Handel And The Crown

What could be more quintessentially British than a rousing chorus of Handel's Hallelujah Chorus? Or his anthem Zadok the Priest, which has been performed at every British coronation since 1727? Yet, though the composer became was a naturalised British subject, he was born in Germany and kept his German accent all of his life. The same was true of the two kings Handel served, George I and George II. This week, as we head towards a royal jubilee weekend, Donald Macleod explores Handel's crucial relationship with the British monarchy, and how he and the Georgian Kings helped forge a new sense of British culture and identity.

In today's programme, Donald follows Handel to Hanover, and a prestigious new job at the court of the prince-elector. Almost immediately he's restless to explore new opportunities. Then, London beckons.

Messiah: Hallelujah Chorus

Collegium 1704,

Collegium Vocale 1704

Directed by Vကclav Luks

Agrippina, Act 2: 'Pensieri, voi mi tormentate

Alexandrina Pendatchanska, soprano (Agrippina)

Akademie für Alte Musik Berlin

conducted by Ren退 Jacobs

Handel: Concerto Grosso in Bb, Op.3 No.1

The English Consort

Directed by Trevor Pinnock

Rinaldo, Act 1: `Cara Sposa`

Kimberly Barber, mezzo soprano (Rinaldo)

Laura Whalen, soprano (Almirena)

Barbara Hannigan, soprano (Armida)

The Aradia Ensemble

Directed by Kevin Mallon

‘Utrecht' Jubilate

William Towers, alto

Julian Podger, tenor

Wolfram Lattke, tenor

Peter Harvey, bass

The Netherlands Bach Society

conducted by Jos Van Veldhoven

Produced by Chris Taylor

Handel finds himself in demand at rival royal courts. With Donald Macleod.

Handel was born in Germany, but he became a naturalised British citizen at the same time that two other native Germans, King George I and King George II, were also learning to be British after their house of Hanover acceded to the crown in 1714. This week, as we head towards the jubilee bank holiday, Donald Macleod uncovers Handel's fascinating relationship with Britain's monarchs, and examines how he and the Georgian kings helped kick-start a new age of British culture and identity.

In today's programme, Handel appears to have cut his ties completely with the house of Hanover and pledged his loyalty to Britain's Queen Anne. But not everything is as it seems. Queen Anne is sick, and Handel has a vital role to play behind the scenes, as the royal courts in both London and Hanover plan for the succession.

Te Deum in D (‘Queen Caroline'), Movts. 1 & 2.

Tim Mead, countertenor

Sean Clayton, tenor

Lisandro Abadie, bass-baritone

Les Arts Florissants

directed by William Christie

Water Music (selected movts.)

Le Concert des Nations

directed by Jordi Savall

Radamisto, Act 2: `Ombra caro di mia sposa`

Joyce di Donato, mezzo-soprano (Radamisto)

Il complesso Barocco

conducted by Alan Curtis,

I will magnify thee

Jacob Ferguson-Lobo (treble)

James Bowman (alto)

Michael McGuire (alto)

Jerome Finnis (tenor),

Maciek O'Shea (bass-baritone)

Choir of the Chapel Royal

The Musicians Extra-ordinary

conducted by Andrew Gant

Handel's favour with the British queen proves useful in Hanover. With Donald Macleod.

Handel was born in Germany, but he became a naturalised British citizen at the same time that two other native Germans, King George I and King George II, were also learning to be British after their house of Hanover acceded to the crown in 1714. This week, as we head towards the jubilee bank holiday, Donald Macleod uncovers Handel's fascinating relationship with Britain's monarchs, and examines how he and the Georgian Kings helped kick-start a new age of British culture and identity.

Today, an escalating rivalry between Handel's star sopranos at his opera company creates a terrible breach of royal etiquette. The accession of a new British king leads to a key turning point in Handel's relationship with his adopted country.

Overture to Admeto

Akademie für Alte Musik Berlin

Directed by Andreas Scholl

Riccardo primo, re d'Inghilterra, Act 2 ‘T'amo si

Lawrence Zazzo, countertenor (Riccardo)

Núria Rial, soprano (Costanza)

Kammerorchester Basel

Conducted by Paul Goodwin

My Heart is Inditing

Choir of King's College

Cambridge, Academy of Ancient Music

Conducted by Stephen Cleobury

Ariodante Act III: ‘Dopo Notte' and Finale

Anne Sofie von Otter, mezzo-soprano (Ariodante)

Lynne Dawson, soprano (Ginerva)

Les Musiciens du Louvre

Conducted by Marc Minkowski

Zadok the Priest

The Sixteen

Conducted by Harry Christophers

The death of King George I brings new challenges for Handel. With Donald Macleod.

Handel was born in Germany, but he became a naturalised British citizen at the same time that two other native Germans, King George I and King George II, were also learning to be British after their house of Hanover acceded to the crown in 1714. This week, as we head towards the jubilee bank holiday, Donald Macleod uncovers Handel's fascinating relationship with Britain's monarchs, and examines how he and the Georgian kings helped kick-start a new age of British culture and identity.

Today, Handel loses one of his staunchest allies within the royal family, and he searches for a new business model as Britain's theatregoers fall out of love with his beloved Italian opera.

Funeral Anthem for Queen Caroline: I. Introduction, II. The Ways of Zion do Morn

Bremen Baroque Orchestra

Alsfelder Vocal Ensemble

conducted by Wolfgang Helbich

Messiah: ‘Every valley shall be exalted' and No.4 ‘And the glory of the Lord shall be revealed

Allan Clayton, tenor

Polyphony

Britten Sinfonia

Conducted by Stephen Layton

Israel in Egypt: (extracts from Parts II and III)

The Sixteen

Conducted by Harry Christophers

Concerto Grosso no.12 in B minor

The Academy of Ancient Music

Directed by Andrew Manze

‘Dettingen' Te Deum: ‘Vouchsafe, O Lord, to keep us this day

The Choir of Trinity College, Cambridge

Christopher Lowrey, countertenor

Robin Firth, tenor

Neal Davies, bass

Handel decides his career needs a change of direction. Presented by Donald Macleod.

Handel was born in Germany, but he became a naturalised British citizen at the same time that two other native Germans, King George I and King George II, were also learning to be British after their house of Hanover acceded to the crown in 1714. This week, as we head towards the jubilee bank holiday, Donald Macleod uncovers Handel's fascinating relationship with Britain's monarchs, and examines how he and the Georgian kings helped kick-start a new age of British culture and identity.

Today, we see how Handel, now in his sixties, continued to find musical ways to demonstrate his unswerving loyalty to his king and fellow German expatriate, George II. Donald introduces works to celebrate the crown's victory over the Jacobites, and Handel's enduringly popular Music for the Royal Fireworks.

Occasional Oratorio: Overture

Akademie für Alte Musik Berlin

Conducted by Howard Arman

Handel Organ Concerto Op.4 No.1: II. Allegro

Richard Egarr, organ and direction

Academy of Ancient Music

Judas Maccabaeus, Part 2: ‘See! The Conquering Hero Comes', ‘Sing Unto God' and ‘O Lovely Peace

Maria Soledad de la Rosa, soprano (Israelitish Woman)

Mariana Rewerski, mezzo-soprano (Israelitish Man)

Choeur de Chambre de Namur

Les Agr退mens

Directed by Leonardo Garc퀀a Alarc　n

The English Concert

Directed by Trevor Pinnock

Messiah: Hallelujah Chorus

Huddersfield Choral Society

Northern Sinfonia

Conducted by Jane Glover

Produced by Chris Taylor

Jacobite rebels march against London, and Handel rallies to his king. With Donald Macleod.