Handel and British Musical Culture
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Abstract
The article is devoted to the analysis of the musical culture of England of the first half of the 18th century and the interaction of the traditions of English, Italian and German music. This work shows how during time of the reign of Italian opera and Italian singers on the British stage witnessed the development of the music of London-based composers who continued the original traditions of England and, most notably, Henry Purcell, and what role in this phenomenon was played by the German émigré, the Saxon composer Handel, who developed a high aesthetical taste among the English. The liberation of the art of music from the preponderance of entertainment-oriented Italian opera is examined on the basis of the mutual influences of the music of Handel and the works of the English composers – William Boyce, Thomas Arne, Maurice Greene and Michael Christian Festing, which results in the birth of the monumental genre of national oratorio permeated by high moral ideas. However, it was particularly Handel who as the result of his music, directed towards high ethical ideas assumed the leading position in the English musical culture. His oratorios, written to many diverse plots (Biblical, mythological, Christian vernacular), excelled the specimens of his contemporary English composers and achieved the meaning of the “cultural phenomenon” of the epoch.
Keywords: Georg Friedrich Handel, Thomas Arne, William Boyce, Maurice Greene, Michael Festing, Edward Elgar, the British musical culture, Italian opera, British oratorio.
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