William Hogarth, Surrounded By Artists And Professors (A Rake’s Progress, 1732-1734)
George Frederic Handel, “Utrecht” Te Deum HWV 278 (1713), performed by The Netherlands Bach Society, conducted by Jos van Veldhoven:
Example 14.1
George Frederic Handel, Rinaldo HWV 7a (1711), Act 1, scene 6, “Cara sposa,” performed by La Grande Ecurie et La Chambre du Roy, conducted by Jean-Claude Malgoire; Philippe Jaroussky (countertenor):
Example 14.2
George Frederic Handel, Saul HWV 53 (1738), Act 3, scene 1, “Infernal spirits,” performed by the RIAS Kammerchor and Concerto Köln, directed by René Jacobs:
Example 14.3 (example begins at 1:54:36)
Figures 14.1-14.4
Additional Digital Resources
William Hogarth’s A Rake’s Progress (1732-1733) is a series of eight paintings that was also engraved and published in print form in 1735. It shows the decline and fall of Tom Rakewell, the spendthrift son and heir of a rich merchant who comes to London, wastes all his money on luxurious living, prostitution and gambling, and as a consequence is imprisoned in the Fleet Prison and ultimately in the Bethlem Hospital:
William Hogarth’s, A Rake’s Progress, 1732-33 (canvases), 1735 (engravings) / Wikimedia Commons
Find summaries for the plots of all of Handel’s operas on the website for the Handel House, the house at 25 Brook Street, London, where Handel lived from 1723 until his death in 1759, now a museum celebrating the life and music of this great composer. (Rock music fans: Jimi Hendix lived there, too!)
See the complete draft score of Handel’s oratorio Messiah in the British Library: “Its detailed dating reveals the composer’s characteristic speed of composition: the work was begun on 22 August and completed just 24 days later on 14 September, 1741.”
Global Resources for Chapter 14
Further Reading
Addison, Joseph. The Tatler, ed. Alexander Chalmers, vol. 3. London, 1822. http://www.worldcat.org/oclc/8857518
Aspden, Suzanne. “‘Fam’d Handel Breathing, tho’ Transformed to Stone’: The Composer as Monument.” Journal of the American Musicological Society 55, no. 1 (Spring 2002): 39–90. http://www.jstor.org/stable/10.1525/jams.2002.55.1.39
Aspden, Suzanne. The Rival Sirens: Performance and Identity on Handel’s Operatic Stage. Cambridge Studies in Opera. Cambridge and New York: Cambridge University Press, 2013. http://www.worldcat.org/oclc/806456391
Burrows, Donald. Handel. 2nd. ed. Master Musicians series. Oxford: Oxford University Press, 2012. http://www.worldcat.org/oclc/649420399
Burrows, Donald. Handel and the English Chapel Royal. Oxford Studies in British Church Music. Oxford and New York: Oxford University Press, 2008. http://www.worldcat.org/oclc/57283035
Coke, David, and Alan Borg. Vauxhall Gardens: A History. Yale: Yale University Press, 2011. http://www.worldcat.org/oclc/693684108
Colley, Linda. Britons: Forging the Nation, 1707–1837. New Haven: Yale University Press, 1992. http://www.worldcat.org/oclc/25630983
Dean, Winton. Handel’s Operas, 1726–1741. Woodbridge, Suffolk, and Rochester, NY: Boydell Press, 2006. http://www.worldcat.org/oclc/70400407
Dean, Winton, and John Merrill Knapp. Handel’s Operas, 1704–1726. Oxford: Clarendon Press; New York: Oxford University Press, 1987. http://www.worldcat.org/oclc/12106982
The Diary of John Evelyn, Esq., FRS from 1641 to 1705–6, with memoir, ed. John Bray. Chandos Classics. London and New York: Frederick Warne, 1889. http://www.worldcat.org/oclc/3357017
Harris, Ellen T. “Handel the Investor.” Music and Letters 85, no. 4 (November 2004): 521–75. http://www.jstor.org/stable/3526342
Heller, Wendy. “The Beloved’s Image: Handel’s Admeto and the Statue of Alcestis.” Journal of the American Musicological Society 58, no. 3 (Fall 2005): 559–637. http://www.jstor.org/stable/10.1525/jams.2005.58.3.559
Joncus, Berta. “Handel at Drury Lane: Ballad Opera and the Production of Kitty Clive.” Journal of the Royal Musical Association 131, no. 2 (2006): 179–226. http://www.jstor.org/stable/30161399
Joncus, Berta, and Jeremy Barlow, eds. The Stage’s Glory: John Rich (1692–1761). Newark, DE: University of Delaware Press, 2011. http://www.worldcat.org/oclc/611038190
Lowell, Lindgren. “The Three Great Noises ‘Fatal to the Interests of Bononcini.’” Musical Quarterly 61, no. 4 (October 1975): 560–83. http://www.jstor.org/stable/741396
McVeigh, Simon. “Italian Violinists in Eighteenth-Century London.” In The Eighteenth-Century Diaspora of Italian Music and Musicians, ed. Reinhard Strohm. Speculum musicae 8. Turnhout: Brepols, 2001. http://www.worldcat.org/oclc/49036285
Milhous, Judith. “Opera Finances in London, 1674–1738.” Journal of the American Musicological Society 37, no. 3 (Autumn 1984): 567–92. http://www.jstor.org/stable/831338
Price, Curtis. “English Traditions in Handel’s Rinaldo.” In Handel: Tercentenary Collection, ed. Stanley Sadie and Anthony Hicks. Studies in Musicology 99. Ann Arbor, MI: UMI Research Press; Baskingstoke, Hants: Macmillan, 1987. http://www.worldcat.org/oclc/16129206
Roberts, John. “Why Did Handel Borrow?” In Handel: Tercentenary Collection, ed. Stanley Sadie and Anthony Hicks. Studies in Musicology 99. Ann Arbor, MI: UMI Research Press; Baskingstoke, Hants: Macmillan, 1987. http://www.worldcat.org/oclc/16129206
Smith, Ruth. “Early Music’s Dramatic Significance in Handel’s Saul.” Early Music 35, no. 2 (May 2007): 173–90. http://www.jstor.org/stable/30138017
Smith, Ruth. Handel’s Oratorios and Eighteenth-Century Thought. Cambridge and New York: Cambridge University Press, 1995. http://www.worldcat.org/oclc/30594223
Strohm, Reinhard. Dramma per Musica: Italian Opera Seria of the Eighteenth Century. New Haven: Yale University Press, 1997. http://www.worldcat.org/oclc/37221010
Strohm, Reinhard. Essays on Handel and Italian Opera. Cambridge and New York: Cambridge University Press, 1985. http://www.worldcat.org/oclc/11210695
Music in the Baroque: Companion Website by Wendy Heller 