George Frederick Handel

Standard Name: Handel, George Frederick
Used Form: George Frideric Handel

Connections

Connections Sort ascending Author name Excerpt
Theme or Topic Treated in Text Elizabeth Isabella Spence
The Lily of Annandale is a retelling of the ballad Helen of Kirkconnel (who was accidentally killed by one of her rival lovers taking aim at the other). How to be Rid of a Wife...
Textual Production Anna Eliza Bray
During the summer and autumn of 1834 AEB began Handel : His Life, Personal and Professional, with some thoughts on sacred music.
British Library Catalogue. http://explore.bl.uk/primo_library/libweb/action/search.do?dscnt=0&tab=local_tab&dstmp=1489778087340&vid=BLVU1&mode=Basic&fromLo.
It was eventually completed and published in 1857, almost one hundred years...
Textual Production Jeanette Winterson
Her contributors included Ali Smith on Beethoven 's Fidelio, Anne Enright on Dvorak 's Rusalka, Jackie Kay on Janacek 's The Makropulos Case, Joanna Trollope on Donizetti 's L'Elisir d'Amore, Kate Atkinson
Textual Production Mary Delany
MD wrote for Handel a libretto adapted from Milton 's Paradise Lost; it has not been traced.
Blain, Virginia et al., editors. The Feminist Companion to Literature in English: Women Writers from the Middle Ages to the Present. Yale University Press; Batsford.
Delany, Mary. The Autobiography and Correspondence of Mary Granville, Mrs. Delany. Editor Augusta Hall, Baroness Llanover, R. Bentley.
II: 280
Textual Production Mary Delany
MD was a great admirer of Handel and in her letters often mentions attending performances of his music. She wrote of her efforts on the libretto that it has cost me a great deal of...
Textual Production Anne Ridler
AR 's earliest translations were from Italian, of Dante and Eugenio Montale . She first thought of translating a libretto for performance when she was asked to do so by Jane Glover , who later...
Textual Features Mary Whateley Darwall
In this pastoral elegy the poet links the dead woman with the famous dead: writers, thinkers and artists, Newton , Milton , Thomson , Lely , and Handel .
Textual Features Mary Lamb
Charles , she observes (echoing a published confession of his own), has no ear. For him to voice criticism of Handel or of the gamut is ridiculous: he does not know what he is talking...
Occupation Mary Delany
MD was still playing the harpsichord (performing for friends in private) until well into her eighties.
Linney, Verna. “A Passion for Art, a Passion for Botany: Mary Delany and her Floral ’Mosaiks’”. Eighteenth-Century Women: Studies in their Lives, Work, and Culture, edited by Linda V. Troost, Vol.
1
, pp. 203-35.
210n9
She was a patron of Handel ,
Hayden, Ruth. Mrs. Delany: Her Life and Her Flowers. British Museum.
53-4
and she tried to encourage Irish manufacture against competition from...
Occupation Caroline Herschel
CH made her first appearance as a professional singer (her brother William conducting), at the Upper Assembly Rooms at Bath in Handel 's oratorio Judas Maccabeus.
Brock, Claire. The Comet Sweeper: Caroline Herschel’s astronomical ambition. Thriplow.
102
Occupation Caroline Herschel
Her career in this field began strongly, although copying music for her brother made it hard for her to find practising time. By 1778 she had become the lead singer in public concerts at the...
Occupation Adelaide Kemble
AK , aged nineteen, sang professionally for the first time, in a concert featuring music by Handel ; she was too nervous to do herself justice.
Matthew, Henry Colin Gray et al., editors. Oxford Dictionary of National Biography. http://www.oxforddnb.com/.
Leisure and Society Frances Ridley Havergal
FRH could play much of Handel , Beethoven , and Mendelssohn from memory, and her powers as a solo singer were very much in request in the Philharmonic Society at Kidderminster.
Enock, Esther E. Frances Ridley Havergal. Pickering and Inglis.
20
She lived...
Intertextuality and Influence Patricia Beer
This poem's subject is the love-affair of Semele with Jove. Semele wished to see Jove in his true, not assumed form; when he complied and appeared as godhead she was burned to death in his...
Intertextuality and Influence Elizabeth Tollet
Sir Tanfield Leman in the Monthly Review approached this volume with some gendered condescension (which may be the explanation for his finding ET by implication excessively serious). He pronounced that she was not in the...

Timeline

2 April 1720: Handel and the Royal Academy of Music opened...

Building item

2 April 1720

Handel and the Royal Academy of Music opened the first season of Italian opera in several years at the Haymarket . The Royal Academy of Music continued offering opera there until 1728.

13 April 1742: The Messiah, an oratorio by George Frederic...

Building item

13 April 1742

The Messiah, an oratorio by George Frederic Handel , premiered at the Old Fishamble Street Music Hall in Dublin; following a public rehearsal the day before, the crowded opening was a triumph.

21 April 1749: Handel's Music for the Royal Fireworks was...

Building item

21 April 1749

Handel 's Music for the Royal Fireworks was first heard; its audience was one of all classes at Vauxhall Gardens, London.

Shortly before 20 April 1759: George Frederick Handel died after spending...

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Shortly before 20 April 1759

George Frederick Handel died after spending the best years of his career in England, specialising first in Italian opera, then in oratorio.

1776: A group of upper-class men founded the Concert...

Building item

1776

A group of upper-class men founded the Concert of Antient Music , to put on performances of Purcell , Handel (who was by now out of fashion), and seventeenth-century Italian composers.

26-29 May 1784: The first Handel Commemmoration Concert marked...

Building item

26-29 May 1784

The first Handel Commemmoration Concert marked the centenary of his birth: three immensely popular charity performances were given at Westminster Abbey and the Pantheon .

1800: At a Salisbury music festival, a concert...

Building item

1800

At a Salisbury music festival, a concert in the cathedral featuring work by Handel and Haydn drew an audience of 970.

Texts

No bibliographical results available.