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handel

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Journal Articles
19th-Century Music. 2020; 433194–208 doi: https://doi.org/10.1525/ncm.2020.43.3.194
Published: 01 March 2020
... the seduction scene of G. F. Handel s Giulio Cesare in Egitto (1724). In this scene, the start of act II, we see a disguised (read: veiled) Cleopatra sing- ing in an effort to seduce Caesar. Cleopatra praises Caesar s eyes ( v adoro pupille ) and for maximal effect, she summons an onstage orches- tra...
Journal Articles
19th-Century Music. 2020; 433143–169 doi: https://doi.org/10.1525/ncm.2020.43.3.143
Published: 01 March 2020
... effigies, they acquired a value of their own in the nineteenth century. As artists physiognomies were read for traces of their genius, and as deathbed scenes populated historical canvases and biographical anecdotes, it became the norm to cast the faces of artists. Today we have extant masks for Handel...
Journal Articles
19th-Century Music. 2009; 332110–150 doi: https://doi.org/10.1525/ncm.2009.33.2.110
Published: 01 November 2009
... background of the popularity and ubiquity of the ““Handelian sublime”” in early-nineteenth-century Viennese public life——that is, the aesthetics and social practice of grand choral singing, associated primarily with some of Handel's oratorios, but also with the late choral works of Haydn. Presenting new...
Journal Articles
19th-Century Music. 2018; 422123–154 doi: https://doi.org/10.1525/ncm.2018.42.2.123
Published: 04 December 2018
Journal Articles
19th-Century Music. 2008; 32126–51 doi: https://doi.org/10.1525/ncm.2008.32.1.026
Published: 01 July 2008
... received. But these audiences misunderstood St. Paul 's devotional elements, for several reasons. Not only were English audiences unfamiliar with both Bach's music and the Lutheran chorale, they also expected oratorios to follow the model established by Handel. As such, English audiences were confused by...
Journal Articles
19th-Century Music. 2006; 302182–204 doi: https://doi.org/10.1525/ncm.2006.30.2.182
Published: 01 November 2006
... publications. Considerable tensions arose between Franz, and Brahms, and Chrysander, which are explored here in relation to the latter's editions of Handel's Italian duets and trios. The difficulties surrounding continuo practice were not confined to opposition from Franz; even among musicologists there was...
Journal Articles
19th-Century Music. 2018; 413183–205 doi: https://doi.org/10.1525/ncm.2018.41.3.183
Published: 01 March 2018
...: Cambridge University Press, 2008), esp. 213 14; and Mark Evan Bonds, Absolute Music: The History of an Idea (New York: Oxford University Press, 2014), esp. 287 88. 8Roger Parker, Remaking the Song: Operatic Visions from Berio to Handel (Berkeley: University of California Press, 2006), 3. 9See Katherine...
Journal Articles
19th-Century Music. 2018; 413206–224 doi: https://doi.org/10.1525/ncm.2018.41.3.206
Published: 01 March 2018
Journal Articles
19th-Century Music. 2017; 4113–30 doi: https://doi.org/10.1525/ncm.2017.41.1.3
Published: 01 July 2017
... 1900) was the Secretary of the Conservatoire Royal de Musique in Brussels and a devotee of Wagner. He was also a playwright and translator who had collaborated with Gravrand on the Brussels transla- tion of Verdi s Nabucco in 1848, and translated arias by Bach, Handel, and Haydn into French in addition...
Journal Articles
19th-Century Music. 2001; 252-3296–312 doi: https://doi.org/10.1525/ncm.2001.25.2-3.296
Published: 01 November 2001
... Symphony. In a mature work, the Variations and Fugue on a Theme of Bach, op. 81 (1904), for piano, Reger self-consciously places himself in the tradition of two monumental variation sets from the nineteenth century, Beethoven's "Diabelli" and Brahms's Handel Variations. Reger creates a complex temporal...
Journal Articles
19th-Century Music. 2017; 403223–238 doi: https://doi.org/10.1525/ncm.2017.40.3.223
Published: 01 March 2017
... naslediye, ed. A. A. Orlova and M. S. Pekelis, 2 vols. (Moscow: Muzïka, 1971 72), I, 267 70, here 270. See also Richard Taruskin, Handel, Shakespeare, and Musorgsky: The Sources and Limits of Russian Musical Realism, in Musorgsky: Eight Essays and an Epilogue (Princeton: Princeton University Press, 1993...
Journal Articles
19th-Century Music. 2015; 392142–166 doi: https://doi.org/10.1525/ncm.2015.39.2.142
Published: 01 November 2015
Journal Articles
19th-Century Music. 2015; 392125–141 doi: https://doi.org/10.1525/ncm.2015.39.2.125
Published: 01 November 2015
... instance, situated the organ of tune in the lateral portion of the forehead, outside of Time, and immediately above Order and Number. Macnish illustrated this posi- tion with a portrait of Handel, in whose head it was greatly developed. 12 However, he in- cluded singers in the list that followed: It is...
Journal Articles
19th-Century Music. 2015; 39299–124 doi: https://doi.org/10.1525/ncm.2015.39.2.99
Published: 01 November 2015
Journal Articles
19th-Century Music. 2014; 3813–29 doi: https://doi.org/10.1525/ncm.2014.38.1.003
Published: 01 July 2014
... Margaret Bent, Rossana Dalmonte, and Mario Baroni, 2: Il sapere musicale (Turin: Einaudi, 2002), 967 79; and in Roger Parker, Remaking the Song: Oper- atic Visions and Revisions from Handel to Berio (Berke- ley: University of California Press, 2006), 8 and 20 21. 8Among the broad existing literature on the...
Journal Articles
19th-Century Music. 2014; 38179–112 doi: https://doi.org/10.1525/ncm.2014.38.1.079
Published: 01 July 2014
Journal Articles
19th-Century Music. 2014; 373188–210 doi: https://doi.org/10.1525/ncm.2014.37.3.188
Published: 01 March 2014
... Parker, In Search of Verdi, in Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley: University of California Press, 2006), 67 89. 42Escudier, L Art musical (28 March 1867), DdP, 213. 43Berthaud, Revue contemporaine (March-April 1867), DdP, 192. 44 Prenez bien garde de faire...
Journal Articles
19th-Century Music. 2012; 362101–121 doi: https://doi.org/10.1525/ncm.2012.36.2.101
Published: 01 November 2012
... ranges and broader expressive possibilities. Of course, women did sing on many stages throughout Europe before the nineteenth century, and many did so very virtuosically, in operas by Handel, Hasse, and Mozart in particular. However, the decline of the castrato and the increase in educational...
Journal Articles
19th-Century Music. 2012; 36146–57 doi: https://doi.org/10.1525/ncm.2012.36.1.046
Published: 01 July 2012
... the stage. She nonetheless made sev- eral recordings in her later years, among them an excellent F-Minor Sonata, a somewhat bela- bored Handel Variations, and several of the later character pieces, including the Capriccio in F Minor from op. 76 (track 6). The first page of the Capriccio performance...
Journal Articles
19th-Century Music. 2011; 343237–270 doi: https://doi.org/10.1525/ncm.2011.34.3.237
Published: 01 March 2011