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90.   
Duke of Chandos
C.H. & M Baker:
Life and Circumstances of James Brydges, First Duke of Chandos
, Joan Johnson:
Excellent Cassandra
91   
Cannons anthems
Burrows:
Chapel Royal
op. cit. pp. 144–66
92   
‘As pants the hart'
ibid pp. 56–74, 148–154, 187–216
95   
Il Totila
Vitige's ‘Del mio amor' is the possible source. See Garland Series reprint, New York, 1978
96   
Esther
see Howard E. Smither:
A History of the Oratorio
vol. 2 p. 189
5 A Nest of Nightingales
99   
Royal Academy of Music
Elizabeth Gibson:
The Royal Academy of Music
, J.Merrill Knapp: ‘Handel, the Royal Academy of Music and its first opera season in London',
Musical Quarterly
(April, 1959) Judith Milhous & Robert D.Hume: ‘New Light on Handel and the Royal Academy of Music', ‘The Charter for the Royal Academy of Music'.
101  
Handel to Michaelsen
Deutsch p. 84–86
Handel to Mattheson
ibid pp. 86–89
102   
Zambeccari on Senesino
Angus Heriot:
The Castrati in Opera
p. 91
Handel's Dresden visit
Johannes Gress: ‘Handel in Dresden'
103   
Flemming's letter
Deutsch pp. 95–96
104   
Rolli and Haym
George E. Dorris:
Paolo Rolli and the Italian Circle in London
. No complete modern edition exists of Rolli's poetical works. On Haym see Lowell Lindgren: ‘The Accomplishments of the Learned and Ingenious Nicola Francesco Haym'.
106   
Rolli on libretto writing
Marziale in Albion, Florence, 1776, epigram XLVII
109   
The secret . . . is to present
Stefano Arteaga:
Le Rivoluzioni del Teatro Musicale Italiano
, second edn., Venice, 1785, vol. 1 p. 184
111   
In so splendid and fashionable
Mainwaring p. 98
Burney on ‘Ombra Cara'
General History of Music
op. cit. p. 702
112.  
Re-written ‘Radamisto'
See Winton Dean & J. Merrill Knapp:
Handel's Operas 1704
–
1726
pp. 341–4 for full account of this version.
Riva to Steffani
Colin Timms: ‘Music and Musicians in the Letters of Giuseppe Riva to Agostino Steffani',
M & L
79, 1998
114   
In two words
ibid p. 30
118.  
Some things have happened
Dean & Knapp:
Handel's Operas 1704
–
1726
p.389
119   
Gaetano Berenstadt
Lowell Lindgren: ‘La carriera di Gaetano Berenstadt'
120   
Burney on Cuzzoni
Burney op. cit. pp. 736, 745
121   
Seigniora Cutzoni
Deutsch p.139
122   
A nest of nightingales
Burney op. cit. p. 721
Disturbance from that part of the house
Deutsch p. 148
As for the reigning Amusement
ibid. p. 149
123   
The passages in this
Burney op. cit. p. 722
‘Ottone'
For a different view of the opera see Dean & Knapp op. cit chapter 20
124   
Robinson to Riva
quoted in Giuseppe Bertoni: ‘Giuseppe Riva e l'Opera italiana a Londra'
125   
Attilio Ariosti
Lowell Lindgren: ‘Ariosti's London Years'
126   
Vanbrugh to Tonson
see Sir John Vanbrugh:
Complete Works
vol.4, London, 1928
128   
Handel's house
Inventory in Deutsch p. 829
129   
I have been obliged
Deutsch pp. 117–8
6 Discords in the State
134   
But let old charmers
Full text in Alexander Pope:
Minor Poems
ed. Alt & Butt, London, Methuen, 1954
136   
A Session of Musicians
Full text in Deutsch pp. 163–70
140   
You know my ear
Deutsch pp. 174–5
141   
And to render the Work
ibid p.175
143   
Mrs Sandoni
ibid p. 185
As we delight
ibid p. 151
144   
Quantz on Faustina
Burney op. cit. p. 745
145   
Elpidia
Reinhard Strohm: ‘Handels Pasticci'
149   
so far forgot himself
Horace Walpole quoted in Dean:
Handel's Operas
1726
–
174
1 p. 24
150   
While Senesino
Deutsch p. 198
153   
Handel's naturalization
ibid pp. 202–3, Burrows:
Chapel Royal
op. cit. pp. 253–4
154   
At
Leicester Fields
Deutsch p. 206
She was in such concern
ibid. p. 207
155   
On Tuesday night
ibid. p. 210
156   
The Contre-Temps
partially quoted in Deutsch p. 212
157   
Coronation of King George II
Burrows:
Chapel Royal
op. cit. pp. 255–281
161   
I doubt operas will not survive
Deutsch p. 218
164   
Every family has its Medarse
G.U. Pagani Cesa:
Discorso sopra il Siroe
Nice, 1785
166   
Fougeroux
‘A French Traveller's View of Handel's Operas'
7 Airs of a Modern Cast
169   
So smooth and free from wrinkles
Burney op.cit. p. 765
170   
We agreed to prosecute
Deutsch p. 234
171   
Handel and Farinelli
Colonel E. Burges, English Resident in Venice, to the Duke of Newcastle, 9/20 January 1730, quoted in Elizabeth Gibson: Royal Academy of Music pp. 282–283
Rolli to Senesino
Deutsch pp. 236–238
172   
Zambeccari
Heriot op. cit. pp. 89–90
173   
Taken in the lump
Gibson: Royal Academy op. cit. p. 284
174   
We hear the Operas
Deutsch p. 247
The opera really is
ibid. p. 249
176   
Strada vs. Merighi
ibid. p. 248
177   
Swiney on ‘Partenope'
Swiney to Richmond, 13 August, 1726, in Gibson: Royal Academy op. cit. pp. 369–70
178   
Operas are dying
ibid. p. 254
180   
Death of Handel's mother
ibid. p. 263
186   
‘Esther' revival
Burrows:
Chapel Royal
op. cit. pp. 288–299
188   
1732 ‘Acis and Galatea'
Deutsch p. 293
189   
Ein gar besonders mischmasch
phrase is from Fr.W. Marpurg:
Historisch-Kritsche Beyträge zur Aufnahmen der Musik LV,
Berlin, 1754
190   
I am just come
ibid p. 296
No more shall Italy
ibid. p. 297
192   
‘Orlando' libretto
Dean:
Handel's Operas 1726
–
1741
p. 234
194   
I never in my life
ibid. p. 252
Heidegger management
Judith Milhous & Robert D. Hume: ‘Handel's Opera Finances in 1732–3'
8 Music, Ladies and Learning
195   
Chapter title
taken from letter of recommendation by the Duke of Chandos to a nephew at Oxford – ‘Music, ladies and learning are each entertainments which cannot fail to gratify the passions of one who has so good a taste.' Deutsch p. 318
196   
Delawarr to Richmond
ibid. p. 303
198   
‘Craftsman' letter
ibid. pp. 310–12
199   
‘tis excessive noisy'
ibid. pp. 309–10
200   
Nicola Porpora
see Michael F. Robinson: ‘Porpora's Operas for London',
Soundings
2, 1971–2
201   
Almost all our Houses
The Oxford Act AD 1733
, London, 1734
202   
Thomas Hearne
Deutsch pp. 319–20
Musica sacra Dramatica
ibid. pp. 320–21
206   
Le Pour et le Contre
ibid. pp. 333–34
Ballad opera
The Oxford Act
,
a new ballad opera
, London, 1733
207   
It's not just a story
Deutsch p. 341
I am just come home
ibid. p. 336
209   
The King and Queen
ibid. p. 380
210   
Amongst other publick Diversions
ibid. p. 359
211   
Mrs Pendarves's party
ibid. p. 363
212   
Handel's 1720 copyright privilege
ibid. p. 105
214   
Marie Sallé
Emile Dacier:
Marie Salle 1707–1756, d'apres des documents
inedits,
Paris, 1909
217   
Mrs Pendarves on ‘Alcina'
Deutsch p. 385
9 The Fate of Harmony
220   
A man of the vastest genius
Deutsch p.277
Or she improves
ibid. pp. 388–89
221   
Yawning four hours
ibid. pp. 395–96
224   
Newburgh Hamilton's preface
ibid. p. 399 See also Ruth Loewenthal
[later Ruth Smith] ‘Newburgh Hamilton'
MT
November 1971
‘Alexander's Feast' concerto
see article by Basil Lam in Gerald Abraham:
Handel, A Symposium
225   
London Daily Post
Deutsch pp. 399–400
226   
Over the altar
ibid. p. 405
The Fore-part of the Scene
ibid. p. 407
227   
Handel never till now
Burney op. cit. p. 802
228   
Gray to Walpole
Deutsch p. 410
229   
The two opera houses
ibid. pp. 408–409
230   
Strada that sings better
ibid. p. 418
231   
Portmanteau lines
e.g. Bertarido's Act III invocation in
Rodelinda
to ‘Sposa, figlio, sorella, amici'.
232   
Music is certainly a pleasure
Deutsch p. 428
James Harris to Shaftesbury
ibid. p. 433
236.  
Great fatigue and disappointment
ibid. pp. 846–47
When ye Fate of Harmony
ibid. p. 433
237   
Handel's illnesses
On this topic in general, see Stefan Evers: ‘Zur Pathographie Handels', William A. Frosch: ‘Handel's Illness of 1737', David Hunter: ‘Miraculous Recovery ? Handel's Illnesses, the Narrative Tradition of Heroic Strength and the Oratorio Turn', Milo Keynes: ‘Handel and his Illnesses'.
Baths of Aachen
see Carl Ludwig von Poellnitz:
The Amusements of Aix-la-Chapelle
, 2 vols. London, 1748
239   
Queen Caroline's funeral
Full account in
The ceremonial Proceeding to a Private Interrment of Her Late Most Excellent Majesty Queen Caroline
, London, 1737. The British Library's copy attaches the relevant elegies.
240   
From the warlike Thames
Rolli's ode to Teodoli is included in
Marziale in Albion
op. cit.
The Solemnity of the Queen's Funeral
Deutsch p. 443
242   
German chorales in the Funeral Anthem
see John H. Roberts: ‘German Chorales in Handel's English works'
242   
Ye body is to be remov'd
Richard G. King: ‘Handel's Travels in the Netherlands'
10 All for War and Admiral Haddock
244   
Better suited . . . to the circumstances
Hawkins op. cit. p. 888
245   
Every body seemed to like Pharamond
Loewenthal, ‘Newburgh Hamilton' op. cit.
247   
Gasparini's ‘Faramondo'
see Reinhard Strohm: ‘Francesco Gasparini, Le sue Opere Tarde e Georg Friedrich Handel' in
Quaderni della Rivista Italiana di Musicologia 6
, Florence, 1981.
249   
Lady Luxborough to Shenstone
noted in J.A. Fuller-Maitland & A.H. Mann:
Catalogue to the Music in the Fitzwilliam Museum,
Cambridge, London, 1893
Heidegger to subscribers
Deutsch pp. 460–61
251   
Handel's statue at Vauxhall
Terence Hodgkinson: ‘Handel at Vauxhall', Margaret Whinney: ‘Handel and Roubiliac',
MT
February, 1961, Suzanne Aspden: ‘“Fam'd Handel Breathing tho' Transformed to Stone”: the Composer as Monument'. For various commendatory verses see Deutsch p. 462
253   
Hawkins on Handel as organist
Hawkins op. cit. p. 912
254   
Charles Jennens
the significant re-appraisal is by Ruth Smith: ‘The Achievements of Charles Jennens'
Steevens on Jennens
quoted in John Nichols:
Literary Anecdotes of the
18
th Century
255   
Political undertones in ‘Saul'
see Ruth Smith:
Handel's Oratorios and Eighteenth-Century Thought
for an extended analysis of the political and cultural background to this and Handel's other English oratorios
258   
An organ of £500 price
Deutsch pp. 465–66
259   
RW's letter
ibid. pp. 481–83
262   
Handel's borrowings
Major studies of Handel's borrowings are those by John H. Roberts and Reinhard Strohm. For a general view of this important feature of Handel's compositional practice, see Roberts's ‘Why Did Handel Borrow?' and George J. Buelow: ‘The Case for Handel's Borrowings', both in Sadie & Hicks:
Handel Tercentenary Collection

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