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Hallische Händel-Ausgabe: Oratorien und grossen Kantaten. Bd. 1. Das Alexander-Fest ; Bd. 2. Passion nach dem Evangelisten Johannes ; Bd. 3. La resurrezione ; Bd. 4[pt].1. La bellezza ravveduta nel trionfo del Tempo e del Disinganno ; Bd. 4[pt].2. Il trionfo del Tempo e della Verità ; Bd. 5. Aci, Galatea e Polifemo ; Bd. 6 Ode for the birthday of Queen Anne ; Bd. 7. Passion nach Barthold Heinrich Brockes ; Bd. 9. pt. 1. Acis and Galatea (1. Fassung) HWV 49a ; Bd. 9. pt. 2. Acis and Galatea (2. Fassung) HWV 49b ; Bd. 12. Athalia HWV 52, Teilbd. 1, Fassung der Uraufführung 1733, Teilbd. 2, Anhang I-III und Kritischer Bericht ; Bd. 13. Saul ; Bd. 14. Israel in Egypt ; Bd. 15. Song for St Cecilia's Day HWV 76 ; Bd. 16. L'allegro, il penseroso ed il moderato ; Bd. 17. The Messiah ; Bd. 18. Samson HWV 57, Teilbd. 1, Partitur von 1743, Teilbd. 2, Anhänge und Kritischer Bericht ; Bd. 19. Semele HWV 58, Teilbd. 1, Fassung der Uraufführung Februar 1744. Teilbd. 2, Anhang I-II und Kritischer Bericht ; Bd. 23. Occasional oratorio ; Bd. 27. Solomon ; Bd. 28. Susanna ; Bd. 29. Theodora ; Bd. 30. Jephtha ; Bd. 31. The choice of Hercules

George Frideric Handel

Published: 1979

Total Pages: 110


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Jonathan Keates original biography of Handel was hailed as a masterpiece on its publication in 1985. This fully revised and updated new edition - published to commemorate the 250th anniversary of the composers death - charts in detail Handel's life, from his youth in Germany, through his brilliantly successful Italian sojourn, to the opulence and squalor of Georgian London where he made his permanent home. For over two decades Handel was absorbed in London's heady but precarious operatic world. But even his phenomenal energy and determination could not overcome the public's growing indifference to Italian opera in the 1730s, and he turned finally to oratorio, a genre which he made peculiarly his own and in which he created some of his finest works, such as Saul, Messiah, Belshazzar and Jephtha. Over the last two decades a complete revolution in Handel's status has taken place. He is now seen both as a titanic figure in music, whose compositions have found a permanent place in the international repertoire, and as one of the world's favourite composers, with snatches of his work accompanying weddings, funerals and television commercials the world over. Skillfully interwoven with the account of Handel's life are commentaries on all his major works, as well as many less familiar pieces by this most inventive, expressive and captivating of composers. Handel was an extraordinary genius whose career abounded in reversals that would have crushed anyone with less resilience and will power, and Jonathan Keates writes about his life and work with sympathy and scrutiny.
An international collaboration between leading scholars showcases a broad spectrum of observations on Handel and his music, covering many aspects of modern interdisciplinary and traditional philological musicology.
This study of the Bach Choir provides a much-needed overview of one of the major choral societies in London. Dr Basil Keen examines the background that led to the formation of an ad hoc body to give the first performance in England of J.S. Bach's B minor Mass. The musical and organizational effects of a permanent choral society drawn from one social group are traced during the first twenty years, after such time the pressures of social change led to a complete review followed by a restructuring of the methods of recruitment and internal organization. The rebuilding of the choir at the opening of the twentieth century, the expansion of the repertoire, the upheaval resulting from the First World War and the impact of these events on preparation and performance, are all considered. The book is essentially structured around the tenure of successive Musical Directors: Otto Goldschmidt, Charles Villiers Stanford, Walford Davies, Hugh Allen, Ralph Vaughan Williams, Adrian Boult, Reginald Jacques and David Willcocks, since their varied tastes and interests inevitably had a decisive influence on policy. Keen draws upon previously unpublished material, including minutes and correspondence of the Bach Choir, interviews with relatives and descendants, and examination of family records and correspondence. To date, there has been no survey of a major London choir that encompasses the full history of the organization in context. In this study, Dr Basil Keen provides a thorough examination of the Bach Choir, including the response of the choir to social changes; the influence of conductors and officials; changes in musical taste; relationships with composers and composition; major national and international events; and the effect of these matters on organization and repertoire.
Joseph Addison: Tercentenary Essays is a collection of fifteen essays by a team of internationally recognized experts specially commissioned to commemorate the three hundredth anniversary of Addison's death in 2019. Almost exclusively known now as the inventor and main author of The Spectator, probably the most widely read and imitated prose work of the eighteenth century, Addison also produced important and influential work across a broad gamut of other literary modes—poems, verse translations, literary criticism, periodical journalism, drama, opera, travel writing. Much of this work is little known nowadays even in specialist academic circles; Addison is often described as the most neglected of the eighteenth century's major writers. This volume is the first collection to address the full range and variety of Addison's career and writings. Its fifteen chapters fall into three groupings: the first set study Addison's work in modes other than the literary periodical (poetry, translation, travel writing, drama); the second set address The Spectator from a variety of disciplinary perspectives (literary-critical, sociological and political, bibliographical); and the final set explore Addison's reception within several cultural spheres (philosophy, horticulture, art history), by individual writers or across larger historical periods (the Romantic age, the Victorian age), and in Britain and Europe, especially France. The volume provides an overdue and appropriately diverse memorial to one of the dominant men of letters of the Georgian era.
Provides basic information on the harpsichord, best-known instrument of baroque music, including physical properties, kinds of harpsichords available, instruction on tuning and common maintenance problems, explanations of technique and fingering, tempo, registration, ensemble playing, and special notational problems.
History of the Oratorio: Vol. 2: the Oratorio in the Baroque Era: Protestant Germany and England