Handel: Messiah (Cambridge Music Handbooks)Cambridge University Press, 24 de juny 1991 - 127 pàgines This new guide to Handel's most celebrated work traces the course of Messiah from Handel's initial musical response to the libretto, through the oratorio's turbulent first years to its eventual popularity with the Foundling Hospital performances. Different chapters consider the varying reception the work received in Dublin and London, the uneasy relationship between the composer and his librettist Charles Jennens and the many changes Messiah underwent through the varying needs and capacities of Handel's performers. As well as tracing the history of the work's development, the book addresses musical and technical issues such as Messiah's place in the oratorio genre, Handel's treatment of structural design, tonal relationships and English word-setting. An edited libretto elucidates the variants between the text that Handel set and the texts of the early printed word-books. Donald Burrows brings many new insights to this fascinating account of one of the favourite works of the concert hall. |
Continguts
The historical background | 1 |
passion and oratorio | 2 |
Esther Handels first English oratorio | 4 |
from Esther to Messiah | 5 |
From composition to first performance | 8 |
The librettist | 9 |
The collaboration | 10 |
from London to Dublin | 12 |
Messiah in other hands | 47 |
The nineteenth century | 48 |
Additional accompaniments | 49 |
To the present day | 51 |
Design | 55 |
structure and content | 57 |
some general considerations | 60 |
Part Two scene I | 63 |
The Dublin performances | 15 |
The music and soloists in Handels Dublin performances | 22 |
The first London performances | 23 |
The music of Handels 1743 performances | 30 |
Revival and revision 17431759 | 32 |
The 1745 revival | 34 |
Covent Garden and the Foundling Hospital | 36 |
Handels last years | 39 |
aesthetic choice or practical necessity? | 40 |
The early revisions | 41 |
Handels later revisions and the 1750 version | 42 |
Versions for modern performances | 44 |
Individual movements | 68 |
Arias | 69 |
Choruses | 71 |
The orchestras contribution | 73 |
Handels wordsetting | 75 |
The libretto of Messiah | 83 |
Messiah sources | 103 |
Notes | 109 |
| 121 | |
| 123 | |
Frases i termes més freqüents
accompanied alterations alto audience Avolio bars bass basso continuo Behold Belshazzar Burrows capo aria charity Charles Jennens choirs choral chorus Christopher Hogwood Cibber CJ to EH composed composition autograph conducting score conventional copy Covent Garden D major da capo aria dal segno Deutsch didst not leave Dublin Dublin performances duet duet-and-chorus edition festival flat major Foundling Hospital G minor Gopsal Guadagni Handel seems Handel's autograph Handel's Messiah Handel's music Handel's oratorios Handel's performances Holdsworth included Isaiah Italian opera Jennens Jennens's letter librettist libretto London performances Lord manuscript Messiah performance movements Newburgh Hamilton non-jurors oratorio orchestra original part-books performances of Messiah Pifa probably recitative Rejoice greatly revisions revival ripieno ritornello Sacred Harmonic Society Samson scene scheme score of Messiah season sequence singers Smith solo soloists SONG soprano sound is gone sources subscription tenor theatre Thou art gone tonal unto variant vocal score voice
Referències a aquest llibre
Singing in Style: A Guide to Vocal Performance Practices Martha Elliott Previsualització limitada - 2006 |