Benjamin Franklin on Handel

I have written extensively on this blog and elsewhere about how the distinction between classical and popular music arose. (See, for example, “Popular Music: the Birth of an Idea.”)  Years before it became apparent, Benjamin Franklin anticipated it when he advised his brother on how to write a popular ballad: don’t use Handel’s music for a model. Peter Franklin had written a ballad text disapproving of expensive foppery and encouraging hard work and thriftiness. Benjamin thought it very good, but pointed out that its poetic meter did not resemble that of any of the common and well-known tunes. That would … Continue reading

Gate crashers: trombones in Handel’s Messiah

Merry Christmas! Although Messiah is, strictly speaking, not Christmas music, having been composed for Lenten performances, today we most often hear it at Christmas. Handel used trombones to great effect in two of his oratorios, Saul and Israel in Egypt, both first performed in 1738. Apparently he did not have access to trombones in any later year; he considered adding trombones to two later oratorios, not including Messiah, but soon abandoned the effort. Unlike most other music of his time and earlier, Handel’s did not suffer posthumous neglect. The Concert of Ancient Music, founded in 1776, actually had a rule … Continue reading