Salut! 2008 Concert Series

1. Add Salut! 2008 Concert Series: Thursday 29 May 2008, 8:00pm to your calendar Thursday 29 May 2008, 8:00pm Salut! 2008 Concert Series Verbrugghen Hall at Sydney Conservatorium of Music
2. Add Salut! 2008 Concert Series: Wednesday 13 August 2008, 8:00pm to your calendar Wednesday 13 August 2008, 8:00pm Salut! 2008 Concert Series Verbrugghen Hall at Sydney Conservatorium of Music
3. Add Salut! 2008 Concert Series: Thursday 20 November 2008, 8:00pm to your calendar Thursday 20 November 2008, 8:00pm Salut! 2008 Concert Series Verbrugghen Hall at Sydney Conservatorium of Music

Friends & Foes
Thursday 14 February 8pm
“[Handel] is the only person I would wish to see before I die, and the only person I would wish to be, were I not Bach.” Johann Sebastian Bach

Reference books often mention Handel’s life-long friendship with Telemann and his great rivalry with Bononcini. But perhaps we are fortunate to know anything at all about Handel after he was nearly killed in a sword duel at the age of 19 by his friend Mattheson after an on-stage altercation! In a later duel, this time a musical one, Domenico Scarlatti was judged the better harpsichord player, while Handel was triumphant on organ.
Including music by Handel, Telemann, Bononcini, Mattheson and Scarlatti

The Force of Genius
Thursday 29 May 8pm
“Handel is not a mere composer in England: he is an institution. What is more, he is a sacred institution.” George Bernard Shaw (1913)

Letters and writings from Handel’s contemporaries have provided us with an excellent picture of the composer. According to Charles Burney, Handel was “impetuous, rough, and peremptory in his manners and conversations, but totally devoid of ill-nature or malevolence”. These characteristics led him to be a dominant musical force, much to the envy of others. As a result, “The Opera of the Nobility” was established in direct opposition to Handel.  This rival opera company had Nicola Porpora as its Director and was supported by Frederick, Prince of Wales. One of its stars was legendary castrato Farinelli, whom Handel tried in vain to recruit for his own operas.
Including music by Handel, Porpora, Gluck, Avison and Bononcini
with Colin Milner as an 18th century Gentleman

The Grand Tour
Wednesday 13 August 8pm
“Handel came from Germany, learned in Italy, adopted many things from France, and finally, became 'perfect' in Great Britain. A real cosmopolitan....” Martin Kasper (2000)

George Frideric Handel was part of what Roger North referred to as “the numerous traine of yong travellers of the best quality and estates, that about this time went over into Itally and resided at Rome and Venice, where they heard the best musick and learnt of the best masters.” It was in Italy that Handel developed his great love of opera and its flamboyant singers, having been exposed to the drama and operatic flair of Italian opera, oratorio and the chamber cantata, as well as the instrumental forms of the concerto and sonata. He met many of the leading composers of the day, including Corelli, Alessandro Scarlatti and Caldara.
Including music by Handel, Corelli, Alessandro Scarlatti, Caldara and Albinoni

Something Borrowed
Thursday 20 November 8pm
When asked why he borrowed material composed by his rival Bononcini, Handel is said to have replied, “It's much too good for him; he did not know what to do with it.”

Even during his own lifetime Handel was known as a “borrower” of other composers’ works, although it was often regarded as a compliment to other composers rather than plagiarism. Music during the baroque period was usually written for a specific purpose and performed only once. Handel, who was also a great self-borrower, obviously thought it was a waste not to recycle his best ideas, and some of his works re-surfaced up to 40 years later! With the advent of music publishing (not to mention the lack of copyright laws), Handel kept up to date with what was being composed in Europe. Even his friend Telemann wasn’t spared. Telemann self-published Musique de table by subscription in 1733. There were 206 subscribers, including a ‘Mr. Hendel, Docteur en Musique, Londres’. Handel later “borrowed” ideas from at least sixteen movements of Musique de Table in his own compositions.
Including music by Handel, Telemann, Corelli, Muffat and Gabrieli

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