Handel's Influence On Amadeus

Whether it be French, Italian, or English Opera, it’s very dramatic. Handel’s “Piangeró La Sorte Mia” is no exception. George Frideric Handel (Georg Friedrich Händel) like Wolfgang Amadeus Mozart was a child prodigy. Born in Halle, Germany in 1685, began studying music at the very early age of 7 under organist Friedrich Wilhelm Zachow despite his father’s disapproval. The young Handel then began composing music at the age of 10 which mostly composed of church cantatas and chamber music. From his father’s insistence, George agreed to study law but that commitment soon fell as his passion for music was too strong. His career officially began 1704 after teaching violin in Hamburg when he wrote his first opera titled, “Almira” which was a big …show more content…
She is very distraught as she has learned her brother has accused her of planning the drowning of Julius Caesar. Cleopatra contemplates what her fate will be. “E pur così in un giorno perdo fasti e grandezze? Ahi fato rio!” Why then, in one day, I am deprived of magnificence and glory? Oh, cruel fate! “Cesare, il mio bel nume, è forse estinto; Cornelia e Sesto inermi son, né sanno darmi soccorso. O dio!” Caesar, my beloved idol is probably dead, Cornelia and Sextus are defenceless and cannot give me assistance. O God! “Non resta alcuna speme al viver mio.” There is no hope left in my life. When she’s dead, she imagines she will come back to haunt her brother to seek vengeance. “Piangerò la sorte mia, sì crudele e tanto ria.” I will bemoan my fate, so cruel and brutal. “Finché vita in petto avrò. Ma poi morta d'ogn'intorno.” As long as there is breath left in my body. And when I am dead. “Il tiranno e notte e giorno fatta spettro agiterò.” And become a ghost, I will haunt the tyrant night and …show more content…
In the 14th century it was a term used to mean a style of singing or playing. By the 16th century, it had taken on a more specific meaning. It specified as simple pieces of music resembling poetry. By the 17th and 18th century in French and Italian opera, an aria became more of a lyrical piece often depicting some type of storyline and giving a chance for the musician which was often time a vocalist a chance to show their expressiveness. Arias usually consisted of two type of forms, which were the binary and ternary form. It was depicted as a ‘A-B’ or ‘A-B-A” style where it would start in one key which was section A and switch to the contrasting minor or major key which was section