scholarly journals David Hunter, The Lives of George Frideric Handel

XVII-XVIII ◽  
2018 ◽  
Author(s):  
Pierre Degott
Keyword(s):  
George Frideric Handel

The Musical Discourse of Servitude

2020 ◽  
Author(s):  
Harry White
Keyword(s):  
Johann Sebastian Bach ◽  
George Frideric Handel ◽  
Cultural Significance ◽  
Imperial Court ◽  
Musical Works ◽  
Musical Discourse ◽  
Work Concept ◽  
Musical Genres ◽  
Church Service ◽  
Late Works

The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Baroque musical imagination which draws Fux, Bach, and Handel into the orbit of North Italian compositional practice. This typology depends on two primary concepts, both of which derive and dissent from Lydia Goehr’s formulation of the “work-concept” in The Imaginary Museum of Musical Works (1992), namely, the “authority concept” and a revised reading of the “work-concept” itself. Both concepts are engaged through the agency of two musical genres—the oratorio and the Mass ordinary—which Fux shared with Handel and Bach respectively. These genres functioned as conservative norms in Fux’s music (most of Fux’s working life was spent in writing for the church service), but they are very differently engaged by Bach and Handel. To establish a continuity between Fux, Bach and Handel, and between the servitude of common practice and the emerging autonomy of a work-based practice in the early eighteenth-century musical imagination are the principal objectives of this study.

Recordings (George Frideric Handel)

1985 ◽  
Vol 3 (3) ◽  
pp. 176-180
Author(s):  
David Hamilton
Keyword(s):  
George Frideric Handel

Partenope. George Frideric Handel

1984 ◽  
Vol 2 (1) ◽  
pp. 158-159
Author(s):  
Karin Pendle
Keyword(s):  
George Frideric Handel

George Frideric Handel: Giulio Cesare

2008 ◽  
Vol 24 (3-4) ◽  
pp. 313-324
Author(s):  
N. Link
Keyword(s):  
George Frideric Handel

Lessons in Madness

2019 ◽  
pp. 169-185
Author(s):  
Tim Carter
Keyword(s):  
Visual Arts ◽  
George Frideric Handel ◽  
Time And Space ◽  
Cultural Contexts ◽  
Orlando Furioso

Orlando Furioso had a life in the European imagination well beyond the poem itself, and ranging from the visual arts to the operatic stage. Over a hundred operas based on it were composed between 1619 and 1924, and they tell us a great deal not only about the reception of Orlando Furioso across time and space, but also as regards the contribution of a particularly ‘mad’ genre to issues that variously dominated particular political, social, and cultural contexts. The settings of Orlando, Ariodante, and Alcina by George Frideric Handel, composed for London in the early 1730s, provide good examples: they reveal the fashion in England for matters Turkish (seen also in the architecture of Vauxhall Gardens), as well as emerging notions of the nature of madness and of the ways in which it might be treated.

Floridante. George Frideric Handel

1994 ◽  
Vol 10 (3) ◽  
pp. 185-187
Author(s):  
Mark A. Radice
Keyword(s):  
George Frideric Handel

Books (George Frideric Handel)

1985 ◽  
Vol 3 (3) ◽  
pp. 126-131
Author(s):  
George Martin
Keyword(s):  
George Frideric Handel
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