Most music lovers have encountered George Frederick Handel through holiday- renditions of the Messiah's "Hallelujah" chorus. And many of them know and love that oratorio on Christ's life, death, and resurrection, as well as a few other greatest hits like the orchestral Water Music and Royal Fireworks Music, and perhaps Judas Maccabeus or one of the other English oratorios. Yet his operas, for which he was widely known in his own , are the province mainly of specialists in Baroque music, and the events of his life, even though they reflected some of the most important musical issues of the day, have never become as familiar as the careers of Bach or Mozart. Perhaps the single word that best describes his life and music is "cosmopolitan": he was a German composer, trained in Italy, who spent most of his life in England. Handel was born in the German city of Halle on February 23, 1685. His father noted but did not nurture his musical talent, and he had to sneak a small keyboard instrument into his attic to practice. As a child he studied music with Friedrich Wilhelm Zachow, organist at the Liebfrauenkirche, and for a he seemed destined for a career as a church organist himself. After studying law briefly at the University of Halle, Handel began serving as organist on March 13, 1702, at the Domkirche there. Dissatisfied, he took a post as violinist in the Hamburg opera orchestra in 1703, and his frustration with musically provincial northern Germany was perhaps shown when he fought a duel the following year with the composer Matheson over the accompant to one of Matheson's operas. In 1706 Handel took off for Italy, then the font of operatic innovation, and mastered contemporary trends in Italian serious opera. He returned to Germany to become court composer in Hannover, whose rulers were linked by family ties with the British throne; his patron there, the Elector of Hannover, became King George I of England. English audiences took to his 1711 opera Rinaldo, and several years later Handel jumped at the chance to move to England permanently. He impressed King George early on with the Water Music of 1716, written as entertainment for a royal boat outing. Through the 1720s Handel composed Italian operatic masterpieces for London stages: Ottone, Serse (Xerxes), and other works often based on classical stories. His popularity was dented, though, by new English-language works of a less formal character, and in the 1730s and 1740s Handel turned to the oratorio, a grand form that attracted England's new middle-class audiences. Not only Messiah but also Israel in Egypt, Samson, Saul, and many other works established him as a venerated elder of English music. The oratorios displayed to maximum effect Handel's melodic gift and the sense of timing he brought to big choral numbers. Among the most popular of all the oratorios was Judas Maccabeus, composed in 32 days in 1746. Handel presented the oratorio six s during its first season and about 40 s before his death 12 years later, conducting it 30 s himself. In 1737, Handel suffered a stroke, which caused both temporary paralysis in his right arm and some loss of his mental faculties, but he recovered sufficiently to carry on most normal activity. He was urged to write an autobiography, but never did. Blind in old age, he continued to compose. He died in London on April 14, 1759. Beethoven thought Handel the greatest of all his predecessors; he once said, "I would bare my head and kneel at his grave."
01 Wolfgang Meyer - Bourree
02 Wolfgang Meyer - Allegro III
03 Il Pomo D'oro - Gigue
04 Wolfgang Meyer - Minuet
05 Wolfgang Meyer - Adagio e staccato
06 Wolfgang Meyer - Hornpipe
07 Wolfgang Meyer - Lentement
08 Wolfgang Meyer - Allegro IV
09 Wolfgang Meyer - Coro - Menuet
10 Wolfgang Meyer - La Rejouissance
11 Wolfgang Meyer - Bouree
12 Wolfgang Meyer - Minuet
13 Biagio Pizzuti - "Siam giunti, Elviro"
14 Franco Fagioli - "Arsamene - Mio Sire"
15 Franco Fagioli - "Bellissima Romilda"
16 Inga Kalna - "Aspide sono"
17 Andrea Mastroni - "Pugnammo, amici"
18 Il Pomo D'oro - "Gia la tromba, che chiamo" (I)
19 Il Pomo D'oro - "Gia la tromba, che chiamo" (II)
20 Biagio Pizzuti - "Eccoti il foglio, Elviro"
21 Biagio Pizzuti - "Signor, Signor, lasciate far a me"
22 Delphine Galou - "Tradir di reggia sposa"
23 Francesca Aspromonte - "Al fin sarete sposa"
24 Francesca Aspromonte - "Per rapir quel tesoro"
25 Delphine Galou - "Speranze mie fermate"
26 Biagio Pizzuti - "Ah! Chi voler fiora"
27 Biagio Pizzuti - "Quel curioso e partito"
28 Biagio Pizzuti - "Ah! e infedele"
29 Franco Fagioli - "Voi quel foglio lasciate"
30 Franco Fagioli - "L'amerete - L'amero"
31 Franco Fagioli - "Frondi tenere"
32 Lynne Dawson - Du grunes Feld, bebsuchter Hugel
33 Nico van der Meel - Bleib', Schafer, bleib
34 John Mark Ainsley - Ach, Schaferin
35 Lynne Dawson - O fuhltest du die Qualen
36 Handel And Haydn Society Chorus - Wohl uns, wohl uns!
37 George Michael - Schonste! Was eilst du von hinnen
38 John Mark Ainsley - Das Ungeheu'r weckt meine Wut!
39 Lynne Dawson - Laß ab, Geliebtester
40 John Mark Ainsley - Hilf, Galatea!
41 Lynne Dawson - Wohlan! So nutzich meine Gottermacht
42 Bi Finnila - Recitative: "Denn sieh! Eine Jungfrau wird schwanger"
43 Edith Mathis - Recitative: "Dann tut das Auge des Blinden sich auf"
44 Maureen Forrester - Quel canto a un bel amor
45 Inga Kalna - "Va godendo vezzoso e bello"
46 Inga Kalna - "Arsamene - Romilda"
47 Franco Fagioli - "Frondi tenere"
48 Owen Brannigan - Sento un soave concento
49 The English Concert - Symphony
50 Arleen Auger - 5. Tu es sacerdos in aeternum
51 Owen Brannigan - Presto, signor ... Come, qui Principessa
52 Vivica Genaux - "Meglio in voi col mio partire"
53 Andreas Scholl - "Frondi tenere e belle"
54 Maureen Forrester - Bellissima Romilda
55 Delphine Galou - "Se cangio spoglia, non cangio core"
56 The English Concert - XIII. "Pifa (Pastoral Symphony)"
57 Arleen Auger - 14. "There were shepherds ... And suddenly there"
58 The English Concert - 15. "Glory to God in the highest"
59 Anne Sofie von Otter - 8. "Behold, a vi shall conceive"
60 The English Concert - 5. "Thus saith the Lord"
61 Anne Sofie von Otter - 17a. "Then shall the eyes of the blind"
62 The English Concert - XXIIII. "And With His Stripes We Are Healed"
63 Howard Crook - 25. "All they that see Him"
64 Howard Crook - XXVII. "Thy Rebuke Hath Broken His Heart"
65 Howard Crook - XXVIII. "Behold and See"
66 Arleen Auger - 29. "He was cut off"
67 Trevor Pinnock - 32. "Unto which of the angels"
68 The English Concert - XXXIII. "Let All the Angels of God"
69 The English Concert - XXXV. "The Lord Gave the Word"
70 The English Concert - 37a. "Their sound is gone out"
71 The English Concert - 39. "Let us break their bonds asunder"
72 Howard Crook - 40. "He that dwelleth in heaven"
73 John Tomlinson - 45. "Behold, I tell you a mystery"
74 Michael Chance - 47. "Then shall be brought to pass"
75 Michael Chance - 48. "O death where is thy sting"
76 The English Concert - 49. "But thanks be to God"
77 The English Concert - I.Symphony
78 Howard Crook - 2. "Comfort ye, My people"
79 Howard Crook - III. "Ev'ry Valley Shall Be Exalted"
80 The English Concert - IV. "And the Glory of the Lord"
81 The English Concert - VII. "And He Shall Purify the Sons of Levi"
82 John Tomlinson - 10. "For behold, darkness shall cover"
83 John Tomlinson - 11. "The people that walked in darkness"
84 Michael Chance - VI. "But Who May Abide the Day of His Coming"
85 Anne Sofie von Otter - IX. "O Thou That Tellest Good Tidings to Zion"
86 The English Concert - 12. "For unto us a Child is born"
87 Arleen Auger - XVI. "Rejoice Greatly, o Daughter of Zion"
88 The English Concert - 20. "Behold the Lamb of God"
89 The English Concert - 19. "His yoke is easy"
90 The English Concert - XXII. "Surely He Hath Borne Our Griefs"
91 Arleen Auger - 18a. "He shall feed his flock"
92 The English Concert - XXIV. "All We Like Sheep Have Gone Astray"
93 The English Concert - 26. "He trusted in God"
94 Arleen Auger - 30. "But thou didst not leave"
95 The English Concert - 31. "Lift up your heads"
96 Michael Chance - 34a. "Thou art gone up on high"
97 Arleen Auger - 36. "How beautiful are the feet"
98 John Tomlinson - XXXVIII. "Why Do the Nations so Furiously Rage Together"
99 Howard Crook - XLI. "Thou Shalt Break Them"
100 The English Concert - XLII. "Hallelujah"
101 The English Concert - 44. "Since by man came death"
102 Arleen Auger - XLIII. "I Know That My Redeemer Liveth"
103 John Tomlinson - 46. "The trumpet shall sound"
104 Anne Sofie von Otter - L. "If God Be for Us"
105 The English Concert - LI. "Worthy Is the Lamb... Amen"
106 London Philharmonic Orchestra - Symphony
107 Albrecht Mayer - The Arrival of the Queen of Sheba
108 Franco Fagioli - "Io le diro che l'amo - Tu le dirai che l'ami"
109 Albrecht Mayer - III. Largo (Arr. for Oboe, Violin, Harpsichord and Orchestra by Andreas Tarkmann)
110 Il Pomo D'oro - Overture
111 Hedwig Bilgram - Overture
112 Arleen Auger - 8. De torrente in via bibet
113 Arleen Auger - 7. Judicabit in nationibus
114 Maureen Lehane - O voi che penate
115 Arleen Auger - 3. Tecum principium in die virtutis
116 Maureen Forrester - "Ombra mai fu"
117 Arleen Auger - 4. Juravit Dominus
118 Arleen Auger - 6. Dominus a dextris tuis
119 Max Emanuel Cencic - "Cara, la tua belta in me sol regnera."
120 Francesca Aspromonte - "Si, si, mio ben"
121 Diana Montague - 2. Virgam virtutis tuae
122 Magdalena Kozena - O Had I Jubal's Lyre
123 Franco Fagioli - "Di tacere e di schernirmi"
124 Albrecht Mayer - 3. Largo ("Softly Sweet in Lydian Measures" From Oratorio 'Alexander's Feast', HWV 75)
125 Andreas Scholl - "Ombra mai fu"
126 Wolfgang Meyer - Ouverture
127 Wolfgang Meyer - Allegro-Andante-Allegro
128 Wolfgang Meyer - Allegro I
129 Wolfgang Meyer - Air
130 Wolfgang Meyer - Menuet I
131 Wolfgang Meyer - Allegretto
132 Wolfgang Meyer - Allegro II
133 Wolfgang Meyer - Alla Hornpipe
134 Wolfgang Meyer - Menuet II
135 Wolfgang Meyer - Aria: Allegro
136 Wolfgang Meyer - Menuet III
137 Wolfgang Meyer - Overture
138 Wolfgang Meyer - La Paix
139 Franco Fagioli - "Ombra mai fu"
140 Biagio Pizzuti - "Sento un soave concento"
141 Vivica Genaux - "O voi che penate"
142 Franco Fagioli - "Quel canto a un bel amor"
143 Biagio Pizzuti - "Presto, signor - Come, qui Principessa"
144 Inga Kalna - "Ne men con l'ombre"
145 Delphine Galou - "Ecco Serse, oche volto"
146 Andrea Mastroni - "Soggetto al mio volere"
147 Franco Fagioli - "Queste vittorie, io credo"
148 Franco Fagioli - "Piu che penso alle fiamme"
149 Vivica Genaux - "Non so se sia la speme"
150 Delphine Galou - "Sapra delle mie offese"
151 Inga Kalna - "Se l'idol mio"
152 Francesca Aspromonte - "Un cenno leggiadretto"
153 Biagio Pizzuti - "E chi direbbe mai"
154 Delphine Galou - "Or che siete speranze tradite"
155 Francesca Aspromonte - "A piangere ogn'ora Amor mi destina"
156 Franco Fagioli - "E tormento troppo fiero"
157 Franco Fagioli - "Di quel foglio, Atalanta"
158 Francesca Aspromonte - "Dira che amor per me"
159 Francesca Aspromonte - "Dira che non m'amo"
160 Franco Fagioli - "Ingannata Romilda!"
161 Franco Fagioli - "Agitato da fiere tempeste"
162 Franco Fagioli - "Ombra mai fu"
163 Franco Fagioli - "Crude furie degli orridi abissi"
164 Franco Fagioli - "Cara sposa, amante cara"
165 Franco Fagioli - "Venti, turbini, prestate"
166 Franco Fagioli - "Se potessero i sospir' miei"
167 Franco Fagioli - "Sento brillar nel sen"
168 Franco Fagioli - "Pompe vane di morte"
169 Franco Fagioli - "Dove sei amato bene"
170 Franco Fagioli - "Se in fiorito ameno prato"
171 Franco Fagioli - "Dopo notte, altra e funesta"
172 Franco Fagioli - "Ch'io parta"
173 Handel and Haydn Society - Overtura
174 Handel And Haydn Society Chorus - O begluckter Schaferstand!
175 Lynne Dawson - Still, du kleines Wipfelchor!
176 John Mark Ainsley - Wo such' ich sie, die holde Nymph
177 Nico van der Meel - Schafer, was suchst du so angstlich
178 John Mark Ainsley - Lieb' in ihr Aug' verkrochen
179 Lynne Dawson - Wie's Taubchen klagt um den Gemahl
180 Lynne Dawson - Wohl uns, wohl uns!
181 Handel and Haydn Society - Einleitung zum zweiten Aufzug: Larghetto-Largo
182 Handel And Haydn Society Chorus - Arme Hirten!
183 George Michael - Ich rase
184 George Michael - Du roter als die Kirsche
185 George Michael - Fleh' nicht mehr zur stolzen Schonheit
186 Nico van der Meel - Strebst du nach der zarten Schonen
187 John Mark Ainsley - Die Liebe ruft
188 Nico van der Meel - Bedenk' doch, o Schafer
189 Lynne Dawson - Eh' laßt den Berg die Herde
190 Handel And Haydn Society Chorus - Trau'rt all' ihr Musen
191 Lynne Dawson - So ist mein Acis denn dahin...Laß, Galatea...
192 Lynne Dawson - Herz, du Sitz verliebten Grams
193 Handel And Haydn Society Chorus - Galatea, klag' nicht mehr
194 ORF Symphony Orchestra - Overture: Grave - Allegro moderato
195 Peter Schreier - "Trostet Zion, spricht euer Gott" (Arr. Mozart as Der Messias, K.572)
196 Peter Schreier - "Alle Tale macht hoch und erhaben" (Arr. Mozart as Der Messias, K.572)
197 ORF Symphony Orchestra - Chorus: "Denn die Herrlichkeit Gottes, des Herrn"
198 Theo Adam - Recitative acc.: "So spricht der Herr, Gott Zebaoth"
199 Theo Adam - Aria: "Doch wer mag ertragen den Tag seiner Ankunft"
200 ORF Symphony Orchestra - Chorus: "Und er wird rein die Kinder Levi"
201 Bi Finnila - Aria: "O du, die Wonne verkundet in Zion"
202 ORF Symphony Orchestra - Chorus: "O du, die Wonne verkundet in Zion"
203 Theo Adam - Recitative acc.: "Blick auf! Nacht bedecket..."
204 Theo Adam - Aria: "Das Volk, das im Dunkeln wandelt"
205 ORF Symphony Orchestra - Chorus: "Uns ist zum Heil ein Kind geboren"
206 ORF Symphony Orchestra - Pifa: Larghetto e sempre piano
207 Edith Mathis - Recitative: "Es waren Hirten beisammen" - "Und sieh!" - "Und der Engel sprach" - "Und alsobald war da"
208 ORF Symphony Orchestra - Chorus: "Ehre sei Gott in der Hohe"
209 Peter Schreier - Aria: "Erwach zu Liedern der Wonne"
210 Edith Mathis - No.20 "Er weidet seine Herde"
211 Pacho Flores - Sinfonia "The Arrival Of The Queen Of Sheba"
212 Cecilia Bartoli - Duetto: Scherzano sul tuo volto
213 The English Concert - V. Air
214 Anna Prohaska - Felicissima quest'alma (Excerpt)
215 Lynne Dawson - "Bramo aver mille vite..." (Live)
216 Cecilia Bartoli - Lascia ch'io pianga
217 Albrecht Mayer - Handel: "Will the Sun Forget to Streak" from Oratorio 'Solomon', HWV 67 (Arr. for Oboe, Violin, Harpsichord and Orchestra)
218 Magdalena Kozena - No.39 Duetto "Caro, piu amabile belta" (Live)
219 Simon Preston - Allegro
220 Les Musiciens du Louvre - 42. Chorus: "Hallelujah"
221 Lynne Dawson - 43. Air: I Know That My Redeemer Liveth
222 The English Concert - V. Menuet I
223 Anne Sofie von Otter - Aria con coro: "Maria, salute e speme"
224 The English Concert - II. Alla Hornpipe
225 Trevor Pinnock - Handel: Zadok the Priest (Coronation Anthem No. 1, HWV 258)



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