Handel's Operas, 1704-1726 (Clarendon Paperbacks) (英語) ペーパーバック – 1995/11
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After two centures of near-total neglect, Handel's operas are now increasingly popular in the theatre, but modern productions are hampered by dependence on obsolete and inaccurate editions, and by ignorance of the musical and theatrical practice of Handel's age. Although Handel's autographs and performing scores have long been available, they have never before been fully studied, still less the very early manuscript copies. The manuscripts have yielded a great deal of unknown music, besides throwing fresh light on Handel's methods of composition and performance practice.
This book covers Handel's first seventeen surviving operas, including his greatest and most successful. Each opera has a chapter, with a full synopsis of the libretto (including all original stage directions) and a comparison with its literary and dramatic sources. Each chapter covers the history of the opera in performance and the different versions in the manuscripts. Every known surviving manuscript has been examined. Eight appendices cover all performances in Handel's time, borrowings, modern revivals, new information on his singers, and a complete index of Italian first lines in all Handel's works. About the Authors: Wynton Dean is the author of Handel's Dramatic Oratorios and Masques. John Merrill Knapp is Emeritus Professor of Music at Princeton University.
"The first of two volumes in a long-awaited study by two preeminent Handel scholars....Essential for all music libraries."--Choice
"Offers an enormous amount of valuable information and many new and perceptive insights. Scholars and general readers alike can learn from it."--The New York Times Book Review
"A rigorous investigation of the bewilderingly abundant musical and literary sources of each opera...its most lasting influence will be on all future editions of Handel's music."--Early Music
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I have been waiting since 1995 for Volume II where Handel's best (and conversely, most pathetic) works would be analyzed. Sadly, I understand that Mr. Dean has since passed away and thus, I doubt that I will ever see the work completed. If any of you out there are musicologists and/or music historians, please consider filling in this disappointing gap!