Category Archives: The Handel Seminar Continues

A continuation of topics and dialogues introduced in The Handel Letters: A Biographical Conversation, by Sandra K. Dolby.

Du lieber Augustin

Handel blog 2*

From Katherine:  Most of you have signed on for this little Handel Seminar extension.  Forella, I think you had a great idea!  Thanks.  I’ll post the comments that came in and set them up with a little editing.  I know we could do this without this extra step, but that would take us into uncharted waters, and Forella wanted to keep it along the lines already familiar to us.  Since it seems we will have unlimited time for this, I’ll just try to share bits every day and keep it short.

From Brad:  So, I listened to the YouTube with the accordion and the guys singing about lieber Augustin—which sounded like bad German beer hall music to me.  But I remember the tune as a song from grade school—“Did You Ever See a Lassie?”  I don’t think the Lassie song had anything to do with the plague.  And was this Augustin guy supposed to have died but still played music from his grave?  I suppose I could look up this information myself, but I’d rather complain that we need a better explanation.

From Alison:  Well, Katherine probably knows the folklore on this, but I’ll share what I know about the song.  You are right, Brad, that it is the same tune as “Did You Ever See a Lassie.”  I remember doing a kind of play or dance to that in grade school, too—something like, “Did you ever see a lassie go this way and that way and this way and that way.” But later, as an adult, I did hear the German version about “lieber Augustin,” and I was surprised to learn that it wasn’t really a folksong but was instead, as Katherine suggested, a song composed about the Plague years during Handel’s time.  Supposedly the man who wrote the song was in fact named Augustin and he was someone who entertained people with his songs and his bagpipe playing.  One time he was drunk and passed out.  The local gravediggers found him lying along the road and assumed he was one of the many corpses they had the sad task of collecting and moving to a mass grave during this nightmarish time. They threw him in a grave along with many actually dead people. Augustin revived, found himself unable to get out of the deep grave, and started playing his bagpipe (which they had thrown in with him).  Passersby heard him and pulled him out of the grave.  He survived and wrote the song.  That’s the story, as I remember it.

From Rayette:  That’s an amazing story, isn’t it?  I hadn’t known anything about it before, but I checked into it a little.  You can read about it here.  But I just wanted to say how interesting I thought it was that something so disturbing as people dying in such numbers and being buried in mass graves—the whole history of the Plague—that it would be commemorated in a song, and a children’s song at that.  It reminds me of the John and Ol’ Massa stories that joked about slavery.  Humor sometimes helps us handle some horrible reality.

From Katherine:  Yes.  I wonder if Handel knew the song.  I wonder if it was something people sang back then—in the years just after the last great sweep of the Plague through Europe.  It really did act like a folksong, even if we do know who composed it. Any time a song or legend or joke circulates widely enough for it to enter tradition, you can bet that the topic it brings up is one people find disturbing. The Plague, like the coronavirus pandemic of today, was frightening, a time of fear and loss. Very unsettling. On that somber note, thanks, Brad, Alison, Rayette.  That’s it for today.

*All posts listed as “Handel blog” are texts that use the fictional characters in my book The Handel Letters: A Biographical Conversation.  As in that book, the posts will often reference things from Handel’s life or time period as starting points.  And the post will cite a page or paragraph in the book when it seems relevant.   Find The Handel Letters.

The Characters in The Handel Letters

Characters in The Handel Letters

The Handel Letters: A Biographical Conversation is a different sort of biography, one that makes use of a fictional set of characters from our own time to examine the life and musical career of the composer George Frideric Handel. This work presents Handel’s life through a series of letters and through an ongoing dialogue among a dozen fictional characters who meet to discuss those letters in a seminar set in twenty-first century Bloomington, Indiana. While one obvious objective is to share some of the information about Handel’s life, a second objective is to consider various themes or issues that arise from this discussion of his life and times. These themes range from such topics as education, gender differences, religion, careers and financial success, to such problematic or controversial topics as us versus them, abortion, charity and social services, the treatment of women, marriage and friendship, death and poor health. The seminar invites the fictional characters to find resonances between the themes and issues of Handel’s day and those we face today. While readers learn to know the various characters in the book through the discussions, I include a list of names and some general information about these characters below with the hope that this list will be helpful to readers.

Contemporary story characters (all fictional):

Forella Wainwright, 90, a wealthy widow who has recently moved to Bloomington, suffers from macular degeneration, underwrites and convenes the seminar

Ross Wainwright, 68, documentary filmmaker, travels frequently, divorced, lives in Indianapolis, son of Forella, interested in cultural settings and influences

Katherine Baker, 57, professor, folklorist, divorced, interested in creativity, tradition, and the philosophy and practice of teaching

Peter Rowe, 57, museum staff, works in Indianapolis, divorced, interested in psychology, history, and the preservation of artifacts

Brad Hochensmith, 65, self-made business man, owns and works at a music store, Jewish, separated, interested in professional success, public sphere

Clara Sperry, 51, physicist, professor, researcher, not married but in a relationship, interested in science and philosophy, plays cello in BSO

Rayette LaRose, 62, free-lance analyst, sings in church choir, writes poetry, African-American, married, interested in literature and the arts

CD Jennings, 65, choral director, music professor, gay, married, interested in social relationships in historical settings

Alison Swift, 58, choir director and singer, married, interested in the history of musical performance

Wait Thompson, 62, jazz venue owner, lives in Indianapolis, married, interested in social connections, generally conservative

Rebecca Trent, 70, retired professor of anthropology, feminist, divorced, interested in education, social activism, and research

Angela Houser, 29, Forella’s research assistant, unmarried

Benfey Rhodes, 23, graduate assistant who records sessions and serves as tech help for seminar

Annie Bornes, 58, Forella’s cook and live-in maid

Randolph Bornes, 60, Annie’s husband, Forella’s driver and handyman

Robert Brown, 75, retired lawyer in Berkshire, England, contacts Forella Wainwright about the Handel letters

Mrs. Finch (pseudonym), 80, person who discovers the letters and sells them to Forella Wainwright

Fictional Handel-era characters:

Lydia Grayston, five years older than Handel, married to the Reverend Edward Grayson, writes letters to Handel over a period of forty years

Edward Grayston, Anglican priest, approximately seven or eight years older than Handel, meets Handel while serving in Hamburg, Germany, but moves back to London

Historical Handel-era characters:

George Frideric Handel, born in 1685, composer and musician, died in 1759

Handel’s friends, colleagues, and acquaintances: Friedrich Zachow, music teacher; Georg Telemann, Johann Mattheson, Queen Anne, King George I, Susannah Cibber, John Smith Sr., John Smith Jr., King George II, Charles Jennens, Thomas Morell, and many others

Introducing This Blog about Handel and Books and Folklore

A Blog about Handel and Books and Teaching and Folklore

February 5, 2018

I may eventually move on to another task in writing this blog, but for now my aim is to expand upon some of the content and ideas in my recently published book, The Handel Letters: A Biographical Conversation, and, hopefully, to stimulate thoughts and responses from you who take the time to read these short essays. I plan to move through the book from beginning to end. As Maria says in the “Do-Re-Mi” song in The Sound of Music, “Let’s start at the very beginning, a very good place to start.” She then proceeds to teach the von Trapp children the musical scale, using the sol-fa syllables for the major scale. I suppose I will never escape being a teacher, so I will follow Maria’s teaching practice and start at the very beginning.

First, I invite you to purchase or borrow the book. It is available in paperback or as an ebook, and by now I hope libraries have a copy available. Please ask them to order it if they don’t. The ISBN is 9781977669179. I like the paperback, and my first order of business will be to describe how the physical entity—the 626-page book—came to be.

Throughout my career as a professor, I was expected to write “scholarship”—books and articles that added in some way to our understanding of my chosen academic field. And those scholarly works were published by university presses (books) or peer-reviewed journals (articles). My Handel project was not that kind of writing. It did involve research, certainly, but I decided to write with a different audience and objective in mind. I may say more about that later, but for now, the related decision I made that I want to share here is the decision to self-publish, to not seek out a publisher but instead to have everything pretty much under my own control. It was an exhilarating experience. It’s not that I regret having published through traditional presses and journals, but this time, it was fun, as a retired professor, no longer worrying about tenure or promotions, to simply see what could be done without a publisher—or, as one Handel biographer would say about Handel’s efforts to compose without a patron, I chose to undertake this publication “on my own bottom.”

I didn’t just jump into the process blindly. I read lots of blogs online on how to self-publish. I researched the various possibilities—Amazon’s CreateSpace, BookBaby, and other resources. And I watched one very informative Great Courses course on “How to Publish Your Book [ https://www.thegreatcourses.com/courses/how-to-publish-your-book.html ]. The person giving the lectures was Jane Friedman, a professor and publishing professional. I found her advice very helpful. Self-publishing was only one possibility she presented, and she was very clear about the potential down side of deciding to self-publish. As I said, my own decision was influenced very much by my own situation. I wanted to do something quite different from the kind of writing and “publish or perish” activity that dominated my career as a professor.

In the end, I decided to go with Amazon’s CreateSpace paperback publishing enterprise and then add the ebook format afterwards. If you are a skilled formatter, you can do all of the preparations yourself and set up publication on demand through Amazon for free. I knew that the formatting tasks were beyond me, so I opted to pay for that service, letting their professionals format the content following my directions. I was very pleasantly surprised at how easily this was done and with how good the final product looked. I did not use their paid editing or cover design services, but I thought the interior design service was well worth the money. Sadly, just this month CreateSpace has announced that they will no longer offer that service, though they will continue to publish books already formatted and ready to print.

As I was preparing my manuscript, I consulted again several online sources, and I bought a helpful guide, CreateSpace for Beginners, by M. L. Humphrey. The guidebook would be especially helpful if you planned to do the formatting yourself, but I found it useful in others ways as well. The author even addressed the differing advantages and disadvantages in creating a print copy for book of fiction or a nonfiction piece. For my book, I wasn’t quite sure how to categorize the work. Is The Handel Letters a biography of Handel and thus a work of nonfiction, or is it a work of historical or literary fiction? I would be curious to know how you might categorize it after you have read it.

Let me finish this essay with a quick comment on the cover and illustrations. Again, part of the reason I chose to self-publish was that I wanted to decide on the cover and if and when I would insert illustrations. For years I have admired the nineteenth-century and early twentieth-century fairy tale collections that offered wonderful illustrations. The Dover version of George Webbe Dasent’s translation of the Norwegian tales, East o’ the Sun and West o’ the Moon, is one of my favorites, in part because of the wonderful illustrations. More recently, I liked the way J. K. Rowling included illustrations at the head of each chapter in all seven of the Harry Potter books.

I did not want anything like a graphic novel, but I did like the idea of having some memorable image from each chapter heading up the writing, along with a paragraph of slightly off-subject narrative. So, I opted for selecting a kind of icon from each chapter and discussed the possibilities with my artist/illustrator—my daughter, Alexis Stahl. She created the illustrations from my suggested ideas, and she designed the cover using some of those same illustrations. I couldn’t be more pleased with the end product. Next time I will say a little more about the illustrations and ponder further the category into which we—or libraries—might place the book.