Handel, Messiah

Messiah

By: Donald Burrows

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Paperback | 24 June 1991

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Paperback
140 Pages

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21.59 x 13.97 x 0.84

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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.

Industry Reviews

"Handel scholarship has come long way...notably in important articles on "Messiah" and its versions by Donald Burrows published in Music and Letters in 1975 and 1985. (The material has been pulled together admirably in Mr. Burrows's new Cambridge Music handbook on the oratorio.)" New York Times "...the music lover who would like to know more about Handel and Messiah will find succinct history of English oratorio, a genre that Handel himself invented under circumstances and for reasons that remain unclear to this day, and a concise survey of the evolution of the genre to 1741 (Ch. 1). ...presents for the first time in English a clear and detailed chronology of the composition and the events leading up to the first performance of Messiah on 13 April, 1742." Charles Michael Carroll, The Eighteenth Century

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Preface	p. vii
References to 'Messiah' editions	p. ix
The historical background	p. 1
Handel in Germany and Italy: passion and oratorio	p. 2
Esther, Handel's first English oratorio	p. 4
1732-1741: from Esther to Messiah	p. 5
From composition to first performance	p. 8
The librettist	p. 9
The collaboration	p. 10
August-November 1741: from London to Dublin	p. 12
The Dublin performances	p. 15
The music and soloists in Handel's Dublin performances	p. 22
The first London performances	p. 23
The music of Handel's 1743 performances	p. 30
Revival and revision, 1743-1759	p. 32
The 1745 revival	p. 34
1749-1753: Covent Garden and the Foundling Hospital	p. 36
1754-1759: Handel's last years	p. 39
Handel's revisions: aesthetic choice or practical necessity?	p. 40
The early revisions	p. 41
Handel's later revisions and the 1750 version	p. 42
Versions for modern performances	p. 44
Messiah in other hands	p. 47
The nineteenth century	p. 48
Additional accompaniments	p. 49
To the present day	p. 51
Design	p. 55
Messiah within the oratorio genre	p. 55
The libretto: structure and content	p. 57
Musical forms in Messiah: some general considerations	p. 60
Part Two 'scene' I	p. 63
Individual movements	p. 68
Recitatives	p. 68
Arias	p. 69
Choruses	p. 71
The orchestra's contribution	p. 73
Handel's word-setting	p. 75
The libretto of Messiah	p. 83
Messiah sources	p. 103
Notes	p. 109
Bibliography	p. 121
Index	p. 123
Table of Contents provided by Syndetics. All Rights Reserved.

Handel, Messiah

Messiah

At a Glance

Paperback

Industry Reviews

Shipping

How to return your order

Defective items

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