Handel
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| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
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Ashgate
2011
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| Schriftenreihe: | The baroque composers
[5] |
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| 245 | 1 | 0 | |a Handel |c ed. by David Vickers |
| 264 | 1 | |a Farnham [u.a.] |b Ashgate |c 2011 | |
| 300 | |a XXXII, 594 S. |b Ill., Notenbeisp. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 1 | |a The baroque composers |v [5] | |
| 500 | |a Bandzählung der Verlagshomepage entnommen | ||
| 600 | 1 | 4 | |a Handel, George Frideric / 1685-1759 / Criticism and interpretation |
| 600 | 1 | 7 | |a Händel, Georg Friedrich |d 1685-1759 |0 (DE-588)118544489 |2 gnd |9 rswk-swf |
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Datensatz im Suchindex
| _version_ | 1819765837209272320 |
|---|---|
| adam_text | Contents
Acknowledgements
¡χ
Series Preface
хШ
Introduction
χν
PARTI BIOGRAPHICAL ASPECTS
1
Charles Cudworth
(1972),
L Mythistorica
Handelianď,
in Nils
Schierring,
Henrik
Glahn and
Carsten
E.
Hatting
(eds), Festskrift
Jens Peter
harsen,
Copenhagen:
Wilhelm Hansen
Musik-Forlag,
pp.
16-66.
З
2
Ursula Kirkendale
(2007),
Organ Playing in the
Lateran
and Other Remembrances
on Handel: A Report in the Voiage
Historique
of
1737 ,
in Warren and Ursula
Kirkendale, Music and Meaning: Studies in Music History and the Neighbouring
Disciplines, Florence: Leo S. Olschki, pp.
351-60. 9
3
Thomas McGeary
(2006),
Handel and the Feuding Royals , Handel Institute
Newsletter,
17,
pp.
5-8. 21
4
Alison Meyric Hughes and Martin Royalton-Kisch
(1997),
Handel s Art Collection ,
Apollo,
146,
pp.
17-23. 25
5
Ellen T. Harris
(2008),
Joseph Goupy and George
Frideric
Handel: From
Professional Triumphs to Personal Estrangement ,
Huntington
Library Quarterly,
71,
pp.
397-452. 33
6
David Hunter
(2008),
Handel s 111 Health: Documents and Diagnoses , Royal Musical
Association Research Chronicle,
41,
pp.
69-92. 89
PART II HANDEL AND THE OPERA HOUSE
7
Mark W. Stahura
(1998),
Handel s Haymarket Theater , in Mark
A. Radice (ed.),
Opera in Context: Essays on Historical Staging from the Late Renaissance to the
Time of Puccini, Portland, OR:
Amadeus
Press, pp.
95-109. 115
8
Judith Milhous and Robert D. Hume
(1978),
Box Office Reports for Five Operas
Mounted by Handel in London,
1732-1734 ,
Harvard Library Bulletin,
26,
pp.
245-66. 135
9
Donald Burrows
(2004),
Handel s
1736
Performances of
Ariodanté
,
in
Patrizia
Radicchi
and Michael Burden
(eds), Florilegium
Musicae:
Studi in onore di
Carolyn
Gianturco,
Pisa: Edizioni
ETS,
pp.
429^6. 161
vi
Handel
PART HI CASE STUDIES OF HANDEL S COMPOSITIONS
10
Huub van
der
Linden
(2004),
Benedetto Pamphilj as Librettist: Mary Magdalene
and the Harmony of the Spheres in Handel s
//
trionfo
del Tempo
e del Disinganno ,
Recercare,
16,
pp.
133-61. 181
11
Ruth Smith
(2008),
Psychological Realism in
//
trionfo del
Tempo
e del Disinganno ,
Händel Jahrbuch, 54,
pp.
219-28. 211
12
Terence Best
(2006),
A Newly Discovered Water Music Source ,
Händel
Jahrbuch, 52,
pp.
225-34. 221
13
Graham Cummings
(2005),
Handel and the Confus d Shepherdess: A Case Study
of Stylistic Eclecticism , Early Music,
33,
pp.
575-89. 231
14
Anthony Hicks
(1987),
Handel, Jennens and Saul: Aspects of a Collaboration ,
in Nigel Fortune
(ed.),
Music and Theatre: Essays in Honour ofWinton Dean,
Cambridge: Cambridge University Press, pp.
203-27. 247
15
Donald Burrows
(2005),
From Milton to Handel: The Transformation of Milton s
L
Allegro and
//
Penseroso into a Musical Work for Concert Performance in the
London Theatres , in Claire Bardelmann and Pierre Degott
(eds),
Musique et
théâtralité dans les îles Britanniques, Metz: Centre d étude des textes et traductions,
Université Paul Verlaine, pp.
73-89. 273
16
Graydon Beeks
(2005),
Some Thoughts on
Musical
Organization in L
Allegro,
il Penseroso
ed
il Moderato ,
Händel
Jahrbuch, 51,
pp.
211-22. 291
PART
IV HANDEL S PERFORMERS
17
Elisabetta
Avanzati
(2006),
The unpublished Senesino , Handel and the
Castrati
[exhibition catalogue], London: Handel House Museum, pp.
5-9. 305
18
Melania Bucciarelli
(2008),
From Rinaldo to Orlando, or Senesino s Path to
Madness , in Damien Colas and
Alessandro di Profio
(eds),
D une scène à l autre.
L
opéra italien en Europe (Volume
1 :
Les pérégrinations d un genre), Liège: Mardaga,
pp.
135-55. 311
19
Suzana
Ograjenšek
(2008),
Francesca Cuzzoni
and Faustina
Bordoni:
The Rival
Queens? , Handel
and the Divas [exhibition catalogue], London: Handel House
Museum, pp.
3-7. 333
20
Sarah McCleave
(1995),
Marie
Sallé
as Muse: Handel s Music for Mime ,
The Consort,
51,
pp.
13-23. 343
21
Neil Jenkins
(2008),
John Beard: The Tenor Voice That Inspired Handel ,
Göttinger
Händel-Beiträge, 12,
Göttingen: Vandenhoeck
& Ruprecht,
pp.
197-216. 355
PART V LIBRETTISTS
22
Winton Dean
(1995),
Handel s Relations with the Librettists of his Operas ,
in Klaus Hortschansky and
Konstanze
Mušketa
(eds),
Georg Friedrich
Händel -
Ein Lebensinhalt: Gedenkschrift für Bernd Baselt (1934-1993), Kassel and Halle:
Bärenreiter/Händel-Haus Halle,
pp.
99-111. 3 77
Handel
vii
23 Ruth Smith (1989),
The Achievements of
Charles Jennens (1700-1773) ,
Music
&
Letters, 70,
pp.
161-90. 391
24 William D. Gudger (2000), George Frideric
Handel s
1749 Letter
to
Charles Jennens ,
in Jon
Newsom and Alfred
Mann
(eds),
Music History from Primary Sources: A Guide
to the Moldenhauer Archives, Washington D.C.: Library of Congress, pp.
228-38. 421
25
Ruth Smith
(2002),
Thomas
Moreli
and his Letter about Handel , Journal of the
Royal Musical Association,
127,
pp.
191-225. 433
PART VI HANDEL AND OTHER COMPOSERS
26
Hans Joachim Marx
(2009),
Handel s Years as an Apprentice to
Reinhard Keiser
at the
Gänsemarkt
Opera House
(1703-1705) ,
in Richard G. King
(ed.),
Handel
Studies:
A
Gedenkschrift
for Howard
Serwer, Hillsdale,
NY: Pendragon Press,
pp.
25^15. 471
27
Winton Dean
(1987),
Handel and
Alessandro
Scarlatti , in Nino Pirrotta and
Agostino
Ziino
(eds), Handel
e gli
Scarlatti
a Roma. Atti del convegno internazionale
di studi (Roma,
12-14
guigno
1985),
Florence:
Leo S.
Olschki, pp.
1-14. 493
28
John H.
Roberts
(2003),
Handel and the Shepherds of Ansbach , in D. Rosen and
C. Brook
(eds),
Words on Music: Essays in Honor of Andrew Porter on the Occasion
of his 75th Birthday, Hillsdale, NY: Pendragon Press, pp.
230-55. 507
29
Colin
Timms (2002),
What Did Handel Learn from Steffani s Operas? ,
Göttinger
Händel-Beiträge, 9,
pp.
55-72. 533
PART
VII
PERFORMING HANDEL
30
Donald Burrows
(2009),
Who Does What, When? On the Instrumentation of the
Basso
Continuo
and the Use of the Organ in Handel s English Oratorios , in Richard
G. King
(ed.),
Handel Studies:
A
Gedenkschrift
for Howard
Serwer,
Hillsdale, NY:
Pendragon Press, pp.
107-26. 553
31
Andrew V. Jones
(2006),
Staging a Handel Opera , Early Music,
34,
pp.
277-87. 573
Name Index
585
|
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| indexdate | 2024-12-24T00:12:01Z |
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| language | English |
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| spellingShingle | Handel The baroque composers Handel, George Frideric / 1685-1759 / Criticism and interpretation Händel, Georg Friedrich 1685-1759 (DE-588)118544489 gnd |
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| title | Handel |
| title_auth | Handel |
| title_exact_search | Handel |
| title_full | Handel ed. by David Vickers |
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| title_full_unstemmed | Handel ed. by David Vickers |
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