How did George Frideric Handel use fugues in his oratorios and concerti grossi?

George Frideric Handel utilized fugal techniques as a key component of his compositional style, integrating them into both his vocal and instrumental works to provide structural depth and rhythmic drive.1

Fugues in Oratorios

Handel is noted for his large-scale choral fugues within his oratorios. These fugues serve as powerful, dramatic expressions that illustrate the text, often interweaving massive, simple harmonic passages with ingenious contrapuntal sections. His ability to employ these complex textures allowed him to achieve significant dramatic effects, contributing to the power and effectiveness of his choral writing.23

Fugues in Concerti Grossi

In his concerti grossi, Handel employed fugues in a concertante style. While his concerto style is generally characterized by more open, less complex textures compared to those of his contemporary J.S. Bach, Handel frequently incorporated imposing fugal movements into these works. In the context of the concerto grosso, fugal sections typically involve the tutti (the full ensemble) and soli (soloists) uniting or alternating in the exposition and development of a recurring subject. These fugal passages often appear in the fast movements of his concerti, contributing to the overall vitality and robustness of his instrumental music.245