What began as a struggle between royal families about succession developed into a pan-European war. It was not just a battle about supremacy in Europe, but also over the colonies in the New World. The bloody conflict lasted 13 years, with more than one million people losing their lives in this "world war" of the Baroque period. Balance of powers And then something happened that no one expected: on neutral territory, in the Dutch city of Utrecht, diplomats from France, Spain, Portugal, Great Britain, Austria, Prussia and the Netherlands gathered together in January to sign a peace treaty. There were to be no winners and no losers; peace was to be negotiated, and not dictated. The goal was achieving a balance of powers in Europe.
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What began as a struggle between royal families about succession developed into a pan-European war. It was not just a battle about supremacy in Europe, but also over the colonies in the New World.
The bloody conflict lasted 13 years, with more than one million people losing their lives in this "world war" of the Baroque period. Balance of powers And then something happened that no one expected: on neutral territory, in the Dutch city of Utrecht, diplomats from France, Spain, Portugal, Great Britain, Austria, Prussia and the Netherlands gathered together in January to sign a peace treaty.
There were to be no winners and no losers; peace was to be negotiated, and not dictated. The goal was achieving a balance of powers in Europe. Part of the Peace Treaty of Utrecht The difficult negotiations lasted 15 months, but ultimately, the treaty would contain the words: "In the name of the Almighty God of Everlasting Peace - all hostilities shall be laid to rest; all affronts shall be forgotten.
Fanfare sounded from trumpets. Diplomacy had won out - for the first time in world history, a war had been ended not on the battlefield, but at the negotiating table. The political principle of pursuing a balance of power became a model for international peace negotiations, from the Congress of Vienna to the Hague Convention to the Camp David Peace Accords. Many historians even see the origins of the later United Nations taking shape during these Utrecht negotiations.
The music of peace Champagne bottles popped as peace was heralded. George Frideric Handel must have sensed that when he arrived in the fall of Born in Saxony, the composer had studied in Italy before aiming to establish himself in England. Handel thought he could draw attention from the English royal house by creating a work for an official function. The work commissioned by the British royal family was completed three months before the Utrecht peace treaty was signed. It was his first major sacred work in English.
Musical diplomat George Frideric Handel in a portrait by Thomas Hudson, But Handel did not take into account one major hurdle: during official events, the Royal Court Orchestra was allowed to play only music by English composers. Parliament had to offer permission for works by foreign composers to be performed. Handel, in turn, must have been quite pleased, as he supplemented his minute "Te Deum" with the musical scoring of Psalm , "O, Be Joyful in the Lord.
The city was ecstatic. Majestic fireworks were displayed along the Thames. A newspaper report gushed that the composer had hit a nerve among the audience with the compelling melodies of his choral movements and managed to move nearly everyone in attendance. DW recommends.
Tag: ‘Utrecht’ Te Deum and Jubilate
Handel accordingly sneaked off to the attic to practice the clavichord anyway an extremely soft instrument ; somehow the local duke heard the nine-year-old Handel play the organ and convinced his father to support a musical education. Handel then studied organ, harpsichord, and composition with local organist Friedrich Zachow. Some research suggests that the death of a parent at an early age is a powerful stimulant towards success—a kind of silver lining for a terrible loss. By Handel was organist at the local Calvinist church and was briefly enrolled at the University of Halle. He may have visited Berlin the same year and tasted opera for the first time. And as Halle was not exactly an artistic center, then or now though still worth a visit for the Handel House and Museum , in he left home for the big city—Hamburg. Hamburg was an important opera center in Germany, and the only one not connected with a court.
Handel's 'Utrecht Te Deum and Jubilate'
It contains eighteen short solos and choruses , mostly of a brilliant, martial character, the solos being divided between the alto , baritone , and bass. After a brief instrumental prelude , the work opens with the triumphant, jubilant chorus with trumpets and drums "We praise Thee, O God" , written for the five parts, the sopranos being divided into first and seconds, containing also a short alto solo leading to a closing fugue. The second number "All the earth doth worship Thee" is also an alto solo with five-part chorus of the same general character. It is followed by a semi-chorus in three parts "To Thee all Angels cry aloud" , plaintive in style, and leading to the full chorus "To Thee, Cherubin and Seraphim" , which is majestic in its movement and rich in harmony. The fifth number is a quartet and chorus "The glorious Company of the Apostles praise Thee" , dominated by the bass, with responses from the other parts, and is followed by a short, full chorus "Thine honourable, true, and only Son".
Utrechter Te Deum und Jubilate
As in these models, Handel composed a combination of two liturgical texts, the Ambrosian Hymn Te Deum, We praise thee, O God, and a setting of Psalm , O be joyful in the Lord, all ye lands, which is a regular canticle of the Anglican Morning Prayer. He followed the version of the Book of Common Prayer. The official premiere took place after the tedious peace negotiations had finished, in a solemn thanksgiving service on 7 July Donald Burrows writes in "Handel and the English Chapel Royal" that "his close association with the Court, reinforced by his musical contribution to events that were personal to the royal family, gave him both the benefits and the disadvantages of identification with the Hanoverian establishment. Friedrich Chrysander edited it as volume 31 of "G. The choir is in five parts SSATB for most of the movements, but occasionally alto and tenor are divided as the soprano; the final doxology begins in eight parts.