L-G-0004020261-0002557013.Pdf

Abhandlungen zur Musikgeschichte Band 15 In Verbindung mit Hans Joachim Marx, Martin Staehelin und Ulrich Konrad herausgegeben von Jürgen Heidrich Matthew Gardner Handel and Maurice Greene’s Circle at the Apollo Academy The Music and Intellectual Contexts of Oratorios, Odes and Masques Mit vier Abbildungen V&R unipress Gedruckt mit Unterstützung der Graduiertenakademie der Universität Heidelberg und mit Mitteln der Exzellenzinitiative, und mit Unterstützung des Deutschen Akademischen Austauschdienstes Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. ISBN 978-3-89971-512-5 © 2008, V&R unipress in Göttingen / www.vr-unipress.de Alle Rechte vorbehalten. Das Werk und seine Teile sind urheberrechtlich geschützt. Jede Verwertung in anderen als den gesetzlich zugelassenen Fällen bedarf der vorherigen schriftlichen Einwilligung des Verlages. Hinweis zu § 52a UrhG: Weder das Werk noch seine Teile dürfen ohne vorherige schriftliche Einwilligung des Verlages öffentlich zugänglich gemacht werden. Dies gilt auch bei einer entsprechenden Nutzung für Lehr- und Unterrichtszwecke. Printed in Germany. Titelbild: Francis Hayman, Maurice Greene (1696–1755) and John Hoadly (1717–76), 1747 © National Portrait Gallery, London (NPG 2106). Gedruckt auf alterungsbeständigem Papier. for Anne Acknowledgments During the course of producing this book, which originated as my PhD disser- tation, many individuals, libraries and organisations have generously helped with my work, and with adapting to studying in a foreign country. Firstly, I owe a profound debt of thanks to my supervisor, Silke Leopold, for her constant and informative support as well as to Eric Cross and Roz Southey for encouraging my early interest in Handel and eighteenth-century music in Britain whilst I was an undergraduate at Newcastle University. Thanks are also due to Ela Baraniecka, Peter Bews, David Coke, Karin Gunkel, Eva Hänßgen, Sara Jeffe, Harry Johnstone (for tirelessly answering many of my questions on Maurice Greene), Cornelia Knab, Adrian Kuhl, Peter Lynan, Kathrin Pfister, Dorothea Redepenning, Peter Paul Schnierer, Joachim Steinheuer, and to the Doktorkolloquium of the Musikwissenschaftlisches Seminar, Heidelberg, for helpful feedback during the early stages of my work and for offering me the opportunity to present my findings on a regular basis. I would also like to thank all my friends who have not already been mentioned, particularly the members of the ‘Marionettenoper im Säulensaal’ for providing a welcome and friendly weekly distraction. Enormous thanks are also due to my parents for supporting me throughout this project and my university studies in general. My doctoral work was generously funded for three years by the Deutscher Akademischer Austauschdienst (DAAD), for which I am extremely grateful, and also for the helpful advice from Emma Maidens, Lottie Bulman and Imke Karge. The following libraries and their staff have kindly assisted me by granting access to their collections: Universitätsbibliothek Heidelberg (especially Volkmar Becker and Angela Englert); Bodleian Library, Oxford; Ashmolean Museum, Oxford; British Library, London; Royal Academy of Music Library, London; Royal College of Music Library, London; National Portrait Gallery, London; Fitzwilliam Museum, Cambridge; Rowe Music Library, King’s College, Cam- bridge; Public Record Office, Kew; Staats- und Universitätsbibliothek, Hamburg; Bayrische Staatsbibliothek, Munich; Humanities Research Center at the Uni- versity of Austin Library, USA (particularly Emily Rainwater); Sibley Music Library, Rochester, USA; Library of Congress, Washington, USA; and Otago University Library, Dunedin, New Zealand (especially Donald Kerr). Many thanks are owed to the staff at Vandenhoeck & Ruprecht unipress, especially Ulrike Schermuly and Silvie Mittmann for their assistance in preparing the manuscript for publication and for answering my frequent questions. I would also like to thank the editors of the series ‘Abhandlungen zur Musikgeschichte’ for allowing my work to be published as volume 15. vii Acknowledgments Finally, special thanks are due to Roz Southey for proof-reading the manuscript, offering much helpful advice on prose and style; and to Anne Buschkühl for reading the final draft (and numerous earlier versions) and for her constant loving support throughout this project. Matthew Gardner Heidelberg, September 2008 viii Contents List of Plates................................................................................................... xi List of Tables ................................................................................................. xi List of Musical Examples.............................................................................. xii Abbreviations and Conventions ................................................................... xix 1 Introduction ................................................................................................ 1 Part I Oratorios and Musical Dramas............................................................ 19 2 Politics, Competition and Early Oratorio: Greene’s The Song of Deborah and Barak and Handel’s Deborah............................................. 21 3 Patriot Drama and the Prince of Wales: the Jephtha Oratorios of Greene, Handel and Stanley ..................................................................... 51 4 Virtue, Pleasure and the Choice of Hercules.......................................... 103 5 Virtue and Pleasure Continued: the Force or Triumph of Truth............. 155 6 David’s Lamentation over Saul and Jonathan: Boyce and Handel......... 181 Part II Odes for St Cecilia and Pastoral Masques....................................... 201 7 Odes for St Cecilia’s Day 1729–1739: Stanley, Greene, Handel, Festing and Boyce .................................................................................. 203 8 Pastoral Masques and Serenatas: Greene and Boyce............................. 271 9 Conclusions ............................................................................................ 293 ix Contents Appendices A. Key Characteristics.....................................................................299 B. Singers who Performed in Works by Greene, Boyce and Festing.........................................................................................301 C. Literary Publications and Musical Works Related to the Song of Deborah and Barak........................................................303 D. Literary Publications and Musical Works Related to the Choice of Hercules and the Judgment of Paris ...........................305 Select Bibliography .....................................................................................307 Index............................................................................................................331 x Lists List of Plates 1.1 Title page of A Miscellany of Lyric Poems, The Greatest Part 18 Written for, and Performed in, the Academy of Music Held in Apollo (London: 1740) 3.1 Francis Hayman, Maurice Greene (1696–1755) and John 53 Hoadly (1717–76), 1747 4.1 Paolo de’ Matteis, The Triumph of Hercules, 1712 109 7.1 Dryden, A Song for St Cecilia’s Day (London: 1687) 266 List of Tables 1.1 Large-scale English language works by Handel’s contempor- 2 aries associated with Greene’s Apollo Academy and works with similar subjects by Handel 2.1 Parallels made between the story of Deborah and Barak and 31 contemporary figures in the Texas University copy of William Penn’s poem 2.2 Manuscript Sources of Greene’s The Song of Deborah and 34 Barak 2.3 Structure of Maurice Greene’s The Song of Deborah and 36 Barak based on GB-Lbl Add. 5326, the 1732 libretto and the 1740 libretto 2.4 Allegorical links in the story of Deborah and Barak, 1705 50 and 1744 4.1 Structure of John Stanley’s The Choice of Hercules 119 4.2 Structure of Maurice Greene’s The Judgment of Hercules 132–3 4.3 Structure of Handel’s The Choice of Hercules 143–4 5.1 Singers in Maurice Greene’s The Force of Truth 156 5.2 Airs and Choruses in Act I of Handel’s The Triumph of Time 166 and Truth (1757 and 1758 Versions) xi Lists 6.1 Structure of William Boyce’s David’s Lamentation over Saul 187–8 and Jonathan 6.2 Structure of Handel’s Saul, Act III, Scenes 4 and 5 196–7 7.1 Odes for St Cecilia’s Day 1729–39 and their librettists 203 7.2 Structure of John Stanley’s The Power of Music, 1729 208 7.3 Names of Singers included in the Bodleian Library Manu- 214 script (GB-Ob MS. d. 36) of Greene’s Ode on St Cecilia’s Day 7.4 Structure of Maurice Greene’s Ode on St Cecilia’s Day, 1730 216 7.5 Structure of Handel’s Alexander’s Feast, 1736 229–30 7.6 Structure of Michael Festing’s A Song for St Cecilia’s Day, 238 c. 1737–8 7.7 Structure of William Boyce’s An Ode for St Cecilia’s Day, 246 c. 1737–8, text by Vidal 7.8 Surviving vocal parts from William Boyce’s An Ode for St 247 Cecilia’s Day, c. 1737–8 7.9 Structure of William Boyce’s An Ode for St Cecilia’s Day, 253–4 1739, text by Lockman 7.10 Structure of Handel’s Ode for St Cecilia’s Day, 1739 267 8.1 Singers named in the Otago copy of the libretto for Greene’s 272 Florimel, or Love’s Revenge 8.2 Singers named in the Otago and Bodleian copies of the 288 libretto for Greene’s Phoebe List of Musical Examples 2.1 Greene, The Song of Deborah and Barak, bars 13–19 from 38–9 the accompanied recitative

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