# Rhetoric in Handel operas



## balkins (Apr 20, 2011)

Hi everyone! 
I'm fresh here and I could omit the topic which I've in mind among old ones. 
I need some informations about rhetoric in Handel's vocal works (exactly Giulio Cesare in Egitto). As I noticed Handel didn't exploit whole range of baroque rhetorical phrases - he was rather about extension of phrases. My another observation is about conncection of lyrics and music. I can't help feeling that lyrics go their own way (at some level) since a musical phrases go another way. Let mi give the example of Cornelias air from Giulio Cesare: "Nel Tuo Seno, Amico Sasso". If I'm right can we talk about Handels use of rhetorical figures in that opera?
Sorry if my deduction is unclear!
Thanks 
Jacek


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## Almaviva (Aug 13, 2010)

Welcome to the forum. Your question seems too complex for my level of knowledge. I think you need someone who can read the full score and consider carefully every passage. There are some among us who may be able to do this - I believe emiellucifuge could, as well as World_Violist. But in the sub-forum for instruments and composers you're more likely to find learned musicians, since here in the opera forum we are, with exceptions, opera fans rather than musicians.


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## balkins (Apr 20, 2011)

Hi Almaviva!
Thanks for reply! 
I don't want to someone analyze score - rather to ask about general reflections about Handel and his vocal music.
Anyway I'll follow what you wrote


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## Aksel (Dec 3, 2010)

Hi, Balkins!

Let me just start by saying that I by no means am any kind of expert in this, but I recently listened to an episode of an opera podcast where they were talking about Cara sposa from Rinaldo and also touching briefly on how different emotions were conveyed through the music. 
In baroque opera, there was this theory of writing opera called the Doctrine of the Affections. It basically laid out certain principles on how the composer could elicit certain emotions through his writing. Sadness was for instance conveyed through small intervals, joy by large intervals, fury with rough harmonies and rapid melodies and obstinacy through lots of counterpoint. Source.

I think the Baroque attitude towards emotion in opera was very different from the "minor-sad, major-glad" perspective that is more prevalent today.


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## balkins (Apr 20, 2011)

Hi, Aksel The Trombonist (just like me )!
I already tried analyze said Air through the rights of "Doctrine of the Affections" when someone told me that different composers treated "Doctrine" more or less obligatory. I just wondering if Handel was seriously into "it".
Have a nice day.


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## HarpsichordConcerto (Jan 1, 2010)

Welcome.

Interesting observation. While I'm no expert on this, I tend to agree with your broad observation about Handel's avoidance of exploiting rhetorical measures relative to his peers. Consistently through all his operas and his dramatic English oratorios, he was first and foremost always interested in the drama and the living characters of the story. _Giulio_ was one of his best, and you can cleary see that with every single aria right from the start: every single aria offered a beautifully set of contrasts that conveyed the emotions of the character at that point in time, not as isolated stand-alone concert arias/show pieces. Excessive use of rhetorical effects in Barouqe opera often clouded the credibility of the characters' emotions as conveyed by the music. That was something that Handel avoided. You might note that Handel only wrote a mere three operas using libretti by the great Metastasio, who was often considereded as one of the greatest librettist of opera seria, whose libretti just about shaped the Baroque opera as a rhetorical genre.

But anymore than that, you might have to pick the brians of a music professor! Keep us posted with your discoveries!


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## Aksel (Dec 3, 2010)

balkins said:


> Hi, Aksel The Trombonist (just like me )!
> I already tried analyze said Air through the rights of "Doctrine of the Affections" when someone told me that different composers treated "Doctrine" more or less obligatory. I just wondering if Handel was seriously into "it".
> Have a nice day.


Yay! 
I honestly don't know any more than this, so I would also do as HC suggests and pick a music professor's brains. Thoroughly. And write back here, because this is some fascinating stuff!


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## balkins (Apr 20, 2011)

Hello,
Sorry, I hadn't internet access for few days. 
Thanks for kind and helpful replies! 
I'm by no means an expert as well  
I took seriously your opinion HC. 
During a few longer moments spent with Giulio Cesare I started to separate more important and characteristic figures from that appearing occasionally in his music. It's very superficial look and may be far from that what experts knows.

I found following figures as a most important for the expression: Anabasis (ascensio) - usually ascending beginning of melody what expresses happiness and descending (Katabasis[descensus]) for sadness. Handel used to use also Accentus - to emphasize some words or phrases (usually during repetition of text). Often that was connected with Exclamatio (wide interval jump) as a simply... exclamation .

I'm sure that there are more important figures, but these figures are probably delicately hidden among more standart phrases.
Jacek


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