In my preface to _Evolution Old and New_ I imply a certain
dissatisfaction with _Theodora_ and _Susanna_, and imply also that Handel
himself was so far dissatisfied that in his next work, _Jephtha_ (which I
see I inadvertently called his last), he returned to his earlier manner.
It is true that these works are not in Handel’s usual manner; they are
more difficult and more in the style of Bach. I am glad that Handel gave
us these two examples of a slightly (for it is not much) varied manner
and I am interested to observe that he did not adhere to that manner in
_Jephtha_, but I should be sorry to convey an impression that I think
_Theodora_ and _Susanna_ are in any way unworthy of Handel. I prefer
both to _Judas Maccabæus_ which, in spite of the many fine things it
contains, I like perhaps the least of all his oratorios. I have played
_Theodora_ and _Susanna_ all through, and most parts (except the
recitatives) many times over, Jones and I have gone through them again
and again; I have heard _Susanna_ performed once, and _Theodora_ twice,
and I find no single piece in either work which I do not admire, while
many are as good as anything which it is in my power to conceive. I like
the chorus “He saw the lovely youth” the least of anything in _Theodora_
so far as I remember at this moment, but knowing it to have been a
favourite with Handel himself I am sure that I must have missed
understanding it.
How comes it, I wonder, that the chorale-like air “Blessing, Honour,
Adoration” is omitted in Novello’s edition? It is given in Clarke’s
edition and is very beautiful.
Jones says of “With darkness deep”, that in the accompaniment to this air
the monotony of dazed grief is just varied now and again with a little
writhing passage. Whether Handel meant this or no, the interpretation
put upon the passage fits the feeling of the air.