30 Ruspoli Ursula Kirkendale: ‘The Ruspoli Documents on Handel’
33 Handel, Durastanti and Ruspoli Ursula Kirkendale: ‘Handel with Ruspoli’ p. 304–6
Diana cacciatrice ibid p. 310
Handel and Ruspoli at Civitavecchia ibid p. 312
34 Summer at Vignanello ibid p. 321–22
37 Handel and Vittoria Mainwaring p. 50
Handel and Scarlatti in Venice Mainwaring pp. 51–52
Rodrigo J. Merrill Knapp: ‘Handel’s First Italian Opera’, M & L, January 1981
38 Partenope Robert Freeman: ‘The Travels of Partenope’, Studies in Music History, Princeton 1968
43 Pamphilj’s flattery Dean: ‘Charles Jennens’s Marginalia to Mainwaring’s Life of Handel’. The text of ‘Hendel, non pu`o mia musa’ is printed in Deutsch pp. 24–25
44 Parade outside Palazzo Bonelli Piazza’s painting is reproduced in Kirkendale: ‘Handel with Ruspoli’ op. cit. pp. 340–1
46 Teatro San Giovanni Grisostomo Details from Venice, Archivio di Stato, Giudizi di Petizion, Inventari, busta 411
The audience was so enchanted Mainwaring p. 46
48 Death of Grimani Details in Marcus Landau: Rom, Wien, Neapel, während des spanischen Erfolgekrieges
3 Popery in Wit
50. Handel and the Roman cardinals Mainwaring pp. 64–66
Georg Ludwig For a balanced modern view, see Ragnhild Hatton: George I, Elector and King
52 Such an acquaintance Mainwaring pp. 70
54 Her extreme old age ibid pp. 73–74
56. Addison on Italian theatre poets ‘Remarks on Several Parts of Italy’ in Miscellaneous Works, ed. Guthkelch.
57 Popery in wit Epilogue to Steele’s ‘The Tender Husband’, 1705
58 Aaron Hill Dorothy Brewster: Aaron Hill
59 The nobility and gentry R.O. Bucholz: The Augustan Court, p. 218
61 While composing the music Deutsch p. 33 Steele on Nicolino ‘Tatler’ 113
62 ‘Spectator’ papers on Rinaldo 6 March, 1711 (Addison) 16 March, 1711 (Steele)
64 Johann Wilhelm to Sophia Deutsch p. 43 Hill versus Collier Judith Milhous & Robert D.Hume: ‘The Haymarket Opera in 1711’ Owen Swiney Elizabeth Gibson: ‘Owen Swiney and the Italian Opera in London’
66 Treaties unfinished Attributed to Charles Montagu, Lord Halifax.
67 ‘Teseo’ David Kimbell: ‘The Libretto of Handel’s Teseo’
69 ‘Silla’ Duncan Chisholm: ‘Handel’s Lucio Cornelio Silla’
72 ‘Amadigi’ David Kimbell: ‘The Amadis Operas of Destouches & Handel’M & L, October 1968
4 Noble Oratories
78. Britton’s concerts Sir John Hawkins: A General History of the Science and Practice of Music vol.2 p. 817
Handel plays Mattheson Hawkins op. cit. vol 2 p. 852
Richard Elford Donald Burrows: Handel and the English Chapel Royal pp. 582–4
81 Kreienberg’s letter Donald Burrows: ‘Handel and Hanover’, in Williams ed.: Handel, Bach, Scarlatti p. 35
82 I find myself soe much tyerd Edward Gregg: Queen Anne p. 368
The Church Opera Burrows: Chapel Royal op. cit. p. 82
84 I believe sleep Gregg op. cit. p. 394
88 Water Music Accounts of performance background in Donald Burrows: ‘King George I, the Haymarket Opera Company and the Water Music’, Howard Serwer: ‘The World of the Water Music’, and in Stanley Sadie: Handel’s Concertos, London 1972. ‘Daily Courant’ and Prussian Resident’s reports in Deutsch pp. 76–78
89 Energie des Modes Pierre Crussard: ‘Marc-Antoine Charpentier, theoricien’, Revue de Musicologie XXVII, Paris, 1945
90. Duke of Chandos C.H. & M Baker: Life and Circumstances of James Brydges, First Duke of Chandos, Joan Johnson: Excellent Cassandra
91 Cannons anthems Burrows: Chapel Royal op. cit. pp. 144–66
92 ‘As pants the hart’ ibid pp. 56–74, 148–154, 187–216
95 Il Totila Vitige’s ‘Del mio amor’ is the possible source. See Garland Series reprint, New York, 1978
96 Esther see Howard E. Smither: A History of the Oratorio vol. 2 p. 189
5 A Nest of Nightingales
99 Royal Academy of Music Elizabeth Gibson: The Royal Academy of Music, J.Merrill Knapp: ‘Handel, the Royal Academy of Music and its first opera season in London’, Musical Quarterly (April, 1959) Judith Milhous & Robert D.Hume: ‘New Light on Handel and the Royal Academy of Music’, ‘The Charter for the Royal Academy of Music’.
101 Handel to Michaelsen Deutsch p. 84–86
Handel to Mattheson ibid pp. 86–89
102 Zambeccari on Senesino Angus Heriot: The Castrati in Opera p. 91
Handel’s Dresden visit Johannes Gress: ‘Handel in Dresden’
103 Flemming’s letter Deutsch pp. 95–96
104 Rolli and Haym George E. Dorris: Paolo Rolli and the Italian Circle in London. No complete modern edition exists of Rolli’s poetical works. On Haym see Lowell Lindgren: ‘The Accomplishments of the Learned and Ingenious Nicola Francesco Haym’.
106 Rolli on libretto writing Marziale in Albion, Florence, 1776, epigram XLVII
109 The secret . . . is to present Stefano Arteaga: Le Rivoluzioni del Teatro Musicale Italiano, second edn., Venice, 1785, vol. 1 p. 184
111 In so splendid and fashionable Mainwaring p. 98
Burney on ‘Ombra Cara’ General History of Music op. cit. p. 702
112. Re-written ‘Radamisto’ See Winton Dean & J. Merrill Knapp: Handel’s Operas 1704–1726 pp. 341–4 for full account of this version.
Riva to Steffani Colin Timms: ‘Music and Musicians in the Letters of Giuseppe Riva to Agostino Steffani’, M & L 79, 1998
114 In two words ibid p. 30
118. Some things have happened Dean & Knapp: Handel’s Operas 1704–1726 p.389
119 Gaetano Berenstadt Lowell Lindgren: ‘La carriera di Gaetano Berenstadt’
120 Burney on Cuzzoni Burney op. cit. pp. 736, 745
121 Seigniora Cutzoni Deutsch p.139
122 A nest of nightingales Burney op. cit. p. 721
Disturbance from that part of the house Deutsch p. 148
As for the reigning Amusement ibid. p. 149
123 The passages in this Burney op. cit. p. 722
‘Ottone’ For a different view of the opera see Dean & Knapp op. cit chapter 20
124 Robinson to Riva quoted in Giuseppe Bertoni: ‘Giuseppe Riva e l’Opera italiana a Londra’
125 Attilio Ariosti Lowell Lindgren: ‘Ariosti’s London Years’
126 Vanbrugh to Tonson see Sir John Vanbrugh: Complete Works vol.4, London, 1928
128 Handel’s house Inventory in Deutsch p. 829
129 I have been obliged Deutsch pp. 117–8
6 Discords in the State
134 But let old charmers Full text in Alexander Pope: Minor Poems ed. Alt & Butt, London, Methuen, 1954
136 A Session of Musicians Full text in Deutsch pp. 163–70
140 You know my ear Deutsch pp. 174–5
141 And to render the Work ibid p.175
143 Mrs Sandoni ibid p. 185
As we delight ibid p. 151
144 Quantz on Faustina Burney op. cit. p. 745
145 Elpidia Reinhard Strohm: ‘Handels Pasticci’
149 so far forgot himself Horace Walpole quoted in Dean: Handel’s Operas 1726–1741 p. 24
150 While Senesino Deutsch p. 198
153 Handel’s naturalization ibid pp. 202–3, Burrows: Chapel Royal op. cit. pp. 253–4
154 At Leicester Fields Deutsch p. 206
She was in such concern ibid. p. 207
155 On Tuesday night ibid. p. 210
156 The Contre-Temps partially quoted in Deutsch p. 212
157 Coronation of King George II Burrows: Chapel Royal op. cit. pp. 255–281
161 I doubt operas will not survive Deutsch p. 218
164 Every family has its Medarse G.U. Pagani Cesa: Discorso sopra il Siroe Nice, 1785
166 Fougeroux ‘A French Traveller
’s View of Handel’s Operas’
7 Airs of a Modern Cast
169 So smooth and free from wrinkles Burney op.cit. p. 765
170 We agreed to prosecute Deutsch p. 234
171 Handel and Farinelli Colonel E. Burges, English Resident in Venice, to the Duke of Newcastle, 9/20 January 1730, quoted in Elizabeth Gibson: Royal Academy of Music pp. 282–283
Rolli to Senesino Deutsch pp. 236–238
172 Zambeccari Heriot op. cit. pp. 89–90
173 Taken in the lump Gibson: Royal Academy op. cit. p. 284
174 We hear the Operas Deutsch p. 247
The opera really is ibid. p. 249
176 Strada vs. Merighi ibid. p. 248
177 Swiney on ‘Partenope’ Swiney to Richmond, 13 August, 1726, in Gibson: Royal Academy op. cit. pp. 369–70
178 Operas are dying ibid. p. 254
180 Death of Handel’s mother ibid. p. 263
186 ‘Esther’ revival Burrows: Chapel Royal op. cit. pp. 288–299
188 1732 ‘Acis and Galatea’ Deutsch p. 293
189 Ein gar besonders mischmasch phrase is from Fr.W. Marpurg: Historisch-Kritsche Beyträge zur Aufnahmen der Musik LV, Berlin, 1754
190 I am just come ibid p. 296
No more shall Italy ibid. p. 297
192 ‘Orlando’ libretto Dean: Handel’s Operas 1726–1741 p. 234
194 I never in my life ibid. p. 252
Heidegger management Judith Milhous & Robert D. Hume: ‘Handel’s Opera Finances in 1732–3’
8 Music, Ladies and Learning
195 Chapter title taken from letter of recommendation by the Duke of Chandos to a nephew at Oxford – ‘Music, ladies and learning are each entertainments which cannot fail to gratify the passions of one who has so good a taste.’ Deutsch p. 318
196 Delawarr to Richmond ibid. p. 303
198 ‘Craftsman’ letter ibid. pp. 310–12
199 ‘tis excessive noisy’ ibid. pp. 309–10
200 Nicola Porpora see Michael F. Robinson: ‘Porpora’s Operas for London’, Soundings 2, 1971–2
201 Almost all our Houses The Oxford Act AD 1733, London, 1734
202 Thomas Hearne Deutsch pp. 319–20
Musica sacra Dramatica ibid. pp. 320–21
206 Le Pour et le Contre ibid. pp. 333–34
Ballad opera The Oxford Act, a new ballad opera, London, 1733
207 It’s not just a story Deutsch p. 341
I am just come home ibid. p. 336
209 The King and Queen ibid. p. 380
210 Amongst other publick Diversions ibid. p. 359
211 Mrs Pendarves’s party ibid. p. 363
212 Handel’s 1720 copyright privilege ibid. p. 105
214 Marie Sallé Emile Dacier: Marie Salle 1707–1756, d’apres des documents inedits, Paris, 1909
217 Mrs Pendarves on ‘Alcina’ Deutsch p. 385
9 The Fate of Harmony
220 A man of the vastest genius Deutsch p.277
Or she improves ibid. pp. 388–89
221 Yawning four hours ibid. pp. 395–96
224 Newburgh Hamilton’s preface ibid. p. 399 See also Ruth Loewenthal
[later Ruth Smith] ‘Newburgh Hamilton’ MT November 1971
‘Alexander’s Feast’ concerto see article by Basil Lam in Gerald Abraham: Handel, A Symposium
225 London Daily Post Deutsch pp. 399–400
226 Over the altar ibid. p. 405
The Fore-part of the Scene ibid. p. 407
227 Handel never till now Burney op. cit. p. 802
228 Gray to Walpole Deutsch p. 410
229 The two opera houses ibid. pp. 408–409
230 Strada that sings better ibid. p. 418
231 Portmanteau lines e.g. Bertarido’s Act III invocation in Rodelinda to ‘Sposa, figlio, sorella, amici’.
232 Music is certainly a pleasure Deutsch p. 428
James Harris to Shaftesbury ibid. p. 433
236. Great fatigue and disappointment ibid. pp. 846–47
When ye Fate of Harmony ibid. p. 433
237 Handel’s illnesses On this topic in general, see Stefan Evers: ‘Zur Pathographie Handels’, William A. Frosch: ‘Handel’s Illness of 1737’, David Hunter: ‘Miraculous Recovery ? Handel’s Illnesses, the Narrative Tradition of Heroic Strength and the Oratorio Turn’, Milo Keynes: ‘Handel and his Illnesses’. Baths of Aachen see Carl Ludwig von Poellnitz: The Amusements of Aix-la-Chapelle, 2 vols. London, 1748
239 Queen Caroline’s funeral Full account in The ceremonial Proceeding to a Private Interrment of Her Late Most Excellent Majesty Queen Caroline, London, 1737. The British Library’s copy attaches the relevant elegies.
240 From the warlike Thames Rolli’s ode to Teodoli is included in Marziale in Albion op. cit. The Solemnity of the Queen’s Funeral Deutsch p. 443
242 German chorales in the Funeral Anthem see John H. Roberts: ‘German Chorales in Handel’s English works’
242 Ye body is to be remov’d Richard G. King: ‘Handel’s Travels in the Netherlands’
10 All for War and Admiral Haddock
244 Better suited . . . to the circumstances Hawkins op. cit. p. 888
245 Every body seemed to like Pharamond Loewenthal, ‘Newburgh Hamilton’ op. cit.
247 Gasparini’s ‘Faramondo’ see Reinhard Strohm: ‘Francesco Gasparini, Le sue Opere Tarde e Georg Friedrich Handel’ in Quaderni della Rivista Italiana di Musicologia 6, Florence, 1981.
249 Lady Luxborough to Shenstone noted in J.A. Fuller-Maitland & A.H. Mann: Catalogue to the Music in the Fitzwilliam Museum, Cambridge, London, 1893
Heidegger to subscribers Deutsch pp. 460–61
251 Handel’s statue at Vauxhall Terence Hodgkinson: ‘Handel at Vauxhall’, Margaret Whinney: ‘Handel and Roubiliac’, MT February, 1961, Suzanne Aspden: ‘“Fam’d Handel Breathing tho’ Transformed to Stone”: the Composer as Monument’. For various commendatory verses see Deutsch p. 462
253 Hawkins on Handel as organist Hawkins op. cit. p. 912
Steevens on Jennens quoted in John Nichols: Literary Anecdotes of the 18th Century
255 Political undertones in ‘Saul’ see Ruth Smith: Handel’s Oratorios and Eighteenth-Century Thought for an extended analysis of the political and cultural background to this and Handel’s other English oratorios
258 An organ of £500 price Deutsch pp. 465–66
259 RW’s letter ibid. pp. 481–83
262 Handel’s borrowings Major studies of Handel’s borrowings are those by John H. Roberts and Reinhard Strohm. For a general view of this important feature of Handel’s compositional practice, see Roberts’s ‘Why Did Handel Borrow?’ and George J. Buelow: ‘The Case for Handel’s Borrowings’, both in Sadie & Hicks: Handel Tercentenary Collection
263 Walsh’s privilege of copyright Deutsch p. 488
264 Mr Handel is in Music Charles Avison: An Essay on Musical Expression p. 50
265 Plays we have none Deutsch p. 492
11 A British Sixpence
269 Those who know it by heart Arthur Hutchings: The Baroque Concerto p. 304
In this masque Burney op.cit. p. 1004
270 When Mr Handel first exhibited Deutsch pp. 722–23
There is not a scene ibid. p. 733
271 Verses by G.O. ibid pp. 500–501
272 When the Court and Nobility Deutsch p. 504
Handel in Holland Richard G. King: ‘Handel’s Travels in the Netherlands’
‘Imeneo’ John H. Roberts: ‘the Story of Handel’s “Imeneo”’
275 Mrs Pendarves on Monza Deutsch p. 508
I don’t pity Handel ibid. p. 378
Single Disgust ibid. pp. 515–17
276 The men of penetration ibid. p. 520
Walpole to Mann ibid. pp. 521–22
Walpole on 3rd Duke of Devonshire see Horace Walpole: Memoirs and Portraits, ed. Matthew Hodgart, London, 1963
The most magnificent Stephen Barlow: History of Ireland, vol. 1, London, 1814.
277 The morning is charming partially quoted in Deutsch p. 636
I was at the Public-school incident recounted in Burney: An Account of the Musical performances in Westminster-Abbey and the Pantheon . . . in Commemoration of Handel, London, 1785. His original transcription of Handel’s pronunciation of the word ‘sight’ as ‘soite’ suggests that the composer may have contracted Cockney vowel sounds otherwise uncharacteristic of a German accent
278 Crossing to Ireland details in Alfred Coward: Picturesque Cheshire, London, 1903, pp. 232–33
Dublin Journal Deutsch pp. 524–25, 529
Mercer’s Hospital ibid. p. 526
279 Handel to Jennens ibid. pp. 530–31
Handel’s Dublin concerts ibid. pp. 534–36
Swift’s order ibid. pp. 536–37
280. For Relief of the Prisoners ibid. p. 542
281 In order to keep ibid. p. 550
282 Snitterton Hall I am grateful to John Lee for information as to the village’s possible link with Handel and Messiah
283 Messiah For the compositional process and details of the various changes made to the work, see Watkins Shaw: A Companion to Handel’s Messiah, Jens Peter Larsen: Handel’s Messiah, Origin, Composition, Sources, Richard Luckett: Handel’s Messiah: A Celebration, Donald Burrows: Handel: ‘Messiah’
12 Brave Hallelujahs
286 Paraletic stroke Stefan Evers: ‘Zur Pathographie Handels’
A German and a Genius Laetitia Pilkington: Memoirs, London, 1754
287 the report that the Direction Deutsch p. 554
288 Walpole to Mann ibid. p. 560
Filled with all the people ibid. p. 561
Wherever he rested Burrows & Dunhill: Handel and the Harris Circle p. 6
290 Philalethes Deutsch pp. 563–65
291 So much of the Epicure Burrows & Dunhill op. cit. p. 10
292 Walpole to Mann Deutsch pp. 566–67
296 Miller’s opposition principles Ruth Smith: Handel’s Oratorios and Eighteenth-Century Thought op. cit. p. 300
297 Handel in Clarges Street Deutsch p. 589
298 Handel’s letter to the ‘Daily Advertiser’ ibid p. 602
299 I would lament the Loss ibid. p. 603
299 But chiefly ONE ibid. p. 604
Handel’s second letter ibid. p. 606
302 Handel-Jennens correspondence ibid. pp. 590, 592, 595