Page:Romain Rolland Handel.djvu/17

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HIS LIFE

9

the Handelian tableaux: the people of Israel and the women dancing before the victorious army. You find in Zachau a sketch for the monumental constructions of Handel in his Hallelujahs; those mountains of sound which resound their joy, the colossal Amens which crown his oratorios like the dome of St. Peter at Rome.^[1]

Add to this also Zachau's marked liking for instrumental music,^[2] which makes him combine it so happily with the vocal solos; and very often he imagines the voice as an instrument, which combines and gambols with the other instruments, thus forming a decorative garland harmoniously woven.

↑ Ibid. 8th Cantata. Lobe den Herrn, meine Seele, p. 166, the German Hallelujah with its fine flow of jubilant vocalizing—especially on page 192, the great final chorus.
↑ See his pretty trio for flute, bassoon and clavier (p. 313). It is a small work in 4 movements (1. Affettuoso; 2. Vivace; 3. Adagio; 4. Allegro), where clear Italian grace mixes itself so happily with German Gemüth.

The orchestra for the cantatas seldom includes anything but the strings with the organ or the clavier. But in general the palette of Zachau is very rich, comprising violas, violetti, violoncello, harps, oboes, flutes, hunting horns, bassoons and bassonetti, and even clarini (high trumpets) and drums (Cantata: Vom Himmel kam der Engel Schar).

Zachau amuses himself by combining the tone-colours of the different instruments with those of the voices in the solo airs; thus a Tenor air is accompanied by a violoncello solo; another by two hunting horns; an air for the Bass is combined, with the bassoon obbligato; another with 4 drums and trumpets; a Soprano air with the bassoon and 2 bassonetti; without mentioning innumerable airs with oboes or flutes.

Thanks to Zachau, Handel was familiarized at an early date with the orchestra. He learnt at his house how to play all the instruments, especially the oboe, for which he has written many charming numbers. When he was ten years old he wrote some Trios for 2 oboes and bass. An English nobleman travelling in Germany found a little collection of 6 Trios (Sammlung dreistimmiger Sonaten für Zwei Oboen and Bass, sechs Stück) dating from this period (Volume 28 of the Complete Handel Edition).

[1] Ibid. 8th Cantata. Lobe den Herrn, meine Seele, p. 166, the German Hallelujah with its fine flow of jubilant vocalizing—especially on page 192, the great final chorus.

[2] See his pretty trio for flute, bassoon and clavier (p. 313). It is a small work in 4 movements (1. Affettuoso; 2. Vivace; 3. Adagio; 4. Allegro), where clear Italian grace mixes itself so happily with German Gemüth.

The orchestra for the cantatas seldom includes anything but the strings with the organ or the clavier. But in general the palette of Zachau is very rich, comprising violas, violetti, violoncello, harps, oboes, flutes, hunting horns, bassoons and bassonetti, and even clarini (high trumpets) and drums (Cantata: Vom Himmel kam der Engel Schar).

Zachau amuses himself by combining the tone-colours of the different instruments with those of the voices in the solo airs; thus a Tenor air is accompanied by a violoncello solo; another by two hunting horns; an air for the Bass is combined, with the bassoon obbligato; another with 4 drums and trumpets; a Soprano air with the bassoon and 2 bassonetti; without mentioning innumerable airs with oboes or flutes.

Thanks to Zachau, Handel was familiarized at an early date with the orchestra. He learnt at his house how to play all the instruments, especially the oboe, for which he has written many charming numbers. When he was ten years old he wrote some Trios for 2 oboes and bass. An English nobleman travelling in Germany found a little collection of 6 Trios (Sammlung dreistimmiger Sonaten für Zwei Oboen and Bass, sechs Stück) dating from this period (Volume 28 of the Complete Handel Edition).

[1]

[2]