Handel, Tercentenary CollectionStanley Sadie, Anthony Hicks |
Contents
Scholarship and the Handel Revival 193585 | 1 |
Sources Resources and Handel Studies | 19 |
Handel and his Central German Background | 43 |
the Judgment | 61 |
Why did Handel Borrow? 833 | 83 |
The Staging of Handels Operas in London | 93 |
English Traditions in Handels Rinaldo | 120 |
The Royal Academy of Music 171928 and its Directors | 138 |
New Sources for the Libretto of Handels Joseph | 182 |
Handel Pepusch | 209 |
Steffanis Influence on Handels Chamber Duets | 222 |
Some New Sources | 246 |
A Historical Review | 254 |
What We Know | 271 |
Interpreting Handels Rhythmic Notation | 279 |
| 291 | |
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Common terms and phrases
Agostino Steffani Alessandro anthem appeared aria Asenath AZANET Bach Baroque Benjamin Bononcini British Brydges Brydges's Cannons cantatas catalogue century Chamber Duets Chandos chorus Chrysander Chrysander's collection composer composition concerto grosso continuo copies copyists dated Deutsch Devoto directors dramatic Duke Earl early edition eighteenth-century England English example Filippo Juvarra fugue G. F. Handel GB-Lbm George George Frideric Handel German GIUSEPPE Halle Hamburg Handel London Handel scholarship Handel's borrowings Handel's music Handelian Hanover harpsichord Haym imitation Italian opera Johann Johann Mattheson John John Vanbrugh Joseph keyboard later Leipzig letter libretto Lord manuscript Mattheson Middlesex Miller movement musicians oratorios orchestra organ concertos original Otto Erich Deutsch overture pasticcios Pepusch performance Phanor plagiarism Plate printed produced published RAMSE Reinhard Strohm Rinaldo Rolli Scarlatti scene scores season Senesino SIMEON Sinfonia singers solo soprano sources stage Steffani style Theatre violin volume Walsh watermark Winton Dean Zachow Zeno