From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #12120 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Saturday, September 2 2023 Volume 14 : Number 12120 Today's Subjects: ----------------- People are opting for this new cancer treatment ["Forget chemotherapy" Subject: People are opting for this new cancer treatment People are opting for this new cancer treatment http://acehardwarematikasweeps.shop/f5wAlA-I3ZJh6ev-ASL8Va8ZqgrShgiA_niV7HlBpPclFe62EQ http://acehardwarematikasweeps.shop/xXshcy25Pn3-jBPqTUwU53yUBXCuxqOmHcofCS1485b085KD9g composed in Italy in 1707, followed by La resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure. Another 12 years had passed when an act of piracy caused him to take up Esther once again. Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the coronation anthems and Athaliah, his third English Oratorio. In these three oratorios Handel laid the foundation for the traditional use of the chorus which marks his later oratorios. Handel became sure of himself, broader in his presentation, and more diverse in his composition. It is evident how much he learned from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus. Handel tended more and more to replace Italian soloists with English ones. The most significant reason for this change was the dwindling financial returns from his operas. Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the singers appeared in their own clothes. In 1736, Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life. The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy". Saul and Israel in Egypt, both from 1739, head the list of great, mature oratorios, in which the da capo aria became the exception and not the rule. Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works, Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background. L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the wo ------------------------------ Date: Sat, 2 Sep 2023 13:13:03 +0200 From: "Space Phenomenon" Subject: NASA: US To Face 100 Years Of Mega Drought! NASA: US To Face 100 Years Of Mega Drought! http://qchargebraincare.life/8sZmjHl5-Cyjq7LB-BFpktUaho06Z08b0Y7K2LZfK3z8UC_TvA http://qchargebraincare.life/wICNlbO1moQlvKHNh6uUDyCcT83c7zSWotD7mxttnERxkvWejw n June 1710, Handel became Kapellmeister to German prince George, the Elector of Hanover, but left at the end of the year. It is likely he was also invited by Charles Montagu the former ambassador in Venice to visit England. He visited Anna Maria Luisa de' Medici and her husband in DC