Literaturverz. S. [617] - 634. - Inhalt: I. History and Repertory -- 1. Introduction -- 2. The Chapel Royal before Handel's arrival in England: Symphony Anthems and Thanksgivings -- 3. Handel and the English Verse Anthem: His First Setting of As pants the hart , c. 1712 -- 4. Handel's Music for the Peace of Utrecht, 1713 -- 5. Other Chapel Royal Music from the First Period, 1712-1714 -- 6. Interlude, 1714-1719 -- 7. The King's Return: Handel's Re-establishment at the Chapel Royal -- 8. New Versions of As pants the hart -- 9. Other Chapel Royal Music from the Second Period, 1722-1726 -- 10. The New Reign and the 1727 Coronation -- 11. The Chapel Royal and Handel's Oratorios -- 12. Princess Anne's Wedding Anthem, 1733-1734 -- 13. Anthems for Other Royal Family Occasions in the 1730s: Two Weddings and a Funeral -- 14. War and Peace: Commemorations in the 1740s -- 15. Epilogue -- II. Institutions, Resources, and Venues -- 16. The London Choirs -- 17. Orchestral Accompaniment -- 18. Buildings -- 19. The Chapel's Resources and Handel's Music.
Beschreibung:
Handel's English church music spans the complete period of his active career in London: his first anthem and the Utrecht Te Deum were composed soon after his arrival in London, and his last works nearly 40 years later. The repertory, which includes the Coronation Anthem Zadok the Priest , forms one of the most impressive and engaging areas of Baroque church music. Most of it was stimulated by Handel's creative contact with the English Chapel Royal, a group of professional singers in a different tradition from the opera stars with whom he worked in the theatre. -- Appearing in paperback for the first time, this first full-length study of Handel's English Church music traces the background to the diverse items in the repertory, which relates directly to Handel's constant but changing relationship with the Hanoverian British royal family, and was affected by political and dynastic events. It also examines the circumstances of Handel's performances, the building which (unlike his theatres) still survives in London today. [Verlagsangabe]
co-funded by the European Commission