Händel (née Taust), Dorothea, (I), (II), (III)
Händel, Dorothea Sophia (later Dorothea Michaelson), (I), (II)
Händel Dr Georg, (I), (II), (III), (IV), (V), (VI), (VII)
Handel, George Frideric
family background, (I)
birth and baptism, (I)
childhood years, (I)
appointed as organist of Domkirche, Halle, (I)
friendship with Telemann, (I), (II)
visits Berlin, (I)
declines Elector’s offer, (I)
in Hamburg, (I)
and Mattheson, (I), (II)
applies for post of organist at Marienkirche at Lübeck, (I)
relations with women, (I)
in Italy, (I)
leaves Italy and returns to Germany, (I)
at Hanover, (I)
plans to visit England, (I)
visits Halle, (I)
arrives in England, (I)
early performance of his work at the Haymarket (Queen’s Theatre), (I), (II), (III), (IV), (V)
and Burlington, (I)
goes to Germany, (I)
composes ode for Queen Anne’s birthday, (I)
composes canticles on signing of Utrecht treaty, (I)
and accession of George I, (I), (II)
composes for George I’s river concert, (I)
as member of Carnarvon’s household at Cannons, (I)
visits Italy on behalf of Royal Academy, (I)
appointed to lead orchestra at Haymarket, (I)
at the Haymarket during Academy’s period of involvement, (I)
takes lease on house in Brook Street, (I)
interior of home, (I)
publication of his work, (I), (II), (III), (IV), (V), (VI)
appointed as composer of music for Chapel Royal, (I)
becomes a naturalized Englishman, (I), (II)
continues in royal favour after death of George I, (I)
and coronation of George II and Caroline, (I)
visits Italy to find new singers, (I), (II), (III)
and Academy proposals concerning continuation of opera at Haymarket, (I)
continuing involvement at Haymarket, (I), (II), (III), (IV), (V), (VI), (VII)
in Oxford, (I)
and wedding of Princess Royal, (I)
at home of Mrs Delany, (I)
at Tunbridge Wells, (I)
performances at Covent Garden, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X)
audience reactions to, (I)
subscribers to editions of his work, (I)
and wedding of Prince of Wales, (I)
health problems, (I), (II), (III)
at Aachen, (I)
and Queen Caroline’s funeral, (I)
moves away from opera, (I)
at Haymarket again, (I), (II), (III)
subscribes to fund for poor musicians and their families, (I)
sculptures and paintings of, (I), (II)
keyboard virtuosity, (I)
leaves Haymarket, (I)
at Lincoln’s Inn Fields theatre, (I), (II), (III)
visits Netherlands and Germany, (I)
visit to Ireland, (I), (II)
composes to celebrate victory at Dettingen, (I)
cabal against, (I)
further performances at Haymarket, (I), (II)
impressions of, (I)
life-style, (I)
personality and wit, (I)
visits to friends, (I)
at Exton, (I)
in Scarborough, (I)
mental health, (I)
becomes acquainted with Gluck, (I)
writes music for firework display, (I)
concerts at Foundling Hospital, (I), (II), (III)
purchase painting attributed to Rembrandt, (I)
last visit to Germany and Holland, (I)
eye problems and blindness, (I), (II), (III), (IV)
at Cheltenham, (I)
widespread performance of his work, (I)
death, (I)
funeral and interment, (I)
will, (I)
tributes to, (I)
reputation and influence, (I)
Works see Index of Works
Händel, Johanna Christiana, (I)
Händel, Karl, (I), (II)
Händel, Valtin (or Valentin), (I)
Handel Opera Society, (I)
Handl, Jacob, (I)
Hankey, Sir T., (I)
Hanover, (I), (II), (III), (IV), (V), (VI), (VII)
Harley, Edward, (I), (II)
Harms, Johann Oswald, (I)
Harris, James, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX)
Harris, Thomas, (I), (II), (III)
Harris, William, (I)
Harris brothers, (I) see also names of individuals
Hartington, Marquis of, (I)
Hasse, Johann Adolf, (I), (II), (III), (IV), (V)
Hassler, Hans Leo, (I)
Hawkins, Sir John, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX)
Haydn, Joseph, (I), (II)
The Creation, (I)
The Seasons, (I), (II)
Hayes, William, (I), (II), (III)
Haym, Nicola
background and early career, (I)
in Ottoboni’s circle, (I)
as cellist, (I)
in service of Earl of Bedford, (I), (II)
in service of Earl of Carnarvon, (I)
mentioned in anonymous pamphlet, (I)
as librettist, (I), (II), (III)
Admeto, (I), (II)
Amadigi, (I)
Astianatte, (I)
Coriolano, (I)
Elpidia, (I)
Flavio, (I)
Giulio Cesare, (I), (II)
Ottone, (I)
Radamisto, (I)
Rodelinda, (I), (II)
Siroe, (I), (II)
Tamerlano, (I), (II), (III)
Teseo, (I)
Tolomeo, (I)
death, (I)
Hayman, Francis, (I)
Haymarket (Queen’s
Theatre/King’s Theatre)
designed by Vanbrugh, (I), (II)
acoustics, (I)
opening (I), (II)
opera becomes sole preserve of, (I)
Handel at, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII), (XIII), (XIV), (XV), (XVI), (XVII), (XVIII), (XIX)
management, (I), (II), (III), (IV)
financial problems, (I), (II), (III), (IV)
Royal Academy’s involvement, (I)
Royal Academy’s new scheme for continuation of operas at, (I)
Opera of the Nobility at, (I), (II), (III)
Veracini’s Adriano in Siria performed at, (I)
disillusionment with, (I)
and Middlesex’s opera project, (I), (II), (III)
Gluck’s opera La Caduta dei Giganti performed at, (I)
performance of Lucio Vero pasticcio, (I)
Handel attends benefit concert at, (I)
brief references, (I), (II), (III), (IV), (V)
Hearne, Thomas, (I), (II), (III)
Heidegger, Johann Jacob
involvement with Haymarket (Queen’s Theatre, King’s Theatre), (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII), (XIII), (XIV), (XV)
and summer concert for George I, (I)
becomes a director of Royal Academy, (I)
depicted in playlet entitled The Contre Temps, (I)
depicted in satire entitled The Scandalizade, (I)
death, (I)
brief references, (I), (II), (III), (IV), (V)
Helmich, Johann, (I)
Henley, (I)
Hereford, Bishop of, (I)
Herrenhausen, Schloss, (I), (II), (III), (IV)
Hertford, Lady, (I)
Hervey, Lord, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX)
Hetherington, John, (I)
Heywood, Eliza, (I)
> Hickford’s Rooms, (I), (II)
Hill, Aaron, (I), (II), (III), (IV)
Hinsch, Heinrich, (I)
Hogarth, William, (I), (II), (III), (IV), (V), (VI), (VII)
The Rake’s Progress, (I)
Hogwood, Christopher, (I)
Holdsworth, Edward, (I), (II), (III), (IV), (V), (VI), (VII), (VIII)
Holland/Netherlands, (I), (II), (III)
Holmes, Dr William, (I)
Hospital for Smallpox and Innoculation, (I)
Houbraken, Jacob, (I)
Houdar de la Motte: Amadis de Grèce, (I)
House of Commons, (I)
House of Lords, (I), (II)
Huddersfield, (I)
Hudson, Thomas, (I), (II)
Huggins, William, (I), (II)
Hughes, Francis, (I), (II), (III)
Hughes, John, (I), (II)
Humphreys, Samuel, (I), (II), (III), (IV)
Hunter, James, (I)
Huntingdon, Selina, Lady, (I)
Hutchings, Arthur, (I)
Innocent X, Pope, (I)
Innocent XII, Pope, (I), (II)
Ireland, (I), (II), (III), (IV)
Irwin, Lady Anne, (I)
Italy, (I), (II), (III), (IV), (V), (VI) see also names of places
Jacobsen, Theodore, (I)
James II, King, (I), (II), (III)
Jenkins, Captain, (I)
Jennens, Charles
subscribes to editions of Handel’s work, (I), (II)
on Conti, (I)
obtains contemporary Italian music, (I)
commissions portrait of Handel, (I)
background, (I)
cultured, (I)
Jennens, Charles contd.
enthusiasm for Handel’s work, (I)
as librettist:
Balshazar, (I), (II), (III)
Israel in Egypt (possibly), (I), (II)
Messiah, (I), (II), (III)
Saul, (I), (II), (III), (IV)
involved with L’Allegro, I Penserosoed Il Moderate, (I), (II)
opinion of Imeneo, (I)
disagreement with Handel, (I), (II)
comments on Semele, (I)
comments on production of Hercules, (I)
Handel at Gopsal with, (I)
questions Handel’s sanity, (I)
Handel’s portrait bequeathed to, (I)
brief references, (I), (II), (III), (IV), (V), (VI), (VII), (VIII)
Jennings, Catherine, (I)
Johann Adolf I, Duke of Saxony, (I), (II), (III)
Johann Wilhelm, Elector Palatine, (I), (II), (III)
Johnson, Dr Samuel, (I), (II)
The Village Opera, (I)
Jonson, Ben: The Alchemist, (I)
Joseph I, Emperor, (I), (II), (III), (IV)
Karl, Prince of Pfalz Neuburg, (I)
Kärntnerthor Theatre, (I)
Keiser, Reinhardt, (I), (II), (III)
Almira, (I)
Der Hochmütige, Gestürzte und Wieder Erhabene Croesus, (I)
Masagniello Furioso, Die neoplitanische Fischer-Emporung, (I)
Octavia, (I)
Kelly, Michael, (I), (II)
Kelway, Joseph, (I)
Kensington Palace, (I)
Kerll, Johann Kaspar, (I), (II), (III), (IV)
Kielmansegg, Baron Johann Adolf von, (I), (II), (III), (IV), (V)
Kielmansegg, Sophie von, (I), (II)
Kilmanseck, Baron de, (I)
King’s Theatre see Haymarket (Queen’s Theatre/King’s Theatre)
Kirschhoff, Gottfried, (I)
Kitching, Alan and Frances, (I)
Kleinhampel, Zaccharias, (I)
Knatchbull, Sir Wyndham, (I), (II), (III)
Konigen, Andreas, (I)
Koninck, Philips van, (I)
Kreineberg, Christoph Friedrich, (I), (II)
Krieger, Johann Philipp, (I), (II), (III), (IV)
Kuhnau, Johann, (I), (II)
Kusser, Johann Sigsimund, (I)
Kytsch, Johann Christian, (I)
Lagarde (bass), (I)
Laguerre, Louis, (I)
Lalli, Domenico (Sebastiano Bianciardi): L’amor tirannico, (I)
Lalo, Edouard, (I)
Lambeth, (I)
Lamoureux, (I)
Lampe, John Frederick, (I), (II)
Lampugnani, Giovanni Battista, (I)
Landowska, Wanda, (I)
Langhorne, John: ‘The Tears of Music’, (I)
Le Blond, Peter, (I), (II)
Legh, Charles, (I)
Legrenzi, Giovanni, (I), (II)
Il Totila, (I)
Lehmann, Lilli, (I)
Leibniz, Gottfried, (I)
Leicester House, (I)
Leigh, Dr Theophilus, (I)
Leipzig, (I), (II)
Leo, Leonardo, (I), (II), (III), (IV)
Catone in Utica, (I), (II), (III)
Leopold, Emperor, (I), (II)
L’Epine, Margherita, (I)
Leporin, Johann Christoph, (I)
L’Estrange, Sir Roger, (I)
Leveridge, Richard, (I), (II)
Liebfrauenkirch, Halle, (I), (II), (III)
Limerick, James, Lord, (I), (II)
Lincolns Inn Fields theatre, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI)
Linley, Elizabeth, (I)
Lisbon earthquake, (I), (II)
Liszt, Ferencz, (I)
Littleton, Fisher, (I)
Lobkowitz, Prince, (I)
Locatelli, Pietro, (I)
Lockman, John, (I), (II)
Loeillet, Jean, (I)
London Chronicle, (I), (II)
London Daily Post, (I), (II), (III), (IV), (V), (VI)
London Evening Post, (I), (II)
London Journal, (I), (II), (III), (IV)
Lonsdale, Lord, (I)
Lotti, Antonio, (I), (II), (III), (IV), (V), (VI), (VII)
Duetti, Terzetti e Madrigali, (I)
‘In una siepe ombrosa’, (I)
Isacio Tiranno, (I)
Teofane, (I), (II)
Lotti, Santa Stella, (I)
Louis XIV, King of France, (I)
Louis XV, King of France, (I), (II)
Louisa, Princess, (I)
Loulworth, Ivitt, (I)
Lovat, Lord, (I)
Lovel, Thomas Coke, Lord, (I)
Lowe, Thomas, (I), (II), (III)
Lowth, Dr Robert, (I)
Lübeck, (I), (II)
Lucchesina, La, (I), (II)
Lully, Giovanni Battista, (I), (II)
Alceste, (I)
Thésée, (I)
Lunatics, (I)
Lustig, Jacob Wilhelm, (I)
Luxborough, Lady, (I), (II)
Macfarren, Sir George, (I)
Mackerras, Charles, (I)
Maclaine, Mrs, (I)
Macready, (I)
Madan, Colonel Martin, (I)
Madrid, Treaty of, (I)
Magdalenakirche, Hamburg, (I)
Magdeburg, (I)
Maintenon, Mme de, (I)
Mainwaring, John
on Handel’s childhood, (I), (II), (III), (IV)
on Keiser, (I)
on Handel’s visit to Italy, (I), (II), (III), (IV)
on Handel’s renewed acquaintance with Steffani, (I)
on Handel’s first visit to London, (I)
on Handel’s illness, (I), (II)
on Handel’s visit to Aachen, (I)
on audiences, (I)
on Semele, (I)
on Handel’s love of food, (I)
on Cuzzoni, (I)
brief references, (I), (II), (III), (IV)
Majorano, Gaetano see Caffarelli
Manchester, Charles Montagu, Duke of, (I)
Mancini: L’Idaspe Fedele, (I), (II)
Mann, Sir Horace, (I), (II), (III)
Mannheim, (I)
Mantua, (I)
Mara, Gertrud Elizabeth, (I)
Marcello, Alessandro and Benedetto, (I), (II)
Marchand, Louis, (I)
Marchesini, Maria Antonia, (I)
Marescotti, Count Alessandro, (I)
Margate, (I)
Maria Casimira, Queen of Poland, (I)
Maria Josepha, Archduchess, (I)
Maria Theresa, (I)
Marienkirche, Halle, (I)
Marienkirche, Lübeck, (I)
Marine Society, (I)
Marlborough, Henrietta Spencer, Duchess of, (I), (II), (III), (IV)
Marlborough, John Churchill, Duke of, (I), (II), (III), (IV), (V), (VI), (VII), (VIII)
Marlborough, Sarah Churchill, Duchess of, (I), (II)
Marpurg (German critic), (I)
Marylebone pleasure gardens, (I)
Maschwitz, (I)
Mattheson, Johann, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X)
Cleopatra, (I)
Grundlage einer Ehren-Pforte, (I)
Neu eröffnete Orchester, Das, (I)
Untersuchung der Singspiele, (I)
Mauro, Hortensio, (I), (II), (III), (IV)
Mayne, Mrs, (I)
Meares, Richard, (I)
Medici, Cardinal Giovanni Carlo de’, (I)
Medici, Prince Ferdinando de’ see Ferdinando de’ Medici, Prince of Tuscany
Mendelssohn, Felix, (I), (II)
Mendez da Costa, Moses, (I)
Mercer’s Hospital, Dublin, (I), (II)
Mercier, Philippe, (I), (II)
Merighi, Anna, (I), (II), (III), (IV), (V), (VI), (VII)
Metastasio (Pietro Trapassi), (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX)
Methodism, (I)
Michaelson, Johanna Friederika (later Johanna Florcke), (I), (II), (III)
Michaelson, Michael Dietrich, (I), (II), (III), (IV), (V)
Middlesex, Lord, (I), (II), (III), (IV), (V), (VI)
Milan, (I), (II)
Miller, Joseph, (I)
The Universal Passion, (I)
Miller, Sanderson, (I), (II)
Milton, John, (I)
‘L’Allegro’, (I)
Comus, (I)
Paradise Lost, (I)
‘Penseroso, Il’, (I)
Samson Agonistes, (I)
Minato, Nicolo, (I), (II)
Moidart, (I)
Monroe, George, (I)
Montagnana, Antonio, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X)
Montagu, Charles, Duke of Manchester, (I)
Montagu, Mary Wortley, (I)
Montague, Duke of, (I), (II), (III), (IV)
Monteverdi, Claudio, (I), (II), (III), (IV), (V)
L’Incoronazione di Poppea, (I)
Monticelli (castrato), (I)
Monza (soprano), (I)
Morell, Thomas, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII), (XIII)
Moritzburg castle, Halle, (I)
Morris, Gael, (I)
Morris, Mark, (I)
Morselli: L’Incoronazione di Dario, (I)
Mozart, Wolfgang Amadeus, (I), (II), (III), (IV), (V)
Ascanio in Alba, (I)
C Minor Mass, (I)
Clemenza di Tito, La, (I)
Cosi fan tutti, (I)
Don Giovanni, (I)
Handel Page 53