Page:A Dictionary of Music and Musicians vol 3.djvu/708

696 some time at Hanover, where he became acquainted with the Electoral family. The hautboys too were particularly good, and Chrysander supposes that Handel wrote his first hautboy concerto for this orchestra. It is to be noted that all Steffani's operas composed in Hanover have the 1st violin part written with the G clef on the 1st line of the stave, which Leopold Mozart in his Violin School calls the 'French Clef.' 'Henrico Leone,' it may be said, is exactly the type of one of Handel's operas, consisting of an overture alla Lulli, with its introduction consisting chiefly of a dotted crotchet followed by a quaver (as found later in the opening of the 'Messiah' overture), recitatives, songs, duets, and a short ensemble of all the characters to finish the last act, with the addition of a ballet, which does not occur in Handel, except in his early Hamburg operas. It is essential to understand how these dotted figures are to be interpreted, whether according to modern notions or according to the prevailing custom a century since. Leopold Mozart in his Violin School leaves no doubt about it. He says:—'In slow pieces there are certain passages in which the dot must be held somewhat longer than the above-written rule demands if the performance is not to become too sleepy. For example, in the following passage (a), if the dot were held its usual length it would at once sound lazy and sleepy.

In such a case the dotted note must be held a little longer. The time for holding it must, so to speak, be deducted from the note following the dot. It would be very good if this long sustaining of the dot were very decided and marked. I at least have often done it, and I have indicated my idea of the performance with two dots (b) as well as the shortening of the following note. True it appears strange to the eye; but what does that matter? The phrase has its meaning, and musical taste will be advanced.'

'Henrico Leone' was followed in the summer of this year by 'La lotta d'Hercole con Acheloo,' a divertimento drammatico in 1 act, a charming work, written probably also by Mauro. In this we find the germ of Handel's 'Angels ever bright and fair.' The Symphony commences thus:—

The air thus:—

Again—

There are dances for 'Les gens de Cour.' It was probably performed at the Summer Theatre at Herrenhausen. The next opera was 'La superbia d' Alessandro,' in 1690 (the conducting score gives 1691 as the date), the words by Mauro; a fine work. Many songs have obbligato instrumental parts, especially one in the 2nd act, where 2 flutes obbligati are sustained by muted violins and alto—a beautiful piece; also one song with cembalo solo. This opera also found its way to Hamburg and Brunswick in a German translation. 'Orlando generoso' came out in 1691—another fine work written in conjunction with Mauro. Here we find the first idea of Handel's Hallelujah Chorus, and some of the divisions in 'Why do the nations?' This again was given later at Hamburg. Chrysander speaks of an opera called 'Il zelo di Leonato' in 1691, but it is doubtful if Steffani composed the music. 'Le Rivali concordi' appeared in 1692, written again by Mauro, and afterwards performed at Hamburg. We now come to 'La libertà contenta' (Mauro) in 1693, in which evidence is given of great further progress, for nothing of such importance had hitherto come from his pen. It is full of beauties of all kinds—a fine overture, fine counterpoint, beautiful melodies, very difficult arias, and powerful recitatives. It had the greatest success, and was most highly thought of at Hamburg. The movements are longer and more developed than in his previous works. We find the second subject of the last movement of Schumann's PF. Concerto thus foreshadowed:—

and a remarkable passage in a recitative:—

Again—