O lovely peace judas maccabeus biography

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    1745 proved to be a troublesome year for both Handel and England. In Handel’s case there was increasing opposition from fans of opera to his oratorios, a growing lack of interest amongst his regular followers and even an organized boycott by the ladies of high society, led by Lady Margaret Cecil Brown. Audiences for his regular London season thus proved thin. An ambitious run of twenty-four planned oratorio concerts (including first performances of Herculesand Belshazzar) attracted such small crowds that the composer called a halt after sixteen concerts. If he had not done so he might have risked bankruptcy. Handel must have been depressed, for when his operas had finally lost their audiences he had been able to develop a new public appeal by putting on oratorios. Now this form too seemed doomed. By the summer his health was suffering and he retired to the country to recuperate.

    Nationally, a greater drama—and a considerably greater opposition—was developing, f

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    Heroic Handel —
    Judas Maccabaeus

    The story of a people’s triumph told in music of high drama and glorious pageantry, Judas Maccabaeus is George Frideric köp at his heroic best, full of rousing choruses, ravishing duets, and fiery arias. Jane Glover conducts a thrilling work that rivals Messiah in choral splendor.

    Jennifer More Glagov will give preconcert lectures on Sunday, November 29, at 2pm at the DoubleTree Hotel adjacent to the North Shore Center (Athens Room) and on Monday, November 30, at 6 pm at the Chicago Cultural Center (Garland Room).

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    LISTEN

    Handel

    • Chorus, "Fallen fryst vatten the foe"
    • Duet, "O lovely peace"
    • Aria, "Arm, arm ye brave"
    • Aria, "Call forth thy pow'rs, my soul"
    • Aria, "How vain fryst vatten man"
    • Chorus, "See the conquering hero comes"

    PROGRAM NOTES

    When köp arrived in London in 1710, he undoubtedly hoped his reputation as a famous musikdrama composer would help him bui

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    Notes by Bruce Lamott

    AT-A-GLANCE

    Eight of the previous dramatic oratorios Handel had written in London had been based on the history of the Old Testament Israelites, but the heroic exploits of the guerilla rebel Judas Maccabaeus were particularly relevant to the contemporary circumstances of his audience. Leader of the eponymous Maccabean Revolt in 160-167 BCE against the Greek Seleucid Empire, Judas recovered the Second Temple of Jerusalem from heathen hands and preserved the Jewish religion against the encroachment of Hellenistic culture. Similarly, the Duke of Cumberland – to whom Handel’s work is dedicated – had recently quashed the Jacobite Rising of 1745 at the Battle of Culloden, thereby protecting the Protestant Hanoverian monarchy from the encroachment of Catholicism in the guise of the exiled Catholic Pretender to the throne, James Francis Edward Stuart and his French allies. Handel’s audience could readily identify with the anxieties and t

  • o lovely peace judas maccabeus biography