“Romanticism” Inside Handel’s Mind
by Yongdai Yan
Handel is indeed a Baroque Composer. However, his understanding of harmony often astonishes musicians. Handel sometimes plays harmonic tricks in dramatic moments to elevate the emotion. The way he addresses dramatic moments and characters seems to have a “Romanticism” mindset. His method of doing these are definitely not a conventional Baroque way of thinking.
Extension of Dominant Chord Progression
In Act III, “Ah me! too late now I repent”, in scene 7th, Zeus finally reveals his deity in front of Semele and Semele is burned to death because of Zeus’s divine power. In this Arioso, Handel has shown his “romanticism” understanding of music in harmonic decisions and music expressions.
At measure 12th, “ah! I feel my life consuming: I burn”, this is an extremely dramatic moment by reading the literato, which is the dying moment of Semele. However, Handel took a different perspective here instead of using a big crescendo and strong dynamic to emphasize the tragedy. Handel made a subito piano (a sudden decrease in dynamic) on the third beat at measure 12th, and the chord he decided to stay on is a “viiº/V” (Bº7) chord in f minor. The effect at this moment is particularly “romantic”. The sudden dissonance change in harmonic feeling, dynamic and the two beat suspensions of “viiº/V” (Bº7) chord exaggerate the tension through an opposite perspective. The common solution or presentation of this type of dramatic moment will be a forte and a big leap in the melody line to bring the force out to the audience. However, I am convinced by Handel’s idea to put a subito piano on a secondary diminished chord because the feeling that the music is presenting at this moment is now even more unexpected and darker.
The even more unexpected harmonic progression happens after the Bº7 chord in measure 13rd. “viiº/V” chord does not resolve immediately to “V” (Bº7 has a very strong tendency to C or Cm chord). Instead, “viiº/V” goes to “V/V” (Bº7 to G) chord through keeping two common tones and resolving the seventh note “Ab” down to “G”. Then, when the new phrase starts in Semele’s vocal line “I feel my life consuming”, “V/V” progresses to a German Augmented sixth chord in f minor. This is the moment that particularly shows Handel’s “craziness” and unique understanding of harmony for characterization in early 18th century. There are three half note chords in this amazing and astonishing chord progression, “viiº/V” “V/V” “Gr+6”. Handel was really conscious about the idea that using extension of dominant chords to reveal and dramatize the dramatic tragedy moment of Semele’s death.
The “not resolving of strong tendency chord” idea was not widely and used in music theatre until Wagner, indeed Beethoven developed on the idea of extension of dominant as well. However, in Baroque music, this type of harmonic think was significantly unique and innovative. Baroque music and Classical music strongly acknowledge V – I progression and the strong resolution moment of dominant chords. Yet, to present Semele’s sorrowful and tragic death, Handel chose to suspend the resolutions of dominant chords to create an exaggerated sadness, darkness, and “romantic” feeling. From Handel’s attempt in harmony and dynamic at this moment, we can discover that Handel regarded Semele’s emotion at the moment as regretful instead of showing how Semele is astonished and scared. The harmony decision in this scene shapes Semele’s characteristic ultimately and reveals Semele as an ingenuous and romantic woman.
Act III, Scene 7 “Ah me! too late I now repent”, Semele Arioso, Measure 10 to 12
Act III, Scene 7 “Ah me! too late I now repent”, Semele Arioso, Measure 13 to 15
Handel’s Neapolitan Chord
The Neapolitan Chord is known as the flat two major chord “bII” or “Phrygian II” chord. It is a chord formed by building a major chord base on a flatted second scale degree in a diatonic scale. Handel has used Neapolitan Chord in Semele, but the frequency was not high. However, when Handel did use a Neapolitan Chord, it is always associated with the libretto. “False Hope” is the sense that Handel wished to convey from the Neapolitan Chord.
In Act I, scene 1, “Oh Jove! In pity teach me which to choose”, at measure 53rd, a Neapolitan Chord (Db) is placed on the first downbeat. Semele is singing “or help me to refuse! teach me which to choose.” Semele has sung “or help me” for threes time repetitively and at the third repeat Neapolitan Chord is chosen by Handel. Neapolitan Chord is a modal interchange chord from C Phrygian. As a result, the Neapolitan Chord will sound a little unexpected. The effect using a Neapolitan Chord in a minor mode is like adding a sense of brightness to the sorrowful minor emotion. At this moment in measure 53rd, the emotion behind the “or help me” changed from the previous two repeats to a more hopeful feeling. This particular moment definitely sounds pretty and adorable and major sounding in c minor also reveals Semele’s inner love to Zeus. Although Semele feels lost at the moment, the Neapolitan Chord brings warmness to music. In measure 62nd, the last time Semele is singing “or help me to refuse!”, Handel chose to use Neapolitan Chord again to establish the brightness in the minor mode. It makes audience to feel hopeful for the final result.
However, the hope that Handel is presenting here is a “False Hope”. As we all know that the ending of Semele is a tragedy, which Semele is killed by Zeus in the end, the hope that we feel from the Neapolitan Chord does not last for long. Therefore, the concept of “False Hope” comes in: Neapolitan Chord is used to create a temporary hopeful emotion for both protagonist and audience. It also symbolizes protagonist’s reverie and the reality is often the opposite (Schubert has established this concept in his song cycle as well). The reason why the Neapolitan chord could play the role of “False Hope” is just because of its modal interchange chord quality that can bring an unexpected brightness and even a fantasy feeling to the music. The “False hope” has delicately hinted Semele’s love to Zeus will not end with a good ending. All the romantics are just Semele’s reverie inside her unconsciousness and she won’t discover the crucial reality until the tragedy happens.
In Act III, scene 5th, Zeus’s Arioso “Ah me! Whither is she gone”, the idea of Neapolitan Chord’s “False Hope” is once again presented. At measure 28th, the Neapolitan Chord (C) is played on the first downbeat. Zeus is singing “Tis past recall, she must a victim fall!”. This is when Zeus decides to show his real deity form to Semele and he knows that Semele will die because she is a mortal. Zeus’s emotion here is full of sorrow, sympathy, disappointed, and hopeless. Zeus loves Semele. However due to the fact that Semele persist to let him reveal himself, Zeus has to give up the relationship with her. The Neapolitan Chord indicates Zeus’s inner thought, which he wishes Semele to leave and wishes Semele to survive. However, these are just beautiful illusions and false hope. This is the moment that we as audience feel that Zeus is dreaming for hope and a good ending with Semele because of the sense of sudden brightness and warmness generated by the Neapolitan Chord.
Act I, Scene I “O Jove, in pity teach me which to choose”, Measure 49 to 55
Act III, Scene 5 “Ah! Whither is She gone”, Jove Arioso, Measure 27 to 30