| Edition |
[First edition]. |
| Description |
xviii, 731 pages, unnumbered pages of plates : illustrations, portraits, music, facsimiles ; 25 cm |
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single unit rdami |
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text txt rdacontent |
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unmediated n rdamedia |
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volume nc rdacarrier |
| Physical Medium |
monochrome rdapcc |
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illustrations. |
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portraits. |
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music. |
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plates. |
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facsimiles. |
| Description |
bibliography bibliography |
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index index |
| Bibliography |
Includes bibliographic references (pages 711-714) and index. |
| Contents |
Foreword -- Introduction -- I. (1685-1703) -- Halle -- Handel's family -- Earliest youth -- Apprenticed to Zachow -- Zachow as teacher -- Handel's notebook and its contents -- Fellow students -- Visit to Berlin -- Meeting electoral couple and Italian composers -- Appointed organist at Halle Cathedral -- The university student -- Compositions in Halle period -- Decision to leave Halle -- II. (1703-1706) -- Hamburg -- Music in Hamburg -- Handel arrives in 1703 -- Friendship with Mattheson -- Handel joins opera orchestra -- Keiser, his influence on Handel -- First attempt at opera, Almira (1705) -- Handel-Keiser relationship -- Altercation and reconciliation with Mattheson -- Debacle of Nero -- Handel resigns from Hamburg opera -- Composes St. John Passion -- State of oratorio-Passion in Germany -- The Passion in Handel's life work -- Handel leaves for Italy -- III. (1706- ) -- Italy at the opening of the 18th century -- Hegemony of opera and concerto -- German vs. Italian music -- The process of assimilation -- Handel in Florence -- Rome -- Papal court, academies, patrons -- Prohibition of opera -- The Arcadian Academy -- Handel meets Corelli, Scarlatti, Pasquini -- Begins his study of Italian music -- The cantata -- Mood and melody -- The Florentine cantatas -- Roman cantatas -- Handel's patrons -- Large cantata-serenatas -- Church music -- Spirit of Latin-Italian church music -- The "bilingual" composers -- Survival of Palestrina ideal -- Maturing of Handel's choral writing -- IV. ( -1710) -- The Italian oratorio -- Dramatic-theatrical elements -- Role of the Scriptures -- Carissimi -- The Old Testament in the Italian oratorio -- Italian works heard by Handel -- La Resurrezione (1708) -- Second visit to Florence -- Rodrigo -- Naples -- Opera and church music in Naples -- Composes Aci, Galatea, e Polifemo and Agrippina -- Venice -- Agrippina produced December 1709 -- Friendship with Domenico Scarlatti -- Musical life in Venice -- Opera -- Conservatories -- The late Venetian madrigal -- Instrumental music -- Italian musical language completely absorbed -- Aspects of Handel's decision to abandon Italy -- Religious and artistic reasons -- Handel leaves for Hanover -- V. (1710-1712) -- Hanover -- Elector Georg Ludwig -- His wife, Caroline -- Brief stay in Hanover -- Conjectures concerning voyage to London -- Visit to Halle and Dusseldorf -- Arrival in London, fall of 1710 -- State of Italian opera in London -- Entrepreneurs on the scene -- The Haymarket and Drury Lane Theatres -- Handel makes contact with Haymarket Theatre -- The intermediaries -- Handel's first London opera, Rinaldo (February 1711) -- John Walsh, the publisher -- Opposition to Italian opera -- Handel begins to move in social circles -- Thomas Britton and his concerts -- Handel's leave of absence ends -- Second stay in Hanover -- Back in London, fall of 1712 -- Compositions in Hanover -- VI. (1712-1720) -- Handel in Burlington House -- Il Pastor fido -- Teseo (1713) -- First financial crisis -- Birthday Ode and Utrecht Te Deum (1713) -- Handel assumes Purcell's legacy -- The English tone appears in Handel's music -- Queen Anne dies, Georg Ludwig proclaimed King, August 1714 -- George I arrives in London -- Truant Hanoverian conductor's dilemma -- Handel composes Silla for Burlington, Amadigi for Haymarket (1715) -- Handel firmly in saddle -- Begins his financial investments -- Jacobite rebellion put down -- The King leaves for Hanover followed by Handel -- Travels to Halle and Ansbach -- Meeting Christoph Schmidt -- Disputed visit to Hamburg -- The German Passion in the 18th century -- Brockes Passion (1716?) -- Handel returns to London, end of 1716 -- Opera season of 1717 -- Cannons -- The Duke of Chandos and his establishment -- The "English" compositions -- Handel's sister Dorothea dies (summer of 1718) -- Water Music, Concertos, Opus 3 -- Formation of Royal Academy of Music -- Handel goes to the Continent to recruit a troupe, June 1719 -- Returns late in fall -- Academy ready to open -- VII -- Baroque opera, its nature, dramaturgy, and esthetics -- Comparison of Baroque with modern opera -- Obstacles to our understanding -- The aria -- Role of Alessandro Scarlatti -- Italian melody, Handelian melody -- General form of Handel's opera -- The castrato -- VIII (1720-1728) -- Royal Academy opens first season -- Radamisto (1720) -- Giovanni Bononcini joins staff -- Ensuing rivalry -- Second season -- Third season -- Floridante (1721) -- Cuzzoni added to company -- Fourth season -- Ottone, Flavio (1723) -- Fifth season -- Giulio Cesare (1724) -- Bononcini vanquished -- Sixth season -- Tamerlano, Rodelinda (1724) -- Handel buys a house -- Academy in financial difficulties -- Bordoni engaged -- Seventh season -- Scipione, Alessandro (1726) -- Eighth season -- Admeto (1727) -- Profitable year -- Handel becomes a British subject, February 20, 1727 -- George I dies, George II proclaimed King, January 1727 -- Ninth season -- Riccardo I (1727), Siroe (1728) -- Collapse of Academy -- Reasons for failure of Italian opera -- "English opera" and "semi-opera" -- The language barrier -- The Beggar's Opera -- Its success seals fate of Academy -- IX -- Beginnings of "English" Handel -- Standards of Augustan Age -- Class society and religion -- Capitalism -- The bourgeoisie -- Literature -- The Burlington circle -- Its influence on Handel -- About church music -- German music of the Baroque time -- Nonconformists and Puritans -- Handel's conception of Anglican church music -- Commemorative-ceremonial-patriotic compositions -- Ode and anthem -- Chandos Anthems -- Other anthems -- Te Deums -- Handel's English church music compared to Continental -- His indebtedness to English composers -- X (1729-1737) -- Handel and Heidegger take over defunct Academy -- Trip to Italy to recruit singers -- Finds Italian opera changed -- Aged mother's illness hastens departure -- Visit to Halle -- Return to London -- Second Academy opens, end of 1729 -- Lotario (1729), Partenope (1730) -- Poor season -- New singers improve second season -- Walsh as Handel's principal publisher -- Poro (1731) -- Season closes successfully -- Handel's mother dies -- Ezio, Sosarme (1732), Orlando (1733) -- Interlude from opera: Deborah (1733) -- Renewed operatic rivalry -- Opera of the Nobility -- Fourth season ends with Handel's singers deserting -- Invitation to Oxford -- Tremendous success with English compositions -- Athalia (1733), first full-fledge oratorio -- Handel ignores success, resumes battle for opera -- Formidable competition led by Porpora -- The two Ariannas (1734) -- Parnasso in Festa -- Heidegger dissolves partnership, Handel joins Covent Garden -- Ariodante, Alcina (1735) -- Lenten season of English works -- Opposition grows stronger, Handel's health begins to fail -- Handel turns to English works -- Alexander's Feast (1736) -- Despite success, Handel returns to opera -- Atalanta (1736) -- Balance turns in his favor, Porpora retreats -- Arminio, Giustino, Berenice (1737) -- Both opera companies bankrupt -- Handel collapses in mind and health -- Leaves for Aix -- XI -- Cannons -- Masque and pastoral -- Handel's pantheism -- Culture and nature as concentric forces -- Pictorialism in music -- Acis and Galatea -- Use of the chorus -- Mozart's edition -- Modern fallacies in performance -- Esther -- Libretto and music poorly organized -- Much borrowed material -- Historical importance -- Bernard Gates performs Esther (1732) -- Subsequent piratical production arouses Handel -- First appearance of religious issue -- Bishop of London and his edict -- Second unauthorized production: Acis -- Handel destroys competition -- Deborah -- New role of chorus -- Racine and the return of Greek drama -- Athalia successful, but Handel returns to opera -- Alexander's Feast -- XII (1737-1741) -- Aachen -- Remarkable recovery -- Handel returns to London -- Renews partnership with Heidegger -- Queen Caroline dies -- Funeral Anthem (1737) -- Faramondo (1738) -- Roubiliac's statue -- Handel's popularity -- Serse (1738) -- Opera disappears in London for two years -- Handel begins Saul -- Charles Jennens -- Saul, Israel in Egypt (1739) -- Handel leases Lincoln's Inn Fields Theatre -- Ode for St. Cecilia's Day (1739), L'Allegro, il Penseroso, ed il Moderato (1740) -- Influence of Purcell -- Handel suddenly returns to opera -- Imeneo (1740), Deidamia (1741) -- Final opera season ends in spring of 1741 -- Inception of "conversion" theory with Hawkins -- The "oratorio way" -- XIII (1741-1742) -- Messiah (1741) -- Circumstances surrounding composition of Messiah -- Arguments supporting special purpose -- The legends -- Dublin at the time of Handel's visit -- Local musical scene -- Charitable societies -- Handel's trip to Dublin -- First public concerts -- Subscription sold out -- Second series of concerts -- Messiah first performed, April 13, 1742 -- The libretto -- The music -- Critical appreciation of Messiah in modern literature -- Handel returns to London -- XIV -- The oratorio since the Romantic era -- Religious-moral-didactic conceptions -- English views of the Old Testament -- Comparison of English and German oratorio -- The historical-scriptural drama -- Handel and the Old Testament -- Classifications of the Handelian oratorio -- Its constituent strains -- Classical antiquity -- The Augustan Age and classicism -- Classical dramatic tradition in England -- Greek drama as reflected in Handel's oratorio -- Attic drama and English Bible -- Racine reintroduces chorus -- The Handelian oratorio and the Old Testament -- English conceptions of the role of the Old Testament in Christianity -- Oratorio vis-a-vis stage and church -- Handelian oratorio as music drama. |
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XV (1742-1744) -- Handel returns from Dublin -- Milton and his Samson Agonistes -- Hamilton's libretto for Samson -- The music -- Handel's changed dramaturgical ideas -- Tenor displaces castrato -- Samson (1743) a success -- First Messiah in London -- Dettingen Te Deum (1743) -- Radical change of style: Semele (1744) -- Congreve's libretto arranged -- The music -- Renewed opera war -- Ruthlessness of Middlesex party -- Moral opposition from public and clergy to Semele -- Joseph and his Brethren (1744) -- Middlesex company collapses, Handel leases Haymarket Theatre -- Twenty-four subscription concerts announced -- XVI (1744-1745) -- Hercules (1745) -- Broughton's libretto -- The music -- Failure leads to cancellation of concert series -- Public rallies and Handel resumes performances -- Belshazzar (1745) -- Jennens's libretto -- The music -- Failure again forces suspension of concerts -- Handel vacates Haymarket Theatre -- Suffers another physical collapse -- XVII (1745-1748) -- Handel recovers but is a changed man -- Shuns public and does not compose -- Stuart rebellion rouses dormant creative instinct -- The "victory" oratorios -- Occasional Oratorio (1746) -- Battle of Culloden commemorated in Judas Maccabaeus (April 1746) -- Morell's libretto -- The music -- Instant success -- Handel abandons subscription system -- Mixed opinions about Judas Maccabaeus -- Handel and Morell continue with successful recipe: Alexander Balus (1748) -- The music -- Joshua (1748) -- End of "occasional" oratorio phase -- Handel's life and position changed -- His status unassailable -- Gluck visits London -- New singers trained by Handel -- His calm and serene life -- XVIII (1748-1749) -- Solomon (1749) -- Librettist unknown -- The music -- Susanna (1749) -- Anonymous librettist -- The music -- Handel acquiesces in public's indolence -- Proved successes carry the oratorio seasons -- Political events claim his attention -- Royal Fireworks Music (1749) -- Made Governor of Foundling Hospital -- The admired master -- XIX (1749-1750) -- New tone in last oratorios -- Theodora (1750) has non-biblical Christian subject -- Comparison of two "Christian" oratorios: Theodora and Messiah -- Morell's libretto -- The music -- Theodora Handel's favorite oratorio -- Final castrato role -- Theodora complete failure -- Entr'acte: Smollett's Alceste (1749), reworked as The Choice of Hercules -- The music -- Handel purchases Rembrandt picture -- Presents organ to Foundling Hospital -- Conducts Messiah to overflowing houses -- Yearly performance of Messiah becomes tradition -- Handel makes his will, June 1750 -- Last visit to Germany -- XX (1751-1752) -- Last oratorio, Jephtha -- Handel takes leave of his artistic career -- New serenity -- The religious element in Jephtha -- Prototypes -- Morell's libretto -- Morell's miscalculations righted by Handel -- The music -- Borrowings from Habermann -- Onslaught of blindness -- Oratorio seasons held despite Handel's infirmity -- 1752 season comes to end with death of Prince of Wales -- Jephtha presented in 1752 -- XXI (1752-1759) -- Handel undergoes unsuccessful eye surgery -- No failure of creative imagination -- Additions to revised oratorios dictated -- First codicil to will, August 1756 -- The Triumph of Time and Truth (1756), last "new" work -- Morell's libretto -- The music -- Second and third codicils -- Handel supposedly operated on by Taylor, summer of 1758 -- Last oratorio season ends, April 6, 1759 -- Final codicil -- Handel dies on April 14, 1759, and is buried in Westminster Abbey -- XXII -- Handel the man, his friends, his surroundings -- Handel the conductor, the entrepreneur, the businessman -- Relationship with English musicians -- Handel and women; the heroines in his works -- Handel and nature, his genre scenes -- Spirit of rural England -- Handel's English -- Handel's religion -- Impresario vs. creative artist -- Deism -- Handel's mutilation of his own scores -- Borrowings -- The moral issue -- "Invention" and "imagination" in the 18th century -- Handel's transplanting technique -- XIII -- Handel's style -- The operas -- Problem of opera in England -- Handel and the Italian tradition -- Changed style in last operas -- Ensemble and chorus -- Recitative, aria, arioso, scena -- His opera librettists -- Absence of buffa vein -- English oratorio a personal creation -- The oratorio librettists -- Survival of operatic elements in oratorio -- Handel's difficulties with post-denouement matters -- The happy ending -- Handel's role in the operatic reform ascribed to Gluck -- Inhibitions faced by modern musicians approaching Handelian style -- XXIV -- Handel's melody, harmony, rhythm, and metre -- The improvisatory element -- Counterpoint -- The fugue -- Choral counterpoint -- Other stylistic features -- The recitative -- Difficult change from Italian to English recitative -- The aria -- The da capo principle -- The concerted aria -- Stylized aria types -- Difference between oratorio and opera arias -- The ensemble -- Illustrative symbolism -- Hermeneutics and Affektenlehre -- Arguments for and against musical hermeneutics -- Handel's use of musical symbols -- Handel and French music -- XXV -- Handel's instrumental music -- Strong Italian influence -- Motivic unity -- Euphony as main condition -- German sources -- French and English elements -- Chamber music -- Orchestral works -- "Oboe" concertos, Opus 3 -- Mixture of old and new -- Twelve Grand Concertos, Opus 6 -- Other concertos and suites -- Organ concertos -- Harpsichord works -- XXVI -- Handel's orchestra -- The concerto grosso principle -- The basso continuo -- Baroque orchestral balance -- Harpsichord and organ -- Handel's chorus -- Quality of Handel's performances -- Modern performance practices -- Tempo and dynamics -- Continuity -- Ornamentation -- The restored scores -- The problem of length -- "Additional accompaniment" and arrangements -- The castrato parts -- Bowdlerized texts -- XXVII -- Handelian biography -- Chrysander and Serauky -- The English Handelians: Rockstro, Streatfeild, Flower -- Winton Dean -- Bach and Handel, the inevitable comparison -- Handel and English music -- Who "crushed" music in England? -- Handel and Purcell -- Failure to establish English opera -- Handel's contemporaries in England -- Epilogue -- Bibliographical note -- Index of Handel's works discussed in this book -- General index. |
| Summary |
A multi-volume authoritative reference source for information about the life and career of George Frideric Handel. |
| Subject |
Handel, George Frideric, 1685-1759.
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Handel, George Frideric, 1685-1759.
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Handel, George Frideric, 1685-1759. (OCoLC)fst00045463
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Handel, George Frideric, 1685-1759.
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Composers -- Biography.
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Composers. (OCoLC)fst00871620
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Composers -- Germany -- 18th century -- Biography.
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Composers -- Great Britain -- 18th century -- Biography.
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| Indexed Term |
Composers Biography |
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Handel, George Frideric |
| Genre/Form |
Biography. (DNLM)D019215
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Biographies. (OCoLC)fst01919896
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Biographies.
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| ISBN |
0393021319 |
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9780393021318 |
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