There is not the slightest difference in
style between his secular and his sacred music; he treats sacred and
secular subjects precisely alike. In music his intention was never to
reveal his own state of mind, but always to depict some object, some
scene. Now, never did he adhere with apparently greater resolution to
this plan, never therefore did he produce a more essentially secular
work, than in the "Messiah." One need only consider such numbers as
"All they that see Him" and "Behold the Lamb of God" to realise this;
though, indeed, there is not a number in the oratorio that does not
show it with sufficient clearness. But fully to understand Handel and
realise his greatness, it is not enough merely to know the spirit in
which he worked: one must know also his method of depicting things and
scenes. He was wholly an impressionist--in his youth from choice, as
when he wrote the music of "Rinaldo" faster than the librettist could
supply the words; in middle age and afterwards from necessity, as he
never had time to write save when circumstances freed him for a few
days from the active duties of an impresario. He tried to do, and
succeeded in doing, everything with a few powerful strokes, a few
splashes of colour.
Pages:
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70