Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.579715
Title: Handel and his accompanied recitatives
Author: Gorry, Liam Michael
Awarding Body: Queen's University Belfast
Current Institution: Queen's University Belfast
Date of Award: 2012
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Abstract:
This dissertation provides the first comprehensive study ever undertaken of Handel's accompanied recitatives. It traces the evolution of the medium within his vocal works from 1704 up until the composer's final English language works in the 1750s. Using music manuscripts, wordbooks, the early printed editions and documentary evidence a detailed picture of Handel' s musical and dramatic choices relating to his accompanied recitatives comes into view. The principle singers for whom Handel's accompanied recitatives were originally written and the differences between accompanied recitatives in acted and un-acted works are discussed in detail, and possible influences on the young Handel, with regard to accompanied recitative, are also considered. The connection between accompanied recitative and the supernatural in the composer's vocal works is also discussed, and his use of accompanied recitative to distort closed forms and his reasons for doing so are explored. The problems relating to the terminology of eighteenth-century accompanied recitative are discussed at length, and a history of the medium is provided. This dissertation provides the first comprehensive study ever undertaken of Handel' s accompanied recitatives. It traces the evolution of the medium within his vocal works from 1704 up until the composer's final English language works in the 1750s. Using music manuscripts, wordbooks, the early printed editions and documentary evidence a detailed picture of Handel' s musical and dramatic choices relating to his accompanied recitatives comes into view. The principle singers for whom Handel's accompanied recitatives were originally written and the differences between accompanied recitatives in acted and un-acted works are discussed in detail, and possible influences on the young Handel, with regard to accompanied recitative, are also considered. The connection between accompanied recitative and the supernatural in the composer's vocal works is also discussed, and his use of accompanied recitative to distort closed forms and his reasons for doing so are explored. The problems relating to the terminology of eighteenth-century accompanied recitative are discussed at length, and a history of the medium is provided.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.579715  DOI: Not available
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