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DOCTOR OF PHILOSOPHY Handel and his accompanied recitatives Gorry, Liam Award date: 2012 Awarding institution: Queen's University Belfast Link to publication Terms of use All those accessing thesis content in Queen’s University Belfast Research Portal are subject to the following terms and conditions of use • Copyright is subject to the Copyright, Designs and Patent Act 1988, or as modified by any successor legislation • Copyright and moral rights for thesis content are retained by the author and/or other copyright owners • A copy of a thesis may be downloaded for personal non-commercial research/study without the need for permission or charge • Distribution or reproduction of thesis content in any format is not permitted without the permission of the copyright holder • When citing this work, full bibliographic details should be supplied, including the author, title, awarding institution and date of thesis Take down policy A thesis can be removed from the Research Portal if there has been a breach of copyright, or a similarly robust reason. 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Sep. 2021 Handel and his Accompanied Recitatives by Liam Gorry (B.Mus, M.A) A dissertation submitted in accordance with the regulations for the degree of Doctor of Philosophy School of Creative Arts Queen’s University Belfast May 2012 ii © Liam Gorry 2012 iii For Angela and Peter iv Contents List of tables vi List of examples vii Abbreviations and library insignia x Acknowledgements xiii Abstract xiv Preface xv Introduction 1 - Origin of recitativo accompagnato 2 - Terminology 15 - Handel’s labelling of accompanied recitative 25 - Accompanied recitative labels in Handel’s wordbooks 31 - Accompanied recitatives in modern editions of Handel’s music 39 - Accompanied recitative in early printed editions of Handel’s operas and oratorios 41 - Common practices in Handel’s accompanied recitatives 1. Bar counts and vocal types 49 2. Structural placing of accompanied recitatives 53 3. Time signatures and instrumentation 56 4. Dramatic themes in Handel’s accompanied recitatives 58 - Chapter overview 60 Chapter I. Handel’s accompanied recitatives before England - Accompanied recitative in Hamburg 62 - Handel’s secular cantatas and music for the Roman Catholic Church (1706-1710) 73 - The secular cantatas in context 87 - Accompanied recitatives in Handel’s larger secular works for Italy (1707-1710) 92 - Conclusion 109 v Chapter II. Handel’s accompanied recitatives in works for London and the Earl of Carnarvon (1710-1719) - Introduction 111 - Recitative in London before 1711 113 - Recitative in Handel’s Rinaldo 117 - Accompanied recitative in Handel’s operas for London (1711-1715) 123 - Accompanied recitative in Handel’s early non-Italian works (1713-1717) 133 - Accompanied recitatives in Handel’s music for the Earl of Carnarvon 138 - Conclusion 145 Chapter III. Accompanied recitative in Handel’s Royal Academy operas, and his later opere serie for London (1719-1741) - Introduction 148 - Handel’s Act III for Muzio Scevola 154 - Handel’s accompanied recitatives for his ‘First Academy’ operas, 1721-1728 157 - Orlando, Porpora, and the decline of accompanied recitative in Handel’s later 179 operas - Conclusion: the 1730s 205 Chapter IV. Accompanied recitatives in Handel’s English oratorios and other English language works (1732-1757) - Introduction: English language works (1732-1739) 207 - Characterisation in Handel’s oratorios: Samson as a case study 222 - Divinity and supernatural themes in Handel’s oratorio accompagnati 226 - Jephtha and Handel’s final accompanied recitatives (1750-1759) 234 - Conclusion: Handel’s accompanied recitatives 1740-1752 242 Conclusion 245 - Further thoughts 247 Appendix preface 251 Appendix I. Accompagnati in Handel’s cantatas 254 Appendix II. Handel’s opera accompagnati 258 Appendix III. Accompagnati in Handel’s oratorios and other 275 non-opera/oratorio works Bibliography 297 vi List of tables Introduction Table 0.1, p. 26: Handel’s opera autograph scores: labelling of accompagnati Table 0.2, p. 28: Accompagnati styles and their labels in Handel’s operas Table 0.3, p. 29: Handel’s oratorio autograph scores: labelling of accompagnati Table 0.4, p. 30: Accompagnati styles and their labels in Handel’s English oratorios Table 0.5, pp. 33-37: Accompanied recitative labels in Handel’s oratorio wordbooks Table 0.6, pp. 42-43: Accompanied recitative in early printed editions of Handel’s operas Table 0.7, pp. 46-48: Accompanied recitative in early printed editions of Handel’s oratorios Table 0.8, p. 52: Comparison of vocal types in Handel’s opera and oratorio accompagnati Table 0.9, p. 57: Unusual instrumentation in Handel’s operas and oratorios for London Chapter I Table 1.1, p. 74: Handel’s accompanied recitatives for Italy 1706-1710 Table 1.2, pp. 78-79: Nature settings in the cantata accompanied recitatives Table 1.3, p. 90: The use of invocations and prayers in Handel’s cantata accompagnati Chapter II Table 2.1, p. 112: Handel’s accompanied recitatives 1710-1719 Chapter III Table 3.1, p. 153: Handel’s opera seria accompanied recitatives for Senesino (1720- 1733) Table 3.2, p. 194: The number of accompanied recitatives in Porpora’s operas Table 3.3, p. 197: Handel’s leading castrati 1734-1736 vii Chapter IV Table 4.1, p. 208: Handel’s English language works that feature accompagnati, 1730- 1739 Table 4.2, p. 215: Additional instruments in Handel’s accompagnati (1704-1752) Table 4.3, p. 219: Handel’s accompanied recitatives for John Beard (1736-1752) Table 4.4, p. 227: Accompanied recitatives given to non-believers Table 4.5, p. 237: Works featuring accompanied recitatives 1750-1759 Table 4.6, p. 239: Structural analysis between HWV 71 and HWV 46a Table 4.7, p. 243: Handel’s accompanied recitatives decade by decade List of examples Introduction Example 0.1a, p. 3: Claudio Monteverdi, label prefixed to ‘Sol tu nobile Dio’ (Act III), Orfeo Example 0.1b, p. 4: Claudio Monteverdi, ‘Sol tu nobile Dio’ (Act III), Orfeo Example 0.2, p. 18: Rousseau’s description of the three accompanied recitative styles Examples 0.3a,b,c, pp. 19-20: The three accompanied recitative styles: (a) Recitativo accompagnato: G.F. Handel, ‘Oh! Mirtillo, Mirtillo’ (Act III, scene 7), Il Pastor Fido; (b) Measured recitative: G.F. Handel, ‘Han’ penetrato i detti tuoi l’inferno, ei Numi’ (Act III, scene 4), Amadigi; (c) Recitativo obbligato: G.F. Handel, ‘Se falsi siete’ (Act III, scene 3), Muzio Scevola Chapter I Example 1.1, p. 67: Reinhard Keiser, ‘Beschwängert euch ihr Lüftte’ (Act III, scene 1), Nebucadnezar (autograph: D Bsb - Mus.ms. autogr. Keiser 3) Example 1.2, p. 82: G.F. Handel, ‘Oh! Che da fiere pene’, Spande ancor a mio dispetto Example 1.3, p. 85: G.F. Handel, ‘Che vidi, che mirai’, La terra è liberata (Apollo e Dafne) viii Example 1.4, p. 94: G.F. Handel, ‘Eccelso Giove’ (Act III, scene 2,), Rodrigo (Shaftsbury collection - D 15: currently in the Coke collection) Example 1.5, p. 99: G.F. Handel, ‘Ma che insolita luce squarcia le tende’, La Resurrezione Example 1.6, p. 101: G.F. Handel, ‘Di rabbia indarno freme’, La Resurrezione Example 1.7a, p. 103: G.F. Handel, ‘O voi dell’ incostante’, Dietro l’orme fugaci (Armida abbandonata) Example 1.7b, p. 104: G.F. Handel, ‘Prelude’ (Act II, scene 3), Agrippina Example 1.8a, p. 107: G.F. Handel, ‘Che vidi, che mirai’, La terra è liberata (Apollo e Dafne) Example 1.8b, p. 108: G.F. Handel, ‘Otton, Otton, qual portentoso fulmine è questi’ (Act II, scene 5), Agrippina Chapter II Example 2.1, p. 116: Thomas Clayton, Arsinoe, Queen of Cyprus, ‘Preface’ Example 2.2a, p. 120: G.F. Handel, ‘O voi, dell’incostante’, Dietro l’orme fugaci (Armida abbandonata) Example 2.2b, p. 121: G.F. Handel, ‘Dunque i lacci d’un volto’ (Act II, scene 8), Rinaldo Example 2.3, p. 124: G.F. Handel, ‘Ira, sdegni, e furore’ (Act II, scene 6), Teseo (autograph: GB Lbl - R.M.19.e.6) Example 2.4, p. 125: G.F. Handel, ‘Ombre, sortite dall’eterna notte’ (Act III, scene 6), Teseo Example 2.5, p. 137: G.F. Handel, ‘Das ist mein Leib’, Brockes Passion Example 2.6a, p. 143: G.F. Handel, ‘Mein Vater’ (bars 1-8), Brockes Passion Example 2.6b, p. 144: G.F. Handel, ‘Turn not, O Queen’, Esther Chapter III Example 3.1, pp. 159-160: G.F. Handel, ‘Sorte nemica’, and ‘Sorte nemica’ (Act II, scene 9), Il Floridante Example 3.2, p. 162: G.F. Handel, Giulio Cesare in Egitto… wordbook, p. 69 ix Example 3.3, p. 167: G.F. Handel, ‘Pompe vane di morte’, and ‘Dove sei’ (Act I, scene 6), Rodelinda (December revival 1725) Example 3.4, p. 169: G.F. Handel, ‘Chi di voi fu più infedele’, and ‘Ma non so che dal remote balcon’, Rodelinda (December revival 1725) Example 3.5a, p. 182: G.F. Handel, ‘Imagni funeste’ (Act I, scene 3), Orlando Example 3.5b, p. 182: G.F. Handel, ‘Già per la man d’Orlando d’ogni mostro più rio’ (Act III, scene 8), Orlando Example 3.5c, p.
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    Female Soprano Roles in Handel's 39 Operas compiled by Jennifer Peterson, operamission a recommended online source for plot synopses Key Character Singer who originated role # of Arias/Ariosos/Duets/Accompagnati Opera, HWV (Händel-Werke-Verzeichnis) Almira, HWV 1 (1705) Almira unknown 8/1/1/2 Edilia unknown 4/1/1/0 Bellante unknown 2/2/1/1 NOTE: libretto in both German and Italian Rodrigo, HWV 5 (1707) Esilena Anna Maria Cecchi Torri, "La Beccarina" 7/1/1/1 Florinda Aurelia Marcello 5/1/0/0 Agrippina, HWV 6 (1709) Agrippina Margherita Durastanti 8/0/0 (short quartet)/0 Poppea Diamante Maria Scarabelli 9/0/0 (short trio)/0 Rinaldo, HWV 7 (1711) Armida Elisabetta Pilotti-Schiavonetti, "Pilotti" 3/1/2/1 Almirena Isabella Girardeau 3/1/1/0 Il Pastor Fido, HWV 8 (1712) Amarilli Elisabetta Pilotti-Schiavonetti, "Pilotti" 3/0/1/1 Eurilla Francesca Margherita de l'Épine, "La Margherita" 4/1/0/0 Page 1 of 5 Teseo, HWV 9 (1712) Agilea Francesca Margherita de l'Épine, "La Margherita" 7/0/1/0 Medea – Elisabetta Pilotti-Schiavonetti, "Pilotti" 5/1/1/2 Clizia – Maria Gallia 2/0/2/0 Silla, HWV 10 (?1713) Metella unknown 4/0/0/0 Flavia unknown 3/0/2/0 Celia unknown 2/0/0/0 Amadigi di Gaula, HWV 11 (1715) Oriana Anastasia Robinson 6/0/1/0 Melissa Elisabetta Pilotti-Schiavonetti, "Pilotti" 5/1/1/0 Radamisto, HWV 12 (1720) Polissena Ann Turner Robinson 4/1/0/0 Muzio Scevola, HWV 13 (1721) Clelia Margherita Durastanti 2/0/1/1 Fidalma Maddalena Salvai 1/0/0/0 Floridante, HWV 14 (1721) Rossane Maddalena Salvai 5/1/1/0 Ottone, HWV 15 (1722) Teofane Francesca