Nichols, John: Literary Anecdotes of the 18th Century (London 1812)
Olszewski, Edward J.: ‘The Enlightened Patronage of Cardinal Pietro Ottoboni (1667–1740)’, Artibus et Historiae 23 (2002)
Percival, John, Ist Earl of Egmont: ‘Diary of Viscount Percival, afterwards First Earl of Egmont’, Historical MSS Commission (London 1920)
Piechocki, Werner: ‘Die Familie Händel in der Stadt Halle’, H-J 1990
Pirrotta, Nino & Ziino, Agostino (eds): Handel e gli Scarlatti a Roma (Florence 1987)
Powers, Harold S.: ‘Il Serse trasformato’, Musical Quarterly 47 (1961), 48 (1962)
Riepe, Juliane: ‘Kirchenmusik im Rom der Zeit Handels: Institutionen, Auftraggeber, Anlasse, Einige Anmerkungen’, H-J 2000
Roberts, John H.: ‘German Chorales in Handel’s English works’, H-J 1996/1997
Roberts, John H.: ‘Handel and Gasparini: the “Ernelinda” Borrowings’, H-J 2003
Roberts, John H.: ‘Handel’s Borrowings from Telemann: an Inventory’, Göttinger Händel-Beiträge 1 (1984)
Roberts, John H.: ‘Keiser and Handel at the Hamburg Opera’, H-J 1990
Roberts, John H.: ‘The Story of Handel’s “Imeneo”’, H-J 2001
Robinson, Michael F.: ‘Porpora’s Operas for London’, Soundings 2 (1971–2)
Rolli, Paolo Antonio: Marziale in Albion (Florence 1776)
Ruf, Wolfgang: ‘Hofisches und Stadtisches leben in Halle vor und wahrend der Jugendzeit Händels’, H-J 2003
Sadie, Stanley & Hicks, Anthony: Handel Tercentenary Collection (London 1987)
Serwer, Howard: ‘The World of the Water Music’, H-J 1996/1997
Shaw, Watkins: A Textual and Historical Companion to Handel’s ‘Messiah’ (London 1965)
Shaw, Watkins & Dixon, Graham: ‘Handel’s Vesper Music’, MT 126 (1985)
Simon, Jacob (ed.): Handel: a Celebration of his Life and Times, 1685–1759 (London 1985)
Smith, Ruth: ‘Biblical heroes amended in Jennens’s and Handel’s “Saul”’, H-J 2003
Smith, Ruth: Handel’s Oratorios and Eighteenth-Century Thought (Cambridge 1985)
Smith, Ruth: ‘The Achievements of Charles Jennens’, ML 70 (1989)
Smith, William C.: ‘George III, Handel and Mainwaring’, MT 65 (1924)
Smither, Howard E.: A History of the Oratorio (Durham, North Carolina 1977)
Strohm, Reinhard: ‘Darstellung, Aktion und Interesse in der Hofischen Opernkunst’, H-J 2003
Strohm, Reinhard: Essays on Handel and Italian Opera (Cambridge 1985)
Strohm, Reinhard: ‘Handel’s Pasticci’, Analecta Musicologica 14 (1974) Sykes, Norman: Edmund Gibson (London 1926)
Taylor, Carole: ‘Handel and Frederick, Prince of Wales’, MT 125 (1984)
Taylor, Carole: Italian Operagoing in London 1700–1745 (dissertation) (Ann Arbor 1991)
The Oxford Act AD 1733 (London 1754)
The Oxford Act, A New Ballad Opera (London 1733)
Thomas, Günther: ‘Friedrich Wilhelm Zachow’, Kolner Beiträge zur Musikforschung 38 (Regensburg 1966)
Vickers, David: ‘The Good, the Bad and the Ugly: Representation of Amorous Behaviour at the Court of Queen Partenope’, H-J 2003
Vitali, Carlo & Furnari, Antonio: ‘Handels Italienreise – neue Dokumente, Hypothesen und Interpretationen’, Göttinger Händel-Beiträge 4 (1991)
Werner, Edwin: The Handel House in Halle (Halle 2006)
Williams, Peter ed.: Bach, Handel, Scarlatti: Tercentenary Essays (Cambridge 1985)
Young, Percy M.: Handel (London 1948)
Wolff, H.C.: Die Barockoper in Hamburg (2 vols., Wolfenbuttel 1957)
Footnotes
∗(a) A set of arias from Florindo in full score, but lacking their voice parts, exists in Manchester. Several other numbers from the opera, arranged for instrumental ensemble or solo keyboard, can be found in manuscripts in the British Library.
∗(b) Perhaps S. Giovanni dei Fiorentini or even the basilica of S. Giovanni in Laterano itself.
∗(c) Ottoboni wrote libretti, including a lyric drama on the subject of Christopher Columbus’s discovery of America.
∗(d) The piece is not, strictly speaking, an oratorio, though listings of Handel’s works generally classify it as such.
∗(e) Formerly listed as Io languisco fra le gioie, from the opening words of one of its arias.
∗(f) Bach’s Christmas Oratorio, a supremely successful religious work based entirely on secular cantatas, is probably the best-known example.
∗(g) The jaundiced Eccles retired to Hampton Wick, where, according to tradition, he took up fishing, cut off his daughters with a shilling and left his estate to his housemaid.
∗(h) Arbuthnot is not mentioned by name in this letter, but, given his later connexions with Handel, he seems a more likely candidate than Sir David Hamilton, the other royal physician.
∗(i) In the original sources, he was King of Iberia, part of the area we now know as Georgia. Since the name is also given to the peninsula containing Spain and Portugal, the change was presumably intended to avoid confusion.
∗(j) During the Griselda performances Robinson was aggressively courted by John Mordaunt, Lord Peterborough, hero of the Siege of Barcelona during the War of the Spanish Succession. Having refused to accept him as a ‘protector’, she finally agreed to live with him at his country retreat in Parson’s Green, south-west of London, where, Griselda-like, she won friends among the local gentry for her patience and devotion to the crotchety warrior. Peterborough eventually condescended to marry her on his deathbed.
∗(k) Gasparini had written another opera on the same subject, Il gran Tamerlano, to a libretto by Antonio Salvi.
∗(l) The dedicatory epistle addressed by Haym to Lord Albemarle, attached to the printed libretto, resembles, in the words of a modern musicologist, ‘a final appeal for help from a crew member on a sinking ship’.
∗(m) For example, the Italian savant Antonio Cocchi, who complained to Giuseppe Riva in November, 17y25, about ‘the immortal mud and the infernal smoke’. For a similar complaint by Rolli, see note on p. 240.
∗(n) One of the arias used by Vivaldi came from Handel’s opera Ezio.
∗(o) King George II’s daughter Caroline told her sister Anne that ‘it is not much approved, being among his [Handel’s] most pathetic’.
∗(p) Other reasons behind Rolli’s decision to quit London (though he did not do so until after 1741) were the high cost of living and ‘this eternal mud, smoke and damp, in which it is impossible for an honest and able foreigner to make even the most mediocre living’.
General Index
The following items may be used as a guide to search for information in the eBook.
Aachen, (I), (II)
Abingdon, (I)
Academy of Ancient Music, (I), (II)
Accademia Arcadiana (Arcadians), (I), (II), (III)
Accademia degli Immobili, (I)
Accedemia degli Infuocati, (I)
Accademia Filarmonica, (I)
Addison, Joseph, (I), (II), (III), (IV)
Cato, (I)
Rosamund, (I)
Adlington, (I)
Adorno, Theodor, (I)
Aix-la-Chapelle, Peace of, (I)
Albani, Gianfrancesco see Clement XI, Pope
Albinoni, Tommaso, (I), (II), (III)
Alcock, (I)
Alexander VIII, Pope, (I)
Alvito, Duke of, (I)
Amadei, Filippo, (I), (II), (III), (IV)
Amelia, Princess, (I), (II), (III)
Amigoni, Jacopo, (I)
Amsterdam, (I)
Amyand, George, (I), (II)
Andreoni (castrato), (I)
Andrews, Mrs, (I)
Angel and Crown tavern, Whitechapel, (I)
Angelini, ‘Panstufato’, (I), (II)
Anhalt, (I)
Animosi, (I)
Anna Maria, Electress Palatine, (I)
Anne, Queen, (I), (II), (III), (IV), (V), (VI), (VII), (V
III), (IX), (X), (XI)
Anne, Princess Royal, later Princess of Orange, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX)
Annibali, Domenico, (I), (II), (III), (IV), (V)
Ansbach, (I)
Applebee’s Weekly Journal, (I)
Araja, Francesco, (I)
Arbuthnot, John, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X)
Arcadians (Accademia Arcadiana), (I), (II), (III)
Argyle, John, Duke of, (I), (II)
Arioso: Lucio Vero, (I)
Ariosti, Attilio, (I), (II), (III), (IV), (V), (VI)
Artaserse, (I)
Coriolano, (I)
Teuzzone, (I)
Tito Manlio, (I)
Vespasiano, (I), (II)
Ariosto, Ludovico: Orlando Furioso, (I), (II), (III)
Arne, Thomas (father of composer), (I), (II)
Arne, Thomas Augustine, (I), (II), (III), (IV), (V), (VI)
Alfred, (I), (II); ‘Rule Britannia’, (I), (II)
Comus, (I)
Arnold, Matthew, (I)
Arnold, Samuel: edition of Handel’s works, (I), (II)
Arrigoni, Carlo, (I)
Arteaga, Stefano, (I)
Atterbury, Francis, (I), (II)
August I, Elector of Saxony, (I)
Augusta of Saxe-Gotha, Princess of Wales, (I), (II), (III), (IV), (V), (VI)
Aumont Rochebaron, Louis Marie, Duc d’, (I), (II)
Aureli, Aurelio, (I)
Austen, Jane, (I)
Avelloni, Casimiro, (I)
Avison, Charles, (I), (II), (III), (IV)
Essay on Musical Expression, (I)
Avolio, Christina Maria, (I), (II), (III)
Babell, William, (I)
Bach, C.P.E, (I)
Bach, Johann Christian, (I)
Bach, Johann Sebastian
Handel does not meet, (I), (II)
comparison between Handel and, (I), (II)
brief references, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII), (XIII)
Works:
Brandenburg Concertos, (I), (II)
Christmas Oratorio, (I)
First orchestral suite, (I)
Hercules am Scheideweg, (I)
Hunting Cantata, (I)
Musical Offering, (I)
Preludes and Fugues, (I)
St John Passion, (I)
Bagnolesi, Anna, (I)
Baker, Edmund, (I)
Baker, John, (I)
Baldassari, Benedetto, (I)
Baldi (singer), (I)
Banister, John, (I)
Barbier, Jane, (I), (II)
Barnes, George, (I)
Bates, Joah, (I)
Bath, (I), (II), (III)
Bathurst, Lord, (I)
Bayreuth, (I)
BBC 1937 Handel revival concert, (I)
Beard, John, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII), (XIII)
Beatrice di Sanseverino, Donna, (I)
Beck, Esaias and David, (I)
Bedford, Wriothesley Russell, Duke of, (I), (II), (III)
Bee, The, (I)
Beecham, Thomas, (I)
Beethoven, Ludwig von, (I), (II), (III), (IV), (V)
Fidelio, (I)
Missa Solemnis, (I)
Pastoral Symphony (Symphony No. 6), (I), (II)
Weihe des Hauses overture, (I)
Beichling, Anna (later Anna Händel), (I)
Bellucci, Antonio, (I)
Beregan, Nicola, (I)
Berenstadt, Gaetano, (I), (II), (III), (IV)
Berlin, (I), (II)
Berlioz, Hector, (I)
Bernacchi, Antonio, (I), (II), (III), (IV), (V), (VI)
Bernardi, Francesco see Senesino
Berselli (castrato), (I), (II)
Bertolli (singer), (I), (II), (III), (IV)
Bianciardi, Sebastiano (Domenio Lalli): L’amor tirannico, (I)
Biblioteca Marciana, Venice, (I)
Bingley, Lord, (I)
Birmingham University: Barber Institute, (I)
Blainville (French traveller), (I)
Blamont, Colin de: Charactères d’amour, (I)
Blathwayt, Colonel John, (I), (II)
Blow, John, (I), (II)
Bologna, (I), (II), (III)
Bonelli, Palazzo, (I), (II), (III)
Bononcini, Giovanni Maria
in Berlin, (I)
in Rome, (I), (II)
and Burlington, (I), (II), (III)
sought by Royal Academy of Music, (I)
arrives in London, (I)
background, (I)
potential rivalry with Handel, (I)
popularity, (I)
dismissed by Academy, (I)
on visit to Paris, (I)
rejoins Academy, (I)
protégé of Duchess of Marlborough, (I), (II), (III)
leaves service of Duchess of Marlborough, (I)
dispute about ‘In una siepe ombrosa’, (I)
leaves London for Paris, (I)
Handel’s borrowings from (I), (II)
death, (I)
brief references, (I), (II), (III), (IV), (V)
Works:
Astarto, (I), (II), (III)
Astianatte, (I), (II), (III)
Calfurnia, (I)
Camilla, (I), (II), (III), (IV)
Crispo, (I)
Erminia, (I)
Farnace, (I)
Griselda, (I), (II)
Muzio Scevola Act III, (I), (II)
Opus 3 sinfonias, (I)
Polifemo, (I)
Bononcini, Marc Antonio, (I)
Bordoni, Faustina see Faustina (Bordoni)
Borosini, Francesco, (I), (II), (III)
Boschi, Francesca Vanini, (I), (II)
Boschi, Giuseppe Maria, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII), (XIII)
Bosco Parassio, Rome, (I)
Bostel, Lucas von, (I)
Cara Mustapha, (I)
Bothmer (George I’s aide), (I)
Boulanger, Nadia, (I)
Boyce, William, (I), (II), (III), (IV), (V), (VI)
Boyle, Grace, (I)
Boyle, Richard, 3rd Earl of Burlington see Burlington, Richard Boyle, 3rd Earl of
Boyle, Robert, (I)
The Martyrdom of Theodora and Didymus, (I)
The Sceptical Chymist, (I)
Bracegirdle, Anne, (I), (II)
Brahms, Johannes, (I)
Bramston, James: The Man of Taste, (I)
Brandenburg, (I), (II)
Margrave of, (I)
Brereton, Thomas, (I)
Breslau (now Wrocław), (I)
Briani, Francesco: Isacio Tiranno, (I)
Brind, Richard, (I)
Bristol, (I)
Bristol, Lady, (I), (II)
British Journal, (I), (II), (III)
British Museum, (I), (II)
Britton, Thomas, (I)
Brockes, Barthold Heinrich, (I)
Der für die Sünden der Welt gemartete und sterbende Jesus, (I)
Bromfield, William, (I)
Broschi, Carlo see Farinelli
Broschi, Riccardo, (I)
Bradamante nell’isola d’Alcina, (I)
Broughton, Thomas, (I)
Brown, Margaret, Lady, (I), (II), (III)
Brunswick, Duke of, (I)
Brydges, Egerton, (I)
Brydges, James, Earl of Carnarvon see Carnarvon, James Brydges, Earl of, later Duke of Chandos
Buchanan, George: Jephthes sive votum, (I)
Buckeridge, H., (I)
Buckingham, Duke of: Marcus Brutus, (I)
Buckingham, Duchess of, (I)
Buckworth, Sir John, (I)
Burlington, Dorothy, Lady, (I)
Burlington, Dowager Countess, (I)
Burlington, Richard Boyle, 3rd Earl of, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX)
Burlington House, (I), (II), (III)
Burney,
Dr Charles
commemorative volume on centenary celebrations in Westminster Abby, (I)
on Arne’s Comus, (I)
on Carestini, (I)
on Cibber, (I)
on Conti, (I)
on Cuzzoni, (I), (II)
and Frasi, (I)
on Galli, (I)
on Guadagni, (I)
on Handel’s appearance, (I)
on Handel’s oratorio season, (I)
on Handel’s playing after onset of blindness, (I)
on Handel’s teasing remark to Dubourg, (I)
on Handel’s visit to Chester, (I)
on Handel’s wig, (I)
on Handel’s works: Diedamia, (I); Ottone, (I); Partenope, (I); Riccardo Primo, (I); Teseo, (I)
on Lady Brown’s music parties, (I)
on Paradies’s Fetonte, (I)
on Porta, (I)
brief references, (I), (II), (III), (IV), (V), (VI)
Bussani, Francesco, (I)
Buxtehude, Dietrich, (I)
Buxtehude, Margreta, (I)
Byrom, John, (I), (II)
Cadenti, (I)
Cadogan, Earl of, (I), (II)
Caesar, Joachim, (I)
Caffarelli (Gaetano Majorano), (I), (II), (III)
Caldara, Antonio, (I), (II), (III), (IV), (V)
La Partenope, (I)
Callas, Maria, (I)
Calwich Abbey, (I)
Calzabigi, Raniero de’, (I)
Camargo, La, (I)
Cambridge University Music Society, (I)
Canaletto, (I), (II)
Cancellaria, Palazzo della, Rome, (I), (II)
Cannons, (I), (II), (III), (IV), (V), (VI)
Capeci, Carlo Sigismondo, (I), (II), (III)
L’Orlando ovvero la Gelosa Pazzia , (I)
Tolomeo ed Alessandro ovvero la Corona Disprezzata, (I)
Caporale, Andrea, (I)
Carbonelli, Stefano, (I), (II)
Carestini, Giovanni, (I), (II), (III), (IV), (V), (VI), (VII), (VIII)
Carey, Henry, (I)
‘Discontented Virgin’, (I)
Carissimi, Giacomo, (I), (II), (III)
Carlisle, Lord, (I)
Carlton House, (I)
Carnarvon, James Brydges, Earl of, later Duke of Chandos, (I), (II), (III), (IV), (V), (VI)
Carsten, Johann, (I)
Carter, Elizabeth, (I), (II)
Carteret, Lord, (I)
Caroline of Brandenburg Ansbach, Queen, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII)
as Princess of Wales, (I), (II), (III), (IV), (V), (VI), (VII)
Caroline, Princess, (I)
Casali, Andrea, (I)
Casarini (singer), (I)
Caslon, William, (I)
Castle tavern, Paternoster Row, (I)
Castrucci, Pietro, (I), (II), (III), (IV), (V)
Handel Page 51