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2 episodes with queen caroline
3 episodes with queen caroline
2 episodes with queen caroline
A royal deadly affair and a mentally unstable king who used to leapfrog over his courtiers? Let's talk Denmark in the 1700's. Today we are doing a reverse episode where my talented researcher and writer Laura is going to tell ME the story of the “mad king” Christian the 7th of Denmark. Connect with Laura:InstagramWebsiteTravel Creator Podcast
*See Esther LIVE! Link: https://linktr.ee/EstherPTouring *KALSHI! Put your money where your mouth is and sign up using the Link: https://www.kalshi.com/TRASHTUESDAY , and the first 500 traders who deposit $100 will get a free $20 credit! That's Kalshi Dot Com Slash TRASHTUESDAY. *BETTERHELP* This show is sponsored by BetterHelp. Let the gratitude flow, with BetterHelp. Link: https://www.betterhelp.com/trashtuesday Like & Subscribe to Our Channel: https://www.youtube.com/@TrashTuesday ___________________________________________________________________Last time Caroline Goldfarb was on the show, she predicted the soda/mormon craze that swept the nation in the summer of 2024. Well, she's done it again, folks! This time she's got hot tips on Ikea, squirrel thievery and of course, constipation. PLUS you'll see Esther & Khalyla like you've never seen them - Esther with an almond croissant and Khalyla with an unhinged plan to dig up avocado trees via Facebook Marketplace. We're having fun. More Caroline! Instagram: https://www.instagram.com/caroline_goldfarb Substack: https://carolinegoldfarb.substack.com/ Fishwife Tinned Seafood: https://eatfishwife.com Chapters: 00:00 Queen Caroline is Here 03:08 Ikea is So Much More Than Furniture 11:30 Burying a body or Digging up a Tree? 14:50 Caroline Vs. Squirrels 23:00 We Eat Too Much Sugar 39:20 This episode is sponsored by Spindrift 42:00 Caroline Got a Free Pilates Reformer, Doesn't Matter How 53:00 Things Go Off The Rails in 50 Different Ways ___________________________________________________________________WATCH TRASH: https://youtu.be/9Cr6x1M6i_c Spotify Audio Feed: https://bit.ly/TTPodAudio Follow Trash: IG: https://www.instagram.com/itstrashtuesday/ TikTok: https://www.tiktok.com/@itstrashtuesday More Esther: Substack & New Solo Pod: https://esthersgrouptherapy.substack.com/ TikTok: https://www.tiktok.com/@esthermonster Instagram: https://www.instagram.com/esthermonster/ More Khalyla: Instagram: https://www.instagram.com/khalamityk/ Tigerbelly Podcast: https://www.youtube.com/@UCIyIoM_Nd8HtY19fuR_ov2A ___________________________________________________________________Production Team: Tiny Legends, LLC: https://www.instagram.com/tinylegends.prod Stella Young: https://www.instagram.com/estellayoung/ Guy Robinson: https://www.instagram.com/grobfps/ Ariel Moreno: https://www.instagram.com/jade.rabbit.cce/ Edited By: Case Blackwell: https://www.instagram.com/caseblackwell
Over a hundred years before Princess Diana and Prince Charles, there was another doomed British royal couple: Queen Caroline and King George IV. Caroline and George's hatred for each other runs so deep that it leads to a war that snowballs into a full blown tabloid circus. (Imagine Johnny Depp and Amber Heard-level drama, but set in Jane Austen's era.) Their fighting eventually ends in a trial about sexual double standards -- with the whole country waiting on the edge of their seats to see how it will all play out.Listen to Even The Rich on the Wondery App or wherever you get your podcasts. Experience all episodes ad-free and be the first to binge the newest season. Unlock exclusive early access by joining Wondery+ in the Wondery App or on Apple Podcasts. Start your free trial today by visiting wondery.com/links/even-the-rich/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Over a hundred years before Princess Diana and Prince Charles, there was another doomed British royal couple: Queen Caroline and King George IV. Caroline and George's hatred for each other runs so deep that it leads to a war that snowballs into a full blown tabloid circus. (Imagine Johnny Depp and Amber Heard-level drama, but set in Jane Austen's era.) Their fighting eventually ends in a trial about sexual double standards -- with the whole country waiting on the edge of their seats to see how it will all play out.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
As Rosh Hashanah, the Jewish New Year, approaches, today's guest, Caroline Bass, reminds us that none of us are perfect. We're all a little broken, a little worn, a little pained. But we hold onto our past as we build anew. We want to refresh our possibilities. Take it step by step and do it with calm. Introducing the calming queen, Caroline Bass. Caroline shares her journey of breaking free midlife, overcoming fear, and taking small steps towards her dreams. She talks about her transition from corporate America to launching her own product, Queen Tulsi, and the challenges and triumphs along the way. Caroline emphasizes the importance of pushing through fear to find one's purpose and the significance of creating a balanced and calm environment, both at home and within oneself. Reena and Caroline discuss the power of small steps in achieving dreams, the importance of authenticity, and the role of natural remedies in managing stress. Caroline's story is a testament to resilience, growth, and the pursuit of a fulfilling life. Caroline Bass, founder of Queen Tulsi, developed this scientifically-backed herbal supplement to provide natural stress relief and mood balance. As a mom of three balancing a full-time job, Caroline struggled with anxiety, fatigue and feeling overwhelmed. She began formulating herbal blends to calm her nerves and soon shared them with friends and family, who loved the results and she realized she had something special on her hands. College students, friends, and family members all started asking for her supplement after noticing how well it helped with everything from managing anxiety to unwinding after a long day. To make her remedy accessible, she partnered with herbal experts to create Queen Tulsi, a carefully crafted unique blend that targets emotional stress, brain fog, hormonal mood swings, and inflammation in the body. She has since sold thousands of bottles of Queen Tulsi driven by word of mouth and her mission to bring this natural stress relief to the greater public so everyone can benefit from the power of these ancient herbs. Better Call Daddy Podcast listeners can get 15% off any order - including subscriptions and multi-packs! Use code, BetterCallDaddy at www.carolinebasshealth.com (00:00) Reena Friedman Watts hosts the better call daddy show each week (02:04) You talk about taking small steps towards your dreams on your podcast (06:39) You create your own supplements and have gone through 14 iterations (11:54) Queen Tulsi gives back to help Israel's struggling farmers (17:14) You signed up for a membership where you get facials every month (18:31) You talk about creating a balance of calm in your home (23:12) shares his favorite prayer, Modeh Ani (26:24) My dad had a catastrophic stroke two and a half years ago (31:56) Music can uplift elderly people, and that's really important (35:35) Tulsi is creating a class on how to connect with God (38:15) She wants to teach a class about King David's prayers (41:04) The program was designed to speed up brain processing for people with disabilities (45:49) Talk about some people you'd like to partner with with Tulsi (48:31) I'm wondering if your dad has any tips on parenting a beautiful daughter (49:04) You've heard from my mom. How did I raise such beautiful girl? And some tips of raising a daughter is Connect with Caroline Bass: - Website: https://carolinebasshealth.com/ Connect with Reena Friedman Watts: - Website: bettercalldaddy.com - LinkedIn: Reena Friedman Watts - Twitter: @reenareena - Instagram: @reenafriedmanwatts - Instagram Podcast: @bettercalldaddypodcast We love hearing your feedback. Leave us a review, share your thoughts, and spread the word about this enriching episode. Share it with someone who appreciates the importance of resilience, natural remedies, and the wisdom of experience. Show notes created by https://headliner.app
Dominic is joined today by the inimitable Professor Ian Haywood, of the Centre for Inclusive Humanities at the University of Roehampton. Together they delve into the astonishing 'Riots of Eighty' that gripped London for a week and were brought thrillingly to life in Dickens' Barnaby Rudge ...Ian is a specialist in the radical politics and visual culture of the period of 1750-1850, and has published extensively on that period in books such as Bloody Romanticism: Spectacular Violence and The Politics of Representation and Queen Caroline and the Power of Caricature in Georgian England (for Palgrave); and appropriately for today The Gordon Riots: Politics, Culture and Insurrection in Late Eighteenth-Century Britain (for Cambridge University Press) … Reading the following excerpts in this episode is wonderful actress Hollie Hales:1, 2 & 16. Barnaby Rudge (C. 68 Dickens)3. Sketches of Popular Tumults (Craik)4, 5, 6, 11 & 13. The Scots Magazine (June 1780)7 & 10. Narrative of the late Riots and Disturbances ... (Holcroft)8. The Riot Act9. Kentish Gazette (June 1780)11. (Source to be inserted!) 12. King's Proclamation14. Northampton Mercury (July 1780)15. Oxford Journal (August 1780)The sound of crowds, gunshots & horses in this episode were used with permission from Epidemic Sound Support the Show.If you like to make a donation to support the costs of producing this series you can buy 'coffees' right here https://www.buymeacoffee.com/dominicgerrardHost: Dominic GerrardSeries Artwork: Léna GibertOriginal Music: Dominic GerrardThank you for listening!
Over a hundred years before Princess Diana and Prince Charles, there was another doomed British royal couple: Queen Caroline and King George IV. Caroline and George's hatred for each other runs so deep that it leads to a war that snowballs into a full blown tabloid circus. (Imagine Johnny Depp and Amber Heard-level drama, but set in Jane Austen's era.) Their fighting eventually ends in a trial about sexual double standards -- with the whole country waiting on the edge of their seats to see how it will all play out.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Adelaide is probably one of the least famous of Britain's consorts, wife of William IV. A very different character to her predecessor, Queen Caroline, Adelaide was quiet and kind but faced the challenge of an eccentric and uncouth husband in William and a febrile political atmosphere with agitation for reform. Will slow and steady win the race? Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week Heather Self is joined by Property expert and SDLT Partner Sean Randall. With ‘SDLT' celebrating its 20th birthday this week, Sean and Heather look at its history, teenage years and future. Heather also discusses a recent Supreme Court judgment in which the ruling referenced the adultery of Queen Caroline in 1820!See omnystudio.com/listener for privacy information.
Alors que l'on cherche à comprendre ce qui a rendu possible l'attaque du Hamas contre Israël, c'est toute la complexité géopolitique de la région qui est sur la sellette. Dans « La Story », le podcast d'actualité des « Echos », Pierrick Fay et ses invités dénouent les enjeux politiques du drame. La Story est un podcast des « Echos » présenté par Pierrick Fay. Cet épisode a été enregistré en octobre 2023. Rédaction en chef : Clémence Lemaistre. Invités : Didier Billion (directeur adjoint de l'IRIS) et Justine Babin (correspondante des « Echos » en Egypte). Réalisation : Willy Ganne. Musique : Théo Boulenger. Identité graphique : Upian. Photo : AFP. Sons : AudioBook FR, Händel « Funeral Anthem for Queen Caroline », Franceinfo, AFP, BFM TV. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
In this episode of The 5D CFO podcast, I had the pleasure of interviewing Caroline D'Amore - the founder and CEO of Pizza Girl. Caroline shares her journey of self-discovery and how owning her identity helped her overcome the call of the party scene and build a successful business. She emphasizes the importance of being honest with oneself and embracing who you are. She also shares with us lessons she's learned in business along the way. Caroline also talks about her experience on the reality show "The Hills" and how it brought both positive and negative attention to her brand. She also shares exciting news about her upcoming appearance (on 5/24) on Gordon Ramsay's new show, "Gordon Ramsay's Food Stars."Follow Caroline on Instagram here. Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showPurchase my best selling book (Manifestation Mastery) here. Apply for my 5D CFO Services here.Book a 1:1 Session with me here. Follow me on Instagram here: Angela Marie ChristianThe5DCFOFacebook: Angela Marie Christian Join my FB Group: Mindfulness & ManifestationJoin my newsletter here.
A rare royal for us, we are taking a look at the exciting, unusual, sexy Queen Caroline - how she broke the mould and shaped her own future. Left in a pretty sorry state by her parents, Caroline needed to think smart to escape. Fiercely intelligent, savvy and ambitious, her life reads like a soap opera, with family feuds, peacekeeping and very exciting friendships with some of the most interesting members of society. Visit https://www.ladieswholondon.com Get in touch! Instagram; @ladieswholondonpodcast Email; ladieswholondon@gmail.com Websites; www.ladieswholondon.com www.guideemily.com and www.alexlacey.com/podcast where you can also book for our virtual and real life walking tours. Thanks to Susie Riddell for our voiceover jingles www.susieriddell.com and our jinglemeister Ben Morales Frost, can be found on www.benfrostmusic.com See you next week Learn more about your ad choices. Visit megaphone.fm/adchoices
Friend of the show, IJ Makan returns to discuss the failed crypto exchange FTX. IJ & Joel's conversation covers the following: FTX, FTT & Alameda Centralized and decentralized crypto exchanges What caused FTX to fail? Video Podcast: https://youtu.be/KgZeDSUcnCw https://linktr.ee/sixcentsreport Support us at buymeacoffee.com/SixCentsReport Produced by Madden Mitchell Media Song from our intro: Sho Baraka - Pedantic Related Episodes: #150 & #118 References: The Collapse Of FTX Caitlin Long with SBF Alameda: The Firm at the Heart of FTX's ‘Catastrophic Collapse' ‘Queen Caroline': The ‘Fake Charity Nerd Girl' Behind The FTX Collapse Mt. Gox Bitcoin hack refund date and details: Is BTC price pullback related? Crypto Chronicles: The Scandalous Collapse of FTX FTX's founder dismisses balance sheet concerns as 'false rumors' Binance FTT sale announced on Twitter Binance FTX due diligence tweet FTX balance sheet, revealed Crypto Freedom with IJ Makan IJ Makan contact info: https://www.ijmakan.com/ Twitter Becoming Antifragile with I. J. Give us your two cents via: Facebook Twitter sixcentsreport@gmail.com
Airheads if there's one thing that rich people and poor people would agree on, it's that laws are stupid and best ignored. That's right, this week on POA, we're talkin doin crime. Then it's time for ProCho on the subject of the Queen Caroline Affair, and any time something is called the ______ Affair, you know it's some fancy sh*t. Enjoy. TRENDINGNOW Be sure to follow Puttin' On Airs, Trae Crowder and Corey Ryan Forrester on ALL SOCIAL MEDIA!!! Puttin' On Airs https://www.facebook.com/PuttinOnAirs/ https://twitter.com/puttinonairspod https://www.instagram.com/puttinonairspod/ Trae Crowder https://www.youtube.com/channel/UCTHsQd-vRXK1bp4vpifl6yA https://www.facebook.com/traecrowder https://twitter.com/traecrowder https://www.instagram.com/officialtraecrowder https://www.patreon.com/TraeCrowder Corey Ryan Forrester https://www.youtube.com/c/CoreyRyanForresterComedy https://www.facebook.com/CoreyRyanForrester/ https://twitter.com/coreyrforrester https://www.instagram.com/coreyrforrester/ SUBSCRIBE TO OUR YOUTUBE PAGE to WATCH full episodes EVERY WEEK PLUS BONUS CONTENT! - https://www.youtube.com/c/PuttinOnAirsPodcast PLEASE SUPPORT OUR AWESOME SPONSORS: Visit cerebral.com/poa for 65% OFF your first month! Visit carshield.com/podcast to lock in your price FOR LIFE!! SAVEWITHCONRAD.com - Make your financial dreams a reality. Visit SaveWithConrad.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Airheads if there's one thing that rich people and poor people would agree on, it's that laws are stupid and best ignored. That's right, this week on POA, we're talkin doin crime. Then it's time for ProCho on the subject of the Queen Caroline Affair, and any time something is called the ______ Affair, you know it's some fancy sh*t. Enjoy. TRENDINGNOW Be sure to follow Puttin' On Airs, Trae Crowder and Corey Ryan Forrester on ALL SOCIAL MEDIA!!! Puttin' On Airs https://www.facebook.com/PuttinOnAirs/ https://twitter.com/puttinonairspod https://www.instagram.com/puttinonairspod/ Trae Crowder https://www.youtube.com/channel/UCTHsQd-vRXK1bp4vpifl6yA https://www.facebook.com/traecrowder https://twitter.com/traecrowder https://www.instagram.com/officialtraecrowder https://www.patreon.com/TraeCrowder Corey Ryan Forrester https://www.youtube.com/c/CoreyRyanForresterComedy https://www.facebook.com/CoreyRyanForrester/ https://twitter.com/coreyrforrester https://www.instagram.com/coreyrforrester/ SUBSCRIBE TO OUR YOUTUBE PAGE to WATCH full episodes EVERY WEEK PLUS BONUS CONTENT! - https://www.youtube.com/c/PuttinOnAirsPodcast PLEASE SUPPORT OUR AWESOME SPONSORS: Visit cerebral.com/poa for 65% OFF your first month! Visit carshield.com/podcast to lock in your price FOR LIFE!! SAVEWITHCONRAD.com - Make your financial dreams a reality. Visit SaveWithConrad.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Caroline Hirons tells us about her new app Skin Rocks, meeting Selena Gomez and gives Jo advice on how to get rid of a blind pimple. Adore Beauty Acknowledges First Nations People as the Traditional Owners across the lands and waters of Australia. We recognise and pay our respects to Elders past, present and future, whose lands were never ceded. The Queen of Skincare, Caroline Hirons, joins Joanna to discuss her new app Skin Rocks, the success of her book Skincare: The New Edit and the new products she's currently loving in her routine. Plus, she shares her cringey teen moment with us that has stuck with her for decades. For more from Caroline go to her website: https://www.carolinehirons.com/ or Instagram: https://www.instagram.com/carolinehirons/ and find the free Skin Rocks App here: https://skinrocks.com/en-au/ Host: Joanna Fleming Guest: Caroline Hirons Disclaimer: https://www.adorebeauty.com.au/disclaimer.htmlSee omnystudio.com/listener for privacy information.
A scandalous episode: first the king trying to divorce his wife and a major domestic row developing between them, all conducted in public, with armed guards and slammed doors to exclude the Queen from her husband's coronation. Wonderful proof that the Royal family's gift for generating bad publicity, and entertaining the population with it, is nothing new. Next, a repressive government is met by an attempt at armed revolt, leading to public executions enjoyed by a crowd of thousands. And finally, driven by overwork and mental illness, a much-maligned giant of the political world puts an end to it all. Three scandals in one episode. Who could ask for more? Illustration: The Trial of Queen Caroline 1820, by Sir George Hayter, 1820-1823. National Portrait Gallery 999 Music: Bach Partita #2c by J Bu licensed under an Attribution-NonCommercial-No Derivatives (aka Music Sharing) 3.0 International License
Donald Macleod explores Handel's crucial relationship with the British monarchy, and how he and the Georgian Kings helped forge a new sense of British culture and identity. What could be more quintessentially British than a rousing chorus of Handel's Hallelujah Chorus? Or his anthem Zadok the Priest, which has been performed at every British coronation since 1727? Yet, though the composer became was a naturalised British subject, he was born in Germany and kept his German accent all of his life. The same was true of the two Kings Handel served, George I and George II. This week, as we head towards a royal jubilee weekend, Donald Macleod explores Handel's crucial relationship with the British monarchy, and how he and the Georgian Kings helped forge a new sense of British culture and identity. Music Featured: Messiah: Hallelujah Chorus Agrippina, Act 2: "Pensieri, voi mi tormentate" Handel: Concerto Grosso in B flat, Op 3 No 1 Rinaldo, Act 1: “Cara Sposa” ‘Utrecht' Jubilate Te Deum in D, ‘Queen Caroline' (Mvts 1 & 2) Water Music (excerpt) Radamisto, Act 2: “Ombra caro di mia sposa” I will magnify thee Overture to Admeto Riccardo primo, re d'Inghilterra, Act 2 ‘T'amo si' My Heart is Inditing Ariodante Act III: ‘Dopo Notte' and Finale Zadok the Priest Funeral Anthem for Queen Caroline: I. Introduction, II. The Ways of Zion do Morn Messiah: ‘Every valley shall be exalted' and No 4 ‘And the glory of the Lord shall be revealed' Israel in Egypt: (extracts from Parts II and III) Concerto Grosso No 12 in B minor ‘Dettingen' Te Deum: ‘Vouchsafe, O Lord, to keep us this day' Occasional Oratorio: Overture Handel Organ Concerto Op 4 No 1: II. Allegro Judas Maccabaeus, Part 2: ‘See! The Conquering Hero Comes', ‘Sing Unto God' and ‘O Lovely Peace' Music for the Royal Fireworks Messiah: Hallelujah Chorus Presented by Donald Macleod Produced by Chris Taylor For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Handel and the Crown https://www.bbc.co.uk/programmes/m0017m2m And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z
This week, we take a turn in a whole new direction by wandering through high society in 19th century New York City. The Knickerbockers had their own peculiar ways, and the Queen Bee of all of them was Caroline Schermerhorn Astor, who with the assistance of Ward McAllister, dictated the terms of the city's emerging elites with the creation and implementation of The 400. But in 1883, a sassy southern belle, Alva Smith Vanderbilt, shook Knickerbocker society to its very core by throwing a party, which brought the Gilded Age to New York City. Let's investigate! Advertise with us! Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, Donald Macleod looks at Handel’s life and work during an important decade of his life. The 1730s saw Handel create some of his best-loved works, but also saw him fall out with singers and patrons in London, endure a stroke and attendant poor mental health, and mourn the death of one of his chief supporters, Queen Caroline. Music Featured: Esther HWV 50b (revised version 1732) (excerpts) Trio Sonata in C Major, HWV 403 Acis and Galatea, HWV 49 (Act I: Aria: Hush, ye pretty warbling quire) Concerto Grosso in D major Op. 3 No. 6 HWV 317 Orlando, HWV 31: Act II ScXI (Ah! Stigie larve; Vaghe pupille) Arianna in Creta HWV 32 (Act 2, Scene 12: Aria-Andante “Son qual stanco pellegrino”) Concerto Grosso in G Major, Op. 6, No. 1, HWV 319 Ariodante HWV 33 (excerpts) Deborah HWV 51 (excerpts) Alcina HWV 34 (Ombre Pallide) Alexander’s Feast HWV 75 (Part 1: Air and Chorus: Bacchus, ever fair and young; The many rend the skies (Chorus) Harp Concerto in B-flat major, Op. 4 No. 6 HWV 294 Organ Concerto Opus 4 No. 1 in G minor, HWV 289 (I. Larghetto, e staccato; IV. Andante) Atalanta HWV 35 (Act II Scene 2: Aria: Lassa! ch'io t'ho perduta) Arminio HWV 36 (Act III: Mira il ciel, vendrai d’Alcide) Giustino HWV 37 (Act I: Aira: Un vostro sguardo; Act II: Duet: Mio bel tesoro!) Concerto Grosso Op. 6 No.3 in E minor HWV 321 Il trionfo del Tempo et del Disinganno HWV 46ª (Part 2: Aria: Lascia la spina) Funeral Anthem for Queen Caroline: The Ways of Zion do Mourn: (Introduction and Chorus: The Ways of Zion Do Mourn) Serse HWV 40 (excerpts) Saul, HWV 53 (Act III Scene 5) Organ Concerto in F major (No. 13), “The Cuckoo and the Nightingale” HWV 295 (1st & 2nd mvts) Trio Sonata Op. 5 No. 6 in F major HWV 401 (4th, 5th & 6th mvts) Israel in Egypt HWV 54 (excerpts) Presented by Donald Macleod Produced by Iain Chambers For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for George Frideric Handel (1685-1759) https://www.bbc.co.uk/programmes/m000t5w7 And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z
Coucou everyone! Sign us up for dishing the sordid details of a steamy affair. Throw in a King, Queen and a revolutionary doctor? Yum. Cat tells Kate all about Queen Caroline Mathilde of Denmark and her lover Johann. Kate then informs Cat about the creepy, non-Disney version of The Little Mermaid. How morbid! Don't forget to follow us on Instagram :) Queen Caroline Mathilde Sources: Rebecca Starr Brown - "Scandal, Divorce & Exile: The Legacy of Caroline Matilda" Noble Blood Podcast - Queen Caroline Matilda's Personal Doctor Mini topic sources: Little Mermaid Statue Wiki Little Mermaid Fairy Tale Recommendations: Kate's Recommendation - The Queen's Gambit (Netflix) Catherine's Recommendation - The Great (Hulu) Cover art and logo by Kate Walker Mixed and edited by Catherine Roehre Theme song by Lumehill Thank you all - ciao!
King George III's "criminal sister" was sent to marry the King of Denmark when she was a teenager. Her husband wanted very little to do with her, and so her attention wandered over to a charismatic doctor. That doctor slowly gathered power until he became all but an autocrat. But power, and love, are both risky gambles.
To celebrate women's history month, this mini series of talks from our archive explores stories of powerful women and how their legacies have been shaped by their gender. Join Historic Royal Palaces’ Chief Curator, Tracy Borman, as she uncovers the extraordinary life of Henrietta Howard, mistress of George II and servant to Queen Caroline. For more information on the history and stories of our palaces visit: www.hrp.org.uk-history-and-stories
The Georgian era was marked by the arrival of the Hanoverian Kings. This series complied from our archive explores famous Georgians in all their glory. Join Historic Royal Palaces’ Chief Curator Lucy Worsley as she tells us about her favourite Queen – Caroline – wife of George II, and enlightened leader of the Georgian court. This talk was recorded live in 2017 at Hillsborough Court House, Northern Ireland. For more information on the history and stories of our palaces visit: www.hrp.org.uk/history-and-stories
The Georgian era was marked by the arrival of the Hanoverian Kings. This series complied from our archive explores famous Georgians in all their glory. In this talk we hear about Lord Hervey; a Georgian courtier and politician who offers us an insight into the gossipy court of George II and Queen Caroline. This talk was recorded live at Hampton Court Palace in 2016. For more information on the history and stories of our palaces visit: www.hrp.org.uk/history-and-stories
Making their way across the Grassmarket to the Cowgate and up to the High Street, the mob converged on the Tolbooth, where they were eventually able to overpower the guards. Porteous was dragged from his cell up the Lawnmarket to the West Bow and down to the Grassmarket, where he was lynched from a dyer's pole, using a rope taken from a local draper's shop.After a short while, he was dragged down and stripped of his nightgown and shirt, which was then wrapped around his head before he was hauled up again. However, the mob had not tied his hands and, as he struggled free, they broke his arm and shoulder, while another attempted to set light to his naked foot. He was taken down a further time and cruelly beaten before being hung up again, and died a short while later, just before midnight on 7 September 1736. He was buried in Greyfriars Kirkyard, Edinburgh, the following day.The events in Edinburgh heightened the sense of alarm in London, where the government was concerned about the threat to its management of Scotland. It was thought by Walpole, Queen Caroline and the Duke of Newcastle that Porteous had been unnecessarily sacrificed and there were even rumours that the conspiracy had involved the local city magistrates.In February 1737 a parliamentary inquiry was held; the House of Lords initially proposed the disbanding of the town guard and removal of Netherbow Port, but subsequently dropped these suggestions. Eventually, the only punishments enforced were a £2,000 fine imposed on the city (used to support Porteous' widow) and the disbarment from all offices of the then Lord Provost Alexander Wilson.It was variously thought that Porteous' murder was carried out by friends of those who had been shot and killed, revenge by the smugglers, a Jacobite plot, or even a conspiracy by Presbyterian extremists. However, the organisation of events seems to imply a degree of planning, thought to be the work of James Maxwell, an Edinburgh journeyman carpenter, together with a small group of city tradesmen and journeymen.However, despite a reward of £200 being made available by the government for information, those responsible for the murder of Porteous were never found.The events surrounding the Porteous Riots form part of the early chapters of the novel The Heart of Midlothian by Sir Walter Scott (1818), where they are recorded in graphic detail.
Hi everyone! This is Connie Sokol, and you're listening to Balance Redefined Radio. I've spent over 20 years teaching people how to redefine what balance really is, meaning a more purposeful and joyful life. They’ve paid off credit cards, lost weight, organize their homes, and created a meaningful life plan and they've managed their time, changed habits and experience greater success both at work and at home. So now I decided to take the plunge and help about 100,000 new people who want to redefine balance in their lives. People ask me all the time, “How do I go from an overwhelming and chaotic life to more purpose and organization and joy?” That's the reason why I'm doing this podcast, to give you trusted answers and create a space where you could find balance. My name is Connie Sokol and welcome to Balance Redefined Radio… [00:00] Welcome back to Balance Redefined and I am Connie Sokol and I am here to share with you some wonderful insights on Handel's Messiah. [00:09] This is from George Handel and we know him as a very famous composer and I'm going to jump right in because I don't want to talk about all the historical part of this. I really want to talk about him being at this place, this crossroads because it's so fabulous to liken these famous people who we revere for some of the things that they have done. [00:30] For example, with George Handel creating the Messiah and that every Christmas season, this and Easter, it's played and it is profound and even though we can enjoy it year round, it is just a profound experience if you've ever listened to it. [00:46] If you've ever attended a messiah singing, there is something that happens when you listen to this music and especially when you partake of or participate in singing that music. [00:57] For example, with that messiah singing, it's incredible. You all are in an auditorium and everyone is split into their parts of Soprano, alto, tenor, bass, and then you get the Libretto and you just sing. [01:11] It doesn't matter if you know what you're doing or you don't know, you just all sing out and it's easier to kind of follow along because everybody's singing so beautifully. So here is this incredible experience and we we get to have it year after year, season after season. [01:29] How did this happen and what was the background that was going on in order for this to be created? And that's the story that's interesting to me. [01:39] So let me take you very quickly back where George Handel, he was well known as a composer, but he was also a businessman and he really put his time and energy into the producing and writing of his work and he would spend his time and energy doing the business deals as well as the composing and to kind of mixed results. [02:00] So he enjoyed some great success. He did a lot of compositions that were religiously inspired: Esther Saw Deborah, all of these different oratorios, and things like that... [02:11] But what happened is what I want to focus on. [02:15] He was going through rough patches and he was doing his operas and they were, some were good and some were Max with, you know, met with mixed results and then it got to where whereby the 17 forties, it was getting really rough. [02:28] He was performing them in Haymarket, in London, but it was to like small houses and kind of listless audiences. [02:35] And that did not bode well. So then he moved to Lincoln's inn fields theater. But then that ended up, he ended up closing there because it was financially hemorrhaging the place because it was not having success. [02:48] He actually wrote about 40 operas and the last one especially, I mean he had several, many that that ended up not doing well. [02:55] The last one that he ended on failed miserably. It closed early. Like it only had a few runs I believe. So here's this man who has written something that is, I would consider one of the all time most incredible, most famous, most profound pieces on Jesus Christ. And yet he was at this failing point. [03:18] And so what happened, and I'm putting this in very short paraphrasing things, he was at this kind of destitute place. He had closed his season at the Lincoln's Inn Fields Theater. It was truly, it was disastrous... [03:33] Then he had talked about returning to Germany. That's where he was from. He was 55 years old. [03:39] He had lost the royal patronage because King George the second did not come and attend his musical productions because Handel from what I understand, he had kind of lifted a piece that had been used in the funeral for Queen Caroline and actually put it in another opera will this so offended the king that he just stayed away. [04:01] So now he lost the royal patronage and his principal libel, which was the Italian opera. And then he would have this ache in his arm. He had tendinitis and that returned and he was saying, you know, maybe I'm played out, maybe I should just quit music altogether. [04:16] So he's in this really dark, dark time. And that for an artist, for a business person, for anybody who's involved in anything that matters to them with passion or desire or drive as a parent, you, we get to those places of just I is there any more left in here, I don't know that there is. [04:37] And so we leave him at this really difficult place. So then we come back to him a little while later. He finds the Libretto from Charles Jenkins and they have collaborated a little bit. [04:52] Things like that, but Jenine's it is understood that he did not even know that handle had put music to his libretto until after it was done and it was being played. [05:02] So there wasn't any collaboration on that in that sense. So handle gets a libretto and loves it and does very little alterations. [05:11] My understanding, very little alteration, but goes to town on writing this musical accompaniment to it and it only takes him 24 days to write this. [05:22] He basically does part one and part two in another week and part three and a third week, 24 days for this incredible composition. [05:31] And so he gets that done and he has been attributed with saying a couple of things and these have been made as far as research and those kinds of making sure they're validated, they've been validated that he really did say these things, but first and foremost, he said about the experience I did think I did see all heaven before me and the Great God himself. [05:57] Now that's what he's been attributed to saying as his experience. [06:01] While he was writing this messiah composition and he was not the type to consider himself or ever claim to be a visionary man, but it's sacred source material and the intense concentration during that composition, who knows what he might have experienced. [06:20] The other thing that he says that is also possibly plausible is whether I was in my body or out of my body as I wrote it. I know not God knows, so he knows that he had whatever experience it was. [06:34] There was a spiritual experience attending this that was significant and was different than anything that he had experienced before in his other works. [06:44] So you can imagine when this is done and he is preparing to perform this at covent garden this is significant, he has to be successful with this and this is what he spent his time, his energy on. [06:58] He is so nervous about this that he actually does not put the title out on the playbills on the things that are being advertised. [07:06] He puts a new sacred oratorio so that nobody even knows what it is and nobody even understands. In fact, some people ominously had taken them down and rip them down. So he is really at a crossroads. [07:18] He has to be successful. His Italian opera days, they are gone. They are done. [07:23] There's no going back and he needs to have some kind of new success. And of course if there is success with this, then people would be ready to follow him again. They would be ready to embrace him again as this composer that they could love and and have maybe even be consistently as one of those highly considered and favored composers if the king shows his interest in favor as well. [07:50] So we get to that night and the music is playing and it is so different than what they had been used to and the actual reception of it was profound. [08:03] The king actually attends and in fact this is one of my most favorite moments of knowing about Handel's Messiah. It says, in fact, I'm going to read this from James Beatty, who was there and wrote of the moment. [08:15] He said, "When Handel's Messiah was first performed, the audience was exceedingly struck and affected by the music in general." [08:24] And then he adds, "and I ask you, have you ever wondered why we always stand at a certain place in the Messiah, wherever you are," we stand right? And so I love that. [08:35] This answers this question. [08:36] James Beatty continues, "When the chord struck up for the Lord God omnipotent reigneth, the audience was so transported that they all together with the king stood up and remained standing until the course ended and hence it became the fashion in England for the audience to stand. While that part of the music is performing." [08:58] Isn't that incredible? And the king stood. Everyone was so moved by this incredible work in this incredible music set to actual scripture. [09:10] They were so moved that they stood and you can imagine in effect standing to acknowledge that they are talking about the king of kings, the Lord of Lords, and this entire audience is on their feet showing the respect and showing the profound worship of a being higher than they are. [09:31] It's so profound to me that we have this person who had, you know, in essence been prepared to write this... [09:40] It seems to me with all the other religious librettos and Oratorios and things like that he had been involved in, that he had done all of these other Sol and Debra and and all of these other ones that he had actually been preparing to write this most majestic piece that is now timeless. [10:00] That is something so profound that we get to experience. So I hope that you have gotten something interesting out of this. It actually was successful. [10:08] He was able to continue doing that at Christmas time and Easter. Then the garden became his permanent home and he usually performed the messiah usually before, shortly before Easter, and he would actually go ahead and perform that. [10:23] The last performance was given in April 6, 1759, and he died eight days later, so profound April 6, 1759. [10:33] So hopefully you found something interesting that when you listen to Handel's, Messiah and all that, maybe you'll keep those things in mind that remember that there was a point in which the sweet composer who was writing this was really at his lowest, his wit's end, and this actually saved him figuratively and financially from this ruin and this artistic despair and his his life's work of where he was saying, "What's my purpose?" [11:01] And he was actually able to find that purpose in this redemptive piece, which is so symbolic of the redemption that we experienced. [11:10] So I know this is a little bit more on that I'm-religious-influence side, but I hope that you've received or learned something of value and that you will never listen to Handel's Messiah the same way again. [11:22] Enjoy and stay tuned for more balance, redefined. You got it. Thanks for listening and remember to rate and subscribe. And if you are feeling the need for real balance in your life, get your free 3-Step Life Plan, and get started today! Just go to conniesokol.com/download.
Classicos IPB #101 destacando a obra, "Music for Queen Caroline", escrita por George Frideric Handel, no ano 1737, em homenagem a princesa Charlotte Caroline, esposa do rei George II da Inglaterra. Orquestra e coro, "Les Arts Florissants". Regencia, William Christie. Apresentacão, Natsan Matias. Produção, Artur Mendes.
On this episode of Rebel Matters, I sat down with the undisputed dreadlock queen of Cork City, Caroline Dausmann, who runs the Pink Octopus Dread Shop on Georges Key! My chat with Caroline went down the road of starting up a business, inspirational quotes, vintage Cork city, overcoming adversity, and the positive impact that an image change can have on your mentality. It was great to chat with a fellow startup gladiator, and we had plenty to chat about during the episode. Useful Links from the Episode: Pink Octopus Facebook https://www.facebook.com/ThePinkOctopus.Dreadshop/ Pink Octopus Dreadlock Shop https://www.the-pink-octopus.com Music on this podcast is by the band Kíla. You can check out the latest news from the Kíla crew on their Facebook page, and keep up to date with their latest tour dates on the official Kíla website. Check out both links below. https://www.facebook.com/kilaofficial/ https://www.kila.ie
"The King shall rejoice" - Coronation Anthem, HWV 260 | Te Deum "Caroline" D-Dur, HWV 260 | "The Ways of Zion do mourn" - Funeral Anthem for Queen Caroline, HWV 264 | Les Arts Florissants | Leitung: William Christie
Sunday December 1stJob 1:1-22Two men saw an older churchgoing woman walking down the street. One of the men pointed to her and said to his friend, “I'll bet you can't mention anybody to old Miss Thompson without her finding something good to say about him.” The other fellow said, “I'll take that bet.” “Excuse me, Miss Thompson” he said, “Do you mind telling us; what do you think of the devil?” Miss Thompson thought about it for a minute and replied, “Well” she said, “there is one good thing I can say about him, he never takes a day off!”You might have found that to be true in your life as well, that the devil never seems to take a day off from harassing you! As we continue studying chapter one of the book of Job we will see Satan working overtime to try and destroy Job's life. Starting in verse 6:6 Now there was a day when the sons of God came to present themselves before the Lord, and Satan also came among them. 7 The Lord said to Satan, “From where do you come?” Then Satan answered the Lord and said, “From roaming about on the earth and walking around on it.”The “Sons of God” who are presenting themselves before the Lord refers to angels, and Satan, who was created to serve God as an angel, shows up. God asks Satan a question even though He already knows the answer. And so do we. We know based on 1 Peter 5:8, where the devil spends his time:“Be of sober spirit, be on the alert. Your adversary, the devil, prowls around like a roaring lion, seeking someone to devour.” Satan admits to God that he has been “roaming about on the earth and walking around on it.” And I'm sure that Satan has seen the results mankind's sin. He's probably even arrogant about it, waiting to point out humanity's flaws, because Revelation 12:10 calls Satan “the accuser of our brethren… he who accuses them before our God day and night.But before Satan can start accusing anyone of being unrighteous, God beats him to the punch by bringing up Job as an example of someone who HASN'T given in to Satan's temptations:8 The Lord said to Satan, “Have you considered My servant Job? For there is no one like him on the earth, a blameless and upright man, fearing God and turning away from evil.”Isn't it incredible that God can use Job as a testimony of what a life looks like when a man chooses to walk uprightly?It makes me think of what Jesus told His disciples in John 14:30 “I will not speak much more with you, for the ruler of the world is coming, and he has nothing in Me.” That's what Jesus could say, “Satan has nothing in Me. He has no part of Me. There is nothing about him that has gained access into my life!”Job could say that too. The question is; can WE say that?Satan is apparently upset with Job's faithfulness, but he tries to excuse it away by arguing that it's been EASY for Job to walk in righteousness because everything has gone his way:9 Then Satan answered the Lord, “Does Job fear God for nothing? 10 Have You not made a hedge about him and his house and all that he has, on every side? You have blessed the work of his hands, and his possessions have increased in the land. 11 But put forth Your hand now and touch all that he has; he will surely curse You to Your face.”12 Then the Lord said to Satan, “Behold, all that he has is in your power, only do not put forth your hand on him.” So Satan departed from the presence of the Lord.I want to stop here for a moment and address what I consider to be a common misunderstanding of these verses.Sometimes I hear people say, based upon verse 12, that “Satan has to ask God for permission before he can mess with me!”Well, yes and no. What we know clearly from these verses is that Satan had to ask God's permission to torment JOB! We know that for sure because that's what the verses say. We also know that God is sovereign, and that NOTHING happens that is beyond His power to make it turn out differently if He chose to.But what these verses DON'T say is that every time Satan wants to mess with ANY human being he has to stand in the presence of God and ask permission.Think about it this way – with all of the billions of people on the earth and only one Satan…seriously?Satan is not omnipresent. Only God is. Satan wanted to BE God but he's not, so he can only be at one place at one time, and he can't possibly be personally responsible for all of the misery in this world!What is more likely the case is that he has help from 2 sources:1. Demons or other fallen angels2. US!That's right! WE contribute a whole lot of help to Satan's desire to kill, steal and destroy when we walk in selfishness and cause suffering to those around us so that we can get what we want.The motto of the Satanic Bible is “Death to the weakling, wealth to the strong!”When we live our lives in a manner that seeks to increase our own wealth, fame, or social standing at the expense of those weaker and less fortunate than us, we are carrying out Satan's plan for the destruction of mankind, whether we realize it or not.Does God allow us to do that? Yes, He gave us free will to use for good or for evil. Does Satan have to ask God to make us act that way? No, we do it all on our own!But, back to the story of Job. Here Satan DID ask for God's permission to “touch all that Job has”, and we see the results of this in verses 13-1913 Now on the day when his sons and his daughters were eating and drinking wine in their oldest brother's house, 14 a messenger came to Job and said, “The oxen were plowing and the donkeys feeding beside them, 15 and the Sabeans attacked and took them. They also slew the servants with the edge of the sword, and I alone have escaped to tell you.” 16 While he was still speaking, another also came and said, “The fire of God fell from heaven and burned up the sheep and the servants and consumed them, and I alone have escaped to tell you.” 17 While he was still speaking, another also came and said, “The Chaldeans formed three bands and made a raid on the camels and took them and slew the servants with the edge of the sword, and I alone have escaped to tell you.” 18 While he was still speaking, another also came and said, “Your sons and your daughters were eating and drinking wine in their oldest brother's house, 19 and behold, a great wind came from across the wilderness and struck the four corners of the house, and it fell on the young people and they died, and I alone have escaped to tell you.”Don't ever tell yourself you're having a REALLY bad day if it doesn't come close to THAT!People say that bad things happen in threes; for Job it was four. Four messengers, one after the other came with devastating news.• Some of your animals were stolen• The rest of your animals were destroyed by a freak firestorm falling from the sky• All of your workers were either kidnapped or killed• All ten of your children are dead.And Job had to face this news without two things that we all have:First, He didn't know how the story would end. Fortunately for us, we do!Second, he didn't have Jesus to turn to. We all know this important truth from John 16:33:“These things I have spoken to you, so that in Me you may have peace. In the world you have tribulation, but take courage; I have overcome the world.”But even without knowing where all of this was headed or why it had happened, Job kept his faith and his integrity:20 Then Job arose and tore his robe and shaved his head, and he fell to the ground and worshiped. 21 He said,“Naked I came from my mother's womb,And naked I shall return there.The Lord gave and the Lord has taken away.Blessed be the name of the Lord.”22 Through all this Job did not sin nor did he blame God.Tearing your clothes and shaving your head were traditional ways to express grief and sorrow. People sometimes did those things at funerals. Job now had 10 funerals to face at once!But even in his deepest grief he WORSHIPPED!Job said, “I had nothing when I came into this world and I will take nothing with me when I die. Whatever I had was given to me by God. And if God chooses to take away some of what He gave me, that is His right! Blessed be the name of God, whether He is giving or whether He is taking!”What a righteous stand to take – the exact opposite of what Satan was hoping for!We are all going to experience various trials throughout our lives; hopefully not to the same degree that Job did.But no matter what we are facing the questions will always be the same:How do I respond? How do I view God in the midst of my adversity? Will I continue to worship Him when I don't understand Him, or don't understand why He's allowing these things to happen?As you think about those questions, listen to this true story. It's very appropriate for the season we're about to celebrate.In 1741 an elderly man wandered, stooped over, through the streets of London. Bystanders recognized this bum on his regular route through the city. His angry mind raced back to the memories of the wonderful years he once lived. . . For forty years he had written opera music that was adored by in both England and Europe. He was honored and in-demand everywhere.Then things changed quickly and drastically. Fellow musicians became jealous of his success and a rival soon overtook his spot as the top composer.If that were not enough, a brain hemorrhage paralyzed his right side. He could no longer write music. Doctors gave little hope for his recovery.The old composer traveled to France and began to soak in waters rumored to have miraculous powers. Doctors warned him about staying in the scalding water for such long periods of time but he ignored their advice and gradually his weakened muscles began to receive new life. His health improved and he once again began to write. Soon, to his amazement, his works were being received with euphoric applause, and the honors again began to flow.But then he found himself in the pits once more after the death of Queen Caroline, who had been his loyal supporter. On top of this, all of England fell on hard economic times. Things were so bad they wouldn't even spend money to warm the theaters, so his shows were canceled. He found himself once again wandering aimlessly through the streets. And once again asking, where is God in all of this?As he wondered home one day, he was shocked to find a wealthy gentleman waiting in his living room. The man's name was Charles Gibbon.Charles explained that he had just finished writing words for a musical that covered the entire Old and New Testaments. He believed that the gifted composer was the right man to set it to music. He gave the lyrics to the composer and challenged him to write the music. As he walked out the door, Charles Gibbon turned around and said, “The Lord gave me those words.”The great maestro scoffed to himself at the audacity of the young man. Yet as he began to read the manuscript he was humbled and inspired by it. He read: “He was despised, rejected of men…he looked for someone to have pity on him, but there was no man; neither found he any to comfort him.”His eyes raced ahead: “He trusted in God…He will give you rest…I know that my redeemer lives… rejoice…hallelujah.”He picked up his pen and began to write. Music seemed to flow as though it had been penned up for years. At age 57, George Frederick Handel completed the entire Messiah in only 24 days. When the work was first performed in London, and the Hallelujah Chorus was reached, King George II stood up because he was so moved. To God be the Glory!
George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia
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