Jennens in a letter to a friend describes his negative feelings towards the piece, showing his apprehension of the ending being set before the rebellion is over. Despite this though, the piece went on to have immense success even after Handel’s death. Its strong patriotic message made it relevant for use in the crisis of confidence that followed the loss of the war with America in 1773, leading the American independence. The nationalistic connotations within Handel’s music meant his works were to be recalled for performance at Westminster Abbey. Revisiting older music was unusual for the era, but it meant Handel’s legacy was able to live on. Combining the economic factors of Handel’s financial state, the new approach to individual musicianship, and the need to please a new audience, with the politcal factors of the Jacobite Rebellion and lack of morale in and around Briton, we can see that Handel was clearly directed by his circumstances in the composition of ‘Judas Maccabaeus’. The rise of the public, and the need to fulfil their wishes controlled Handel’s musical path, converting him from Opera to Oratorio. The politcal troubles of the time then motivated Handel to create a piece with a purpose to create a sense of celebration, giving the oratorio a clear direction.
Bibliography.
Colley, Linda, Britons: Forging the nation 1707-1837 (London: Pimlico, 2003) http://hdl.handle.net.libproxy.ncl.ac.uk/2027/heb.01683.0001.001
Smith, Ruth, ‘The meaning of Morell’s Libretto of Judas Maccabaeus’, Music and letters, Vol. 79, No.1 (February 1998) 50-71.
Timms, Colin, ‘Music and musicians in the letters of Giuseppe Rive to Agostino Steffani’, Music and letters, Vol. 79, No.1 (February 1998) 27-49.
Pulver, Jeffrey, ‘John Banister the elder (Born 1630)’, The Musical Times, Vol. 72, No 1064 (October 1931) 891-893.
Hicks, Anthony, ‘Handel, George Frideric, §4: Hanover, Düsseldorf and London’, Grove music online, Oxford Music Online.
Hurd, Michael, ‘Patronage’, Grove Music Online, Oxford Music Online, Oxford University Press.
Holman, Peter, "Banister." Grove Music Online, Oxford Music Online. Oxford University Press. Hicks, Anthony, "Handel, George Frideric." Grove Music Online, Oxford Music Online. Oxford University Press.
Hicks, Anthony, "Handel, George Frideric." Grove Music Online, Oxford Music Online. Oxford University Press.
Smith, Ruth, "Morell, Thomas." Grove Music Online, Oxford Music Online. Oxford University Press.
income. Solely depending on sales and interest in and of composition proved insufficient in providing a regular salary, meaning musicians turned to institutions such as the church, the courts and the noble class, to provide them with a secure job. A composer received payment to please his patron, to produce music for a specific occasion, and therefore restrictions on the expression of the musician’s creativity existed. This resulted in the rise in appeal of self-employed musicianship, as demand for musical entertainment within the middle classes grew. John Banister is one prime example of those that noticed this, and his circumstances pushed him to become one of the most influential characters in this new move away from patronage. On 18th April 1662, after joining the 24 violins in 1660, John Banister was granted the authority to choose 12 violinists to accompany the king to Portsmouth to meet Catherine of Braganza.
The king, Charles II, had a profound interest in the ways of the French musicians, and wished to have a band resembling the nature of Vingt-quatre violins du roi, it was this band to which John Banister was given orders to direct, instruct and pay. An offered salary of 600l per year was a secure amount for the period, however, in reality, it is questionable as to whether or not Banister did in fact actually receive this payment. On 29 March 1667 the 24 Violins fabricated a case against Banister, stating all occasions on which they believed there had been unfair distribution of the money. Despite evidence for this, it may have come as a result of Banister himself not receiving his salary which he had been informed to share, and therefore by no fault of his own, could not fulfil the bands payments. In response to his money worries, Banister turned away from the old system of the time, and propelled himself in to a new musical world, directed at the middle classes, as opposed to the
aristocracy. In 1672, John Banister took matters into his own hands, organising a series of public concerts in his own home, hosting many of the areas most celebrated performers and a large crowd of the public, each paying a shilling for admission, with included refreshments. Although according to other sources, Banister already hosted concerts in Fleet Street during the 1660s, the first newspaper advertisement published for them was not until 1672. The occurrence of these concerts broke down the elitism that had dominated music in that period and music became more available to the midddling sort, which since the reign of Elizabeth I was growing in both size and wealth. Handel himself, fled to England, escaping the church and the courts to find a less pressured noble patronage, for which he became an opera impresario. The production of Nicola Haym’s arrangement of Giovanni Bononcini’s Camilla on 30th march 1706, promoted the new found popularity of the Italian-style opera in England, collecting support for Handel’s upcoming move in 1710 to England in order to release his Italian-style opera, Rinaldo in 1711. The aristocracy loved Italian Opera, and so Handel pursued the possible employment prospects to the city of London. Italian Operas were generally based on Greek or Roman mythology or great historical events, thus requiring education for a solid understanding. Its extravagant staging, with its costumes and scenery were viewed as unnecessary by the middling sort, and the use of Castrati singers was thought of as an abomination due to lack of education on the subject matter. The middling sort preferred the Oratorio, which is a piece of music based upon a biblical text. Most of the audience would easily be able to understand the oratorio due to its accessibility and the fact they were wrote in England, and based upon an English church anthem. Music became a commodity and consumer product. Composers such as Handel had to adjust their work to fit the audience response in order to obtain any financial benefit. It is for this reason Handel switched from opera to oratorio. He too, had money worries, which in some cases, lead to him withdrawing some of his work in attempt to lessen financial loss. He himself advertised this, apologising to his patrons. This was after Handel suffered from a long 18 month illness in which he could not support himself financially, which is also the reason why in the opinion of many, ‘Judas Maccabaeus’ is not his best work. A letter produced by the Earl of Shaftesbury highlights how ill Handel was. This fact however can be omitted as due to political circumstances of the time, ‘Judas Maccabaeus’ received a great response. In a letter to William Shetstone, Lady Luxbury speaks of the largely positive response to the oratorio, this is reiterated by Thomas Morell, the librettist of the work himself, as he explains its great success too. As well as financial influence directing Handel towards the composition of Judas Maccabaeus, it being an oratorio, there was also key political events happening at the time of composition which would have influenced both Handel and Morell. The oratorio is set in to three parts and aims to tell a biblical story, it was intended to compliment the Duke of Cumberland upon his return from the battle of Culloden, in the Jacobite rebellion. The story of the work reflects closely the events that had happened around the time of composition, and although Handel composed the work before the ending of the rebellion, its timing proved to be perfect in its release. The Jacobite rebellion related to the dispute of dominance of religions within Britain at the time. In 1685 when James II was on the thrown, he was exiled to France as his Catholicism became apparent. The French accepted him and he stayed there, and despite his many attempts to regain the thrown for the Stuarts, the closest they came was his sons, James II’s, attempt in 1745. He sailed over to Scotland to raise the highlanders who had agreed to support him if he arrived with an army of no less than 3,000. Despite their major advantage of England being at war, and therefore having a lack of supplies and organisation, the rebellion still failed. Letters written by the Archbishop of York to the king at the time, show his frustration at the apparent absence of arms and information, but also show the fear of the people, explaining that if possible they would all flee upon attack. This was a frightful time for many Britons and perhaps explains why Judas Maccabaeus proved so popular and why Handel endeavored to complete the work. Despite the Jacobite’s defeat in Derby in the December, the matter was not resolved until the decisive battle of Culloden had been won. To raise spirits in London and Briton, a musical work was called upon, and Handel thought to make his contribution. The piece raised the patriotic spirit within the country and for some was viewed as a celebration of survival as the oratorio was performed one year after the Jacobite’s final defeat. Richard Powney in Templum Harmoniae, describes the applause for the oratorio, explaining that despite Handel’s origin, his piece achieved a patriotic response in London. ‘Judas Maccabaeus’ was not popular with everybody. Charles Jennens in a letter to a friend describes his negative feelings towards the piece, showing his apprehension of the ending being set before the rebellion is over. Despite this though, the piece went on to have immense success even after Handel’s death. Its strong patriotic message made it relevant for use in the crisis of confidence that followed the loss of the war with America in 1773, leading the American independence. The nationalistic connotations within Handel’s music meant his works were to be recalled for performance at Westminster Abbey. Revisiting older music was unusual for the era, but it meant Handel’s legacy was able to live on. Combining the economic factors of Handel’s financial state, the new approach to individual musicianship, and the need to please a new audience, with the politcal factors of the Jacobite Rebellion and lack of morale in and around Briton, we can see that Handel was clearly directed by his circumstances in the composition of ‘Judas Maccabaeus’. The rise of the public, and the need to fulfil their wishes controlled Handel’s musical path, converting him from Opera to Oratorio. The politcal troubles of the time then motivated Handel to create a piece with a purpose to create a sense of celebration, giving the oratorio a clear direction.
Bibliography.
Colley, Linda, Britons: Forging the nation 1707-1837 (London: Pimlico, 2003) http://hdl.handle.net.libproxy.ncl.ac.uk/2027/heb.01683.0001.001
Smith, Ruth, ‘The meaning of Morell’s Libretto of Judas Maccabaeus’, Music and letters, Vol. 79, No.1 (February 1998) 50-71.
Timms, Colin, ‘Music and musicians in the letters of Giuseppe Rive to Agostino Steffani’, Music and letters, Vol. 79, No.1 (February 1998) 27-49.
Pulver, Jeffrey, ‘John Banister the elder (Born 1630)’, The Musical Times, Vol. 72, No 1064 (October 1931) 891-893.
Hicks, Anthony, ‘Handel, George Frideric, §4: Hanover, Düsseldorf and London’, Grove music online, Oxford Music Online.
Hurd, Michael, ‘Patronage’, Grove Music Online, Oxford Music Online, Oxford University Press.
Holman, Peter, "Banister." Grove Music Online, Oxford Music Online. Oxford University Press. Hicks, Anthony, "Handel, George Frideric." Grove Music Online, Oxford Music Online. Oxford University Press.
Hicks, Anthony, "Handel, George Frideric." Grove Music Online, Oxford Music Online. Oxford University Press.
Smith, Ruth, "Morell, Thomas." Grove Music Online, Oxford Music Online. Oxford University Press.