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Baroque composer George Frideric Handel easily ranks among the world's greatest composers. The first edition of this research guide on Handel appeared in 1988; since that time a great deal of scholarly work has been published on Handel and related areas, including the discovery of a hitherto unknown work. New general resources such as the New Grove Dictionary of Opera (1992), electronic resources such as the RISM libretto catalogue online, and the study of Handel's continuing popularity as evidenced by the new Handel House Museum in London and Handel practice around the world (e.g., Messiah and millennium celebrations in Tonga, singalong Messiahs etc.) are incorporated into this revised edition of the Handel guide.
Handel is recognised as one of the principal creative figures in Baroque music. In this Companion acknowledged experts on Handel make their expertise accessible to the interested general reader and music lover. All the genres in which Handel composed are considered including oratorio, chamber cantata, opera, and church music, as well as works for the keyboard and orchestra. The wide-ranging, specially-commissioned essays cover topics from Handel's composing methods to his treatment of the Italian language and matters of performance practice. The background to Handel's musical career is a major theme of the volume. The opening chapters deal with his musical education in Germany and the circumstances in Italy during his time there. Most of Handel's career was based in London and important topics here include contemporary concert life and theatre management, the British and Italian musicians among whom he worked, and the librettists for the English oratorios.
Explores the intersection of the world of opera, literature and partisan politics to show how Italian opera was put to use in the 'culture wars' of the day. This last of a trilogy of books on opera and politics in Britain examines the cultural politics of opera during the ministerial reign of Sir Robert Walpole from 1720 to 1742. The book explores the intersection of the world of opera, literature, and partisan politics to show how Italian opera - with its associations with the court, ministry and Britain's social-political elite - was put to use in the 'culture wars' of the day: how Italian opera was used for partisan political advantage; how political work could be accomplished by means of opera. It shows that attacks on opera had ulterior targets. The book surveys a range of often overlooked verse and prints to show how critique or satire of opera were a means for oppositional writers to delegitimize the Walpole ministry. Polemicists framed opera as a consequence of the corruption, luxury and False Taste generated by Walpole's ministry. It closes in the watershed year 1742: Handel had produced the last of his Italian operas the previous year, Walpole fell from power, and Alexander Pope published the last book of his Dunciad project.
This study of Handel's English church music covers well-known works such as 'Zadok the Priest', but also introduces his Chapel Royal music, the result of a close but changing relationship with Britain's Hanoverian royal family. The story of the political background is complemented by an investigation of the circumstances of Handel's performances.
James Harris (1709-80) was an author of philosophical treatises and an enthusiastic amateur musician who directed the concerts and music festivals at Salisbury for nearly fifty years. His family and social circle had close connections with London's music-making: his brother was a witness toHandel's will, and his correspondents sent him lively reports on all aspects of musical life in the capital-opera, oratorio, concerts, but also about the leading performers, music copyists, and instrument makers. In 1761 Harris became a member of Parliament and thereafter divided his time betweenLondon and Salisbury. His letters and diaries provide an unrivalled record of concert- and theatre-going in London, including exchanges of letters with David Garrick about a production at Drury Lane. As his children grew up an engaging family correspondence emerged. We learn of his daughters'involvement in concerts and amateur theatrical productions; his son, who pursued a diplomatic career, reported on operas, concerts, and plays in the court of Frederick the Great and Catherine the Great. Now, for the first time, it is possible to enjoy in full the lively first-hand descriptions fromHarris's family papers, which contribute fascinating insights into contemporary eighteenth-century musical and theatrical life.
Opera in the first half of the eighteenth century saw the rise of the memorable composer and the memorable work. Recent research on this period has been especially fruitful, showing renewed interest in how opera operated within its local cultures, what audience members felt was at stake in opera performances, who the people-composers and performers-were who made opera possible. The essays for this volume capture the principal themes of current research: the "idea" of opera, opera criticism, the people of opera, and the emerging technologies of opera.
Will appeal to all music, literature, and art lovers seeking to deepen their knowledge of an increasingly popular repertoire.
Mary Delany was seventy-two years old when she noticed a petal drop from a geranium. In a flash of inspiration, she picked up her scissors and cut out a paper replica of the petal, inventing the art of collage. It was the summer of 1772, in England. During the next ten years she completed nearly a thousand cut-paper botanicals (which she called mosaicks) so accurate that botanists still refer to them. Poet-biographer Molly Peacock uses close-ups of these brilliant collages in The Paper Garden to track the extraordinary life of Delany, friend of Swift, Handel, Hogarth, and even Queen Charlotte and King George III. How did this remarkable role model for late blooming manage it? After a disastrous teenage marriage to a drunken sixty-one-year-old squire, she took control of her own life, pursuing creative projects, spurning suitors, and gaining friends. At forty-three, she married Jonathan Swift's friend Dr. Patrick Delany, and lived in Ireland in a true expression of midlife love. But after twenty-five years and a terrible lawsuit, her husband died. Sent into a netherland of mourning, Mrs. Delany was rescued by her friend, the fabulously wealthy Duchess of Portland. The Duchess introduced Delany to the botanical adventurers of the day and a bonanza of exotic plants from Captain Cook's voyage, which became the inspiration for her art. Peacock herself first saw Mrs. Delany's work more than twenty years before she wrote The Paper Garden, but "like a book you know is too old for you," she put the thought of the old woman away. She went on to marry and cherish the happiness of her own midlife, in a parallel to Mrs. Delany, and by chance rediscovered the mosaicks decades later. This encounter confronted the poet with her own aging and gave her-and her readers-a blueprint for late-life flexibility, creativity, and change.