George Frideric Handel (Dover Books on Music)

個数:
  • ポイントキャンペーン

George Frideric Handel (Dover Books on Music)

  • ウェブストア価格 ¥2,189(本体¥2,027)
  • Dover Pubns(1996/08発売)
  • 外貨定価 US$ 19.95
  • ウェブストア夏のポイント5倍キャンペーン
  • ポイント 100pt
  • 提携先の海外書籍取次会社に在庫がございます。通常2週間で発送いたします。
    重要ご説明事項
    1. 納期遅延や、ご入手不能となる場合が若干ございます。
    2. 複数冊ご注文の場合、分割発送となる場合がございます。
    3. 美品のご指定は承りかねます。
  • ≪洋書のご注文につきまして≫ 「海外取次在庫あり」および「国内仕入れ先からお取り寄せいたします」表示の商品でも、納期の目安期間内にお届けできないことがございます。あらかじめご了承ください。

  • 製本 Paperback:紙装版/ペーパーバック版
  • 言語 ENG,ENG
  • 商品コード 9780486292274
  • DDC分類 B

Table of Contents

Foreword                                           xvii
Introduction 3 (6)
I (1685-1703) 9 (19)
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) 28 (18)
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-) 46 (30)
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) 76 (31)
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) 107 (19)
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) 126 (21)
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 147 (27)
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) 174 (25)
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 199 (35)
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 Barque
The cantor's art
The Church of England
Its secular spirit in Handel's 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) 234 (24)
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-fledged 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 258 (37)
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) 295 (37)
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) 332 (25)
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 357 (37)
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
XV (1742-1744) 394 (27)
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) 421 (18)
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) 439 (24)
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) 463 (23)
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) 486 (21)
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) 507 (20)
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) 527 (9)
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 536 (34)
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 multilation of his own scores
Borrowings
The moral issue
``Invention'' and ``imagination'' in the
18th century
Handel's transplanting technique
XXIII 570 (21)
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 591 (48)
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
Differences 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 639 (22)
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 661 (18)
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 679 (28)
Handelian biography
Chrysander and Serauky
The English Handelians: Rockstro,
Streatfield, 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 707 (4)
Bibliographical Note 711 (4)
Index of Handel's Works Discussed in This Book 715 (3)
General Index 718