Tag: Handel

Handel’s Saul

Handel’s Saul

is surely one of the most moving works in Handel’s whole output. He took great care over it, spending a full 65 days in its composition (compared with the amazing 24 days for Messiah and 27 days for Israel in Egypt.

G F Handel

 

Charles Jennens, had presented Handel with a libretto, perhaps for Saul in 1735. But it was on 26th July 1738 that the 53-year-old Handel actually started work on Saul, the day after hearing there were not enough subscribers for a proposed opera. Oratorios were so much cheaper to stage than operas.

In Saul, as in his next oratorio Israel in Egypt, the chorus plays a major role as the People of Israel. Apparently the public of the time did not particularly like massive choruses, preferring simpler airs; but in the longer term the choruses have proved to provide some of the most powerful and poignant moments in the piece, as in the Envy chorus and the funeral lament.
The public didn’t appreciate the more imaginative orchestra either. They were used to an orchestra of just strings, oboes and continuo; in Saul there were also trumpets, trombones, kettle-drums (borrowed from the Tower of London), flutes at one point and a carillon. This carillon was played with a keyboard, and was in effect forerunner of the celeste. It was, according to Jennens, one of Handel’s maggots.

The King’s Theatre, Haymarket, London

Saul was first performed in January, 1739 at the King’s Theatre in the Haymarket. It proved to be one of his most popular works, being performed six times on the trot during its first season.

 

Handel’s maggots – obsessions

On 19th September 1738, Jennens wrote to a friend

“Mr.Handel’s head is more full of maggots than ever”

Maggot 1: His newly discovered carillon – “with this Cyclopean instrument he designs to made poor Saul stark mad.”

Maggot 2: A bespoke organ, costing £500, designed so that he could direct the orchestra from it, ‘all the time with his back to the audience!’ (Not considered a bad idea now; but the cost in current money would be about £77,000). Jennens suggested he was ‘overstocked with money’ – a bit rich considering the cost of his own Leicestershire home.

Maggot 3: ‘A Hallelujah he has trumped up at the end of his oratorio since I went into the country’. Handel had refused to set the Hallelujah Jennens had put at the end of the opening scene, and thought Jennens’ ending not sufficiently grand. Fortunately for us Handel carried out precisely Jennens intentions regarding Hallelujahs.

Jennens concludes: “but it grows late and I must defer the rest till I write next, by which time, I doubt not, more new ones will breed in his brain.”

 

Charles Jennens

was born in Gopsall Hall in Leicestershire.

His great-grandfather was one of the great Birmingham ironmasters and lived at Aston Hall. So the family were immensely wealthy and Charles lived accordingly, with a second home in Bloomsbury.

Charles Jennens

He was a man of literary pretensions, bringing out his own edition of some of Shakespeare’s tragedies, which brought him scorn and ridicule from some quarters. But he was a very able amateur librettist, providing the libretti for Messiah and Belshazzar, as well as Saul.

Both Jennens and Handel were difficult men, apt to be high-handed. Handel could fairly massacre a libretto to suit his music; but Jennens would not countenance such treatment of his work (see maggot number 3 )