Ron Chaplin wrote:

>Could a reason for a distinction between the emotional content of the
>works of Bach and Handel be that they wrote music for different audiences?
>It is fair to say that Bach wrote primarily non-commercial works, such as
>works for religious services, and Handel wrote for a commercial audience,
>such as the London stage?
>
>If this distinction is even remotely true, perhaps that would account for
>Handel writing works with more color, movement, theatrical effects, but
>less emotion than Bach.

Actually I believe that Ron is correct here.  Which probably explains a
problem I have with Handel.  To me the quality of his output both within
and between works seems to be highly variable.  At his best he is easily
the equal of Bach/Purcell but at his worst difficult.

I recently purchased the set of Handel oratorios on Brilliant Classics
(ECO).  This is currently available in the UK at 15 pounds ($24).  A
ridiculous price for 8 cds.  The set includes Solomon, Semele, Judas
Maccabaeus, Theodora.  As I said I find the standard highly variable.
Handel's best writing seems to be often for chorus.  Here not only does
the level of complexity of voice parts go up but also the orchestral
accompaniment as well.  The same considerations go for the performance.
I found the orchestra consistently satisfactory but the singing highly
variable, particulary male parts.  Maybe commercial and timescale pressures
were to blame.  The CDs represent an acceptable cheap introduction to the
works though.  (There are no notes whatsoever with the set)

Bob Draper
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