Handel's Entrepreneurial Acumen Revitalized Opera and Oratorio - Episode Hero Image

Handel's Entrepreneurial Acumen Revitalized Opera and Oratorio

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TL;DR

  • Handel's entrepreneurial approach to opera production, including asserting copyright and managing finances, enabled him to navigate financial instability and eventually achieve significant wealth late in life.
  • Handel's cosmopolitan musical style, forged through exposure to German, Italian, and English musical traditions, allowed him to adapt and innovate, creating a unique sound that resonated with diverse audiences.
  • Handel's status as a non-native English speaker was crucial to his artistic success, enabling him to perceive and utilize the natural rhythms of the English language in his compositions, particularly in "Messiah."
  • The financial success of "Messiah" in Dublin, where it was performed as a charity event, provided Handel with the capital to re-establish himself financially and invest in annuity accounts, marking a significant turning point.
  • Handel's shift to composing and performing English-language oratorios, like "Messiah," drastically reduced production costs by eliminating staging and utilizing less expensive English singers, leading to increased profitability.
  • The "Messiah" performances at the Foundling Hospital transformed the work into a major charitable event, solidifying Handel's reputation and providing a consistent income stream while supporting a prominent social cause.
  • Handel's ability to adapt "Messiah" to different tastes and contexts, including its eventual success as a charity piece, demonstrates his keen understanding of audience reception and market demands.

Deep Dive

George Frideric Handel's composition of "Messiah" and its subsequent performance in Dublin marked a critical turning point, rescuing him from financial and artistic decline. This pivotal period, fueled by entrepreneurial acumen and the strategic embrace of English-language oratorios, ultimately restored his reputation and secured his financial future, demonstrating how a composer's perceived "comeback" is often intertwined with business innovation and audience adaptation.

Handel's journey to Dublin was born out of financial desperation and a need to escape the collapsing opera scene in London. Having faced bankruptcy and significant health issues in the late 1730s, with his accounts at the Bank of England dwindling to a mere 50 pounds by 1738, he accepted an invitation to perform in Dublin. This trip, far from being merely a "greatest hits tour," provided him with an unexpected financial windfall. Upon his return to London, Handel had amassed approximately 1,600 pounds, a sum that allowed him to re-establish his financial stability and invest in new ventures. This Dublin experience, and the success of "Messiah" there, revitalized his career, enabling him to shift from expensive, staged operas to more cost-effective, English-language oratorios, which proved immensely popular and profitable.

The implications of Handel's shift to English oratorios and charitable performances are profound. By focusing on works like "Messiah," performed during Lent without elaborate staging, Handel significantly reduced production costs. This allowed him to utilize less expensive English singers and operate with shorter seasons, yet achieve greater profitability. Furthermore, his decision to perform "Messiah" annually for the Foundling Hospital, beginning in 1750, transformed the oratorio into a highly sought-after charitable event. These performances connected the music directly to its beneficiaries, the abandoned children, creating a powerful emotional appeal that drew London's elite and solidified Handel's public image as both a revered artist and a philanthropist. This strategy not only secured his financial well-being but also cemented "Messiah's" legacy, making it a cornerstone of charitable fundraising and a lasting symbol of redemption and hope.

Action Items

  • Audit Handel's financial records: Analyze 3-5 years of bank ledgers and annuity accounts to identify patterns in income, expenses, and investment strategies.
  • Create a risk assessment matrix: Evaluate 5-10 of Handel's entrepreneurial ventures (e.g., opera production, music publishing) to identify key financial risks and mitigation strategies.
  • Design a copyright protection strategy: Draft a proposal for asserting and enforcing intellectual property rights for musical compositions, drawing from Handel's early attempts.
  • Measure the impact of patronage: Quantify the financial benefit of royal stipends and court appointments on Handel's ability to experiment and take artistic risks over a 10-year period.
  • Develop a cost-reduction playbook: Document 3-5 strategies Handel employed to lower production costs for English oratorios, focusing on singer acquisition and season length.

Related Episodes

Key Quotes

"When he wrote “Messiah” (in 24 days), Handel was past his prime and nearly broke. One night in Dublin changed all that."

This quote sets the stage for the narrative, highlighting Handel's precarious situation before the composition of "Messiah." The description of him being "past his prime and nearly broke" creates immediate intrigue, suggesting a significant turning point. The mention of Dublin as the catalyst for this change emphasizes the unexpected nature of his revival.

"The public reaction to Messiah was astonishment and wonder. Someone who was present at the first performance said it was a species of music like no other; people were just kind of flabbergasted by it."

Charles King describes the initial reception of "Messiah" in Dublin, emphasizing its unprecedented nature. The words "astonishment," "wonder," and "flabbergasted" convey a strong sense of awe and surprise from the audience. This indicates that Handel's work was not merely well-received but was perceived as something entirely novel and impactful.

"Handel's being an outsider is really essential to the story of his life as an artist. I think being a non-native English speaker turns out to be really critical of course he's multilingual already by the time that he arrives in Britain and his English gets better and better although he'll have this German accent throughout his life that his friends you know always made fun of but the thing he can hear is the rhythms of the language."

Mark Rysinger argues that Handel's status as an outsider, particularly as a non-native English speaker, was crucial to his artistic development. Rysinger suggests that this perspective allowed Handel to perceive and incorporate the natural rhythms of the English language into his music in a unique way. This highlights how a perceived disadvantage could become a significant creative asset.

"I did have a colleague early on say to me why are you spending so much time at the bank of england and why aren't you looking at the music and I said well have you ever heard follow the money."

The musicologist Ellen Harris explains her approach to studying Handel, emphasizing the importance of financial records. Harris uses the idiom "follow the money" to illustrate her belief that understanding Handel's financial dealings provides crucial insights into his life and work. This suggests that financial history is as vital to understanding an artist as the art itself.

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This quote, from a sponsor segment, defines a modern business strategy. It posits that leveraging data and predictive analytics is the true "power move" for businesses. FedEx is presented as an example of a company that uses these insights to manage supply chains, anticipate issues, and maintain smooth operations.

"The impulse behind it originally was the idea that we didn't have to live in a world in which people were just abandoned to their fate that the wealthy the well connected had both a responsibility to and the means to create an institution that could help solve the problem."

Charles King explains the foundational motivation for the Foundling Hospital. King highlights the charitable impulse to address the issue of abandoned children by creating an institution supported by the affluent. This underscores the idea that societal problems can be tackled through organized, well-resourced efforts.

Resources

External Resources

Books

  • Every Valley by Charles King - Mentioned as a source for historical context on Handel's life and career.

Articles & Papers

  • "Making ‘Messiah’" (Freakonomics Radio) - The episode itself, exploring the creation and impact of Handel's Messiah.

People

  • George Frideric Handel - Composer of Messiah, discussed for his life, career, and financial dealings.
  • Charles King - Political scientist and author of "Every Valley," providing historical context on Handel.
  • Mark Rysinger - Musicologist and Handel specialist, offering insights into Handel's musical style and career.
  • Friedrich Wilhelm Zachow - Handel's teacher, mentioned for his influence and musical library.
  • Reinhard Keiser - Composer whose melody influenced Handel's "I know that my redeemer liveth."
  • Scarlatti - Handel's contemporary, noted for his reaction to Handel's name.
  • Prince George of Hanover - Handel's employer in Germany.
  • King George I - Patron of Handel's Royal Academy in London.
  • Frederick, Prince of Wales - Son of King George I, who started a rival opera company.
  • Francesca Cuzzoni - Soprano who worked with Handel, known for her difficult rehearsals.
  • Susanna Cibber - Actress and singer who performed in Messiah in Dublin.
  • Thomas Coram - Founder of the Foundling Hospital.
  • Sir Colin Davis - Conductor of a recording of Messiah used in the episode.

Organizations & Institutions

  • Freakonomics Radio - The podcast producing this episode.
  • Capital One - Sponsor of the podcast, mentioned for its subscription management app.
  • Mint Mobile - Sponsor of the podcast, offering wireless plans.
  • Chester Cathedral - Location where Handel may have rehearsed parts of Messiah.
  • American Handel Society - Hosted a conference where a paper on music publishing was presented.
  • Royal Academy of Music - An opera company founded by Handel.
  • Opera of the Nobility - A rival opera company to Handel's.
  • Bank of England - Where Handel's financial accounts were held.
  • Chapel Royal - Where Handel provided services for the royal family.
  • British Library - Holds Handel's original manuscript of Messiah.
  • Foundling Hospital - Charity that benefited from Messiah performances, founded by Thomas Coram.
  • New York Philharmonic - Orchestra performing Messiah at Lincoln Center.

Websites & Online Resources

  • capitalone.com/subscriptions - Mentioned for managing recurring charges.
  • mintmobile.com - Website for Mint Mobile's wireless plans.
  • fedex.com/newpowermove - Website for FedEx's business solutions.
  • sylvania.com - Website for Sylvania automotive lighting.
  • amica.com - Website for Amica Insurance.
  • vitamix.com - Website for Vitamix blenders.

Other Resources

  • Messiah (oratorio) - The central musical work discussed in the episode.
  • Pifa (Pastoral Symphony) - An interlude from Handel's Messiah, derived from the Italian word "pifferari."
  • "I know that my redeemer liveth" - An aria from Messiah, tracing its melody lineage to Reinhard Keiser.
  • "For unto us a child is born" - An aria from Messiah, noted for its origins in an Italian duet.
  • "He was despised" - An aria from Messiah, noted for its dramatic quality and suitability for Susanna Cibber.
  • "Hallelujah Chorus" - A famous chorus from Messiah.
  • "Blessing and honor glory and power" - A chorus from Messiah.
  • "The trumpet will sound" - A chorus from Messiah.
  • "Follow the money" - A phrase used to emphasize the importance of understanding Handel's finances.
  • Copyright - Handel was the first composer in Britain to assert copyright to his compositions.
  • Patronage system - The system of support for artists by wealthy individuals or royalty.
  • Joint-stock company - A type of business structure Handel was involved with for opera production.
  • Annuity account - A type of financial account Handel held at the Bank of England.
  • Box office - Handel began taking box office revenue directly instead of relying on subscribers.

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