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Editorial Reviews
Review
"Handel scholarship has come long way...notably in important articles on "Messiah" and its versions by Donald Burrows published in Music and Letters in 1975 and 1985. (The material has been pulled together admirably in Mr. Burrows's new Cambridge Music handbook on the oratorio.)" New York Times
"...the music lover who would like to know more about Handel and Messiah will find succinct history of English oratorio, a genre that Handel himself invented under circumstances and for reasons that remain unclear to this day, and a concise survey of the evolution of the genre to 1741 (Ch. 1). ...presents for the first time in English a clear and detailed chronology of the composition and the events leading up to the first performance of Messiah on 13 April, 1742." Charles Michael Carroll, The Eighteenth Century
Product Description
Donald Burrows brings many new insights to this fascinating account of one of the favorite works of the concert hall. He traces the course of Messiah from Handel's initial musical response to the libretto, through the oratorio's turbulent first years to its eventual popularity with the Foundling Hospital performances. The book addresses such questions as the position of Messiah within the oratorio genre, Handel's treatment of structural design, tonal relationships in the work and problems of English wordsetting, as well as contemporary issues such as Handel's relationship with his librettist, Charles Jennens, and with his performers and audience.
See all Editorial Reviews
"Handel scholarship has come long way...notably in important articles on "Messiah" and its versions by Donald Burrows published in Music and Letters in 1975 and 1985. (The material has been pulled together admirably in Mr. Burrows's new Cambridge Music handbook on the oratorio.)" New York Times
"...the music lover who would like to know more about Handel and Messiah will find succinct history of English oratorio, a genre that Handel himself invented under circumstances and for reasons that remain unclear to this day, and a concise survey of the evolution of the genre to 1741 (Ch. 1). ...presents for the first time in English a clear and detailed chronology of the composition and the events leading up to the first performance of Messiah on 13 April, 1742." Charles Michael Carroll, The Eighteenth Century
Product Description
Donald Burrows brings many new insights to this fascinating account of one of the favorite works of the concert hall. He traces the course of Messiah from Handel's initial musical response to the libretto, through the oratorio's turbulent first years to its eventual popularity with the Foundling Hospital performances. The book addresses such questions as the position of Messiah within the oratorio genre, Handel's treatment of structural design, tonal relationships in the work and problems of English wordsetting, as well as contemporary issues such as Handel's relationship with his librettist, Charles Jennens, and with his performers and audience.
See all Editorial Reviews
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