Esther In 1730s London, Handel significantly shaped the English oratorio. He turned not only to biblical subjects but also to themes from ancient mythology and secular themes. Works such as "Esther," "Deborah," "Acis and Galatea," and "Alexander's Feast" were composed during this period and, while performed in concert, were nevertheless presented on theatrical stages, much like oratorios. During his successful time in Dublin in 1741/42, Handel combined sacred and secular works; "Messiah" also premiered during this season. Back in London, he refocused more strongly on biblical themes, abandoned Italian opera, and composed oratorios specifically for Lent. Although Handel remained faithful to mythology, audiences increasingly rejected non-biblical subjects. After the failure of pieces like "Semele" and "Hercules," he limited himself to biblical themes until he encountered a fateful project that compelled him to perform his last classical myth.
This project was "Alceste," a work by Tobias Smollett, which was to have premiered at Covent Garden Theatre in 1750. The plot, based on the Alcestis myth, had previously been set to music by Lully and Handel. However, differences between Rich and Smollett led to the project's cancellation, prompting Handel to use the music elsewhere. This resulted in "The Choice of Hercules," a dramatic cantata performed between the parts of "Alexander's Feast." The subject matter was derived from a poem by Robert Lowth, and Handel incorporated music from "Alceste" as well as new compositions. The cantata is distinguished by its diverse instrumentation and explores Hercules' choice between virtue and pleasure.
Maurice Greene was another influential figure of the era who rivaled Handel. A renowned London musician, Greene was primarily known for his choral music. His relationship with Handel was strained, as Greene disliked Italian opera and was critical of Handel's style. Greene favored traditional compositional forms, and while his works demonstrated technical skill, they lacked the melodic sophistication of Handel's. Although the two musicians occasionally clashed, Greene remained a significant figure in English choral music, while Handel is remembered as one of the defining composers of the Baroque period.
The relationship between Greene and Handel was strained, as Greene rejected the Italianate style and was considered a major force in the development of choral music.