The Cambridge Companion to Handel

doi:10.1017/CCOL9780521454254

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Adams, Aileen K and Hofestädt, B 2005. Georg Händel (1622–97): The Barber-Surgeon Father of George Frideric Handel (1685–1759). Journal of Medical Biography, Vol. 13, Issue. 3, p. 142.

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2008. Handel and Maurice Greene's Circle at the Apollo Academy. p. 1.

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Richard, Joël 2008. Les oratorios bibliques de Haendel ou « ll faut l’entendre pour le croire ». Revue LISA / LISA e-journal, p. 79.

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Duerden, Rachel 2010. The Mis-shapen Pearl: Morris, Handel, Milton, andL'Allegro, il Penseroso ed il Moderato. Dance Research, Vol. 28, Issue. 2, p. 200.

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Hannabuss, Stuart 2010. The Cambridge Handel Encyclopedia. Reference Reviews, Vol. 24, Issue. 7, p. 46.

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Bruce, Robert J. and Johnstone, H. Diack 2010. A Catalogue of the Truly Valuable and Curious Library of Music Late in the Possession of Dr. William Boyce (1779): Transcription and Commentary. Royal Musical Association Research Chronicle, Vol. 43, Issue. , p. 111.

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2017. The Cambridge Companion to the Musical.

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Rawson, Robert G. 2019. Music and the Benefit Performance in Eighteenth-Century Britain. p. 60.

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Gardner, Matthew and DeSimone, Alison 2019. Music and the Benefit Performance in Eighteenth-Century Britain.

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Berry, Mark and Vazsonyi, Nicholas 2020. The Cambridge Companion to Wagner's Der Ring des Nibelungen.

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2021. Giuseppe Maria Crespi e il Gran Principe Ferdinando de' Medici. Vol. 79, Issue. ,

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Lautenschläger, Philine 2022. Göttinger Händel-Beiträge, Band 23. p. 47.

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Edited by Donald Burrows, The Open University, Milton Keynes

Publisher:: Cambridge University Press
Online publication date:: September 2011
Print publication year:: 1997
Online ISBN:: 9781139002141
DOI:: https://doi.org/10.1017/CCOL9780521454254

Subjects:: Seventeenth-Century Music, Music, Music: General Interest
Collection:: The Cambridge Companions to Music
Series:: Cambridge Companions to Music

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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.

‘… condenses the current state of knowledge on various topics and the fruits of very recent research, some of it original and some of it now made available for the first time in English.’

Source: The Handel Institute Newsletter

‘… both scholarly yet eminently readable and, as such, it s a book that will undoubtedly have wide appeal to both musical scholars and the ordinary music lover … it places its subject firmly in historical context and gives us many (otherwise all too rare) glimpses into the mind of one of the truly great composers’.

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The Cambridge Companion to Handel

This Book has been cited by the following publications. This list is generated based on data provided by Crossref.

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Contents

Frontmatter
pp i-xvi

Introduction
pp 1-8

Part I - Background

1 - Germany – education and apprenticeship
pp 9-23

2 - Italy – political andmusical contexts
pp 24-44

3 - Handel's London – political, social and intellectual contexts
pp 45-54

4 - Handel's London – the theatres
pp 55-63

5 - Handel's London – British musicians and London concert life
pp 64-77

6 - Handel's London – Italian musicians and librettists
pp 78-91

7 - Handel's English librettists
pp 92-108

Part II - The music

8 - Handel and the aria
pp 109-121

9 - Handel's compositional process
pp 122-144

10 - Handel and the idea of an oratorio
pp 145-163

11 - Handel's sacred music
pp 164-181

12 - Handel's chamber music
pp 182-192

13 - Handel as a concerto composer
pp 193-207

14 - Handel and the keyboard
pp 208-224

Part III - The music in performance

15 - Handel and the Italian language
pp 225-237

16 - Handel and the orchestra
pp 238-248

17 - Production style in Handel's operas
pp 249-261

18 - Handel's oratorio performances
pp 262-281

Bibliographical note
pp 282-285

Notes
pp 286-330

List of Handel's works
pp 331-337

Index
pp 338-349

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The Cambridge Companion to Handel

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