SeaLegacy

SeaLegacy

The video footage that accompanies Marcus Goddard’s Life Emerging: Antarctica is provided by SeaLegacy.

Founded and led by Cristina Mittermeier, Paul Nicklen, and Andy Mann, a passionate team of world-class filmmakers, conservationists and photographers, their mission is to use strategic communications at the intersection of art, science, and conservation to protect and rewild the ocean within our lifetimes. They bring ocean stories and solutions to light for the benefit of biodiversity, humanity, and climate.  

 

You can find out more about their projects, join the mailing list, and donate by visiting their website: www.sealegacy.org

SeaLegacy is a registered 501c3 charity in the United States. 

Ēriks Ešenvalds, composer

Ēriks Ešenvalds is one of the most sought-after composers working today, with a busy commission schedule and performances of his music heard on every continent. Born in Priekule, Latvia in 1977, he studied at the Latvian Baptist Theological Seminary (1995–97) before obtaining his Master’s degree in composition (2004) from the Latvian Academy of Music under the tutelage of Selga Mence. He took master-classes with Michael Finnissy, Klaus Huber, Philippe Manoury, and Jonathan Harvey, amongst others. From 2002–11 he was a member of the State Choir Latvija. In 2011 he was awarded the two-year position of Fellow Commoner in Creative Arts at Trinity College, University of Cambridge. He is married with four children and gives students his expertise as composition teacher at the Latvian Academy of Music.

Ēriks Ešenvalds has won multiple awards for his work, including the Latvian Grand Music Award three times (2005, 2007, and 2015). The International Rostrum of Composers awarded him first prize in 2006 for his work The Legend of the Walled-in Woman. He was The Year’s New-Composer Discovery of the Philadelphia Inquirer in 2010. In 2018 he was bestowed Officer in the Order of the Three Stars, the highest state decoration of his home country Latvia, for merits in the field of culture.

Ēriks Ešenvalds’ compositions have been premiered by ensembles including the Boston Symphony Orchestra, the City of Birmingham Symphony Orchestra, Utah Symphony, Britten Sinfonia, Gewandhaus Leipzig, The King’s Singers, Latvian Voices, the Choir of Trinity College Cambridge, the Holst Singers, Imogen Heap, Polyphony, the Choir of Merton College Oxford, the Latvian Radio Choir, the State Choir Latvija, Youth Choir Kamēr…, Sinfonietta Riga, the Bavarian Radio Choir, the Latvian National Symphony Orchestra, Latvian National Opera and Ballet, the Liepaja Symphony Orchestra, Ora Singers, National Youth Choir of Great Britain, BBC Proms Youth Choir, the Netherlands National Children’s Choir, Shenzhen Lily Choir, New Zealand Youth Choir, the Swedish Art Vocal Ensemble, the Choir of Trinity College Melbourne, Salt Lake Vocal Artists, Temple University Concert Choir, The Crossing, Chor Leoni, Golden Gate Men’s Chorus, Portland State University Chamber Choir, the Choir of the West at Pacific Lutheran University in Tacoma, ChorWerk Ruhr, Cathedral Choral Society, Cor Vivaldi, The University of Louisville Cardinal Singers, Yale Glee Club, the Miami University Men’s Glee Club, The University of Mississippi Concert Singers, Lincoln’s Inn Choir, Wartburg College Choir, Oklahoma State University Concert Chorale, Classical Movements, Saint Louis Chamber Chorus, Louisville University Cardinal Singers, Cabrillo Chorus, and the Monterey Chamber Orchestra. He composed the score for the Latvian feature film Mellow Mud, which was awarded at the 2016 Berlin International Film Festival and 2017 Palm Springs International Film Festival.

Ēriks Ešenvalds’ music has been performed at numerous international festivals including Klangspuren in Austria, the Schleswig-Holstein Musik Festival in Germany, Tenso Days in France, the Haarlem Choir Biennale and Cello Biennale Amsterdam in the Netherlands, the Latvian Song and Dance Festival and International Sacred Music Festival in Latvia, the World Choir Games, IFCM World Symposium on Choral Music, the BBC Proms, Cheltenham Music Festival, and Voices Now in the UK, Grant Park Music Festival, the ACDA National and Regional Conferences, and Spoleto Festival in the US, and The Singing Network in Canada. He was commissioned for Latvia’s centenary celebrations on the 2018 Proclamation Day and for the 2013 National Remembrance Day of the Netherlands.

Ēriks Ešenvalds is a popular public speaker, which he often combines with leading workshops on his music. At the 2014 World Choir Games held in Riga, he composed the Games anthem, gave a major presentation on his work, acted on competition juries, and had a large-scale production premiered by the Latvian Voices and The King’s Singers. The 2015 ACDA National Conference in Salt Lake City premiered his Whispers on the Prairie Wind, where he also gave a presentation on his music, and took part in a composer roundtable forum. He was a speaker at the 2017 IFCM World Symposium on Choral Music in Barcelona, the 2018 Chorus America Conference in Chicago, the 2018 Choral Canada Podium Conference & Festival and 2018 and 2015 Singing Network International Symposium in St John’s, Canada, Choral Connect 2017 in Auckland, and at IAML 2017, the 66th annual congress of the International Association of Music Libraries, Archives and Documentation Centres in Riga. He served as a jury member at the 2018 International Baltic Sea Choir Competition in Jūrmala, the 2019 and 2017 Musica Sacra Nova International Composers Competition under the patronage of the Pontifical Institute of Sacred Music in Rome, the 2017 Cantat International Choral Festival and Symposium in Manado, Indonesia, and the 2016 Rimini International Choral Competition.

Ēriks Ešenvalds’ compositions appear on many recordings released by labels such as Decca Classics, Delphian, Deutsche Grammophon, Hyperion, Naxos, Ondine, Pentatone, and Signum. To date, ten recordings are devoted exclusively to his work: Northern Lights from Trinity College Choir Cambridge (Gramophone Award Shortlist and Critics’ Choice, ICI Radio-Canada Best Albums Selection), Passion and Resurrection from Polyphony with Britten Sinfonia, St Luke Passion from the Latvian Radio Choir and Sinfonietta Riga (Gramophone Editor’s Choice, Opera News Critic’s Choice), Translations (Gramophone’s Critics’ Choice and Editor’s Choice) and The Doors of Heaven (Gramophone Editor’s Choice) from Portland State Chamber Choir, There Will Come Soft Rains by Choir of the West at Pacific Lutheran University (Gramophone’s Editor’s Choice), From the Dim and Distant Past and At the Foot of the Sky from State Choir Latvija (Best Latvian Classical Album of the Year), O Salutaris from Youth Choir Kamēr… (Best Latvian Classical Album of the Year), and most recently the compilation Latvian Radio Archive: Ēriks Ešenvalds. His work Earth Teach Me Quiet recorded live by The Crossing on their Grammy-nominated album Rising w/ The Crossing was selected amongst The New York Times 25 Best Classical Music Tracks of 2020.

Ēriks Ešenvalds’ recent large-scale premieres include Lakes Awake at Dawn for the Boston Symphony Orchestra and City of Birmingham Symphony Orchestra, The Pleiades for the Grant Park Music Festival Chicago, A Shadow for the BBC Proms, Dreams Under Your Feet for the Gewandhaus Leipzig, Whispers on the Prairie Wind for the Utah Symphony and Utah Chamber Artists, St Luke Passion for the Latvian Radio Choir and Sinfonietta Riga, and Visions of Arctic: Sea for the Liepāja Symphony Orchestra. His full-scale opera The Immured was premiered at the Latvian National Opera in 2016 to great acclaim. 2018 saw the premiere of his second major multimedia symphony based on volcanoes. Nordic Light, his first multimedia symphony on the natural phenomenon of the aurora borealis, was performed in the US, Canada, and Germany, and is the subject of the documentary film Nordic Light: A Composer’s Diary, which follows the composer on his expeditions to the Arctic region.

Ēriks Ešenvalds’ premieres this season include commissions from the ‘Lietuva’ ensemble Lithuania, Musica Viva Australia, Christ Church Houston, and others. He will travel to the USA, Japan, and many European countries to work with choirs both as composer and conductor.

Edition Peters Artist Management is managing Ēriks Ešenvalds’ commissions and workshop schedule. Ēriks Ešenvalds is published by Musica Baltica in global partnership with Edition Peters.

www.eriksesenvalds.com

Jean Sibelius, composer

Finnish composer Jean Sibelius, née Johan Julius Christian Sibelius, was born on December 8th, 1865 in Hämeenlinna (Swedish: Tavastehus) in the Grand Duchy of Finland, an autonomous part of the Russian Empire. He was the son of the Swedish-speaking medical doctor Christian Gustaf Sibelius and Maria Charlotta Sibelius (née Borg).

His father passed away when Sibelius was young so his family moved into the home of his maternal grandmother. Sibelius’ uncle, Pehr Ferdinand Sibelius, who was interested in music, gave the boy a violin when he was ten years old and later encouraged him to maintain his interest in composition.

Sibelius spent many of his childhood summers wandering around the countryside. His strong love of nature shines through in many of his compositions. His family moved to Loviisa on the coast for the summer months. In his own words: “For me, Loviisa represented sun and happiness. Hämeenlinna was where I went to school; Loviisa was freedom.”

After graduating from high school in 1885, Sibelius began to study law at the Imperial Alexander University in Finland but, showing far more interest in music, soon moved to the Helsinki Music Institute (now the Sibelius Academy) where he studied from 1885 to 1889.

Initially, Sibelius wanted to be a violinist,

My tragedy was that I wanted to be a celebrated violinist at any price. Since the age of 15 I played my violin practically from morning to night. I hated pen and ink—unfortunately I preferred an elegant violin bow. My love for the violin lasted quite long and it was a very painful awakening when I had to admit that I had begun my training for the exacting career of a virtuoso too late.

He came to realize that his strengths lay in composition. One of his teachers, Martin Wegelius, gave the self-taught Sibelius his first formal lessons in composition. Sibelius continued his studies in Berlin (from 1889 to 1890) with Albert Becker, and in Vienna (from 1890 to 1891) with Robert Fuchs and the Hungarian-Jewish Karl Goldmark. In Berlin, he had the opportunity to widen his musical experience by going to a variety of concerts and operas, including the premiere of Richard Strauss’s Don Juan.

While Sibelius was studying music in Helsinki in the autumn of 1888, Armas Järnefelt, a friend from the Music Institute, invited him to the family home. There he met and immediately fell in love with Aino, the 17-year-old daughter of General Alexander Järnefelt, the governor of Vaasa, and Elisabeth Clodt von Jürgensburg, a Baltic aristocrat.

When Sibelius completed his studies, he married Aisno in June 1892 at Maxmo. They spent their honeymoon in Karelia, the home of the Kalevala. It served as an inspiration for Sibelius’s tone poem En saga, the Lemminkäinen legends and the Karelia Suite.  Their home, Ainola, was completed on Lake Tuusula, Järvenpää, in 1903. During the years at Ainola, they had six daughters: Eva, Ruth, Kirsti (who died aged one from typhoid), Katarina, Margareta and Heidi.

He began premiering his orchestral works in 1892 with Kullervo. It was described by Juho Ranta who sang in the choir as, “Finnish music.” Thus began a long career of creating works that encapsulated Finnish music.

On the evening of 20 September 1957, Sibelius died of a brain haemorrhage at the age of 91. At the time of his death, his Fifth Symphony, conducted by Sir Malcolm Sargent, was being broadcast by radio from Helsinki. At the same time, the United Nations General Assembly was in session, and the then President of the Assembly, Sir Leslie Munro of New Zealand, called for a moment of silence and delivered a eulogy: “Sibelius belonged to the whole world. He enriched the life of the entire human race with his music”. Sibelius was honoured with a state funeral and is buried in the garden at Ainola.

Nordic Light Ēriks’ Story

Ēriks Story

My spiritual flight towards the far-northern latitudes grew out of an instinct for everything unpredictable and a sensation in my fingertips: it was in 2011 that I began to think of the Northern Lights. I was fascinated by their dimensions, the versatility of their colours and the forms and the mystical legends rooted in Northern folklore (including folksongs). I remember the night we met for the first time in the snow-clad meadow of Northern Norway – the aurora polaris flared up, and, no matter how hard they tried, my eyes could not grasp the splendour in its totality. Looking at the sky, I fell backwards into the snow and could not help making a snow angel. Then I whistled and hummed the Latvian folksong on the artic lights. The tears of Ešenvalds, an adult man, were full of a child’s joy and amazingly sincere. It was then – during the seemingly endless eight hours of night that this multimedia symphony was born.

I was looking for the most ancient evidence; I read almost 150 books at the libraries of Cambridge and Tromsø Universities – on the meeting of the solar wind and the outermost layer of the Earth’s atmosphere. I interviewed the leading Norwegian researchers of aurora polaris: Asgeir Brekke and Truls Lynne Hansen; in Greenland – the experienced Inuit actress Makka Kleist; in Alaska – the American composer John Luther Adams; in Tromsø – the expert in Scandinavian folklore Ola Graff.

Having found the legends, I decided to find the storytellers. Together with the experienced film-makers Renārs Vimba and Dainis Juraga, we went to explore the magnificence of Lapland, Norway, Iceland, Greenland and Alaska; back in Rīga we made records of the stories told by Latvians Estonian, Finns, Karelians, and Yakuts.

I spent four years with the Northern Lights: it might seem like an obsession, but it wasn’t. It was an amazing chance to discover and record the unique heritage of the Northern Lights, which one can only find in nations living next door to the aurora borealis for generations.

The symphony itself needs the aurora borealis! I am grateful to photographer Kjetil Skogli for his kind response – he introduced me to the mysteries of the aurora borealis and granted his videos to the symphony.

I thank all the supporters of the Northern Lights project: especially the Latvians in Canada, the USA, Australia and Great Britain who lent a helping hand in the very beginning. Thank you, Renārs and Dainis, for all our ideas, deeds and mischief! Thank you, Māris Ošlejs, for being so trusting!

Composer Ēriks Ešenvalds

 

Project Supporters.

We thank the people and organizations for supporting the NORDIC LIGHT project:

Gunta Reynolde, DAUGAVAS VANAGI AND VANADZES, the Latvian Relief Society of Canada, Toronto Branch
Secretariat of the Latvian Presidency of the Council of the European Union
Latvian sorority Spīdola, Canada
Nordea Bank AB Latvia branch
Martha Lou Henley Charitable Foundation, Canada
United States Embassy in Latvia
Nordic-Baltic Mobility Program
Culture Capital Foundation of Latvia
Solvita Sējāne and Lilija Zobens, Musica Baltica
Māris Dižgalvis, SIA Inducont
airBaltic
Lilita Daenke, Adelaide Latvians’ mixed choir DZIESMU LAIVA, Australia
Ināra and Ziedonis Āboliņš, mixed choir Straumēni, UK
Dace Aperāne, Latvian Cultural Association TILTS, USA

Taketo and Vija Muratas, Canada
Graham and Anita Andersons, Australia
Līga and Edgars Ružas, Latvia
Anita and Ivars Gaides, Canada
Inese Auziņa-Smita, UK
Laura Alders, Canada
Gunta Plostniece, USA
Sarah Bijons, Canada
Anonymous

Ola Graff and Marit Anne Hauan, Tromsø University Museum, Norway
Asgeir Brekke, Department of Physics and Technology, University of Tromsø, Norway
Turls Lynne Hansen, Tromsø Geophysical Observatory, University of Tromsø, Norway
Robin Tyson, Edition Peters Artist Management, UK
Ginta Tropa, Cultural Advicer, Office of Nordic Council of Ministers in Latvia
Dace Bluķe, Latvian Composer’s Union
Julia Pars, Culture Centre KATUAQ, Nuuk, Greenland
Þórður Tómasson, Skógar Museum, Iceland
Makka Kleist, actress, Greenland
Sigurður Ægisson, etnologist, Iceland
Paul Krejci and Maya Salganek, University of Alaska Musem of the North
Patuk Glenn and Sarah A.Skin, Iñupiat Heritage Center, Barrow, Alaska
Mariah Johnson and Scott Allen, Qutekcak Native Tribe, Seward, Alaska
Māris Ošlejs, State Choir LATVIJA
Uldis Lipskis, Liepāja Symphony Orchestra

Nicolas Ellis, conductor

Nicolas Ellis is the Artistic Director, Conductor and Founder of the Orchestre de l’Agora and currently serves as Artistic Partner to the Orchestre Métropolitain and Yannick Nézet-Séguin. He was recently named Principal Guest Conductor for Les Violons du Roy, starting in the 2023-2024 season. 

Mr. Ellis appeared as guest conductor with numerous Canadian orchestras including Les Violons du Roy, the Vancouver Symphony, the National Arts Centre Orchestra, the Orchestre de chambre I Musici de Montréal, the Kitchener-Waterloo Symphony, the Orchestre symphonique de Québec, the Orchestre Métropolitain, Symphony Nova Scotia, the Saskatoon Symphony Orchestra, the Royal Conservatory of Music in Toronto and Les Grands Ballets Canadiens. He also regularly collaborates with the Opéra de Montréal’s Atelier lyrique.

During the 2022-2023 season, he is invited to conduct performances of Britten’s War Requiem at the Oper Graz in Austria and returns as a guest conductor to the Orchestre National de Bretagne. He has also collaborated as Assistant conductor to conductor Raphaël Pichon and his Ensemble Pygmalion on productions of Fidelio (Opéra comique de Paris) and Idomeneo (Festival d’Aix-en-Provence).

Mr. Ellis founded the Orchestre de l’Agora in 2013. The orchestra uses music as a tool for sustainable social change and has established itself on the Montreal scene for its creative programming and bold projects. Its repertoire ranges from Bach’s 6 Brandenburg concertos, to Britten’s Turn of the Screw, to new works by Canadian composers, and more recently the ensemble presented Mahler’s 3rd symphony for its Gala de la Terre, a fundraising concert for environmental organizations. The orchestra has developed projects involving youth with mental health challenges, educational music workshops for children and a monthly concert series at the Prison de Bordeaux in Montreal.

Nicolas Ellis is the recipient of the 2017 Bourse de carrière Fernand-Lindsay and was named Revelation of the Year 2018-2019 by Radio-Canada. More recently, he won the Prix Goyer Mécénat Musica 2021. 

Rune Bergmann, conductor

Norwegian conductor Rune Bergmann is currently Music Director of Canada’s Calgary Philharmonic, Artistic Director & Chief Conductor of Poland’s Szczecin Philharmonic, and Chief Conductor of Switzerland’s Argovia Philharmonic, positions he has held since the 2017/18, 2016/17, and 2020/21 seasons, respectively.

Guest engagements in the 2022/23 season bring Bergmann once again to the podiums of the Baltimore, North Carolina and Malaga Symphony Orchestras. He will also make his debut with the recently formed ADDA Simfonica in Spain.

Bergmann’s recent guest engagements include concert weeks with the Baltimore, Colorado Detroit, Edmonton, Houston, New Jersey and Pacific Symphony Orchestras in North America, and the Bergen Philharmonic, Orchestra della Svizzera Italiana, Orquesta Sinfonica Portuguesa, Norwegian National Opera Orchestra, Orquesta de Valencia, Staatskapelle Halle, Wrocław Philharmonic, and the Risør Festival in Europe, to name a few. Bergmann has also led performances of Il barbiere di Siviglia and La traviata at the Norwegian National Opera, and he made his US operatic debut in Yale Opera’s production of Britten’s A Midsummer Night’s Dream, as staged by Claudia Solti, while previous guest engagements have led him to such auspices as the Oslo Philharmonic, New Mexico Philharmonic, Münchner Symphoniker, Mainfranken Theater Würzburg, Philharmonie Südwestfalen, as well as the symphony orchestras of Malmö, Helsingborg, Kristiansand, Stavanger, Trondheim, Karlskrona, and Odense.

2018 saw the release of Bergmann’s first recording with the Szczecin Philharmonic, which featured the „Resurrection“ Symphony in E-minor by Mieczyław Karłowicz, a piece which has since become a major focus of Bergmann’s repertoire. He has also released recordings with the Argovia Philharmonic, including Ravel’s G-Major Piano Concerto and Mozart’s Bb-Major Bassoon concerto.

Earlier in his career, Rune Bergmann served as First Kapellmeister and deputy-Music Director of the Theater Augsburg, where he led performances of numerous operas, including such titles as La Traviata, Der fliegende Holländer, and Die Fledermaus. He has also served as Principal Guest Conductor of the Kaunas City Symphony, and has been Artistic Director of Norway’s innovative Fjord Cadenza Festival since its inception in 2010.

Jan Lisiecki, piano

Jan Lisiecki’s interpretations and technique speak to a maturity beyond his age. At 27, the Canadian performs over a hundred yearly concerts worldwide, and has worked closely with conductors such as Antonio Pappano, Yannick Nézet-Séguin, Daniel Harding, Manfred Honeck, and Claudio Abbado (†).

In 2021/2022, Lisiecki presents a new recital programme featuring Chopins Nocturnes and Études in more than 30 cities all around the globe. Recent return invitations include Boston Symphony Orchestra, Cleveland Orchestra, Philadelphia Orchestra, Filarmonica della Scala, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Orpheus Chamber Orchestra for performances at Carnegie Hall and Elbphilharmonie Hamburg. Lisiecki recently performed a Beethoven Lieder cycle with baritone Matthias Goerne, among others at the Salzburg Festival, and has appeared with the New York Philharmonic, Chicago Symphony, Staatskapelle Dresden, Orchestre de Paris, Bavarian Radio Symphony and London Symphony Orchestra.

At the age of fifteen, Lisiecki signed an exclusive contract with Deutsche Grammophon. The label launched its celebrations of the Beethoven Year 2020 with the release of a live recording of all five Beethoven concertos from Konzerthaus Berlin, with Lisiecki leading the Academy of St Martin in the Fields from the piano. His Beethoven Lieder cycle with Matthias Goerne, released shortly after, was awarded the Diapason d’Or. Lisiecki’s eighth recording for the prestigious label, a double album of Frédéric Chopin’s Complete Nocturnes which he also showcases in his current recital programme, appeared in August 2021 and in February 2022 on vinyl, immediately topping the classical charts in North America and Europe. Most recently, his previous solo programme Night Music, featuring works by Mozart, Ravel, Schumann and Paderewski, was released as a digital album. His recordings have been awarded with the JUNO and ECHO Klassik. At eighteen, Lisiecki became both the youngest ever recipient of Gramophone’s Young Artist Award and received the Leonard Bernstein Award. He was named UNICEF Ambassador to Canada in 2012.

 

Find out where Jan is performing next by visiting his website. 

Charles Jennens, librettist

Charles Jennens was an English landowner and arts supporter. A friend of George Frideric Handel’s, he helped author the libretti of several Handel oratorios, including the much-loved Messiah.

A libretto (Italian for “booklet”) is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also sometimes used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata, or the story line of a ballet. 

Born in 1700, Jennens was brought up in Leicestershire at Gospall Hall. He was a devout Christian, and supported the legitimacy of the Stuart line.  He was considered melancholic and extravagant,  and his neighbours called him Suleyman the Magnificent.

Due to his support of the Stuarts he was unable to hold any public appointments, so Jennens turned his attention to the arts instead. He was a collector of art with one of the finest collections in England (at the time), and a devoted patron of music.

Through his love of Handel’s compositions, Jennens and Handel became friends. Jennens even commissioned Tomas Hudson to paint a portrait of Handel.

Jennens used his knowledge of the Bible, and other literary interests to prepare or contribute to libretti for Handel. This work was done for free, and it was always published anonymously. He annotated his copies of Handel’s operas, adding corrections, bass figures, rejected pieces, and dates. It is also clear that on occasions Handel was prepared to accept Jennens’ suggestions and improvements to his compositions.

Some attribute Messiah’s emphasis on the Old Testament – and choice of the Old Testament title “Messiah” – to Jennens’ theological beliefs. Jennens was less than wholly approving of the musical setting, writing to Edward Holdsworth:

“I shall show you a collection I gave Handel, called Messiah, which I value highly. He has made a fine entertainment of it, though not near so good as he might and ought to have done. I have with great difficulty made him correct some of the grossest faults in the composition; but he retained his overture obstinately, in which there are some passages far unworthy of Handel, but much more unworthy of the Messiah.”

In the early 1770s Jennens commenced the preparation of scrupulous critical editions of Shakespeare plays, and the first time that these had been published individually and with editorial footnotes. He completed King Lear, Hamlet, Othello, Macbeth, and Julius Caesar before his death.

He died on 20 November 1773. His memorial lies in Nether Whitacre Parish Church and was sculpted by Richard Hayward who also provided sculptures both in his London home at Great Ormond Street and at his country seat of Gopsall Park.

After his death, Jennens’ second cousin Heneage Finch, 3rd Earl of Aylesford, inherited his music library. Much of it is now preserved in the Henry Watson Music Library at Manchester Central Library. It contains a large collection of manuscripts and published music by Handel and other contemporary composers, both English and Italian; there are 368 volumes of Handel manuscripts, and others include the autograph of Antonio Vivaldi’s “Manchester” violin sonatas and an early manuscript of The Four Seasons. Jennens’ extensive collection of books by William Shakespeare, on literature, philology and theology was largely dispersed in a sale in 1918.

George Frideric Handel, composer

George Frideric  Handel, baptised Georg Friedrich Händel; 23 February 1685 – 14 April 1759, was not just a one-hit-wonder. While this  German-British Baroque composer is most well known for the Hallelujah chorus from his Messiah he also composed operas, oratorios, anthems, concerti grossi, and organ concertos.

Handel’s Zadok the Priest, one of his four coronation anthems, has been performed at every British coronation since 1727. His orchestral works Water Music and Music for the Royal Fireworks are also incredibly popular and are often performed at the BBC Proms.

Handel’s parents had split views on music. His father banned all musical instruments from the house and decided his son would study law. His mother on the other hand snuck a small harpsichord into their attic and did what she could to foster her son’s talent. Handel’s father had to give in and allow some music studies to continue after the Duke of Saxe-Weisenfels heard a young Handel playing the organ and declared that it would be a shame to stifle what was a God-given gift.

Handel’s father still wanted him to become a lawyer so at age 17 George Frideric Handel enrolled a the University in Halle to study law. When his father died a year later Handel dropped out and moved to Hamburg to play harpsichord in the opera house. This was a successful move as he presented his first two operas in his early 20s and then moved to Italy to continue his career.

In 1710, Handel garnered the attention of another George – the elector of Hanover. Handel was hired as the Kappellmeister (choir master) but quickly found a loophole in his contract that allowed him to move to London, England. Though this thoroughly annoyed his employer, it eventually worked out in his favour as George the elector later became King George I of England. The new king commissioned Handel to create several works including the much-loved Water Music.

Handel started three commercial opera companies to supply the English nobility with Italian opera.  The lavish productions included live birds, fireworks, and incredibly complex parts that led to some off-stage drama with his leading ladies. One soprano apparently refused to sing a difficult piece and argued with Handel until he lifted her in the air and threatened to throw her out the window. In another argument with artists, again sopranos, Handel ended up writing each singer an aria of equal length down to the number of notes to try to appease their jealousy and ease tensions. The public took sides, and at one famed performance in 1927 the evening ended with the two singers in a hair-pulling brawl on stage.

Handel saw himself first and foremost as a composer of operas and only turned to Oratorio once Italian operas went out of style in the late 1730s. In 1737, after a disastrous opera season, Handel became so ill his friends worried he would never recover. Thankfully he did, but he realized it was time to switch gears and leave his Italian operas behind.

Handel returned to fame when he focused his attention on oratorios. In 1941 he wrote his most famous oratorio, really his most famous work, when the Lord Lieutenant of Ireland requested an oratorio be performed in Dublin as a benefit concert for various charities. It’s said that the demand for tickets for the first performance of Handel’s Messiah was so great they asked female concertgoers to forego their hoops in an effort to fit more people into the concert hall. (Much like how we ask people to hang their coats at Knox!)

Handel’s health declined and he lost his sight by 1752 despite many treatment attempts. He passed away in 1759 and is buried in Westminster Abbey.

Handel’s Messiah has been a hit ever since its first performance and we are delighted to continue that tradition each December (minus the 3-year Covid-19 hiatus).

Want to see a piece of Messiah history? The British Library has a digital scan of an original handwritten Messiah score.