It is true that for his opera enterprise in London Handel undertook extensive travels in order to secure the best performers in the world, whereas the Leipzig Cantor [Bach worked with] had to wrangle constantly with local dignitaries about unsatisfactory conditions. Their audiences and their respective demands differed greatly, and a bewildering dichotomy arises from the fact that Handel acted as a free agent of his work, whereas Bachs professional status was that of an employeeYet Bach and Handel faced similar limitations, and this applies, as we shall see, more to the vocal than to the instrumental institution. Bachs Short but Most Necessary Draft for a WellAppointed Church Music, written in 1730, specifies the need for four vocal soloists, though this number could be doubled up to eight in a double chorus performance. The soloists were also to form part of the choir, which was to contain 3 sopranos, 3 altos, 3 tenors, and 3 basses thought preferably 4 of each. The orchestra Bach calls for consists of 2 (preferably 3) players for each Violin I and II, 2 first violas, 2 second violas, 2 cellos, and a double bass. To this was added 2 (or 3) oboes, 1 (or 2) bassoons, 3 trumpets, and one kettledrum player.
These forces represented only the minimum of what
Bach wished to have under normal circumstances, but it didnt represent what he had.
Choristers and Soloists
o Whereas all of Bach singers were paid the same, Handel had different rates for general choral members, sections leaders, and soloists. o The fact that womens voices were banned from the church service by hallowed prejudice raised their prima donna status in opera even higher. Young boys often sang the soprano lines furing this time, with a young adult men sometimes contributing to the alto section.
Singers and Instrumentalists
o The number of players given in Bachs minimum requirements slightly exceeds that indicated for singers, resulting in the direct opposite of a norm observed in modern performance practice. At the time, singers still claimed primary professional status, with their services coming at more of a premium. They often received better training than instrumentalists, who were often drawn from the community, and thusly were unsupervised in their efforts. o Handels orchestral roster was about twice as big as Bachs, and included servants, musick porters, and a manager.
There is some debate about Bachs belief
in the word chorus meaning one singer to a part, brought about by the research of Joshua Rifkin. o Social conditions of the period created a wide range of singers and players. One member was picked because he shaved well, and hath an excellent hand on the violin and all necessary languages. Rehearsal and Performance Conditions o We know of the Mozartean opera overture whose ink was still fresh at performance time, but it is not generally realized that this represents a more or less prevailing schedule situation in the 18th century. Often little time left to study the work and attend to details of performance. Sometimes multiple copyists hands would be scribbling away at one page of manuscript paper in order to meet deadlines. Original performance parts usually featured almost no markings of pencil indicating areas in need of practice or refinement; there just wasnt enough time. Instrumentalists usually were in a position of sight-reading, and the constant inclusion of obvious errors, such as the repeated omission of measures, makes his work even more astounding. As Mann mentions, his performances must have been marked by a certain improvisational character.
Musicians of the time were well-trained
and highly-adaptable and receptive. Handel, on the other hand, was put in situations that were much more time-friendly. He was able to recruit musicians to read and help him edit his work. Even so, Handel would become frustrated quickly if his performers could not catch on to the music quickly enough, speaking to the expectations of performers in the Baroque. (Threatened to throw celebrated soprano Francesca Cuzzoni out of the window!) As Handel moved from opera to oratorio, he began to use local musicians instead of internationally acclaimed ones, and the result was an orchestra of significantly greater quality that the choir. There were actually 3 conductors for choral and instrumental performance: Composer as Principal Conductor and conductor of solo numbers; Concertmaster in charge of the orchestra; Organist in charge of the choir. Organist (choirmaster) supported the choral texture only where it was needed according to rehearsal experience. The harpsichord represented originally the conductors instrument in operatic practice. Church music in Bachs and Handels time was not endowed with the opulence that would have allowed for the 3-fold division of responsibility.
Problems of Limitation
Limitations in the number and quality of available
performers. Handel also struggled with the social prejudice against the inclusion of orchestra in choral works; many of his choral works require the services of that ensemble. However, the concept of a piano-vocal score belongs to a later age. The choral singer rehearsed and performed from a book containing the single given part, as opposed to the current traditions of all parts being included. Size of venue was often a limitation, with things such as the famous request of men not bringing swords and women not wearing hoops [dresses] resulting. In halls of great size as opposed to the smaller venues, many of the details of Bachs works would be lost in the void. The stylistic orientation in Bachs and Handels choral works had its roots in chamber music proportions. Solutions in Handels Work Upon entering the service of the Duke of Chandos, Handel encountered new limtations; primarily, the lack of an alto voice or viola. o The result was the use of soprano, tenor, and bass vocal groups along with 2 violins, cello and bass..foreshadowing an important ensemble of the classical period that was to come.
Eventually to this string ensemble was
added the bassoon an oboe, creating a novel orchestral sonority. It is a well-known fact of music history that Handels quick reaction in recasting [his opera Esther in to an oratorio after the Bishop of Londons forbiddance of scenic presenation of a sacred subject] must be seen as the origin of the eventual turn in his life work. On many occasions, Handel was forced to adjust his instrumentation to more adequately use the sometimes inadequate forces that were available to him when traveling for performances abroad. Perhaps the greatest limitation that befell Handel was going blind late in his life. He still persevered both as a composer and performer, even through pain, and through sheer intellect and imagination was able to captivate his audiences with his musical brilliance performing organ concertos between acts. o In fact, both Bach and Handel turned blind toward the end of their lives. Ironically, the same doctor was responsible for tending to both of them as they struggled with their blindness, John Taylor. To the end, both were steadfast composers, ultimately dictating their final works to personal copyists. Problems and Solutions Today Bach himself would frequently add or omit instrumental support in performances of the same work. Within reason, this same luxury should be afforded to conductors looking to recreate the work. o But one must be aware of the importance of the continuo practice and must be sensitive to
the differences between the old a capella
tradition and its Romantic reinterpretation as represented in the sonorities of a capella works by Mendelssohn or Brahms. o The orchestra was a much more flexible concept in the time of Bach and Handel. The challenges of the conductors sensitivity supersede those of his physical resources in all questions of performance practice. o An unexpected wealth of wonderful, intimate timbres has opened to the modern scene, but it needs to be viewed with a keen eye for inherent compromises. When new facts are discovered and new means of reconstruction are achieved, it is rarely considered how easily they are misused. Sometimes Bach even included in his manuscripts that other instruments may be preferable for the best performance. One might say that the most serious limitation to be faced by the modern conductor is the notion that there are no limitations. The commitment of since performance must be to perspective and integrity rather than assumed authenticity; and it must be guided by the realization that though he search for faithful spirit and execution of performance will never end, it has its natural limitations. Problems of Interpretation The mood or character of a piece is, as a rule, indicated initially with what we are used to understanding as a tempo indication, but what is in reality something more comprehensive.
o The composers were conversant in Italian and
with shades in the currency of words which we are apt to miss. Thus, they stood for basic expression as much as tempo. Allegro does not mean fast so much as bright and lively. Adagio was often used towards the end of a piece, abbreviated ad., to include a ritardando. Often, significant modification within a single movement was implied by a change in rhythmic pulse, or by the occasional addition of markings such as alla breve. Instrumental parts often featured specific dynamic instructions, whereas vocal parts, with very few exceptions, had none. o The reason for this was the singers had verbal text, and it was taken for granted that they understood it and rendered it accordingly. It was the text that determined the interpretation of the performer. It is therefore natural that a proper perception of the text must be the foremost guide to interpretation. Text and Translation Immediately we are faced with the complex task of working in two different languages when considering the works of Handel and Bach. Supremacy of text, even in the most grand of musical moments. Isolated peculiarities will have to be treated with some caution. o i.e., Surely being made in to a 3-syllable word in the Messiah chorus that begins with this
word), a 2-syllable setting of the word were,
etc. o Elision of glory of in to two quarter notes: glor (y)of. Problems of the English language fade when considering Bachs music, but only slightly; the principles are in essence the same in both languages. o The crucial point remains: English-speaking performers and conductors, while dealing with a foreign language, may take sad comfort in the fact that their colleagues from across the Channel or the ocean have sinned just as much against from the spirit of texts as their own confreres. Arthur Mendels famous advice on translating Bach texts: Dont. o Two types of translation: Reading translation or performance translation. If our central concern should be an appropriate understanding of the text, how are we to deal with a language barrier that threatens to alienate performer and audience to begin with? o Faced with the necessity of using a translation, however, the conductor should not hesitate to change it in spots where preferable diction or more felicitous wording might be achieved. The other basic consideration is that the original association of word and music must be regarded as an integral component of composition. o A change in the translators text is always preferable to a change in the composers prosodyoften as unfortunate a consequence of translation as the forced misplacement of key words or syllables.
The aid of a specialist in the foreign language might
guide the performers and conductors preparation in rehearsal. There is an aspect of Bachs art, ranging from the obvious to the mysterious, by which the interpreter is often unnecessarily intimidated. Designated by the catch-word symbolism , it refers to gestures, woven into the music, by which the composer penetrated the meaning of the text. o In its simplest form it is the device of text- or word-painting that illustrates the meaning of words in music. Simple only in that the composers expression abounds in images as the poets is rich in metaphors. Rarely, composers are able to achieve realization of images as profound as a Cross, as seen in many works of Bach. Depicting the Cross was a very popular aspect of Baroque art. The matter of text became an overriding concern in Handels work when he turned from opera to oratorio, so much so that it fundamentally changed the criteria by which he chose his soloists, much to the praise of the audience. o Once chose a famed actress over trained singers, and the expression she was able to achieve was well-received by her audience, though they even conceded she was not the finest singer. Tempo and Dynamics Tempo and dynamics are to be considered as generally determined by the text in Bachs and Handels choral music.
o The rule with regard to tempothat the
speed of sung narrative corresponded to the natural speed of speech for the given text and moodapplied so widely that in Bachs scores specific markings are almost entirely absent. Only where Bach intended a change in tempo within a movement or single section of a work are we apt to find an occasional indication. In the works of Handel, these instructions are more frequent, but just as vague, using markings like a tempo ordinario. This tells the conductor that he has leeway with regard to tempo, but should avoid extremes. The scholar Larsen, having extensively studied and recorded the metronome markings of various conductors, believed that the greatest fault of past misinterpretations is the amplification of tempo contrasts. Baroque composers thought in terms of terraced dynamicslevels of sound more or less categorically defined be reduced or increased groups of instruments and voices or the whole ensemblebut not in terms of sudden dynamic changes within a given group. o Changes in dynamics were applied in a generally structural rather than a purely expressive sense, as they were by registrations on the organ or harpsichord. Also due to this, the norm was to have the same dynamic throughout a phrase. o Accentuated dynamic contrast is as foreign to Bachs and Handels choral works as the accentuated contrast of tempi. Non-vibrato as well.
Baroque practice did as yet not have a codified set
of markings for the increase and decrease of dynamics. Rhythm and Articulation Occasionally even autographed manuscripts are not totally reliable. o One cannot expect definitive answers where only educated guesses remain. Baroque composers were in the habit of leaving some detail of rhythmic notation imprecise. o This was partly a matter of haste or convenience, but partly also a matter of deficiencies in current manners of notation. Because of the non-existence of a form for the notation of triplets, a dottedeighth/sixteenth could sometimes be implied to carry that meaning, as seen in gigues of the period. Typically French is the articulate emphasis arising from the Rule of the Down Bow to be applied to the strong beats of the measure, and pronounced examples often appear in Handels works. As far as particular bowings: o changes in direction should not be perceived as short. o Remember that the bow is the same length whether an up- or down-bow. o Conductors should always confer with concertmasters to come to a consensus about the appropriate bowings for every piece. A particular problem of articulation arises from the appearance of fermatas at the phrase endings of chorales.
o In order to interpret the symbol correctly, it is
necessary to realize that it did not have the primary connotation of a hold in Bachs and Handels time; it acquired this in later periods. It was meant only as a sign of orientation, and in either case it was not a lengthening of the note in question but this notes (relative) finality that was implied. Proper choral articulation, too, is guided by the text and its meaning.