with instruments (52 a, b, c). Italian. No. 8 is
English; No. 18 is Spanish with guitar accompaniment.
2. Twenty-two Italian Duets and two Trios with
harpsichord and violoncello (32).
3. Seven Italian Sonatas. Unpublished. MSS. in
Fitzwilliam Museum.
VI. INSTRUMENTAL MUSIC
1. Six Sonatas for two oboes with thorough-bass for
harpsichord (73) 1696.
2. Sonata for viola-da-gamba and cembalo concertata in
C (48) Hamburg, 1705.
3. _Klavierbuch aus der Jugendzeit_ (48) 1710.
4. Three Sonatas for flute and harpsichord
(48) Probably Hanover, about 1710.
5. Water Music (47) 1715.
6. _Suites de pieces pour clavecin_ (2) Published 1720.
7. Fifteen Solos for a German flute, oboe or violin,
with a thorough-bass for harpsichord or bass violin (27) 1724.
8. Six Concertos (21), Op. 3. _Concerti grossi con due
violini e violoncello di concertino e due altri violini,
viola e basso di concerto grosso ad arbitrio_, known as
the Oboe Concertos Walsh, 1729.
9. Nine Sonatas or Trios for two violins, flutes, or
oboes, with a thorough-bass for harpsichord or
violoncello, Op. 2 (27) Walsh, 1733.
10. _Suites de pieces pour clavecin_ (2). Second
volume pilfered by Walsh in 1733.
11. _Pieces pour clavecin_ (2). Five pieces Witvogel
in Amsterdam, 1733. Several clavecin pieces still
remain in MS. at Buckingham Palace and Fitzwilliam
Museum.
12. Overture for the pasticcio _Oreste_ (48) 1734.
13. Six "Fugues or Voluntaries for the organ or harpsichord,"
Op. 3a (2) Walsh, 1735.
14. Overture in G minor for the pasticcio _Alessandro
Severo_ (48) 1738.
15. Six Organ Concertos, Op. 4 (48) Walsh, 1738.
16. Seven Sonatas or Trios for two violins or German flutes,
with a thorough-bass for the harpsichord or violoncello,
Op. 5 (27) Walsh, 1739.
17. Hornpipe, composed for the concert at Vauxhall (48).
For strings in three parts 1740.
18. Six Concertos for organ arranged by Walsh from the
Orchestral Concertos 1740.
19. Twelve Grand Concertos, Op. 6a (30). For strings only,
in seven parts Walsh, 1740.
20. _Pieces pour le clavecin_ (2) Cluer, 1742.
21. Forest Music (47) 1742.
22. Fire Music (47) 1749.
23. Concerto for two organs and orchestra in D minor (48).
Movement only exists.
24. Overture in B minor (48). Adapted by Walsh from the
Overture to _Trionfo del Tempo_.
25. Organ Concerto in D minor (48). Two movements.
26. Organ Concerto in F (48).
27. Partita in A (48).
28. Six little Fugues. (Dubious.)
29. Concerto for trumpets and horns.
30. Concerto for horns and side-drums.
31. _Sinfonie diverse_ (48). Eight short pieces for orchestral
instruments.
32. Overture in five movements (incomplete) for two clarionets
and corno di caccia. MS. in Fitzwilliam Museum.
* * * * *
The COMPLETE HANDEL EDITION contains as supplements several volumes of
works by various Italian and German composers, which Handel has utilised
in his compositions, namely:--
1. _Magnificat_ said to be by Erba.
2. _Te deum_ said to be by Urio.
3. _Serenata_ by Stradella.
4. _Duetti_ by Clari.
5. _Componimenti musicali_ by G. Muffat.
6. _Octavia_ by Reinhard Keiser.
BIBLIOGRAPHY
FRIEDRICH CHRYSANDER, _G. F. Handel_. 3 vols., 1858-67, Leipzig.
(The name of Chrysander ought to be attached permanently to that of
Handel, for his life was entirely devoted to him. It was he who founded
in 1856, with Gervinus, the GERMAN HANDEL SOCIETY and who accomplished
nearly the whole of the Complete Edition of the Works of Handel in one
hundred volumes by himself alone. His biography is a monument of science
and devotion comparable with Philipp Spitta's _J. S. Bach_ and Otto
Jahn's _Mozart_. Unfortunately the work remained unfinished: it stopped
at the year 1740. Max Seiffert completed it.)
SCHOELCHER, _The Life of Handel_. 1857.
(Schoelcher's works, anterior to those of Chrysander, are valuable on
account of their collection of documents rather than that of the general
laying out of the works. As we have seen, the priceless collection of
these documents is housed at the Paris Conservatoire.)
HERMANN KRETZSCHMAR, _Georg Friedrich Handel_ (published in the
_Sammlung musikalischer Vortraege_ by Paul Graf Waldersee).
FRITZ VOLBACH, _Georg-Friedrich Haendel_ (Collection: _Harmonie_. 1898,
Berlin).
(These two last works are excellent little _resumes_ of the life and
works of Handel.)
J. A. FULLER-MAITLAND, _The Age of Bach and Handel_ (The Oxford History
of Music, Vol. IV). 1902, Oxford.
R. A. STREATFEILD, _Handel_. 1909, London.
(This book is one of the first in England which has freed the figure of
Handel from the false mass of moralising and teaching under which the
author of the _Messiah_ was buried. He shows the richness and freedom of
Handel's work and rectifies several points in the German biographies.)
ADIMOLO, _G. F. Handel in Italia_.
SEDLEY TAYLOR, _The Indebtedness of Handel to Works by other Composers_.
1906, Cambridge.
P. ROBINSON, _Handel and his Orbit_. 1908, London. (These two last books
are concerned with the question of Handel's plagiarisms.)
F. VOLBACH, _Die Praxis der Haendel-Auffuehrung_, 1889. Thesis for
Doctorate.
(On the Orchestra of Handel.)
HUGO GOLDSCHMIDT, _Die Lehre von der vocalen Ornamentik_. 1907.
(On the vocal execution of Handel's works, and particularly on the
question of Handel's ornaments. This matter has been the subject of
numerous discussions in the numbers of the _International Musical
Gazette_, especially by Max Seiffert.)
WEITZMANN, _Geschichte der Klaviermusik_, Vol. 1, 1899 (continued and
completed by Seiffert and Fleischer). (For the Clavier Works of Handel.)
ERNEST DAVID, _Handel_. 1884.
CAMILLE BELLAIGUE, _Les Epoques de la Musique_, Vol. I, 1909.
For readers desirous of consulting the sources of the biographies of
Handel, the most interesting works written by his contempories are:
JOHANN MATTHESON, _Handel_ (in his _Ehrenpforte_, 1740).
MAINWARING, _Memoirs of the Life of the late G. F. Handel_. London,
1760. (Translated into German with annotations by Mattheson, 1761; into
French by Arnaud and Suard in 1778.)
BURNEY, _Commemoration of Handel_. London, 1785.
HAWKINS, _General History of Music_. London, 1788.
W. COXE, _Anecdotes of G. F. Handel and Smith_. London, 1799.
INDEX
A
Academy of Ancient Music, 54, 137
Academy of Italian Opera, 73
_Acis and Galatea_, 7, 46, 72, 85, 108, 120, 182
Addison, 16, 60
_Agrippina_, 46, 183
Airs adapted to French words, 191 n.
Alberti, 6
_Alceste_, 104
_Alcina_, 91, 122, 127
_Alexander Balus_, 102
_Alexander's Feast_, 92, 108, 93 n., 160 n.
_Almahade_, 62
_Almira_, 33, 34, 36, 124
Amadigi, 68
Amsterdam, 149
Ademollo, 40
Arbuthnot, Dr., 81 n.
Architecture, Musical, 138
_Arianna_, 88, 95
_Arias Buffi_, 128
_Arietti Da Capo_, 125
_Ariodante_, 91, 122
_Arioso_, 133
Ariosti, 11
Aristoxenians, 24
_Arminio_, 91, 93 n.
Arne, 96 n.
_Arsinoe_, 62
_Astarto_, 78
_Atalanta_, 91, 93, 124, 131, 182
_Athaliah_, 85, 86
_Athalie_, 48
Augsburg, 53
Augustus of Saxony, Duke, 1, 3, 42
B
Babell, Wm., 145, 149 n.
_Bacchus und Ariadne_, 90
Bach, 3, 21, 29, 56, 70, 104, 113, 119, 121, 150, 152
Ballet-Operas, 122
Bankruptcy, 93, 100
Bartolommeo, 57
Bass soloists, 123 n.
Bassoons, 160
Battle of Dettingen, 99 n.
Beech Oil Company, 63
Beethoven, 10, 108, 142, 154, 176, 192
Beethovenians, 164
_Beggar's Opera_, 62, 81
_Belshazzar_, 99, 128, 135, 136, 184
_Berenice_, 91, 93 n.
Berlin, 11, 108
Berlioz, 109, 121, 142, 154
Bernabei, 51, 56
Bernhard, 16
Bible, 2
Biblical dramas, 71, 85
Birds, 187
_Birthday Ode to Queen Anne_, 66, 138
Blindness, 105
Bolingbroke, 100
Bologna, 75
_Bonduca_, 59
Bononcini, 62, 74, 75, 79, 86 n., 122
Brandenburg, 3, 12
Breslau, 108
British Museum, 165
Brockes, 64
Burlington, Lord, 67, 74
Burney, 187
Buxtehude, 29, 30, 31
C
Cadenzas, 128
_Camilla, Regina de Volsei_, 62
Canons, 149
_Cara sposa (Rinaldo)_, 125
Carey, 96
Caricature of Handel's art, 144
Carriage-accident to Handel, 104
Carillon in _Saul_, 115
_Castrati_, 80
Cavalli, 193
Chaconnes, 149 n.
_Chandos Anthems_, 71, 85, 136
Characters, 135
_Choice of Hercules_, 104, 187 n.
Choruses, 132, 140
Chrysander, 57, 110
Cibber, Colley, 81 n.
Classical chorus, 136
Clavier pieces, 145
Clayton, 61
_Cleopatra_, 32, 160
Colour, 140, 141
Comic style of Keiser, 128
Commemoration festival, 107
Composing music, 142 n.
Concert overture, 183
_Concerti Grossi_, 95, 165, 166
_Concertino_, 165
Concerto, 168, 190, 188
Concerto for two organs, 154
Concerto for organ with chorus, 154
Concerto for two horns, 145, 159
Concerto for organ, 183
Conductor, 165
Corelli, 11, 115, 168
_Coronation Anthems_, 83, 85
Cousser, 18
Covent Garden Theatre, 92
_Creation_, Haydn's, 108
_Crescendo_, 163
_Critica Musica_, 24
Culloden Moor, 101
Cuzzoni, 80 n.
D
_Da Capo_ form, 56, 77, 124, 132
Dances, 133
Death, Handel's, 107
_Deborah_, 85, 95, 110, 184
_Deidamia_, 91 n., 95, 122, 124
Dent, Edward, 38
Descartes, 49
_Dettingen Te Deum_, 99, 160 n.
_Dido and AEneas_, 59
_Die lustige Hochzeit_, 35
_Diminuendo_, 163
_Dioclesian_, 59
_Divertissement_, 183
Domenico Scarlatti, 44
Double fugue, 150
Drums, 160
Drury Lane Theatre, 81 n.
Dryden, 92
Dublin, 97
Dubourg, 156
Duchess Sophia, 67
Duel with Mattheson, 33
Duets, Vocal, 131
Duke of Chandos, 71, 72
Duke of Cumberland, 101
Dukes of Hanover, 49
Duerer, 176
E
Education, 6
_Ehrenpforte_, 26
England, 70, 109, 112, 113, 148, etc.
English taste, 59
English country, 114
Ensemble pieces, 133
_Entr'actes_, 151
Erba, 118
Ernest Augustus, Duke, 49
_Esther_, 48, 70, 71, 72, 120, 161, 184
Eugene, Prince, 37, 157
Exotism, 160
_Ezio_, 84
F
_Faramondo_, 91, 93
Faustina, 80
Festivals, 107
Fifth Concerto, 176
_Finale_, 133
Fire-arms in orchestra, 160
Firework music, 103, 159, 189
First Sonata, 157
Flemish carillon in _Saul_, 115
Florence, 39
_Floridante_, 79
_Florindo und Daphne_, 35
Forms, 133, 134, 158, 168
Foundling Hospital, 103, 105 n., 165
France, 122
Fraudulent copies, 143 n.
Free theatre, 121, 134, 139
French dances, 91
French influences, 14
French language, 48
French model, 89
French organists, 113
French rhythm, 148
French style, 148
French vocal style, 48
Froberger, 6
Fugues, 149
_Funeral Anthem_, 93, 93 n.
G
Garden scene, _Rinaldo_, 124
Gay, 67, 72 n.
Geminiani, 144, 163, 164
_Genre_ pictures, 135, 138
George of Hanover, 68
German geniuses, 112
German Handel Society, 109, 201
German influences, 147, 148 n.
German patriotism, Handel's lack of, 67
Germany, 109, 142
Gervinus, 110, 201
_Giulio Cesare_, 79, 122, 127, 182
_Giustina_, 93, 124
Gluck, 36, 99, 101, 122, 127, 191, 192
Goethe, 109, 112
Goldschmidt, 55
Graces, 128
Grattan-Flood, 97
Graun, 124
Greece, 110
Green, Maurice, 96
Green Park, 198
Grimani, 46
Griselda, 79
_Grub Street Journal_, 152
H
Hailstone chorus, 118
Halle, 14, 64, 66, 69, 74, 113
_Haman_, 71
Hamburg, 7, 15, 18, 35, 113
Handel Society, 109, 201
Handel musical festivals, 119
Handel's joust with Bononcini, 79
Hanover, 19, 42, 49, 51
Hanoverian nobles, 49
_Harmony in revolt_, 143 n.
Harp, 160 n.
Hasler, 36
Hasse, 36, 45, 87, 115, 117, 124
Hawkins, Sir J., 91, 152
Haydn, 108
Haymarket Theatre, 74, 89
Heidegger, 89
_Henrico Leoni_, 52
_Hercules_, 8, 99, 110, 127
Herder, 109
Hill, Aaron, 63
Hiller, 108
Holland, 31, 58
Horn, 159
Hornpipe, 187
House of Hanover, 65
Humour in Handel, 128
I
_Il Pastor Fido_, 65, 182
_Imeneo_, 91 n., 95 n.
Imitative effects, 141
Improvisation, 143, 150, 152
Improviser, 116
Independence, Handel's, 109
Instrumental music, 9, 143, 144, 146
Ireland, 97
_Israel in Egypt_, 71, 94, 95, 118, 137, 145, 150
Italian homophony, 148
Italian influences, 147
Italian musicians, 36
Italian songs in _Hercules_, 115
Italian violinists, 113
Italy, 37, 112, 113
Italianised Germans, 63
Italians, 61, 148
J
James I, Stuart, 49
Jennens, 97, 99
_Jephtha_, 104, 116
_Jerusalem Delivered_, 63
John Frederick, Duke of Hanover, 49
_Joseph_, 99, 127
_Joshua_, 80, 102
_Jubilate_, 66
_Judas Maccabaeus_, 101, 102, 106, 109, 139, 184, 192
_Jugendbuch_, 146, 149
K
Keiser, 17, 19, 21, 31, 35, 122, 126
Kerl, 6
Kielmansegg, 49
_King Arthur_, 59, 60
Krieger, 6, 150
Kuhnau, 7
L
_L'Allegro_, 95, 114
Languages, 22
_La Salle_, 90
Latin Psalms, 39
Law, 14
Lawyers, 4
Leibnitz, 69
_Leit-motiv_, 128
_Leider_, 77 n.
Leipzig, 16, 108
Lent, 106, 107
Leo, 178
Leonardo, 118
Light and shade, 161
Liszt, 109, 154
Local colour, 160
Locatelli, 168
London, 42, 58, 65, etc.
London Academy of Opera, 83
_London Daily Post_, 96
London operas, 126
_Lotario_, 84
Lubeck, 28
_Lucretia_, 39
Lully, 18, 19, 181
M
Mad scene in _Orlando_, 127
Mahler, 154
Mainwaring, 47
Manchester, Duke of, 42
Mandoline, 160 n.
Mannheim players, 164
Marcello, 3
Marylebone, 167
Mattheson, 5, 18, 21, 23, 27, 82
Mayence, 110
Medici, 36
Mendelssohn, 119
Melodic lines, 117
Melodist, 28
_Messiah_, 8, 59, 97, 98, 104, 108, 119, etc.
Miller, 99
_Mitridate Eupatore_, 41
Modulations, 76
Muffat, 168
Mozart, 21, 36, 88, 108, 117
Munich, 51, 52
Musette, 178
Musical architecture, 132
Musical comedy, 128
Musical dramas, 135
_Musical Patriot, The_, 24, 27
_Muzio Scevola_, 79
N
Naples, 112, 145
National musician of England, The, 102
Natural scenes, 170
_Nero_, 33, 34
Newspapers, The first, 16
Nicolini, 63
_Nitocris_, 128
Nuance, 163
O
Objective art, 133
Oboe concertos, 64, 158
_Occasional Oratorio_, 101, 139, 185 n.
_Ode to Queen Anne_, 68
_Ode to St. Cecilia_, 92, 95
_Ombra cara_ from _Radamisto_, 125
Open-air fetes, 120, 190
Open-air music, 187
_Opera Buffa_, 137
_Opera Comique_, 91, 122, 128
_Opera Diabolica_, 17
Opera houses, 51, 102
Oratorios, 120, 122, 136, etc.
Orchestra, 9, 103, 153, 165
Orchestral concertos, 181 n.
Orchestral music, 158
Organ, 105
Organ concertos, 150-153
Organ music, 30
_Orlando_, 84, 122
Ottoboni, Cardinal, 43, 46
_Ottone_, 79, 190
P
Pagan life, 185
Painting in music, 141
Painting, 185
Palestrina, 114 n.
Pantheon, 107
_Parnasso in festa_, 89 n., 96 n.
_Partenope_, 84
_Partenza_, 45
Pasquini, 43, 44
_Passion according to St. John_, 25, 32
_Passion after Brockes_, 70, 138, 182
Passionate scenes, 133
_Passions_, 69
_Pastor Fido_, 89
_Pastoral Symphony_, 170
Pepusch, 96
Piccadilly, 67
Pictures, Love of, 115
Pietism, 12, 39, 71
_Pifferari_, 46, 114
Pirro, 13
Pistocchi, 11
Pistol-shot in orchestra, 160 n.
Plagiarisms, 118
_Polifemo_, 76
Pope, 67, 82, 142 n.
_Poro_, 84
Porpora, 87, 88
Postel, 22, 31
Pratolino, 38
Pretender, Charles Edward, 100
Princess of Wales, 81
Programme music, 184, 185 n.
Psalms, 70, 120
Purcell, 58, etc.
Puritanical opposition, 61
_Pygmalion_, 90
Pythagoreans, 24
Q
Quartets, 131
Queen Anne, 65, 68
Quintet, 132
R
_Radamisto_, 74, 78
Rameau's _Acanthe_, 164 n.
Ranelagh, 187
Raphael, 10
Recitative, 20
_Recitative-arioso_, 126
Recitatives and airs, 128
Relationship with vocal, 145
Resurrection, 44, 159, 161
Rhythms, 134
_Riccardo I_, 81, 186 n.
Rich's theatre, 90
Rigid and stolid manner of rendering Handel's works, 119
_Rinaldo_, 63, 64
_Roderigo_, 40, 42, 182
_Rodelinda_, 80
Roles, Singers', 123
Romances, 91
Rome, 39
_Rosamunde_, 62
Roseingrave, 114 n.
Rosenmueller, 4
Roubiliac, 107
Ruspoli, Cardinal, 42
S
St. John Chrysostomo's Theatre, 41, 47
St. Paul's Cathedral, 66
Saint-Saens, 140, 141
_Samson_, 31, 98, 126
_San Giovanni Grisostomo_, 41, 47
_Saul_, 94, 126, 183
Scarlatti, 38, 41, 43, 76, 122, 127
Schott, 22
Schumann, 109
Schuetz, 36, 56
_Second Concerto in F major_, 170
_Semele_, 127, 135
Semi-romantic colour, 115
_Serse_, 91 n., 122, 124, 98 n.
_Servio Tullio_, 52
Seven Trios or Sonatas in two parts, 94
_Seventh Concerto_, 169
Shakespeare, 121
Sicilian legend, 72
Sight gone, 105
_Singakademien_, 108, 110
_Siroe_, 81
Six Fugues or Voluntaries, 149
Six Sonatas in Trio, 154
_Sixth Concerto in G minor_, 176
Smith, C., 107
Smollett, 100
Society for the Maintenance of Poor Musicians, 96, 107
Solo voices, 123
_Solomon_, 102, 131
Sonata for Viola da Gamba, 154
Sonatas or trios for two violins, flutes, 155
Sonatas or trios for two violins, 155
Sonatas for the flute, violin, and harpsichord, 145
Sonatas for flute and bass, 64, 155
Sophia Charlotte, Princess, 11
Speed of working, Handel's, 116
Steffani, 7, 11, 19, 46, 51, 64, 122
Storms, Musical, 142
Streatfeild, 37, 40
Strungk, 6
Stuart party, 68
Stuart, James I, 66
Strauss, R., 121
Stradella, 118
_Sturm und Drang period_, 143
Styles, 133, 134, 137
Suites, etc., 146
_Suites de pieces pour le clavecin_, 143
_Susanna_, 102
Symphonies, 158
Swift, 67, 82
T
_Tamerlano_, 79, 84, 122, 127
Tarquini, 40
_Te Deum_, 65, 66, 68, 120
Telemann, 56, 141
Tendencies, 122
Tenor, 123
_Terpsichore_, 90
_Teseo_, 65, 127
Theatre, 120
Theatre closed, Handel's, 93
Theile's _Creation_, 17
_Theodora_, 48, 104, 135
Theologians, 4
Theology, 12
_The Triumph of Time and Truth_, 106, 159, 160, 161
Third Violin, Part for, 161
Thirty Years' War, 4
Thornhill, 23
_Tomomeo_, 81
Tone-colour, 159, 160, 161
_Tor di Nona_, 39
Touch, 151
_Trionfo del Tempo_, 106
Trios, 131
Tunbridge Wells, 92
Tyer, 187
U
Utrecht, 66
V
Vatican, 44
_Vaudeville_, 138
Vauxhall Gardens, 94, 100, 101, 107, 187
Venice, 40, 42
_Vierge d'Martyre_, 48
Vinci, 84
Viola, 160, 161
Violoncellist, 75
Violoncello, 160
_Violette marine_, 160 n.
_Virtuoso_ powers, 40, 49
Vivaldi, 168
Vocal _ensemble_ pieces, 130
Vocal ornamentation, 128, 129
W
Wagner, 142
Walpole, 81
Walsh, 145, 149, 181 n.
Water music, 68 n., 158, 188
Weissenfels, 3
Westminster Abbey, 107
Witchcraft, 13
Z
Zachau, 5, 15, 113
_Zadock the Priest_, 109 n.
Zappi, 43
THE MUSIC LOVER'S LIBRARY
A series of small books on various musical subjects written in a popular
style for the general reader.
EDITOR: A. EAGLEFIELD HULL, MUS. DOC. (OXON.)
Each about 200 pages.
1. SHORT HISTORY OF MUSIC. By the EDITOR.
2. SHAKESPEARE: HIS MUSIC AND SONG. By A. H. MONCUR-SIME.
3. THE UNFOLDING OF HARMONY. By CHARLES MACPHERSON, F.R.A.M.,
Sub-Organist St. Paul's Cathedral.
4. THE STORY OF MEDIAEVAL MUSIC. By R. R. TERRY, Mus. Doc. (Dublin),
Director of Music at the pro-Cathedral, Westminster.
5. MUSIC AND RELIGION. By W. W. LONGFORD, D.D., M.A.
6. MODERN MUSICAL STYLES. By the EDITOR.
7. ON LISTENING TO AN ORCHESTRA. By M. MONTAGU-NATHAN.
8. EVERYMAN AND HIS MUSIC. By P. A. SCHOLES.
9. MUSIC AND AESTHETICS. By J. B. MCEWEN, M.A., F.R.A.M.
10. THE VOICE IN SONG AND SPEECH. By GORDON HELLER.
11. DESIGN OR CONSTRUCTION IN MUSIC. By the EDITOR.
KEGAN PAUL, TRENCH, TRUBNER & CO., LTD., LONDON
PRINTED BY
WM. BRENDON AND SON, LTD.
PLYMOUTH, ENGLAND
* * * * *
These typographical errors were corrected by the text transcriber:
constituted for it a model for emulatation=>constituted for it a model
for emulation
Hinweg, du Dornen schwangre Krone!=>Hinweg, du Dornen schwangere Krone!
his voice suberbly depicted=>his voice superbly depicted
George Moffat=>Muffat [Muffat, Georg (1653-1704)]
Vivaldi's influence in Germany on a Granpuer=> Vivaldi's influence in
Germany on a Graupnuer [Graupner (Christoph, 1683-1760)]
_Te deum_ said to be by Vrio.=>_Te deum_ said to be by Urio. [Urio,
Francesco Antonio, 1631-1719]
Domenio Scarlatti=>Domenico Scarlatti
Andimollo, Andimolo=>Ademollo
Christoph Bernhart, pupil of Schuetz=>Christoph Bernhard, pupil of Schuetz
Bernhardt, 16=>Bernhard, 16
He stayed at Dusseldorf with the Elector=>He stayed at Duesseldorf with
the Elector
Locatalli and Vivaldi came under the influence of the Italian
Opera.=>Locatelli and Vivaldi came under the influence of the Italian
Opera.
of Locatalli (Op. 7, 1741) was named _Il pianto d'Arianna_.=>of
Locatelli (Op. 7, 1741) was named _Il pianto d'Arianna_.
(1890 in the _Vierteljahrsschrift fuer Musikwissenfchaft_)=>(1890 in the
_Vierteljahrsschrift fuer Musikwissenschaft_)
Abbe Prevost=>Abbe Prevost
Reinhaerd Keiser=>Reinhard Keiser
Max Seifiert: Haendels Verhaeltnis zu Tonwerken aelterer deutscher
Meister=>Max Seiffert: Haendels Verhaeltnis zu Tonwerken aelterer
deutscher Meister
_Siroe_, 81=>_Siroe_, 81
Pratelino, 38=>Pratolino, 38
that Lecerf de la Vieville wrote his _Comparaison de la musique
francaise et de la musique italienne_=>that Lecerf de la Vieville wrote
his _Comparaison de la musique francaise et de la musique italienne_
* * * * *
FOOTNOTES:
[1] The genealogical tree of Handel has been prepared by Karl Eduard
Foerstemann: _Georg Friedrich Haendel's Stammbaum_, 1844, Breitkopf.
The name of Handel was very common at Halle in different forms
(_Hendel_, _Hendeler_, _Haendeler_, _Hendtler_). One would say that its
derivation signified "merchant." G. F. Handel wrote it in Italian
_Hendel_, in English and French _Handel_, in German _Haendel_.
[2] It is interesting to note that Johann Sebastian Bach was born at
Eisenach on March 21, 1685.
[3] Of the four children by the second marriage, the first died at
birth. George Frederick had two sisters: one, two years, the other, five
years younger than himself.
[4] He died in 1672.
[5] Legendary anecdotes of the little Handel are often quoted, showing
him rising from his bed in the middle of the night to play a little
clavichord, which was concealed in an upper garret.
[6] See the Preface which the choirmaster of the Thomas School at
Leipzig, Tobias Michael, wrote to the second part of his _Musikalische
Seelenlust_ (1637); and in the life of Rosenmueller the story of the
scandalous affair which in 1655 forced this fine musician to flee from
his country (August Horneffer: _Johann Rosenmueller_, 1898).
[7] F. W. Zachau was born in 1663 at Leipzig, and died prematurely in
1712. His father came from Berlin. The original spelling of the name was
_Zachoff_.
[8] Since the publication of the works of Zachau by Max Seiffert in the
_Denkmaeler deutscher Tonkunst_, Vols. XXI and XXII, 1905, Breitkopf.
[9] Matheson refers to this briefly also, but the later historians,
Chrysander, Volbach, Kretzschmar, Sedley Taylor have not taken any
account of these words, which they attribute to the generosity of
Handel, and to the malevolence of Matheson. In their judgment he did not
even know the works of Zachau--this is very hard on Handel's master.
Since the publication of the _Denkmaeler_ it is impossible not to
recognize in Zachau the true originator of his style, and even, so to
speak, of the genius of Handel.
[10] _Lebensbeschreibung Haendels_ (1761).
[11] One notices many of Kerl's themes in one of Handel's Organ
concertos, and in a Concerto Grosso. A _canzone_ of Kerl; also a
_capriccio_ of Strungk has been transferred bodily into two choruses of
_Israel in Egypt_ (Max Seiffert: _Haendels Verhaeltnis zu Tonwerken
aelterer deutscher Meister_, Jahrbuch Peters, 1907).
[12] The two parts of the Clavier Exercises of Kuhnau appeared in 1689
and 1692. The new Clavier Pieces in 1696 and the Bible Sonatas in 1700.
(See the Edition of Kuhnau's clavier works by Karl Pasler in the
_Denkmaeler deutscher Tonkunst_, 1901).
[13] See Chrysander. We shall speak later on of the work of Steffani and
its relation to Handel.
[14] The volume of his published works comprises 12 cantatas for
orchestra, soli, and chorus, and a _capella_ (unaccompanied) Mass, a
chamber work (trio for flute, bassoon, and continuo), 8 preludes,
fugues, fantasias, capriccios for clavecin or organ, and 44 choral
variations.
[15] Compare the Tenor air _O du werter Freudengeist_ (p. 71) and
accompaniment, and _ritornello_ of the _violini unisoni_ in the 4th
cantata _Ruhe, Friede, Freud und Wonne_ with the air of Polyphemus in
Handel's _Acis and Galatea_; compare also the subject in the Bass air of
the 8th cantata (p. 189) with the well-known instrumental piece which
Handel used for the Symphony in the Second Act of _Hercules_; also the
Tenor solo with horn, _Kommt jauchzet_ (p. 181) in the 8th cantata:
_Lobe den Herrn, meine Seele_ with the soprano air in _The Messiah_. One
also finds in the cantata _Ruhe, Friede_ (p. 83) the sketch for the
famous chorus of the destruction of the walls of Jericho in _Joshua_.
[16] _Ruhe, Friede_, p. 122.
[17] _Ibid._, pp. 113, 183.
[18] _Ibid._, pp. 110, 141, 254, 263.
[19] _Ibid._ 8th Cantata. _Lobe den Herrn, meine Seele_, p. 166, the
German _Hallelujah_ with its fine flow of jubilant
vocalizing--especially on page 192, the great final chorus.