- Handel in London by Jane Glover
This was a comprehensive 465-page tome about the life and times of the great George Frideric Handel in England, where he shaped London's entertainment scene for decades until his death, performing stellar Italian-style operas, then starting the trend of English-language oratorios, leaving behind over 70 dramatic works (operas and oratorios), not to mention numerous cantatas, sacred compositions, instrumental concertos and heart-breaking lyrics beautiful keyboard suites that are second only to those of J S Bach's, in yours truly' some humble opinion.
Much as I love reading about long-dead Baroque composers, the first half of this book took some getting into - I just didn't feel I needed to read quite so much about the individual singers in Handel's operas or the political atmosphere of the period. The author indeed talks about the politics and the performers nearly as much as it does about Handel's life and music. Slowly, I realized that this makes sense since Handel was very close to British royalty to whom his fortunes were inextricably linked, he often wrote in line with current affairs, and he also often wrote arias that would best capitalize on his soloists' best vocal features.
Then again, he wasn't free to compose and perform as he pleased. His artistic creativity was restricted at times by the whims of royals (such as the one who didn't like trumpets so Handel couldn't use them). This makes clear just how lucky Bach was to not be under the "protection" of a royal court for most of his life, although it probably didn't feel like it when he was a measly provincial kappelmeister in Leipzig in the latter decades of his life. Bach wrote profound, complex, mind-bending music until the end of his life, without a care for selling a single ticket to the public.
The need to sell tickets to the public changes a musician's output and this auto-restriction and dumbing down of his music to please royals as well as most of the public is best seen when comparing Handel's keyboard music (rich, complex, incredibly beautiful yet complicated) with his vocal work in his operas and oratorios which are relatively quite simple.
I loved the level of detail in this book. The author has gone to great lengths in researching documents of the period, and liberally used letters, newspapers, diary extracts, and other documents still in existence. One such interesting detail was that there is no record of King George II having attended Messiah's performances, let alone of his having stood up during Hallelujah, leading to the tradition that continues today of the audience standing up for the duration of this piece.
Highly recommended to anyone interested in Handel's era and his glorious music.