Handel`s Oratorio, Messiah has been generally perceived as a choral church music for Christmas season. Such perception, however, does not concur with Handel`s original conception for his English Oratorio as an entertainment performed at secular places during the Lent. One of the most obvious deviations from two-part Italian model is English Oratorio`s three-part construction. In addition, the three consisting parts of Handel`s Messiah reveal different structural models, respectively: the first part closely follows the constructive principle of contemporary oas sesson. with its regular recitative-arn.-chorus sequences; the second part, with its emphasi durichorus and quasi-testo tenor solo, reveals a strong influence of Gsoman Passion tradition; the shortest third part includes a denouement which clearly shows all the traits of an English Coronation Anthes aIn addition to achieving a perfect balance between the vocal solos and choruses, Messiah is a culmination of all these fertilizing models. These models reflect Handel`s career as an international composer. He began from the German soil, achieved complete assimilation of Italian tradition, and worked as a quasi-official court composer for the House of Hanover. The overall structure of the oratorio, however, was not conceived by Handel but Charles Jennens, the librettist of Messiah. Jennens`s compilation of entirely biblical extracts provides the general contour for the whole work, while Handel was responsible for the actual compositional decisions for the musical characters of each movement.

This paper examines some formal aspects shown in Allegro movements from Handel`s violin sonatas, comparing with Corelli`s solo violin sonatas, published in 1700. In Corelli`s sonatas, Allegro movements with a repeat sign are more prominent than those without a repeat. In the movements without a repeat, there is no structural dominant at the end of the second main period and no reprise in the beginning of the third main period; on the other hand, in the movements with a repeat, the third main period begins with the reprise in the original key just after the second main period ends with vi or iii. In Handel`s spurious sonatas, HWV 372, 373, 368, 370, reprise is also shown after the cadence over vi or iii. But there is a great difference between Handel`s and Corelli`s: In Corelli`s, there is no retransition before the reprise, while the retransition leads to the reprise in Handel`s spurious sonatas. Handel`s reliable sonatas, HWV 361, 364a, 359b, 371, show advanced events in formal aspects, giving distinct differences with his spurious sonatas: they have retransition toward the structural dominant and reprise, which are not presented in the suspicious sonatas. This study would provide a logical base to estimate which pieces are real or spurious through the formal analyses.

흑사병과 종교전쟁들로 인한 죽음과 파괴의 참상을 처참하게 경험한 시대에 과연 음악이 당대의 현실을, 당대 예술창작의 거대 주제였던 ‘바니타스’를 외면할 수 있었겠는가에 대해 의심을 품고 시작한 이 고찰의 끝에서 얻어지는 결론은, 바니타스의 주제가 당대 바로크 음악의 한 켠에 명료히 자리하고 있었다는 것이다. 그렇게 팜필리와 헨델의 오라토리오 《시간과 깨달음의 승리》(Il trionfo del Tempo e del Disinganno)에 문학과 회화의 바니타스 알레고리들이 수용되어 있고, 푀르스터의 《부자와 가난한 나사로의 대화》(Dialogo de Divite et Paupere Lazaro)에는 바니타스 개념의 근원인 구약성경의 전도서 구절이 강력하게 천명되고 있다. 바니타스의 메시지가 《시간과 깨달음의 승리》에서처럼 대본의 구도에 스며있기도, 《부자와 가난한 나사로의 대화》에서처럼 또 다른 중심적 메시지를 압도하며 존재하기도 한다. 바니타스의 상징들 및 메시지에 대한 작곡가의 취급도 섬세해서 음정과 선율, 화성, 악기 및 성부 편성 등에 의해 그것들이 정교한 음악적 색채를 덧입는다.

George Frideric Handel has been regarded as a pious composer for his work, Messiah. An examination of textual studies of Handel’s work, Aci, Galateae Polifemo, however, explores how the texts of the work are built by notions of sexuality and sexual identity. Handel’s work features a story of a love triangle–a boy, his lover and one‐eyed Cyclops–that erupts into violence, murder, and unexpected transformation of the characters at the end. Throughout the drama the boy is passive, nevertheless, Galatea, the boy’s lover, mirrors the male identity. The music of the work also contains some unique characteristics revealing transformation in terms of physical and mental changes of the characters. Consideration was also given to Handel’s journey to Italy, because the composer’s Italian experience can be viewed as part of the cultural, historical, literary context of Handel’s time. This paper will show how Handel's text layers the thoughts, political and religions influences, and sexual codes of the composer's days