This year marks the 250th anniversary of the death of George Frideric Handel, one of the greatest
composers of the Baroque period. There are and have been celebrations of his life and works world
wide. Although he composed in every musical genre of his time, he is most famous for his oratorios,
and in particular the Messiah. The details of his public life are well-known, but his private life remains
obscure, especially in regard to his sexuality. It is of significance that he was associated with the Orpheus
myth throughout his life, and also in one of his monuments. In the eighteenth century Orpheus
was connected with both music and homosexuality. What the truth may be, Handel emerges as an even
more human and interesting figure than ever. His authentic portraits are discussed in two sections:
those with and those without his wig.
Dit is vanjaar die 250ste herdenking van die dood van George Frideric Handel, een van die grootste
komponiste van die Barok-periode. Daar is en was feesvierings van sy lewe en werke wêreldwyd.
Hoewel hy in elke musikale genre van sy tyd gekomponeer het, is hy veral bekend vir sy oratoria, en
in besonder die Messias. Die besonderhede van sy openbare lewe is welbekend, maar sy private lewe
is grootliks onbekend, meer bepaald ten opsigte van sy seksualiteit. Dit is van belang dat hy dwarsdeur
sy lewe met die Orpheus-legende geassosieer is, ook in een van sy monumente. In die agtiende eeu
was Orpheus verbind met sowel musiek as homoseksualiteit. Wat die waarheid ook mag wees, Handel
kom na vore as ’n selfs meer menslike en interessante figuur as ooit. Sy outentieke portrette word in
twee groepe bespreek: dié met en dié sonder sy pruik.
