DOCSLIB.ORG

Handel's Orientalist Operas the Royal Academy Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Handel's Orientalist Operas the Royal Academy Of Journal of Interdisciplinary History, xxxvi:3 (Winter, 2006), 419–443. HANDEL’S ORIENTALIST OPERAS Ellen T. Harris With Eyes on the East and Ears in the West: Handel’s Orientalist Operas The Royal Academy of Music, established in 1719 for the production of Italian opera on the London stage, operated as a full-ºedged business enterprise. Supported by venture capital and created on the model of a joint- stock company, the Academy was managed by a board of directors personally invested in the enterprise. Surprisingly, however, there has been no serious examination of the potential impact of the di- rectors’ ªnancial goals on their artistic management of the opera. Although the effect of individual directors is not easily dis- cernible, board inºuence in general might be revealed in an un- usual artistic feature of the Academy. Throughout the course of its existence (1719–1728), the Academy produced a large proportion of operas with librettos set in the Orient, particularly in its later years when it was suffering successive losing seasons. The direc- tors’ willingness to continue its support of the opera during this period may have been due to the Academy serving as a loss leader for their larger ªnancial investment goals and trade interests. Not only did opera itself, given the large number of ªrst-rate foreign artists attracted to work for it, provide putative value as an em- blem of England’s cultural supremacy in Europe, but also, more speciªcally, the directors’ personal connections to the East Indian trade—through investments, naval operations, or direct management—suggest that librettos with Eastern settings had value as lobbying or marketing tools to keep the image of the East in front of those who might assist them politically. This article argues that the unusual number of Oriental set- Ellen T. Harris is Professor of Music, Massachusetts Institute of Technology. She is the author of Handel as Orpheus: Voice and Desire in the Chamber Cantatas (Cambridge, Mass., 2001); Handel and the Pastoral Tradition (New York, 1980). The author thanks Theodore Rabb and Lewis Lockwood for their invitation to partici- pate in the conference “Opera and Society,” Princeton University, March 25–28, 2004, and the Institute for Advanced Study, and the staff of its Humanities and Social Science Library, for the opportunity to think, research, and write across discipline boundaries. Thanks also is due to the Princeton University libraries. Harvard University and Queen’s University, Belfast, provided additional opportunities to present, discuss, and reªne this work. A special debt of gratitude is owed to Ruth Smith for her insights about, and criticisms of, multiple drafts of this article. © 2005 by the Massachusetts Institute of Technology and The Journal of Interdisciplinary History, Inc. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/002219506774929863 by guest on 25 September 2021 420 | ELLEN T. HARRIS tings in the Academy’s operas, especially from 1724 to 1728— Riccardo primo (1727) by George Frideric Handel being a prime example—was a direct result of the investment and mercantile in- terest of its directors. The evidence for this conclusion is fourfold: (1) the structure of the Royal Academy of Music and the interests of its directors; (2) the speciªc political crisis that ensued from the establishment of an Austrian company out of Ostend in 1722 that threatened direct competition with the English East India Com- pany; (3) contemporary London’s fascination with the East as a re- sult of its increasing international trade, as reºected in literary, dra- matic, and visual representations; and (4) the decision of the directors of the English East India Company to place art in the ser- vice of commerce by hiring visual artists and architects to create a public image for the company. the royal academy of music and its directors The idea for the Royal Academy of Music blossomed during the speculative fervor of 1718/19. International trade became the nexus for the threads of government and ªnance, after the almost total conver- sion of the national debt in 1717 to short-term issues, which were held and sold by the East India Company, the South Sea Com- pany, and the Bank of England. The Academy may well have been the ªrst cultural organization to be created on the same principle as these companies—that is, as a partnership or corporation in which individuals could invest in ownership shares with the antic- ipation of making a proªt. The subscribers and directors of the op- era were typically men of business, actively engaged in investment, government, and international trade, especially with the East In- dies. Although their aims were undoubtedly related to a love of opera, a ªnancial component must have been involved. The establishment of the Foundling Hospital in 1737, as de- scribed by Colley, presented a parallel situation, outside the con- text of art and culture. Although the “375 [hospital] governors ap- proved by George II...contained some very illustrious names... the majority were merchants”; many, like the founder Thomas Coram, a shipwright, were self-made. “From the outset, the char- ity [Foundling Hospital] was run in their commercial image. As a voluntary corporate body with its own directors and legal identity, it was modeled on London’s joint-stock companies, the ªrst time an organization of this kind had been extended to the work of Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/002219506774929863 by guest on 25 September 2021 HANDEL’S ORIENTALIST OPERAS | 421 philanthropy. The hospital’s avowed aim was mercantilist as well as humanitarian: to rescue young lives that would otherwise be wasted and render them useful to the state. Once grown, the girls were sent out as servants; the boys went to sea or worked in husbandry.”1 That the ªnancial interests of the directors have not been taken more seriously into account seems a signiªcant oversight. According to the “Proposall for carrying on Operas by a Com- pany and a Joynt Stock” (1719), the plan was for a capital base of £10,000, with the expectation that calls for money pledged would not exceed 20 percent of the subscribed capital and with the stated prospect of a 25 percent proªt. From a close analysis of the docu- ments, Milhous and Hume concluded that these ªnancial propos- als were “overoptimistic” and “naïve,” and they referred to the “amateurishness of the whole operation.” Gibson disagreed, add- ing “in any event, ªnancial considerations were not the primary motivation that led the patrons of the opera to become involved”; aesthetic and ethical considerations were. Having “spent a good deal of time abroad—either on the Grand Tour, in a diplomatic capacity, or on service during the Continental campaigns of John Churchill, Duke of Marlborough . [,] [the investors] wanted to recreate in London the luxurious and prestigious art-form they had come to admire.” According to Gibson, one of their aims and successes was to choose librettos of a “highly serious nature,” “drawn from the classical and historical stock which was the staple diet of a gentleman’s education and...intended to illuminate how the great should behave.”2 Notwithstanding the partial truth of Gibson’s position, the evidence suggests that the directors made their decisions largely on the basis of ªnancial self-interest, whether or not realistic. Al- though the history of the directorship of the Royal Academy of Music is incomplete, ªve separate lists of directors survive: that from autumn of 1719, when the opera was still in the planning stages; spring of 1720, when the ªrst performances took place; the ªrst full season, 1720/21; and the years 1726/27 and 1727/28. In 1 Linda Colley, Britons: Forging the Nation (New Haven, 1992), 59. 2 For a detailed discussion of the planning documents for the Academy, see Judith Milhous and Robert D. Hume, “New Light on Handel and The Royal Academy of Music in 1720,” Theatre Journal, XXXV (1983), 149–167. Elizabeth Gibson, The Royal Academy of Music: 1719– 1728 (New York, 1989), 17 (emphasis added), 285–286. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/002219506774929863 by guest on 25 September 2021 422 | ELLEN T. HARRIS her discussion of the Academy’s directors, Gibson focused on “what is known about their musical and operatic tastes,” and her capsule biographies of them emphasized the importance of the Grand Tour, their years abroad, and the dates of their signiªcant appointments. Retracing her steps through the standard biograph- ical sources that she consulted reveals what Gibson chose to omit.3 Although few, if any, of the directors were outright scoun- drels, few of them were simply selºess patrons of the arts. Many were not only heavily invested and involved in international trade but also risk takers or hoarders dedicated ªrst and foremost to the acquisition of wealth and power. Among other documented activ- ities, they gambled, spent money excessively, and engaged in illicit liaisons. The same ironic words written about Baron Richard Edgcumbe (director in 1727/28)—”Though he was corrupt with the political corruption of the age, Edgcumbe seems to have been in other respects a worthy person”—seem to apply just as well to other directors of the Academy. A few speciªc examples sufªce to illustrate the less savory side of the directors’ lives.4 William Keppel, Lord Albermarle (director 1726/27, 1727/ 28) was a known spendthrift who piled up debts and ran through vast amounts of money. Horace Walpole alleges that at the time of his marriage in 1723, Albermarle had £90,000 in investments and that his wife brought him £25,000 more, but that at his death, he left nothing for his creditors or his children.
Load more

Recommended publications
  • The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the D
    The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Marion Woodrow Kruse, III Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Anthony Kaldellis, Advisor; Benjamin Acosta-Hughes; Nathan Rosenstein Copyright by Marion Woodrow Kruse, III 2015 ABSTRACT This dissertation explores the use of Roman historical memory from the late fifth century through the middle of the sixth century AD. The collapse of Roman government in the western Roman empire in the late fifth century inspired a crisis of identity and political messaging in the eastern Roman empire of the same period. I argue that the Romans of the eastern empire, in particular those who lived in Constantinople and worked in or around the imperial administration, responded to the challenge posed by the loss of Rome by rewriting the history of the Roman empire. The new historical narratives that arose during this period were initially concerned with Roman identity and fixated on urban space (in particular the cities of Rome and Constantinople) and Roman mythistory. By the sixth century, however, the debate over Roman history had begun to infuse all levels of Roman political discourse and became a major component of the emperor Justinian’s imperial messaging and propaganda, especially in his Novels. The imperial history proposed by the Novels was aggressivley challenged by other writers of the period, creating a clear historical and political conflict over the role and import of Roman history as a model or justification for Roman politics in the sixth century.
    [Show full text]
  • Hadrian and the Greek East
    HADRIAN AND THE GREEK EAST: IMPERIAL POLICY AND COMMUNICATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Demetrios Kritsotakis, B.A, M.A. * * * * * The Ohio State University 2008 Dissertation Committee: Approved by Professor Fritz Graf, Adviser Professor Tom Hawkins ____________________________ Professor Anthony Kaldellis Adviser Greek and Latin Graduate Program Copyright by Demetrios Kritsotakis 2008 ABSTRACT The Roman Emperor Hadrian pursued a policy of unification of the vast Empire. After his accession, he abandoned the expansionist policy of his predecessor Trajan and focused on securing the frontiers of the empire and on maintaining its stability. Of the utmost importance was the further integration and participation in his program of the peoples of the Greek East, especially of the Greek mainland and Asia Minor. Hadrian now invited them to become active members of the empire. By his lengthy travels and benefactions to the people of the region and by the creation of the Panhellenion, Hadrian attempted to create a second center of the Empire. Rome, in the West, was the first center; now a second one, in the East, would draw together the Greek people on both sides of the Aegean Sea. Thus he could accelerate the unification of the empire by focusing on its two most important elements, Romans and Greeks. Hadrian channeled his intentions in a number of ways, including the use of specific iconographical types on the coinage of his reign and religious language and themes in his interactions with the Greeks. In both cases it becomes evident that the Greeks not only understood his messages, but they also reacted in a positive way.
    [Show full text]
  • Swedish Debut at Royal Opera Stockholm with Handel's „Xerxes“
    Press release Greek conductor George Petrou – Swedish debut at Royal Opera Stockholm with Handel’s „Xerxes“: 6. February 2015 Greek conductor George Petrou will be making his Swedish debut at the Royal Opera in Stockholm: On 6. February 2015 he will be conducting the revival of “Xerxes” by Georg Friedrich Handel. Katija Dragojevic will be heard in the titel role; other main characters will be represented by Susanna Stern (Romilda), Vivianne Holmberg (Atalante), Johanna Rudström (Arsamenes), Katarina Leoson (Amastris), John Erik Eleby (Ariodates) and Jens Persson (Elviro). The production was directed by Daniel Slater, stage design, costumes and mask by Robert Innes Hopkins. Further performances: 11., 14., 17., 24., 27. February and 3. March. George Petrou has been established as one of the world's leading Handel specialists. Many of his Handel-opera-recordings received important classical music awards like the French Diapason d’Or and Choc du monde de la musique as well as the German ECHO Klassik. For George Petrou “Xerxes” in Stockholm is also a premiere even though he has already conducted selected arias of the opera in the past: “Serse was a turning point in Handel's operatic output. It looked ahead into the future, breaking a great deal of the Opera seria conventions. Apparently it quite shocked the public with its novelty of structure and style, and it wasn't understood. However, it remains one of Handel's top creations.” “Xerxes” is one of the most frequently played operas by Handel. The plot unfolds as a comic rollercoaster of love, jealousy and secret desires in which nothing is quite as it seems.
    [Show full text]
  • Handel's Oratorios and the Culture of Sentiment By
    Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
    [Show full text]
  • CHORAL PROBLEMS in HANDEL's MESSIAH THESIS Presented to The
    *141 CHORAL PROBLEMS IN HANDEL'S MESSIAH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By John J. Williams, B. M. Ed. Denton, Texas May, 1968 PREFACE Music of the Baroque era can be best perceived through a detailed study of the elements with which it is constructed. Through the analysis of melodic characteristics, rhythmic characteristics, harmonic characteristics, textural charac- teristics, and formal characteristics, many choral problems related directly to performance practices in the Baroque era may be solved. It certainly cannot be denied that there is a wealth of information written about Handel's Messiah and that readers glancing at this subject might ask, "What is there new to say about Messiah?" or possibly, "I've conducted Messiah so many times that there is absolutely nothing I don't know about it." Familiarity with the work is not sufficient to produce a performance, for when it is executed in this fashion, it becomes merely a convention rather than a carefully pre- pared piece of music. Although the oratorio has retained its popularity for over a hundred years, it is rarely heard as Handel himself performed it. Several editions of the score exist, with changes made by the composer to suit individual soloists or performance conditions. iii The edition chosen for analysis in this study is the one which Handel directed at the Foundling Hospital in London on May 15, 1754. It is version number four of the vocal score published in 1959 by Novello and Company, Limited, London, as edited by Watkins Shaw, based on sets of parts belonging to the Thomas Coram Foundation (The Foundling Hospital).
    [Show full text]
  • The Sophies of Hanover and Royal Prussian Music Abstract
    Kulturgeschichte Preuûens - Colloquien 6 (2018) Ellen Exner The Sophies of Hanover and Royal Prussian Music Abstract: The history of royal Prussian music was shaped not only by its kings, but also by its queens. Although there were famously patterns of crisis and prosperity in the kingdom©s eighteenth-century history, strands of continuity provided by Prussia©s early Hanoverian queens often go unobserved and therefore undescribed. The first Prussian queen, Sophie Charlotte of Hanover, set a precedent for sophisticated music cultivation, which is apparent in Corelli©s dedication to her of the Op. 5 violin sonatasÐa collection of chamber pieces. Her legacyÐand that of her homeland, HanoverÐlived on through the private efforts of her daughter-in-law and successor, Sophie Dorothea, whose own legacy is evident in the musical activities of her children. <1> Kings are unquestionably important in the histories of kingdoms but queens also had roles to play in creating a reign©s culture. Early in Prussia©s royal history, two of its queens were the real forces behind music cultivation within the ruling family. Queens Sophie Charlotte (r. 1701 to 1705) and Sophie Dorothea (r. 1713 to 1740) both came originally to Prussia from Hanover and shared more than just their bloodline with the Prussian royal family: they also infused it with a discerning passion for music. Prussia©s first queen, Sophie Charlotte, achieved a very high standard of elite music making, setting an impressive precedent for the royal family. Memory of her musicianship remained alive in her descendants, female as well as male. When Sophie Charlotte©s own son, King Friedrich Wilhelm I (r.
    [Show full text]
  • Junior Recital: Amy Hebel, Soprano
    Kennesaw State University College of the Arts School of Music presents Junior Recital Amy Hebel, soprano Brenda Brent, piano Saturday, March 15, 2014 7:00 p.m Music Building Recital Hall Eighty-ninth Concert of the 2013-14 Concert Season Program I GEORGE FRIDERIC HANDEL (1685-1759) Lusinghe più care from Alessandro (libretto by Rolli) II RICHARD STRAUSS (1864-1949) Einerlei (Von Arnim) Kling!... (Henckell) III CLAUDE DEBUSSY (1862-1918) Pierrot (Banville) Apparition (Mallarmé) IV DOMINICK ARGENTO (b. 1927) when faces called flowers float out of the ground from Songs About Spring (E.E. Cummings) Spring from Six Elizabethan Songs (Nashe) V VINCENZO BELLINI (1801-1835) Ah! non credea…Ah! non giunge from La Sonnambula (libretto by Romani) This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Ms. Hebel studies voice with Jana Young. Program Notes I GEORGE FRIDERIC HANDEL (1685-1759) Born in Halle Germany in 1685, George Frideric Handel began life under the influ- ence of a father who rejected his love of music for monetary reasons. At the age of 7 and with the support of his mother, Handel secretly studied music under the influence of Friedrich Wilhelm Zachow, a composer of vocal and keyboard music in Halle. After juggling a life studying law and music, in 1703 he chose to pursue a career in only music. Known for his work at the Royal Academy of Music in London after gaining widespread popularity with his opera, Rinaldo, he continued compos- ing more than 50 operas, and 30 oratorios. His greatest known work is the Mes- siah, which is still performed worldwide today.
    [Show full text]
  • The Reception of Agrippina, Mother of Nero, in Handel's Opera Agrippina
    In die Skriflig / In Luce Verbi ISSN: (Online) 2305-0853, (Print) 1018-6441 Page 1 of 6 Original Research Agrippina as prima donna: The reception of Agrippina, mother of Nero, in Handel’s opera Agrippina Author: This article examines the way in which Agrippina, the mother of the emperor Nero, is depicted 1 Betine van Zyl Smit in Handel’s opera Agrippina. The opera’s libretto, written by Cardinal Vincenzo Grimani, Affiliation: draws upon the historical information in Suetonius’ biography of Claudius and upon the 1Department of Classics and events described in books 12 to 14 of Tacitus’ Annals. The article shows how Grimani juggled Archaeology, University of the chronology, events and relationships among the characters to omit the tragic and gruesome Nottingham, Nottingham, details, and to create a satirical comedy of succession. United Kingdom Keywords: Georg Friedrich Handel; Vincenzo Grimani; Agrippina Opera; Emperor Nero; Corresponding author: Betine Smit, Emperor Claudius; Empress Agrippina; Suetonius’ Biography of Claudius; Tacitus Annals [email protected] 12–14; Opera Libretto; Poppaea Sabina; Otho. Dates: Received: 07 June 2019 Accepted: 25 July 2019 Introduction Published: 31 Oct. 2019 The relationships and events at the heart of the Roman Empire in the middle years of the 1st century AD1 contain plenty of drama and intrigue. The accounts of Tacitus in his Annals and in the How to cite this article: Van Zyl Smit, B., 2019, biographies of the emperors Claudius and Nero by Suetonius, depict a series of marriages and ‘Agrippina as prima donna: murders that would make material for the most lurid fiction. Such events occurred at the courts The reception of Agrippina, of Claudius (41–54) and Nero (54–64).
    [Show full text]
  • Renaissance Medals by G· F· Hill and G· Pollard Renaissance Medals from the Samuel H· Kress Collection at the National Gallery of Art
    COMPLETE CATALOGUE OF THE SAMUEL H· KRESS COLLECTION RENAISSANCE MEDALS BY G· F· HILL AND G· POLLARD RENAISSANCE MEDALS FROM THE SAMUEL H· KRESS COLLECTION AT THE NATIONAL GALLERY OF ART BASED ON THE CATALOGUE OF RENAISSANCE MEDALS IN THE GUSTAVE DREYFUS COLLECTION BY G·F·HILL REVISED AND ENLARGED BY GRAHAM POLLARD PUBLISHED BY THE PHAIDON PRESS FOR THE SAMUEL H·KRESS FOUNDATION THE REPRODUCTIONS IN THIS VOLUME ARE FROM NBW PHOTOGRAPHS TAKEN BY BULLATY-LOMBO PHOTOGRAPHERS' NBW YORK CITY ALL RIGHTS RESERVED BY PHAIDON PRESS LTD' LONDON SW 7 PRINTED IN GREAT BRITAIN I967 BY ROBERT MACLEIIOSE & CO. LTD A GLASGOW CONTENTS PREFACE page V11 INTRODUCTORY NOTE page IX CATALOGUE page 3 ILLUSTRATIONS page 133 CONCORDANCES page 273 INDEX OF INSCRIPTIONS page 278 GENERAL INDEX page 293 . INDEX OF PERSONS page 300 INDEX OF ARTISTS page 306 PREFACE HE first and only catalogue of the collection of medals formed by Gustave Dreyfus appeared in I93 I. Its author was Sir George Hill, who had studied the collection in depth when it was still T in Dreyfus' hands in the Boulevard Malesherbes in Paris. In a prefatory note, Hill observed that 'keenly as Gustave Dreyfus appreciated all his beautiful things, he had a particularly soft place in his heart for the Italian medals, and ... he would have agreed with the German critic who declared that the medallic art was par excellence the art of the Renaissance, the expression of the quintessence of the spirit of that age.' The preface continues with the tribute: 'His was perhaps the finest collection that has ever been in the hands of a private collector - the "perhaps" might be omitted, but that it is difficult to range the great collections in a true perspective.' Thanks to the Kress Foundation, the Dreyfus collection of medals was not dispersed, like so many other medallic collections, but is preserved intact in the National Gallery of Art in Washington, where it bears out Hill's claim to be regarded as the finest private collection of medals ever to have been formed.
    [Show full text]
  • Martyred for the Church
    Wissenschaftliche Untersuchungen zum Neuen Testament · 2. Reihe Herausgeber / Editor Jörg Frey (Zürich) Mitherausgeber/Associate Editors Markus Bockmuehl (Oxford) · James A. Kelhoffer (Uppsala) Tobias Nicklas (Regensburg) · J. Ross Wagner (Durham, NC) 471 Justin Buol Martyred for the Church Memorializations of the Effective Deaths of Bishop Martyrs in the Second Century CE Mohr Siebeck Justin Buol, born 1983; 2005 BA in Biblical and Theological Studies, Bethel University; 2007 MA in New Testament, Trinity Evangelical Divinity School; 2009 MA in Classical and Near Eastern Studies, University of Minnesota; 2017 PhD in Christianity and Judaism in Antiquity, University of Notre Dame; currently an adjunct professor at Bethel University. ISBN 978-3-16-156389-8 / eISBN 978-3-16-156390-4 DOI 10.1628/978-3-16-156390-4 ISSN 0340-9570 / eISSN 2568-7484 (Wissenschaftliche Untersuchungen zum Neuen Testament, 2. Reihe) The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2018 Mohr Siebeck Tübingen, Germany. www.mohrsiebeck.com This book may not be reproduced, in whole or in part, in any form (beyond that permitted by copyright law) without the publisher’s written permission. This applies particularly to repro- ductions, translations and storage and processing in electronic systems. The book was printed by Laupp & Göbel in Gomaringen on non-aging paper and bound by Buchbinderei Nädele in Nehren. Printed in Germany. Preface This monograph represents a revised version of my doctoral dissertation. It has been updated to take into account additional scholarly literature, bring in new argumentation, and shorten some sections for relevance.
    [Show full text]
  • Handel's Agrippina," in Handel Studies: a Gedenkschrift for Howard Serwer, Ed
    Handel’s Agrippina: A Critical Study of the Autograph and Early Sources Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Music Sean Gallagher, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in Musicology by Jessica Vincent May 2014 Copyright by Jessica Vincent © 2014 ACKNOWLEDGEMENTS Writing this thesis would not have been possible without the help and support of my professors, colleagues, co-workers, friends, and family. First, I would like to thank my thesis advisor, Sean Gallagher, whose Handel seminar captured my imagination. His expertise and guidance helped shape my thesis and allowed me to discover a facet of musicology about which I am truly passionate. I also must thank my colleague Matthew Heck, who was my research partner during the initial stages of this project. Our meetings and persistent emails challenged me to think about details I otherwise would have overlooked. Of course, I must recognize my terrific professors here at Brandeis. Thanks to Eric Chafe, Seth Coluzzi, and Allan Keiler, without whom I would still be a stranger to the “Tristan chord”, modal theory, and Schenker. To my mentors and co-workers at the Robert D. Farber Archives & Special Collections Department at Brandeis: thank you for showing me the transcendent value of primary sources. I am forever a relentless advocate of archives. I thank my parents, Shane and Jennifer, who continue to encourage and support me in all of my academic endeavors. Last but certainly not least, I would like to thank my wonderful boyfriend, Jake, who dropped everything and moved across the country to support me while I pursued my master’s degree.
    [Show full text]
  • Il FLORIDANTE Tra L'amadigi E Il RINALDO
    I Università di Pisa a.a. 2005-2007 TESI DI DOTTORATO IN LETTERATURA ITALIANA Il FLORIDANTE tra l’ AMADIGI e il RINALDO L’epilogo del Tasso, l’esordio del Tassino CANDIDATO ROSANNA SIMONA MORACE RELATORE PROF . PIERO FLORIANI IL PRESIDENTE PROF . M.C. CABANI CORELATORE PROF . SERGIO ZATTI II Alle mie stelle in cielo (Mikie compresa), ai miei angeli custodi in terra (Galatina compresa). Ringrazio con molto affetto il Prof. Piero Floriani per la disponibilità, la gentilezza e l’onestà con la quale mi ha seguito, da maestro, in tutti questi anni. Un altro sentito gra- zie va al Prof. Livio Petrucci, per i preziosi consigli ed il tempo dedicatomi nonostante non fosse tra i tutori del mio percorso. Un caldo abbraccio, poi, per il Prof. Carlo Alber- to Madrignani, che con la sua divertente saggezza è stato per me come un nonno; ed al Prof. Giancarlo Bertoncini, discreto, silenzioso, ma altrettanto vicino ed umanamente disponibile. Ancora un grazie al mio papà, che pur da lontano mi è stato sempre vicino. III VOL . I Il FLORIDANTE tra l’AMADIGI e il RINALDO L’epilogo del Tasso, l’esordio del Tassino I) TRA VENEZIA E MANTOVA (1558-1569) pp. 1-44 L’epilogo del Tasso; l’esordio del Tassino. II ) TRA EPICA E ROMANZO (1543-1560) pp. 45-83 1) L’ Amadigi ‘epico’ e il rapporto con l’ Amadìs , pp. 45-64. 2) La ‘riforma romanzesca’ e l’ Amadigi ‘molteplice’, pp. 65-72 3) La Prefazione all’ Amadigi di Lodovico Dolce, pp. 72-83 III ) TRA ROMANZO ED EPICA (1556-1560) pp.
    [Show full text]