Podcasts about royal fireworks

In deze aflevering van Kalm met Klassiek mag je op zoek naar wat meer innerlijke rust of vrede bij 'La Paix' ("De vrede"), een deel uit koninklijke muziek van Georg Friedrich Händel. Hij schreef 'Music for the Royal Fireworks' speciaal voor een vuurwerkspektakel georganiseerd door koning George II van Groot-Brittannië, in 1749. Dit vredige deel daaruit zal toendertijd ongetwijfeld een rustpunt gevormd hebben, en mag dat nu ook voor jou zijn. Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/thema/kalm-met-klassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=be36463468d84e37). En klik hier (https://www.npoklassiek.nl/podcasts/klassieke-mysteries/53254/9-koningsdag-mysterie-wie-schreef-het-wilhelmus-s04) om te luisteren naar het Koningsdag-Mysterie. 

Music touches the soul, and one of the most famous musicians of all time was George Frideric Handel. He was a prolific writer of operas and oratorios. Handel's Zadok the Priest has been performed at every British coronation since 1727. His orchestral works Water Music and Music for the Royal Fireworks are also incredibly popular and are often performed at the BBC Proms. But he is probably most famous for his Messiah, an oratorio that is staged all around the world during the Christmas season. The stirring music causes people to leap to their feet, inspired by the magnificent words and harmonies. Join Gary Kent as we find out more about George Frideric Handel and his music, which has changed the world.

Merriam-Webster's Word of the Day for October 17, 2024 is: fugacious • fyoo-GAY-shus • adjective Fugacious is a formal word that describes something that lasts only a short time. // The rock band's early success proved fugacious; within two years its members had moved on to other careers. // Savor the enduring pleasures of life as intensely as the fugacious ones. See the entry > Examples: “The Handel & Hendrix [House], on 23 and 25 Brook Street in central London, reopens 18 May.... The 18th century German composer George Frideric Handel called number 25 home for some 36 years, up until his death in 1759. Here, he manufactured hits like coronation/Champions League belter Zadok the Priest, and the Music for the Royal Fireworks with such voraciousness, his manuscripts were often bespattered with food and beer stains. Perhaps you'd equate such sloppiness with Jimi Hendrix; his tenancy in a flat at 23 Brook Street was altogether fugacious; he was only here from 1968-9—though in that time, used it for countless interviews, jam sessions—and referred to it as the only place he ever lived that felt like home.” — Will Noble, The Londonist, 18 May 2023 Did you know? The word fugacious is too rare and unusual to qualify as vanilla, but the vanilla plant itself can be useful for recalling its meaning. Fugacious (which comes from Latin fugax, meaning “swift, fleeting,” and ultimately from fugere, “to run away”) describes the ephemeral—that is, those things in life that last only a brief time before fleeing or fading away. The word is often used to describe immaterial things, such as emotions, but botanists like to apply the word to plant parts (such as seeds, fruits, petals, and leaflets) that are quickly shed or dropped. Vanilla plants, for example, are said to have fugacious blossoms, as their flowers last only a single day during the blooming season. You may remember this the next time you're baking with vanilla, and perhaps wishing that its rich, fugacious aroma would linger just a little bit longer.

DescriptionThe Birth of the Modern Timpani in 60 Seconds. Take a minute to get the scoop!Fun FactHandel incorporated the timpani in several of his compositions, notably enhancing the grandeur and dramatic impact. Key pieces featuring timpani include the "Music for the Royal Fireworks" and the "Messiah." In the "Water Music," timpani are used sparingly for festive occasions. The instrument's powerful sound added a majestic and ceremonial quality, underlining important moments and contributing to the overall dynamic range of his orchestral works.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

本篇選曲為The Chamber Orchestra of Leeds所演奏版本 作曲家：韓德爾Georg Friedrich Händel

Kate Molleson shares stories of Handel's music at summer soirees across the British Isles When he arrived in London in 1712, German-born George Frideric Handel was already one of Europe's most exciting musical minds. Over the next decades he would not only carve a living for himself, but transform British musical life, from the opera stage to the choir stalls, and hardwire his legacy into our culture. This week, Kate Molleson tells the stories of five summer soirees from across his life in the British Isles – golden evenings of 18th-century music making, and some of his most eventful performances. Music Featured: Water Music (Suite 2: i. Allegro) Water Music (Suite 2: ii. Hornpipe) Water Music (Suite 1: excerpt) Water Music (Suite 3) Qual nave smarrita (from Radamisto) Water Music (Suite 1: excerpt) Acis and Galatea (Overture) Chandos Te Deum (excerpt) Chandos Anthem No 4 ‘O sing unto the Lord a new song' Acis and Galatea, Act II: Nos 25-29 Keyboard Suite in E major ‘The Harmonious Blacksmith', HWV430 (Air & Variations) Esther, Act I, Scene 4: Tune your harps to cheerful strains; Praise the Lord Organ Concerto in B-flat major, Op 4 No 2 Jubilate Deo in D major ‘Utrecht', HWV279 Athalia, Act II Scene 2: My vengeance awakes me L'Allegro, il penseroso ed il moderato: As steals the morn Alexander's Feast, Part I (excerpt) Messiah, Part 2 (excerpt) Messiah, Part 3: Amen Hornpipe compos'd for Vauxhall Acis and Galatea: Hush ye pretty warbling quire Semele: Where'er you walk Concerto Grosso in F major, Op 3 No 4b Zadok the Priest Music for the Royal Fireworks (excerpt) Presented by Kate Molleson Produced by Amelia Parker for BBC Audio Wales and West 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/m001q14p 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

George Frideric Handel - Music for the Royal Fireworks: Le Rejouissance Aradia Ensemble Kevin Mallon, conductor More info about today's track: Naxos 8.552109-10 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Summer 1929 was the pinnacle of a new era of banking, and Charles E. Mitchell emblematized the live-fast-die-young ethos of roaring twenties stock salesmen. As the Great Crash led into the Great Depression, Charlie's ambition brought about his downfall and forced him to go toe-to-toe with one of most doggedly committed prosecutors of the era: Ferdinand Pecora. It's a story that's more timely now than ever.For more episodes: patreon.com/historiumMusic:Hindustan by Bob Crosby & The Bob CatsDogtown Blues by Bob Crosby & The Bob CatsAdagio in G Minor for Strings and Organ by the London Philharmonic OrchestraEasy Opium by Ben von WildenhausBattle of the Species by AntibalasMusic for the Royal Fireworks by HandelOne Bad Motherfucker in His Day by Ben von WildenhausReckless by Brocker WayThe Ox by The WhoPotato Boy by Mac DemarcoTryouts by Brocker WayHeartaches by Al BowllyThe Beast by Dick DaleLet There Be Drums by Sandy NelsonIt Was a Town by Brocker WayGlass Etudes by Etudes No. 6 by Philip GlassEtude by Joep BevingIn Love and Justice by Colin Stetson Happy Days are Here Again by Ben Selvin & The CroonersEnd of Summer Part 2 by Johann JohannssonLess Likely by Trent Reznor1929 by Merle HaggardSupport the show

Hva er barokkmusikk?I første episoden av denne splitter nye podcasten starter jeg helt forfra: når startet barokkmusikken og hvorfor? Hva skjedde egentlig rundt året 1600 i overgangen mellom renessansen og barokken slik at en ny epoke startet? Hva kjennetegner barokkmusikk? Dette blir en generell innføring i barokkmusikk, og jeg ser også litt på hva som skjedde i politikken, arkitekturen, billedkunsten og vitenskapen på denne tiden. Men selvsagt er det mest snakk om musikk: instrumenter, Claudio Monteverdi og oppstarten av opera-genren, Giulio Caccini, generalbass og mye mer.Til hver episode av BAROKKPODDEN finnes det også en passende spilleliste med barokkmusikk på Spotify. Der kan du lytte til CD-innspillinger jeg anbefaler; og musikken passer til det jeg har snakket om i hver episode.Søk den opp og kos deg med musikken!Her er linken:https://open.spotify.com/playlist/2ugl47CnpL6pw7hi3NMBqY?si=c50f6e38e74a4e4d&pt=026d06aa6416aa57d3a31a40038874f9***Musikkeksemplene i episode 1 – Hva er barokkmusikk?Johann Sebastian Bach: Brandenburg-konsert nr.2, BWV 1047, 1.sats Allegro (Café Zimmermann, 2005, Alpha)Claudio Monteverdi: L'Orfeo, SV 318, Toccata (Capella Mediterranea, Leonardo Garcia-Alarcón, 2021, Alpha)Johann Sebastian Bach: Brandenburg-konsert nr.3, BWV 1043, 3.sats Allegro assai (Café Zimmermann, 2005, Alpha)Henry Purcell: fra Dido og Aeneas: When I am laid in earth Z 626 (David Hansen, kontratenor, Oslo Circles, 2019, LAWO Classics)Antonio Vivaldi: Våren fra De Fire Årstider, op 8, nr.1, RV 269 ‘La Primavera': Allegro (Amandine Beyer, Gli Incogniti, 2008, Alpha)Jean-Baptiste Lully: Ballet de la Naissances de Vénus LVW 27: Sarabande dieu des Enfers (Ensemble les Surprises, 2021, Alpha)Henry Purcell: Abdelazer: Rondeau (Oslo Circles, 2019, LAWO)Pergolesi: fra Stabat Mater P 77, VIII: Fac ut ardeat (Sandrine Piau, Christopher Lowrey, Les Talents Lyriques, Christophe Rousset, 2020, Alpha)Johann Sebastian Bach: fra Johannespasjon BWV 245, part 1, Choral: Wer hat dich so geschlagen? (Collegium Vocale, Gent, Philippe Herreweghe, 2020, Alpha)Georg Friedrich Händel: From Music for the Royal Fireworks, HWV 351: Ouverture (Ensemble Zefiro, Alfredo Bernardini, 2008, Alpha)Anonymous: Nobody's Gig (Les Witches, 2001, Alpha)Claudio Monteverdi: L'Orfeo, SV 318, Moresca (Capella Mediterranea, Leonardo Garcia-Alarcón, 2021, Alpha)Claudio Monteverdi: L'Orfeo, SV 318, Vi ricorda o boschi ambrosi (Valerio Contaldo, Capella Mediterranea, Leonardo Garcia-Alarcón, 2021, Alpha)Claudio Monteverdi: L'Orfeo, SV 318, Tu se´morta (Valerio Contaldo, Capella Mediterranea, leonardo Garcia-Alarcón, 2021, Alpha)Giulio Caccini: Amarilli mia bella (Marianne Beate Kielland, mezzosopran, Jadran Duncumb, teorbe, live, 2021)Isabella Leonarda: sonata prima op.16: 1.sats (Astrid Kirschner, Oslo Circles)Johann Sebastian Bach: Brandenburg-konsert nr.2, BWV 1047, 3.sats Allegro assai (Cafè Zimmermann, 2005, Alpha)***Takk til Fond for Lyd og Bilde som har støttet denne podcasten!Photo cred: Lars Bryngelsson

George Frideric Handel - Music for the Royal Fireworks - Overture Prague Chamber Soloists Andrew Mogrelia, conductor More info about today's track: Naxos 8.571030 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Selon certains historiens, la première guerre mondiale aurait eu lieu au XVIIIe siècle et de 1756 à 1763.     Il s'agit du conflit que nous appelons en Europe la guerre de Sept Ans parce qu'il a duré… 7 ans !   Elle est beaucoup moins connue que la grande guerre mais les combats s'y déroulent aussi dans le monde entier, en impliquant toutes sortes de peuples et elle entraîne elle-aussi des conséquences fondamentales pour les périodes suivantes.   Pourquoi ce conflit à la dimension mondiale est-il le creuset des guerres qui suivent ?  #HGGSP #Terminale *** Cet épisode de podcast reprend en partie un script que j'avais écrit pour un épisode de la chaîne Youtube "Nota Bene". Retrouvez la vidéo réalisée à partir de ce script ici :  https://www.youtube.com/watch?v=N01db5Y-3B8&t=1s   *** ✉️ Contact: tasquienhistoire@gmail.com *** Sur les réseaux sociaux *** Facebook : https://www.facebook.com/TasQuiEnHistoire Twitter : @AsHistoire  Instagram : @tasquienhistoire   *** Credits Sons Youtube Marie-Jo Thério''Évangéline'' 2001, TV pour Claude Léveillée @PopFranco8090 https://www.youtube.com/watch?v=J4QtS_n49GU  Barry Lyndon - The battle [Scene 5] @BarryLindonVideos https://www.youtube.com/watch?v=CbBojWrOV2Y  Wikimedia Commons George Frideric Handel - Music for the Royal Fireworks The 1st (Overture) [The sound quality is better music] https://commons.wikimedia.org/wiki/File:George_Frideric_Handel_-_Music_for_the_Royal_Fireworks_1_(Overture)_The_sound_quality_is_better_music.ogg  zero-project - Sarabande (George Frideric Handel) https://commons.wikimedia.org/wiki/File:Zero-project_-_Sarabande_(George_Frideric_Handel).ogg 

Amorós dedica el programa a música de verano con tres piezas: El sueño de una noche de verano, Water Music Suite y Music for the Royal Fireworks.

George Frideric Handel, German (until 1715) Georg Friedrich Händel, Händel also spelled Haendel, (born February 23, 1685, Halle, Brandenburg [Germany]—died April 14, 1759, London, England), German-born English composer of the late Baroque era, noted particularly for his operas, oratorios, and instrumental compositions. He wrote the most famous of all oratorios, Messiah (1741), and is also known for such occasional pieces as Water Music (1717) and Music for the Royal Fireworks (1749).

Imagine that you're able to attend what is to be the most expensive, spectacular fireworks display ever, set to the music of the most popular musician ever. What a grand event that would be! In 1749, such an event occurred -- and the popular musician to arrange the music? None other than George Frideric Handel. Let's learn about his famous collection of music for this important event in today's episode.

Maestro Maull has always strongly identified with young chorus students, given he attended St. Peter's Choir School in Philadelphia. In his last visit to The Newark Boys Chorus School in New Jersey, the Maestro provided an in-depth exploration into the various facets of Handel's Musick for the Royal Fireworks using the corresponding Listening Guide.  You won't believe the impact this focused listening experience had on these young "apprentices"!

Was jij erbij, bij één van de blijde intredes van koning Filip en koningin Mathilde in 2013? De kans is klein, want de opkomst was bijzonder mager. Dat was in de 18e eeuw wel even anders! Toen was de inhuldiging van een nieuwe vorst een belevenis die je je leven lang bijbleef. Een stad als Gent was tot vier dagen lang compleet in de ban van pronkerige optochten doorheen versierde straten, van klokkengelui en trompetgeschal en van grootse plechtigheden. Maar voor het gewone volk was een inhuldiging ook een welkome gelegenheid om eens goed uit de bol te gaan: de wijn vloeide rijkelijk en de hele stad verkeerde in een feestroes. Knaldrang in de 18e eeuw! Maar zo'n inhuldiging was natuurlijk veel meer dan een goed feestje. Dr. Klaas Van Gelder legt uit wat de diepere betekenis was van zulke ceremonies en rituelen in een tijd toen macht nog heel ongrijpbaar was. Afbeelding: Archief Gent, Oud archief, Atlas Goetghebuer, (Lade 125 nr. 117). Waterverf-schilderij, vermoedelijk door P.J. Goetghebuer zelf, gebaseerd op een schilderij van Ingelbert Lievens van Sieliers. Muziek: G.F. Händel: Amadigi di Gaula, HWV 11, Act III: Aria. "Sento la gioia, ch'in sen mi brilla" (Arr. Pinnock) Alison Balsom, The English Concert, Trevor Pinnock. “Sound the Trumpet”, Warner Classics. G.F. Händel: Atalanta, HWV 35 Ouverture. Largo – Allegro. Alison Balsom, The English Concert, Trevor Pinnock. “Sound the Trumpet”, Warner Classics. G.F. Händel: Music for the Royal Fireworks, HWV 351 I. Ouverture (Adagio), II. Allegro – Lentement – Allegro, III. Bourrée – Lentement – Allegro, IV. La Paix (Largo alla siciliana), V. La Réjouissance, VII. Menuet 2. Alison Balsom, Balsom Ensemble, Simon Wright. “Royal Fireworks” Warner Classics. G.F. Händel: Semele, HWV 58, Ouverture to Act 1. John Eliot Gardiner, English Baroque Soloists. Warner Classics. J.J. Fux: Te Deum, K.271, Te Deum. Collegium 1704 Václav Lux H. Purcell: The Faerie Queen, Z629. Act 5: No 41, Prelude. Alison Balsom, The English Concert, Trevor Pinnock. EMI/Warner Classics. A. Vivaldi: Vioolconcerto nr 4 in f, op. 8, RV 297. “Le quattro stagioni”. L'invierno: Allegro non molto. Stuttgart Chamber Orchestra, Martin Sieghart, Rainer Kussmaul. Night Light by Blue Dot Sessions https://app.sessions.blue/browse/track/61475 Basketliner by Blue Dot Sessions https://app.sessions.blue/browse/track/61478

Download Episode 44 What holidays are celebrated with fireworks? The New Year and of course, the Fourth of July. Join Melissa Dundis and listen to classical music inspired by fireworks on this episode of YourClassical Adventures. Episode 44 playlist Claude Debussy: Feux d'artifice— This piece was written to sound like a bunch of fireworks going off. Claude Debussy: Feux d'artifice by George Fredrich Handel: Music for the Royal Fireworks — This piece was written for at the end of a war, to celebrate peace in London. George Fredrich Handel: Music for the Royal Fireworks by Peter Tchaikovsky: 1812 Overture - Finale — This piece features a cannon balls that kind of sound like fireworks. Peter Tchaikovsky: 1812 Overture by YourClassical Adventures is available in your favorite podcast portal. Explore more from YourClassical Adventures! What are you curious about? Submit your feedback https://www.classicalmpr.org/story/2021/04/17/classical-kids-corner You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy.

George Frideric (or Frederick) Handel baptised Georg Friederich Händel,; 23 February 1685 – 14 April 1759 was a German-born Baroque composer becoming well known for his operas, oratorios, anthems, concerti grossi, and organ concertos. Handel received his training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712, where he spent the bulk of his career and became a naturalised British subject in 1727. He was strongly influenced both by the middle-German polyphonic choral tradition and by composers of the Italian Baroque.Handel started three commercial opera companies to supply the English nobility with Italian opera. In 1737 he had a physical breakdown, changed direction creatively, and addressed the middle class and made a transition to English choral works. After his success with Messiah (1742), he never composed an Italian opera again. His orchestral Water Music and Music for the Royal Fireworks remain steadfastly popular.[6] Almost blind, he died in 1759, a respected and rich man, and was given a state funeral at Westminster Abbey.Handel composed more than forty opera serias over a period of more than thirty years. Since the late 1960s, interest in Handel's music has grown. The musicologist Winton Dean wrote that "Handel was not only a great composer; he was a dramatic genius of the first order." His music exerted a strong influence on Classical-era composers, including Mozart and Beethoven.

Synopsis Stephen Sondheim was 32 years old when his musical “A Funny Thing Happened on the Way to the Forum” opened on Broadway on today’s date in 1962. The best seats would have cost you $8.60, but decent tickets were available for three bucks in those days–and, much to Sondheim’s relief, New Yorkers snapped them up in short order. The trial run of “Forum” in Washington had been a near disaster, and, as this was the first major musical for which Sondheim wrote both the lyrics and the music, he had a lot riding on the show’s success. Audiences and critics alike loved the over-the-top fusion of an ancient Roman comedy by Plautus with the kick-in-the-pants conventions of American Vaudeville, spiced up with a liberal dash of Burlesque beauties in skimpy Roman costumes. As the NY Times review put it, the cast included six courtesans who “are not obliged to do much, but have a great deal to show.” “Forum” won several Tony Awards in 1962, including “Best Musical.” Even so, while Sondheim’s lyrics were praised, his music was barely mentioned: Sondheim’s skill as a composer not yet fully appreciated. that would occur several years, and several shows, later. Music Played in Today's Program Stephen Sondheim (b. 1930) A Funny Thing Happened on the way to the Forum 1996 Broadway Cast Angel 52223 On This Day Births 1745 - Baptismal date of Bohemian violinist and composer Carl Philipp Stamitz, in Mannheim; He was the son of the composer JohannWenzel Anton Stamitz (b. 1717), and the brother of composer Johann Anton Stamitz (b. 1750); 1829 - American pianist and composer Louis Moreau Gottschalk, in New Orleans; 1945 - American pianist and composer Keith Jarrett, in Allentown, Pa.; Deaths 1829 - Italian composer and guitar virtuoso Mauro Giuliani, age 47, in Naples; 1944 - British composer and women's rights advocate Dame Ethel Smyth, age 86, in Woking; 1960 - Swedish composer Hugo Alfvén, age 88, in Falun; Premieres 1720 - Handel: opera "Radamisto" (1st version) (Julian date: April 27); 1736 - Handel: anthem "Sing unto God" (Julian date: April 27); 1749 - Handel: "Music for the Royal Fireworks" (Julian date: April 27); 1924 - Honegger: "Pacific 231," in Paris at a Koussevitzky Concert; 1938 - Stravinsky: "Dumbarton Oaks" Concerto, at Dumbarton Oaks, conducted by Nadia Boulanger; 1939 - Persichetti: Piano Sonata No. 1, at Philadelphia Conservatory, composer performing; 1946 - Menotti: "The Medium," at Columbia University in New York City; 1958 - Ligeti: String Quartet No. 1 ("Metamorphoses nocturnes"), in Vienna, by the Ramor Quartet; 1962 - Sondheim: Broadway premiere of musical "A Funny Thing Happened on the Way to the Forum"; Near-disasterous trial run performances in Washington DC and other cities preceded the show's Broadway premiere; This was the first major musical for which Sondheim wrote both the lyrics and the music; It won several Tony Awards in 1962, including "Best Musical"; 1965 - Rochberg: "Zodiac" (orchestral version), by Cincinnati Symphony, Max Rudolf conducting; 1970 - Gunther Schuller: children's opera "The Fisherman and His Wife," in Boston; 1973 - Rochberg: "Imago Mundi," by Baltimore Symphony, Sergiu Commisiona conducting; 1979 - Andrew Lloyd-Webber: musical "Evita," in Los Angeles; The musical opened on Broadway on September 25, 1979; 1985 - Frank Zappa: "Time's Beach" for winds, at Alice Tully Hall in New York, by the Aspen Wind Quintet; 1996 - Lowell Liebermann: opera "The Picture of Dorian Gray," at the Monte Carlo Opera, with tenor Jeffrey Lentz in the title role and Steuart Bedford conducting; The American premiere of this opera was staged in Milwaukee, Wis., by the Florentine Opera in Feb. of 1999; 1998 - Saariaho: Cello Octet, at the Beauvais Cello Festival in Beavais, France; Others 1747 - J.S. Bach performs an organ recital at the Heiligeistkirche in Potsdam; 1821 - Earliest documented American performance Beethoven's Symphony No. 2, in Philadelphia at Washington Hall, by the Musical Fund Society, Charles Hupfeld conducting; The finale only was performed by the Philharmonic Society in New York on December 16, 1824 and repeated at Castle Garden on April 21, 1825; The first complete performance in New York was apparently given on April 22, 1843, at the Apollo Room during the first season of the New York Philharmonic with George Loder conducting; 1874 - American premiere of J.S. Bach's "St. Matthew Passion," at the Music Hall in Boston, by the Handel and Haydn Society, Carl Zerrahn conducting; The performing forces included a chorus of 600, and orchestra of 90, and a 60-voice boy's choir; For this performance, the first 12 numbers of Part II were omitted; The complete Passion was not performed by the Society until 1879; About half of Bach's Passion was given its New York City premiere at St. George's Church on March 17, 1880, by the New York Oratorio Society under Leopold Damrosch; Theodore Thomas conducted the next documented performance in Cincinnati on May 17, 1882, during that city's May Festival; 1945 - Aaron Copland's Pulitzer Prize for Music for his "Appalachian Spring" ballet score is announced on V-E Day (the day the Allied Forces won the war in Europe). Links and Resources On Sondheim

Synopsis Stephen Sondheim was 32 years old when his musical “A Funny Thing Happened on the Way to the Forum” opened on Broadway on today’s date in 1962. The best seats would have cost you $8.60, but decent tickets were available for three bucks in those days–and, much to Sondheim’s relief, New Yorkers snapped them up in short order. The trial run of “Forum” in Washington had been a near disaster, and, as this was the first major musical for which Sondheim wrote both the lyrics and the music, he had a lot riding on the show’s success. Audiences and critics alike loved the over-the-top fusion of an ancient Roman comedy by Plautus with the kick-in-the-pants conventions of American Vaudeville, spiced up with a liberal dash of Burlesque beauties in skimpy Roman costumes. As the NY Times review put it, the cast included six courtesans who “are not obliged to do much, but have a great deal to show.” “Forum” won several Tony Awards in 1962, including “Best Musical.” Even so, while Sondheim’s lyrics were praised, his music was barely mentioned: Sondheim’s skill as a composer not yet fully appreciated. that would occur several years, and several shows, later. Music Played in Today's Program Stephen Sondheim (b. 1930) A Funny Thing Happened on the way to the Forum 1996 Broadway Cast Angel 52223 On This Day Births 1745 - Baptismal date of Bohemian violinist and composer Carl Philipp Stamitz, in Mannheim; He was the son of the composer JohannWenzel Anton Stamitz (b. 1717), and the brother of composer Johann Anton Stamitz (b. 1750); 1829 - American pianist and composer Louis Moreau Gottschalk, in New Orleans; 1945 - American pianist and composer Keith Jarrett, in Allentown, Pa.; Deaths 1829 - Italian composer and guitar virtuoso Mauro Giuliani, age 47, in Naples; 1944 - British composer and women's rights advocate Dame Ethel Smyth, age 86, in Woking; 1960 - Swedish composer Hugo Alfvén, age 88, in Falun; Premieres 1720 - Handel: opera "Radamisto" (1st version) (Julian date: April 27); 1736 - Handel: anthem "Sing unto God" (Julian date: April 27); 1749 - Handel: "Music for the Royal Fireworks" (Julian date: April 27); 1924 - Honegger: "Pacific 231," in Paris at a Koussevitzky Concert; 1938 - Stravinsky: "Dumbarton Oaks" Concerto, at Dumbarton Oaks, conducted by Nadia Boulanger; 1939 - Persichetti: Piano Sonata No. 1, at Philadelphia Conservatory, composer performing; 1946 - Menotti: "The Medium," at Columbia University in New York City; 1958 - Ligeti: String Quartet No. 1 ("Metamorphoses nocturnes"), in Vienna, by the Ramor Quartet; 1962 - Sondheim: Broadway premiere of musical "A Funny Thing Happened on the Way to the Forum"; Near-disasterous trial run performances in Washington DC and other cities preceded the show's Broadway premiere; This was the first major musical for which Sondheim wrote both the lyrics and the music; It won several Tony Awards in 1962, including "Best Musical"; 1965 - Rochberg: "Zodiac" (orchestral version), by Cincinnati Symphony, Max Rudolf conducting; 1970 - Gunther Schuller: children's opera "The Fisherman and His Wife," in Boston; 1973 - Rochberg: "Imago Mundi," by Baltimore Symphony, Sergiu Commisiona conducting; 1979 - Andrew Lloyd-Webber: musical "Evita," in Los Angeles; The musical opened on Broadway on September 25, 1979; 1985 - Frank Zappa: "Time's Beach" for winds, at Alice Tully Hall in New York, by the Aspen Wind Quintet; 1996 - Lowell Liebermann: opera "The Picture of Dorian Gray," at the Monte Carlo Opera, with tenor Jeffrey Lentz in the title role and Steuart Bedford conducting; The American premiere of this opera was staged in Milwaukee, Wis., by the Florentine Opera in Feb. of 1999; 1998 - Saariaho: Cello Octet, at the Beauvais Cello Festival in Beavais, France; Others 1747 - J.S. Bach performs an organ recital at the Heiligeistkirche in Potsdam; 1821 - Earliest documented American performance Beethoven's Symphony No. 2, in Philadelphia at Washington Hall, by the Musical Fund Society, Charles Hupfeld conducting; The finale only was performed by the Philharmonic Society in New York on December 16, 1824 and repeated at Castle Garden on April 21, 1825; The first complete performance in New York was apparently given on April 22, 1843, at the Apollo Room during the first season of the New York Philharmonic with George Loder conducting; 1874 - American premiere of J.S. Bach's "St. Matthew Passion," at the Music Hall in Boston, by the Handel and Haydn Society, Carl Zerrahn conducting; The performing forces included a chorus of 600, and orchestra of 90, and a 60-voice boy's choir; For this performance, the first 12 numbers of Part II were omitted; The complete Passion was not performed by the Society until 1879; About half of Bach's Passion was given its New York City premiere at St. George's Church on March 17, 1880, by the New York Oratorio Society under Leopold Damrosch; Theodore Thomas conducted the next documented performance in Cincinnati on May 17, 1882, during that city's May Festival; 1945 - Aaron Copland's Pulitzer Prize for Music for his "Appalachian Spring" ballet score is announced on V-E Day (the day the Allied Forces won the war in Europe). Links and Resources On Sondheim

Kalm met Klassiek is jouw dagelijkse dosis klassieke ontspanning. Koningsdag is weer achter de rug, maar wij blijven deze week nog even in de koninklijke sfeer. En hoe: we gaan all out met ‘Music for the Royal Fireworks'! In 2002 werd het werk, inclusief echt vuurwerk, gespeeld tijdens het Gouden Jubileum van Queen Elizabeth in Londen. Tussen al het blaas- en vuurwerkgeweld door zit ook een ingetogen stuk: La Paix, de vrede. En die vrede zoekt Ab vandaag samen met jou op. 

Synopsis Few of us today really know–or care–very much about the War of Austrian Succession, a conflict that troubled Europe in the 18th century. For music lovers, it’s enough to know that to celebrate the end of that war, George Frideric Handel was commissioned to compose music for a fireworks concert in London’s Green Park, an event that took place on today’s date in the year 1749. Back then there were no such things as microphones and loudspeakers, so Handel’s score called for a huge military band of 24 oboes, 9 horns, 9 trumpets, 3 sets of timpani, 12 bassoons, 2 contrabassoons—and strings. When King George II was told about it, he balked a little at the expense: “Well, at least I hope there won’t be any fiddles,” he commented, and so Handel was informed the strings were definitely off. A public rehearsal was held at the Vauxhall Gardens and a London newspaper reported that 100 musicians performed for an audience of more than 12,000, causing a 3-hour traffic jam of carriages and pedestrians on London Bridge. The official event with fireworks went off with a bang–as well as a few fires breaking out. Music Played in Today's Program George Frederic Handel (1685 - 1759) — Music for the Royal Fireworks (Academy of St Martin in the Fields; Neville Marriner, cond.) Argo 414596 On This Day Births 1812 - German opera composer Friedrich von Flotow, in Toitendorf (Teutendorf) estate, near Neu-Sanitz, Mecklenburg-Schwerin; 1894 - Russian-born America composer and famous musical lexicographer Nicolas Slonimsky, in St. Petersburg (Julian date: April 15); Deaths 1871 - German composer and piano virtuoso Sigismond Thalberg, age 59, in Posillipo, Italy; 1915 - Russian composer and pianist Alexander Scriabin, age 43, in Moscow (Julian date: April 14); 1992 - French composer, organist and teacher Olivier Messiaen, age 83, in Paris; Premieres 1720 - Handel: opera "Radamisto" (1st version), in London at the King's Theater in the Haymarket, during the first season of operas presented by the Royal Academy of Music (Gregorian date: May 8); The performance is attended by King George I and the Prince of Wales (Handel dedicates the score to the King); The singer Margherita Dursastanti appears in a Handel work for the first time in London; 1735 - Handel: opera "Alcina" (Julian date: April 16); 1736 - Handel: anthem "Sing unto God," in London at the German Chapel of St. James's Palace, during the wedding of Frederick, Prince of Wales, and Augusta, Princess of Saxe-Gotha (Gregorian date: May 8); 1749 - Handel: "Music for the Royal Fireworks" performed during fireworks display in London (Gregorian date: May 8); 1867 - Gounod: opera "Romeo and Juliet," in Paris at the Théatre-Lyrique; 1877 - Massenet: opera "Le Roi de Lahore" (The King of Lahore"), in Paris; 1893 - Rachmaninoff: opera "Aleko," in Moscow (Gregorian date: May 9); 1907 - Stravinsky: Symphony in Eb, at a private performance in St. Petersburg (Gregorian date: May 10); The first public performance took place in St. Petersburg on January 23, 1908, conducted by F. Blumenfield (Gregorian date: Feb 5); 1927 - Weinberger: opera "Schwanda the Bagpiper," in Prague at the National Theater; 1928 - Stravinsky: ballet, "Apollon musagète," in Washington, D.C., choreographed by Adolf Bohm; The European premiere of this ballet occurred on June 12 in Paris, choreographed by Georges Balanchine; 1937 - Stravinsky: ballet, "Jeu de cartes" (Card Game), by the American Ballet at the Metropolitan Opera in New York, with the composer conducting; This work was part of a Stravinsky-Balanchine matinée consisting of "Apollon musagète," "Le Baiser de la fée," and the premiere of "Jeu de cartes"; 1987 - Daniel Pinkham: Sonata No. 3 for Organ and Strings, at St. Peter's Church in Osterville, Mass., by organist Richard Benefield, with a string quartet conducted by the composer; 1992 - George Tsontakis: "Perpertual Angelus" (No. 2 of "Four Symphonic Quartets" after poems by T.S. Eliot), by the Tuscaloosa Symphony, Ransom Wilson conducting;

Synopsis OK – say you were paid to listen to and promote hundreds of new classical recordings every month and travel the world to broker new deals for a major record company. The question is, “What would you do in your spare time?” Well, if you’re a composer, the answer is easy: write your OWN music, of course. Sean Hickey’s “day job” is being the Senior Vice-President for Sales and Business Development at Naxos of America, but who also finds time to create his own chamber and orchestral works. On today’s date in 2007, for example, his Clarinet Concerto received its premiere performance at Symphony Space in New York City, with David Gould as soloist with the Metro Chamber Orchestra. It’s gone on to be his most-performed orchestra work, and, in keeping with Hickey’s globe-trotting, has been recorded in the Russian Federation by another virtuoso clarinetist, Alexander Fiterstein with the St. Petersburg State Academic Symphony. The work also incorporates fragments of folk tunes from Scotland as part of the creative mix. Why Scottish themes? “They have a timeless quality of most great folk music, “says Hickey. “In the concerto’s cadenza, a fiddle tune leads headlong into a rapturous close.” Music Played in Today's Program Sean Hickey — Concerto for Clarinet and Orchestra (Alexander Fiterstein, cl; St. Petersburg Academic Symphony; Vladimir Lande, cond.)Delos 3448 On This Day Births 1899 - American composer and teacher Randall Thompson, in New York; 1933 - American composer and pianist Easley Blackwood, in Indianapolis; Premieres 1845 - Lortzing: opera "Undine," in Magdeburg at the Stadttheater; 1889 - Puccini: opera "Edgar," in Milan at the Teatro alla Scala; 1917 - Debussy: Sonata No. 2 for flute,viola, and harp, at a concert of the Société Musicale Indépendante in Paris, by the trio of Manouvirier (flute), Jarecki (viola), and Jamet (harp); 1918 - Prokofiev: Symphony No. 1 ("Classical"), in Petrograd, by the former Court Orchestra with the composer conducting; 1922 - Frederick Converse: Symphony No. 2, by the Boston Symphony, Pierre Monteux conducting; 1924 - Youmans: musical "No, No Nanette," in Detroit; After stops in Chicago and London, the musical opened on Broadway on Sept. 16, 1925; 1937 - Copland: a play-opera for high school "The Second Hurricane," at the Grand Street Playhouse in New York City, with soloists from the Professional Children's School, members of the Henry Street Settlement adult chorus, and the Seward High School student chorus, with Lehman Engle conducting and Orson Welles directing the staged production; One professional adult actor, Joseph Cotton, also participated (He was paid $10); 1939 - Leonard Bernstein's first appearance as a conductor, leading his own incidental score to "The Birds" at Harvard; 1942 - Bernstein: Clarinet Sonata, in Boston, with clarinetist David Glazer and the composer at the piano; 1948 - Vaughan Williams: Symphony No. 6, at Royal Albert Hall in London, by the BBC Symphony, Sir Adrian Boult conducting; 1973 - Bliss: "Variations" for orchestra, in London, with Leopold Stokowski conducting; 1985 - Morton Feldman: "For Philip Guston," for chamber ensemble, in New York; 1988 - Bernstein: "Missa brevis," in Atlanta by the Atlanta Symphony Chorus conducted by Robert Shaw; Others 1749 - Against Handel's wishes, in advance of its official premiere scheduled for April 27, a public rehearsal of Handel's "Music for the Royal Fireworks" at Vauxhall Gardens takes place; Reports suggest 12,000 attended, causing traffic jams on London Bridge (Gregorian date: May 2); 1829 - Mendelssohn, age 20, arrives in London for his first visit. 1863 - American premiere of J.S. Bach's Concerto for Two Claviers and Orchestra No.2 in C Major, at Dodworth's Hall in New York during a Mason-Thomas chamber music "Soiree,"with Henry C. Timm and William Mason performing on two pianos. Links and Resources On Theodore Thomas Concert-going then and now

Synopsis OK – say you were paid to listen to and promote hundreds of new classical recordings every month and travel the world to broker new deals for a major record company. The question is, “What would you do in your spare time?” Well, if you’re a composer, the answer is easy: write your OWN music, of course. Sean Hickey’s “day job” is being the Senior Vice-President for Sales and Business Development at Naxos of America, but who also finds time to create his own chamber and orchestral works. On today’s date in 2007, for example, his Clarinet Concerto received its premiere performance at Symphony Space in New York City, with David Gould as soloist with the Metro Chamber Orchestra. It’s gone on to be his most-performed orchestra work, and, in keeping with Hickey’s globe-trotting, has been recorded in the Russian Federation by another virtuoso clarinetist, Alexander Fiterstein with the St. Petersburg State Academic Symphony. The work also incorporates fragments of folk tunes from Scotland as part of the creative mix. Why Scottish themes? “They have a timeless quality of most great folk music, “says Hickey. “In the concerto’s cadenza, a fiddle tune leads headlong into a rapturous close.” Music Played in Today's Program Sean Hickey — Concerto for Clarinet and Orchestra (Alexander Fiterstein, cl; St. Petersburg Academic Symphony; Vladimir Lande, cond.)Delos 3448 On This Day Births 1899 - American composer and teacher Randall Thompson, in New York; 1933 - American composer and pianist Easley Blackwood, in Indianapolis; Premieres 1845 - Lortzing: opera "Undine," in Magdeburg at the Stadttheater; 1889 - Puccini: opera "Edgar," in Milan at the Teatro alla Scala; 1917 - Debussy: Sonata No. 2 for flute,viola, and harp, at a concert of the Société Musicale Indépendante in Paris, by the trio of Manouvirier (flute), Jarecki (viola), and Jamet (harp); 1918 - Prokofiev: Symphony No. 1 ("Classical"), in Petrograd, by the former Court Orchestra with the composer conducting; 1922 - Frederick Converse: Symphony No. 2, by the Boston Symphony, Pierre Monteux conducting; 1924 - Youmans: musical "No, No Nanette," in Detroit; After stops in Chicago and London, the musical opened on Broadway on Sept. 16, 1925; 1937 - Copland: a play-opera for high school "The Second Hurricane," at the Grand Street Playhouse in New York City, with soloists from the Professional Children's School, members of the Henry Street Settlement adult chorus, and the Seward High School student chorus, with Lehman Engle conducting and Orson Welles directing the staged production; One professional adult actor, Joseph Cotton, also participated (He was paid $10); 1939 - Leonard Bernstein's first appearance as a conductor, leading his own incidental score to "The Birds" at Harvard; 1942 - Bernstein: Clarinet Sonata, in Boston, with clarinetist David Glazer and the composer at the piano; 1948 - Vaughan Williams: Symphony No. 6, at Royal Albert Hall in London, by the BBC Symphony, Sir Adrian Boult conducting; 1973 - Bliss: "Variations" for orchestra, in London, with Leopold Stokowski conducting; 1985 - Morton Feldman: "For Philip Guston," for chamber ensemble, in New York; 1988 - Bernstein: "Missa brevis," in Atlanta by the Atlanta Symphony Chorus conducted by Robert Shaw; Others 1749 - Against Handel's wishes, in advance of its official premiere scheduled for April 27, a public rehearsal of Handel's "Music for the Royal Fireworks" at Vauxhall Gardens takes place; Reports suggest 12,000 attended, causing traffic jams on London Bridge (Gregorian date: May 2); 1829 - Mendelssohn, age 20, arrives in London for his first visit. 1863 - American premiere of J.S. Bach's Concerto for Two Claviers and Orchestra No.2 in C Major, at Dodworth's Hall in New York during a Mason-Thomas chamber music "Soiree,"with Henry C. Timm and William Mason performing on two pianos. Links and Resources More on Sean Hickey at Vox Novus

Virtuoosse trompetisti Alison Balsomi albumil kõlab trompeti kuldajast pärinev muusika Händeli, Purcelli, Bachi ja Telemanni sulest.

Mozart Beethoven & Mas presents one of the jewels ofthe Baroque: Handel's The Music for the Royal Fireworks

Mozart Beethoven & Mas presents one of the jewels of the Baroque: Handel's The Music for the Royal Fireworks

Handel: Music for the Royal Fireworks Suite in D Major, HWV 351 Handel: Water Music Suites Suite in F major, HWV 348 Suite in D major, HWV 349 Suite in G major, HWV 350 Conducted by Dominique Beaulieu CMD Paris Philharmonic in Orleans Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1220/Handel%3A_Music_for_the_Royal_Fireworks_and_Water_Music_Suites.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Over 100 of our favorite works by Handel. Includes a complete performance of "Messiah", "Water Music", "Royal Fireworks" and much more! Over 6 hours of Handel Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p762/Can_You_HANDEL_This%3F.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Support us on Patreon https://www.patreon.com/user?u=4186107 staff@classicalmusicdiscoveries.com

The first in an ongoing series where Alex and Fernando explore where to begin with music of the Baroque Period! Listen to great and sometimes overlooked works by Purcell, Telemann, Vivaldi, and more!Excerpts in this episode include:Henry Purcell- Abdelazer (II. Rondeau) Carl Pini, John Tunnell, Anthony Pini, Harold Lester (Public Domain 1.0 This work has been identified as being free of known restrictions under copyright law, including all related and neighboring rights)Antonio Vivaldi- Concerto for 2 Cellos in G Minor, The Modena Chamber Orchestra (Public Domain 1.0 This work has been identified as being free of known restrictions under copyright law, including all related and neighboring rights)George Phillipe Telemann- Partita in Bb Major (VII. Allegro), Telemann Trio(Public Domain 1.0 This work has been identified as being free of known restrictions under copyright law, including all related and neighboring rights)Johann Sebastian Bach- Violin Partita No. 3 (III. Gavotte en Rondeau) Michael Rondeau(Attribution 3.0 Unported (CC BY 3.0) Attribution, this work has been cut down in length to approximately 1:15)Johann Sebastian Bach- Prelude and Fugue in G, Kimiko Ishizaka (Attribution 4.0 International (CC BY 4.0), this work has been cut down in length to approximately 1:40)George Friederic Handel- Music for the Royal Fireworks, Leeds Chamber Orchestra(Public Domain 1.0 This work has been identified as being free of known restrictions under copyright law, including all related and neighboring rights)George Friederic Handel- Zadok the Priest, St Matthew's Concert Choir; Damien Giromella, director(Attribution 3.0 Unported (CC BY 3.0) This work has been cut down in length to approximately 1:30)Thank you for listening to another episode of the Leading Tone Podcast!

We’ll look at Handel’s instrumental music, including his keyboard sonata in A Major; his Sonata in G minor for Violin and Continuo, Op. 1, No. 6; his Concerto in Bb major, Op 3, No. 1; his Organ Concerto in F major , Op. 4, No. 4; and brief excerpts from the Water Music and Music for the Royal Fireworks.

durée : 00:24:56 - Georg Friederich Händel, Music for the Royal Fireworks - par : Anne-Charlotte Rémond - En 1749, Händel compose "Music for the Royal Fireworks" en l'honneur du traité d'Aix-la-Chapelle. Pour célébrer la paix en Europe, la Couronne n'a pas lésiné sur les moyens : une centaine de musiciens et un vaste dispositif pyrotechnique sont réunis pour une fête majestueuse et très attendue... - réalisé par : Claire Lagarde

Il 27 aprile 1749 al Green Park di Londra viene eseguita la suite di Händel "Music for the Royal Fireworks". Giorgio Cerasoli lo racconta a WikiMusic

Alison Balsom's new album, Royal Fireworks, is a collection of virtuoso baroque works performed on natural trumpet. For the latest Gramophone podcast she joins Editor Martin Cullingford to talk about the natural trumpet and about the repertoire on the album. Royal Fireworks is available from Warner Classics.

Tim and Sam ask questions of Charles Ives, get to grips with hiphopera and discuss ‘leaning in' to those uncomfortable elements of the operatic canon with director and librettist Laura Attridge. PLUS they review Alison Balsom's new disc Royal Fireworks and the City of London Sinfonia at Southwark Cathedral.Antonio Banderas conducts students from ESAEM at the Plaza de la Constitución, Malaga: https://www.youtube.com/watch?v=uxyQKuPNcB8 Josephine and the Artisans' new video for ‘If You Want Peace': https://www.youtube.com/watch?v=D_dOo3pTZ_A&feature=youtu.be Laura Attridge on ‘Leaning into the Discomfort': https://www.schmopera.com/leaning-into-the-discomfort/ And ‘In Search of a “Concept”': https://www.schmopera.com/don-giovanni-in-2018-in-search-of-a-concept/ Music Credits: ‘Tim and Sam's Podcast' written and performed by Harry Sever ‘In questa reggia' from Puccini's Turandot, performed by Dame Eva Turner with unknown orchestra under Stanford Robinson in 1928 'The Unanswered Question' by Charles Ives, Performed by players from the University of Michigan School of Music orchestra under David Biedenbender ‘If You Want Peace' by Josephine and the Artizans The Adagio from Purcell's Trumpet Sonata, performed by the Balsom Ensemble under Simon Wright for Warner Classics Jean Sibelius's Fifth Symphony, Mov. 3, performed by Timmy Fisher Follow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/

November 24, 2019: “Brass Overture" from Music for the Royal Fireworks performed by DFW Brass by FUMCFW

Alison Balsom, Britain's leading trumpet soloist, talks about her new album Royal Fireworks, a collection of Baroque pieces by Bach, Telemann, Handel and Purcell, played on the "natural" trumpet, a baroque instrument without any valves, which means that each note is made by the shape of the lips. The inaugural Drake YolanDa British Producer and Songwriter Prize has been won by the jazz musician Fez, who had to compete against other producers to write and record a new song in front of the judges in 45 minutes! Writer Robert Macfarlane and artist Stanley Donwood talk about their new work Ness, which is part novella, part prose poem and part mystery play, about the land reclaiming a place which once threatened its very existence, an atomic weapons test centre. Presenter: Kirsty Lang Producer: Timothy Prosser

Le Rejouissance (Rejoicing) from Royal Fireworks Suite by Handel by Peachtree Christian Church

Overture from the Royal Fireworks Suite by Handel by Peachtree Christian Church

durée : 00:24:56 - Georg Friederich Händel, Music for the Royal Fireworks - par : Anne-Charlotte Rémond - Composée par George Frideric Handel à la demande du roi Georges II, ''Music for the Royal Fireworks'' accompagne le feu d'artifice grandiose qui illumine le ciel de Londres le 17 avril 1749. Anne-Charlotte Rémond vous invite aujourd’hui à revivre en musique ces royales et fastueuses réjouissances ! - réalisé par : Claire Lagarde

On the day before Bonfire Night, Hannah French explores music for fireworks, with music by Corelli, Bach, Rameau and Gluck, and Handel's celebrated Music for the Royal Fireworks.

Episode 105 brings Blue, Green, and returning special guest co-host Beard Grizzly together to chat about the updated information that we have in regards to the warminds (especially Rasputin) in Destiny 2. And as normal for when Blue and Beard get together, there are tangents that get brought up. We hope you enjoy the conversation! Lost Lore this week was actually in line with the topic - we discuss the details and symbolic importance of the different pieces of music within the Arecibo adventure. Green might have had a bit of fun preparing for that...   As usual, thank you again for giving our ramblings a listen! Please be sure to let us know how we're doing over on iTunes or through the below email.   Contact Info Email: FocusedFireChat@gmail.com Twitter: @FocusedFireChat Facebook: /FocusedFireChat Instagram: @FocusedFireChat   Guest Contact Info   Please be sure to also check out the other podcasts in the Guardian Radio Network!   Warminds Map   Links Mentioned in Show: Lost Lore Item: Music from Arecibo Adventure (Reddit discussion post) 2nd Piece [Music for the Royal Fireworks, Overture] (link) 3rd Piece [Pipal Tree Romance] (link) Dustin Griffith - (link to Soundcloud)   Other Lore Resources Ishtar-Collective The Seraphim Archive r/DestinyLore r/TheCryptarchs   Show Sponsors & Affiliates Audible LootCrate (Offer Code BRIDGE10)

Stephen Johnson studies the audience's reaction to Handel's Music for the Royal Fireworks

In this episode, we explore the overwhelming volume of music commissioned by kings, nobles and other influential patrons of the arts. Interview with legendary American conductor Gerard Schwarz. Handel’s Royal Fireworks in its original orchestration (no “fiddles”): www.youtube.com/watch?v=EXjY6w1KQMoThe Khan Academy: www.khanacademy.org

With Andrew McGregor, an edited version of the regular CD Review slot.

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