886:, begins as the wedding of Florindo and Daphne gets under way. Cupid, bent on more mischief, wounds Daphne with a special arrow, forged by the god Vulcan, that causes her to renounce all love. She abandons the wedding and announces that she will join the goddess Diana and become a huntress. This sparks a series of schemes and counter-schemes as both Apollo and Florindo continue to pursue Daphne while the other would-be lovers manoeuvre for position. Lycoris assures Apollo that Daphne's abandonment of the wedding was a signal that she favours him. Lycoris also steals Daphne's cloak and, wearing it as a disguise, makes advances to Damon, having first ensured that Florindo overhears. Florindo is enraged by what he believes is Daphne's duplicity, and denounces her. Damon confirms the story. Daphne, bewildered, pleads with her father Peneus to prove her innocence; he responds by transforming her into a laurel tree. Cupid blames Apollo's pride for the fiasco, but gives him the laurel as his "special tree". Florindo now accepts Alfirena, and Lycoris, having confessed her scheming, is united with Damon. Only the guiltless Daphne ends up losing everything.
598:, another historical figure who, in the opera, is betrothed to the fictional Cassandra but is secretly pursuing Poppea in rivalry with the emperor. Octavia and Cassandra provide each other with mutual support in their trials, while Agrippina allies with Octavia and narrowly escapes death from a piece of falling masonry. In turn, she tries unsuccessfully to persuade Seneca to kill Nero. As a stratagem to secure Tiridates's love, Cassandra disguises herself and informs him of her death, which news temporarily deranges him. Anicetus further complicates matters by falling in love with Octavia. As these events develop, the servant Graptus provides a mocking, ironic commentary. Nero's play, "The Judgement of Paris", and a representation of the burning of Rome occupy much of Act III. After these many digressions the opera concludes with the banishment of Octavia, the incarceration of Agrippina, the return of his senses to Tiridates when he learns that Cassandra is alive, and a joyful and triumphant double coronation: Nero and Poppea, and Tiridates and Cassandra.
403:, with a libretto by Giulio Pancieri, performed in Venice in 1691. The relatively light-hearted story, typical of 17th-century dramatic conventions, is told in three acts and records the machinations surrounding the newly crowned queen Almira's secret love for her secretary, Fernando, in opposition to her dead father's dying wish that she marry someone from the family of her guardian Consalvo. Keates writes of the work: "The whole thing belongs very much to its Venetian baroque world ... full of intrigue interlaced with comedy and ballet." These features, even the mixture of languages between Italian and German, often recur in Handel's later work. The music, which has been preserved largely through a conducting score prepared by Telemann, reflects Handel's debt to Keiser and displays a variety of traditions: a French-style overture, German-influenced orchestration, and Italianate vocal writing. Dean and Knapp summarise the score as "very uneven in style, quality and technique, with abundant promise but intermittent fulfilment".
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Florindo, who is at the centre of a complex tangle of infatuations: he is secretly loved by
Alfirena and more openly by the scheming shepherdess Lycoris, who in turn is the object of the shepherd Damon's desires. The various would-be lovers are consoled or advised by Damon's friend Thyrsis, and by the ageing nymph Galathea, who has herself not quite given up on love, though her advances to Thyrsis are rejected. Daphne and Florindo prepare to marry, but Apollo remains hopeful and continues his suit. Lycoris is prepared to await the outcome of events, but Damon, Galathea and Alfirena are in despair, as the opera ends with another spectacular celebration in honour of Apollo.
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221:, who were writing operas for Frederick's court. The king heard of Handel's abilities, and wanted him to train as a future court composer, but Handel's horizons had been broadened by his sojourn in Berlin and he was developing his own ideas for his future. He declined the king's offer, and returned to Halle to fulfil his year's contract at the Domkirche. With few career prospects available in his home city, Handel would have liked to go to Italy, but this, he realised, was not yet practicable, since he lacked both cash and contacts. Instead in mid-1703 he left Halle for
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have necessitated several postponements. The consensus among experts is that the two parts were first performed on consecutive evenings in
January 1708, as they are the first works in Mattheson's opera list for 1708. There are no surviving records of the public's reception, the length of the original run, or of any revivals. Whether Handel was present at any time during rehearsals or performance is uncertain; he may have returned from Italy, fresh from the opening of
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361:, who noted Handel's rapid progress in the orchestra from back-desk violinist to harpsichord soloist, a role in which, said Mattheson, "he showed himself a man—a thing which no one had before suspected, save I alone". Mattheson was less complimentary on Handel's early efforts at composition: "He composed very long, long arias, and really interminable cantatas", before, it seems, "the lofty schooling of opera ... trimmed him into other fashions".
345:) was performed in Hamburg. According to Handel's biographer Donald Burrows, Keiser was a good judge of popular taste, with a flair for writing Italian-style arias. Between 1697 and 1703, prior to Handel's arrival, about a dozen more Keiser operas had been staged at the Gänsemarkt. Despite his on-stage successes, Keiser was an unreliable general manager, with expensive private tastes and little financial acumen, often at odds with his creditors.
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720:. From this point, Handel's regular connection with the theatre appears to have diminished. Although he remained in Hamburg for a further year, his main source of income was from private lessons, as he saved for his long-desired visit to Italy. He nevertheless accepted a commission from the Gänsemarkt to compose a setting for a large-scale opera based on the Greek myth of
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385:, thus denying this work to the Gänsemarkt—Keiser produced it in Weißenfels in July 1704. In these circumstances the temporary management turned to the 19-year-old Handel and requested a fresh setting of Feustking's libretto. Handel complied; his version was premiered at the Gänsemarkt on 8 January 1705, and ran for 20 performances—a marked success.
453:, again based on a Feustking libretto. The libretto survives intact, but the music is entirely lost. Dean and Knapp record that a copy of Handel's manuscript score was held in the library of the Hamburg impresario J.C. Westphal until 1830, when it was sold and thereafter disappeared. The whole work incorporates 20 ensembles and 57 arias.
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over-complicates the main story by incorporating sub-plots, unnecessary extra characters, and "every stock device known to the operatic repertory". These intrusions include disguises, mistaken identities, a much-ridiculed philosopher, a comic servant and a play within the play. Many of the characters are historical, including
763:, but added a plethora of new characters and incidents which move the story significantly away from the Ovidian original. The main language is German, but the presence of several ensembles and arias in Italian leads Dean and Knapp to speculate that Hinsch may have used an Italian libretto as his source. The
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opens with celebrations to mark Apollo's victory over the dragon Python. Apollo boasts that he is more proficient with the bow than Cupid. This offends the latter, who mischievously wounds Apollo with a drugged arrow which causes him to fall in love with Daphne. She, however, has pledged her love for
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Dean and Knapp write that the theatre's history was "enlivened and envenomed by a maelstrom of controversy, pursued in pamphlets, broadsheets, sermons and prefaces to librettos ... and by financial crises which persisted on and off throughout the sixty years of its existence". A preponderance of
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libretto explains Hinsch's choice of titles: "The first of presents the
Pythean festival, instituted in honour of Phoebus (Apollo), and the betrothal of Florinda and Daphne which took place on the same day, so it receives the title 'Florindo made happy'. The other part represents Daphne's stubborn
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The text is by
Heinrich (sometimes rendered as "Hinrich") Hinsch, an established Gänsemarkt librettist whose stated intention was adapting stories to provide "a pleasurable poetic experience", to " the senses of its audience without attempting to address their reason or understanding". In this case
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wrote of it: "There is no spirit in the verse, and one feels vexation in setting such stuff to music". A later critic, Paul Henry Lang, cites the "miserable quality" of the libretto as the principal reason for the opera's failure. Dean and Knapp suggest that the main fault is that
Feustking fatally
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The loss of much of Handel's early work was first noted by his earliest biographer, Mainwaring (1760), who refers to "a great quantity of music" from
Hamburg and Italy, adding that it was not known how much of it still existed. On departing from Hamburg, Handel spent a further three years in Italy
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Handel's
Hamburg years provided him with a composing apprenticeship, particularly although not exclusively as a writer of opera. The influence of Keiser, which began during this period, was significant throughout Handel's career. Apart from his lifelong habit of "borrowing" fragments from Keiser's
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Dean and Knapp record that in early 1707 Keiser surrendered the lease of the Gänsemarkt to Johann
Heinrich Sauerbrey, who thus became responsible for the staging of the double opera. It may by this time have been in rehearsal, and the difficulties involved in such a complex and elaborate work may
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Handel's biographer
Jonathan Keates writes that: "From Handel learned not only a great deal about the line and shape of an aria, about strong, adventurous bass lines and solid choral writing, but also about those delicacies of instrumental colouring which he later perfected in his own style".
170:. It is unclear what initial musical education he received; his father, Georg Händel, was not a music lover, and did not at first appreciate or encourage his son's precocious talents. Nevertheless, by the age of ten Handel had become an accomplished organist; his playing in the royal chapel at
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It is possible that Keiser, who had connections in the Halle area, had heard of Handel and was directly instrumental in securing the latter's post in the Gänsemarkt orchestra; certainly he was a considerable influence on the younger man in the three years that Handel spent in
Hamburg. Another
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operas for use in his own works, he adopted and retained many of his mentor's compositional characteristics; according to Hicks, " never relinquished French forms for overtures and dance music, and his use of orchestral colour, particularly the occasional instrumental doubling of the voice
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289:. Its construction was opposed by the clergy and cathedral hierarchy, but enthusiastically supported by the city's municipal authorities. Built in 1677 on a lavish scale, with a reported capacity of 2,000, it boasted an exceptionally deep stage and was, according to Handel scholars
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holds three arias and a chorus, in full orchestral score but with the vocal parts missing. A blank stave with a soprano clef suggests that the three arias were written for soprano voice. The chorus has been identified by Baselt with "Streue, o Bräutigam", from Act 1 of
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run indicates that it was probably composed, in part or in whole, during 1704. There are no surviving accounts of its public reception, but it clearly proved less successful than its predecessor, running for just three performances before the theatre closed for the
1070:. These works were quickly forgotten after Handel's death; modern revivals did not begin until the 1920s. Dean and Knapp believe that, despite the years of relative neglect, Handel's achievements as a composer of opera entitle him to rank alongside
724:. With its rambling plot and an assortment of dances and other set pieces—almost 100 musical numbers in all—the work was eventually divided into two separate operas, for performance on successive nights. The two sections were given the formal names
1015:, which has common ground with the earlier operas. Harris makes the point that when writing the cantata, Handel would have recalled his earlier setting, and perhaps borrowed from it. Dean and Knapp provide further example of works in which the
990:. A group of eight short pieces have been catalogued as two four-movement suites, HWV352 and HWV353. The British Library collection includes a further group of four movements, scored for string orchestra, which has been catalogued as HWV354.
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Graupner, a graduate of the Thomasschule, joined the Gänsemarkt in 1706, and until 1709 was among the theatre's principal opera composers; five of his works were staged in that period, and he may have collaborated with Keiser on others.
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These are listed by Dean and Knapp as: "Coro" in B-flat; Untitled in B flat; "Allemande" in G minor; "Rigadon" in D minor; "Allemande" in G major; "Bourrée" in G minor; Untitled in G minor, and a second "Allemande" in G major.
1120:, writing in 1760, dates it to 1697, when Georg Händel was still alive, but this early date is problematic, since Bononcini was not resident in Berlin before 1702. It is possible that Mainwaring conflated two separate visits.
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with similar characters, "contains the highest proportion of borrowed material of any of the composer's major dramatic works", and Dean and Knapp speculate as to whether it also incorporates borrowings from
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before settling in London, where he remained the dominant composer of Italianate opera for the following thirty years. After his Hamburg initiation, Handel composed more than forty operas, beginning with
305:. Performances tended to be of considerable length, often extending to six hours. The 18-year-old Handel entered this hectic environment in mid-1703, to take up a place in the theatre's orchestra as a
744:. It is not known when Handel wrote the music. He may have completed it in 1705–06 while still in Hamburg, or it may have been composed in Italy after arriving there in the latter part of 1706.
590:. It recounts Nero's various schemes to replace his current queen Octavia with his mistress Poppea, against the urgings of his mother Agrippina and the philosopher Seneca. A sub-plot introduces
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consists of eight French-style dances, which Cudworth believes might have begun life as ballet music in one or other of the lost Hamburg operas. In 1709–10 Handel composed the cantata
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resistance to Phoebus's love, also the abhorrence she feels for all love, and finally her metamorphosis into a laurel tree, from which it receives the title 'Daphne metamorphosed' ".
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biblically inspired works in the earliest years was soon replaced by a range of more secular subjects, often drawn from Roman history and myth, or from recent events such as the
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Following its closure at the start of the 1705 Lenten season, the Gänsemarkt did not reopen until August, by which time Keiser had returned from Weißenfels to produce his opera
93:, its leading vocalist. The Gänsemarkt was largely dedicated to Keiser's compositions; his temporary absence in 1704 gave Handel his chance, and in quick succession he wrote
121:, based on librettos by Heinrich Hinsch and originally conceived as a giant single entity, were not produced at the Gänsemarkt before Handel left Hamburg for Italy in 1706.
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have been preserved, although without the vocal parts, and some of these elements have been incorporated into an orchestral suite first recorded in December 1997.
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Handel was baptised as "Georg Friedrich Händel", but dropped the umlaut and anglicised the spelling of his forenames when he moved permanently to England in 1712.
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The theatre's management was clearly concerned that the public might find the double opera too heavy in undiluted form. Accordingly, a comic intermezzo in
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Handel joined the Hamburg opera company when it was experiencing a period of considerable artistic success. This blossoming followed the arrival of
178:, impressed the duke, who persuaded Händel senior that the boy should have a proper musical education. As a result, Handel began formal study under
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81:, where he received his early musical education and became an accomplished organist. In Hamburg he obtained employment as a violinist at the
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At some time, possibly in late 1702 or early 1703, Handel visited Berlin, where his father had held an honorary post as physician to the
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cathedral (Domkirche), a prestigious appointment for one so young and indicative of his burgeoning musical reputation in the city.
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has been identified, although Handel scholars have speculated that some of it may have been used in later works, particularly
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643:. According to the Handel scholar Charles Cudworth, the suite of dances that follows the overture to Handel's 1707 opera
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has raised the possibility that Handel's Harpsichord Suite in G Minor, HWV 453, is an arrangement of the overture to
85:, the city's famous opera house. Here, he learned the rudiments of opera composition, mainly under the influences of
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1033:(1720); and the overture in B flat, HWV336, which Baselt conjectures might have been written as the overture to
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Handel biography, says that so unusual a project would not have been attempted without the composer's presence.
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630:, there is a possibility that some of it may have been used in later works. John E. Sawyer, in his analysis of
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52:, Germany, where he remained until 1706. During this period he composed four operas, only the first of which,
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2007:
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in Saxony, near to his hometown Teuchern. He took with him his donkey and his most recent opera composition,
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less so and was never performed after its initial run of three performances. Handel's final Hamburg operas,
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Feustking's libretto was written entirely in German, its probable sources being the ancient histories of
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508:, who historically is held to have murdered Agrippina on Nero's behalf. Described in the libretto as
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514:("The emperor's little one, or darling"), Anicetus is Handel's only openly gay operatic character.
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prompted the Gänsemarkt management to follow it almost immediately with a second Handel setting,
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season. When the Gänsemarkt reopened the opera was not revived, and was never performed again.
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The precise date of the Berlin visit is uncertain. Handel's contemporary and first biographer
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he took as his base material the episode of Phoebus (Apollo) and Daphne as told in Book 1 of
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in Hamburg. Dean and Knapp suggest the works may have been directed from the harpsichord by
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opened on 25 February 1705, with Mattheson in the title role. Its staging so closely after
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213:. In Berlin Handel first experienced Italian opera, and may have met the Italian composers
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321:, who had become musical director at the Gänsemarkt in about 1697, and in 1703 succeeded
967:. Two of the arias are tentatively associated with "Mie speranza, andate" from Act 1 of
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Florindo, son of the river-god Enipheus. Betrothed to Daphne, secretly loved by Alsirena
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which has a related storyline and some of the same characters. Fragments of music from
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198:, perhaps intending to study law. In March he took up the post of organist at Halle's
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Handel's musical development also benefited from an early and lasting friendship with
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Daphne, daughter of the river-god Peneus. Loved by Phoebus, betrothed to Florindo
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649:(his first after leaving Hamburg), could very well have begun as ballet music in
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In 1704, Keiser, seeking refuge from his creditors, temporarily left Hamburg for
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Dances of combatants, arsonists, Harlequins and Punchinellos, knights and ladies
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The fictional plot appears to have originated from Giuseppe Boniventi's opera,
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houses the manuscripts of instrumental pieces, mainly dances, that belong to
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Alsirena, daughter of the river-god Apidinus, secretly in love with Florindo
449:("The love obtained through blood and murder; or, Nero") generally known as
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Burrows, Donald; Coffey, Helen; Greenacombe, John; Hicks, Anthony (2014).
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in October 1998 (cat.no. CDA67053, reissued in January 2012 as CDH55324).
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was born Georg Friedrich Händel on 23 February 1685 in the German city of
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was recycled by Handel for use in later works. The overture to the opera
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Although there is no extant music that can be positively identified with
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the philosopher. Several of these appear in Handel's later (1709) opera
341:, where in three years he composed seven operas, at least one of which (
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Print of decorations in the opera house during a festival in honour of
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58:, has survived more or less intact. Of the other three, the music for
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Sawyer, John E. (November 1999). "Irony and Borrowing in Handel's
665:, is included in a selection of Handel's Hamburg music, issued by
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Cudworth, Charles (2 April 1959). "Handel and the French Style".
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important Gänsemarkt colleague was the house composer and singer
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as the theatre's manager. Born in 1674, Keiser had studied under
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George Frideric Handel: Volume 1, 1609–1725: Collected Documents
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1037:. This last-named has been combined with HWV352–354 to form the
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George Frideric Handel: Volume 1, 1609–1725: Collected Documents
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The main story, told over three acts, follows generally that of
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George Frideric Handel: Volume 1, 1609–1725: Collected Documents
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The Greek myth of Apollo and Daphne, as told by the Roman poet
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377:
286:
194:, whom he met in 1700. In February 1702 Handel enrolled at the
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Nero in Opera: Librettos as Transformations of Ancient Sources
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Anthony McCredie, Oxford Music Online: Graupner biography 2007
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A few fragments of music from the twin operas survive. The
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469:. The text has been widely criticised for its low quality;
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Handel as Orpheus: Voice and Desire in the Chamber Cantata
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Hicks, Oxford Music Online: Handel biography, Hamburg 2007
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661:. A version of this suite, reconstructed for orchestra by
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Cassandra, crown princess of Media, in love with Tiridates
938:) was devised by Sauerbrey to precede the performance of
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or another of the lost Hamburg operas. The musicologist
174:, where his half-brother Karl was in the service of the
1912:
Rolland, "His Life" (chapter in unpaginated ebook) 2013
1648:
1646:
1616:
1604:
1577:
1546:
1485:
1483:
1475:
Schröder, Oxford Music Online: Feustking biography 2007
1416:
Roberts, Oxford Music Online: Keiser List of Works 2007
1350:
1348:
1255:
1194:
1192:
2275:. Rochester, New York: University of Rochester Press.
2142:. Cambridge, Massachusetts: Harvard University Press.
1233:
1231:
1960:
1948:
1881:
1793:
1783:
1781:
1689:
1674:
1594:
1592:
1444:
1375:
1300:
1285:
1165:
1153:
736:("Daphne metamorphosed"), but are generally known as
1917:
1643:
1480:
1345:
1243:
1204:
1189:
1177:
634:, reveals that this work, composed five years after
540:
Octavia, the emperor's wife, subsequently repudiated
3247:
Agrippina condotta a morire or Dunque sarĂ pur vero
1404:
Roberts, Oxford Music Online: Keiser biography 2007
1228:
971:, and "Mostrati piĂą crudele" from the third act of
62:is lost, while only short orchestral excerpts from
2094:
1778:
1589:
1312:
826:Thyrsis, a noble Arcadian shepherd, Damon's friend
814:Lycoris, a Thessalian nymph, in love with Florindo
543:Sabina Poppea, a Roman noblewoman, Nero's mistress
446:Die durch Blut und Mord erlangete Lieb; oder, Nero
2439:
1749:
1216:
817:Damon, a Thessalian shepherd in love with Lycoris
352:Johann Mattheson, one of Handel's Hamburg mentors
337:. In 1694 he was employed as a court composer at
297:, one of the best-equipped theatres of its time.
3884:
2085:
2030:
1990:
1979:Hicks, Oxford Music Online: Works – Operas 2007
1942:
1875:
1851:
1835:
1814:
1772:
1734:
1707:
1664:
1637:
1571:
1528:
1516:
1501:
1462:
1369:
1339:
2462:. Youngstown, New York: WordPower Publishing.
2517:
2459:George Frideric Handel: A Music Lover's Guide
558:Graptus, the late emperor Claudius's freedman
1086:as one of the supreme masters of the genre.
843:Chorus: Thessalian shepherds/shepherdesses,
820:Galathea, an aged nymph, Daphne's confidante
731:
725:
509:
444:
246:, where Handel's early operas were performed
242:Early 18th-century engraving of the Hamburg
124:No music that can be definitively traced to
209:who, in 1701, had become the Prussian king
2531:
2524:
2510:
975:. The third aria has not been identified.
500:. Another real-life figure who appears in
2037:. Cambridge: Cambridge University Press.
1133:
1039:Suite from the operas Florindo and Daphne
233:
2268:
2247:
2185:"Handel, George Frideric: List of Works"
2051:
1722:
1625:
1610:
1552:
1123:
1023:music may have re-emerged: the oratorio
889:
862:
705:
697:
425:
417:
387:
347:
249:
237:
154:
31:
2455:
2006:
1966:
1799:
1683:
1450:
1388:
1306:
1294:
1279:
1249:
1210:
1171:
1159:
1089:
312:
27:Operas of 1703–1706 that have been lost
14:
3938:Cultural depictions of Claudia Octavia
3885:
3050:L'Allegro, il Penseroso ed il Moderato
2381:
2202:
2135:
1954:
1923:
1887:
1863:
1695:
1652:
1583:
1489:
1354:
1264:
1237:
1198:
1110:
672:
601:
555:Anicetus, Nero's "mignon" or favourite
2986:Il trionfo del Tempo e del Disinganno
2505:
1101:
1025:Il trionfo del Tempo e del Disinganno
871:, forms the basis of the double-opera
805:Phoebus (Apollo), in love with Daphne
3857:
2359:. Redditch: Read Books Ltd (ebook).
2226:
2115:
1787:
1598:
1318:
1222:
1183:
89:, the theatre's music director, and
3928:Operas based on classical mythology
3724:Keyboard suite in D minor (HWV 437)
2990:Il trionfo del Tempo e della VeritĂ
2101:. Oxford: Oxford University Press.
2016:. Oxford: Oxford University Press.
1056:, was derived from German models".
793:As listed and described in Burrows
522:As listed and described in Burrows
24:
3215:Ode for the Birthday of Queen Anne
2162:"Handel, George Frideric: Hamburg"
978:The Royal Music Collection at the
44:In 1703, the 18-year-old composer
25:
3949:
3380:Funeral Anthem for Queen Caroline
1064:in 1707, and ending in 1740 with
997:, it is possible that music from
903:, to supervise the production of
564:Choruses of priests, Roman people
552:Seneca, Imperial privy counsellor
3918:Operas by George Frideric Handel
3866:
3856:
3846:
3845:
3401:Wedding anthem for Princess Anne
2608:
2484:. World of Opera. Archived from
2422:"Feustking, Friedrich Christian"
2233:. New York: Dover Publications.
1541:World of Opera: Audio selections
546:Tiridates, Armenian crown prince
511:des Kaysers Mignon oder Liebling
261:The Hamburg Opera, known as the
2478:"Youthful Exuberance: Handel's
2272:Dance in Handel's London Operas
2209:Handel: The Man & His Music
788:
771:libretti were published in the
537:Agrippina, the emperor's mother
430:Portrait of Nero (17th century)
77:Handel was born and grew up in
3822:Handel & Hendrix in London
392:Title page of the libretto of
159:The statue of Handel, in Halle
13:
1:
3495:Music for the Royal Fireworks
2994:The Triumph of Time and Truth
2254:. Berlin: Walter de Gruyter.
1044:
747:
730:(The delighted Florindo) and
517:
406:
383:Friedrich Christian Feustking
381:, a setting of a libretto by
283:Teatro Santi Giovanni e Paolo
145:
103:Friedrich Christian Feustking
37:
3426:Utrecht Te Deum and Jubilate
3310:Tra le fiamme (Il consiglio)
2565:Handel's lost Hamburg operas
1147:
693:
7:
3923:Depictions of Nero in opera
2420:Schröder, Dorothea (2007).
2212:. London: The Bodley Head.
456:
10:
3954:
1999:
960:Manchester Central Library
949:
942:. The critic and essayist
710:Title page of the libretto
702:Title page of the libretto
682:
434:
422:Title page of the libretto
335:St. Thomas School, Leipzig
309:(ensemble) second violin.
228:
3840:
3789:
3763:
3740:Handel Reference Database
3732:
3718:The Harmonious Blacksmith
3688:
3657:
3503:
3482:
3456:
3417:
3408:Foundling Hospital Anthem
3357:
3326:
3296:O lucenti, o sereni occhi
3238:
3229:Ode For St. Cecilia's Day
3199:
2977:
2945:
2906:
2557:
2539:
2332:"Keiser, Reinhard: Works"
2330:Roberts, John H. (2007).
2310:Roberts, John H. (2007).
2290:McCredie, Andrew (2007).
2248:Manuwald, Gesine (2013).
2227:Lang, Paul Henry (1996).
2136:Harris, Ellen T. (2001).
2097:Handel's Operas 1704–1726
858:
587:L'incoronazione di Poppea
364:
267:Duke of Schleswig-Gottorf
3755:Hallische Händel-Ausgabe
3745:Händel-Werke-Verzeichnis
3733:Catalogs and collections
2456:Van Til, Marian (2007).
2312:"Keiser, Reinhard: Life"
2269:McCleave, Sarah (2013).
1094:
621:
150:
3254:Allor ch'io dissi addio
3208:Aci, Galatea e Polifemo
3113:Joseph and his Brethren
2435:(subscription required)
2415:(subscription required)
2345:(subscription required)
2325:(subscription required)
2305:(subscription required)
2198:(subscription required)
2175:(subscription required)
2081:(subscription required)
571:
411:
323:Johann Sigismund Kusser
176:Duke of Saxe-WeiĂźenfels
3933:German-language operas
3680:Concerti grossi, Op. 6
3675:Concerti grossi, Op. 3
3670:Organ concertos, Op. 7
3665:Organ concertos, Op. 4
3440:Queen Caroline Te Deum
3183:The Choice of Hercules
2533:George Frideric Handel
2230:George Frideric Handel
1878:, pp. 72 and 750.
872:
733:Die verwandelte Daphne
732:
727:Der beglĂĽckte Florindo
726:
711:
703:
510:
445:
431:
423:
396:
353:
281:, and modelled on the
258:
247:
234:The Oper am Gänsemarkt
192:Georg Philipp Telemann
160:
46:George Frideric Handel
41:
3268:Clori, Tirsi e Fileno
2424:. Oxford Music Online
2334:. Oxford Music Online
2314:. Oxford Music Online
2294:. Oxford Music Online
2292:"Graupner, Christoph"
2187:. Oxford Music Online
2164:. Oxford Music Online
2123:. London: Duckworth.
1750:Hyperion Records 1998
866:
709:
701:
683:Further information:
429:
421:
391:
351:
277:, it was designed by
253:
241:
158:
48:took up residence in
35:
3802:Letters and writings
3275:Dalla guerra amorosa
2936:Va tacito e nascosto
2929:Svegliatevi nel core
2549:List of compositions
1090:Notes and references
471:Friedrich Chrysander
313:Keiser and Mattheson
303:1683 siege of Vienna
3797:British citizenship
3750:Händel-Gesellschaft
3474:Oboe Concerto No. 2
3469:Oboe Concerto No. 1
3464:Oboe Concerto No. 3
3134:Occasional Oratorio
2915:Lascia ch'io pianga
2488:on 26 November 2015
2441:"Handel in Hamburg"
2402:10.1093/ml/80.4.531
2389:Music & Letters
2091:Knapp, John Merrill
2068:10.1093/ml/XL.4.122
2055:Music & Letters
1991:Dean and Knapp 2008
1943:Dean and Knapp 2008
1876:Dean and Knapp 2008
1852:Dean and Knapp 2008
1773:Dean and Knapp 2008
1735:Dean and Knapp 2008
1708:Dean and Knapp 2008
1638:Dean and Knapp 2008
1572:Dean and Knapp 2008
1529:Dean and Knapp 2008
1517:Dean and Knapp 2008
1502:Dean and Knapp 2008
1463:Dean and Knapp 2008
1370:Dean and Knapp 2008
1340:Dean and Knapp 2008
890:Performance history
780:The preface to the
602:Performance history
534:Nero, Roman emperor
196:University of Halle
184:the Lutheran church
101:using librettos by
3327:Latin church music
3317:Un'alma innamorata
3282:Del bell'idolo mio
3261:Aure soavi e lieti
2443:. Hyperion Records
1866:, pp. 161–63.
1725:, pp. 124–25.
1027:(1707); the opera
915:Christoph Graupner
882:The second opera,
873:
712:
704:
594:, crown prince of
561:A flamen or priest
432:
424:
397:
354:
295:John Merrill Knapp
263:Oper am Gänsemarkt
259:
248:
244:Oper am Gänsemarkt
215:Giovanni Bononcini
182:, the organist of
161:
83:Oper am Gänsemarkt
79:Halle an der Saale
42:
3880:
3879:
3812:Handel at Cannons
3483:Orchestral suites
3433:Dettingen Te Deum
3366:As Pants the Hart
3222:Alexander's Feast
2869:Alessandro Severo
2806:Parnasso in festa
2469:978-0-9794785-0-5
2282:978-1-58046-420-8
2261:978-3-11-031713-8
2219:978-0-224-08202-0
2108:978-0-19-816441-8
2044:978-1-107-01953-9
2023:978-0-19-973736-9
1945:, pp. 74–76.
1737:, pp. 76–77.
1586:, pp. 19–20.
1574:, pp. 69–70.
1519:, pp. 56–58.
1372:, pp. 41–43.
1342:, pp. 39–40.
1282:, pp. 16–18.
1267:, pp. 11–12.
722:Apollo and Daphne
279:Girolamo Sartorio
16:(Redirected from
3945:
3870:
3860:
3859:
3849:
3848:
3790:Related articles
3447:Chandos Jubilate
3373:Zadok the Priest
3200:Odes and masques
3141:Judas Maccabaeus
2946:Incidental music
2799:Arianna in Creta
2750:Lotario (Handel)
2645:Acis and Galatea
2638:Amadigi di Gaula
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1186:, p. 12–13.
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1127:
1121:
1114:
1108:
1105:
840:, Enipheus: gods
735:
729:
667:Hyperion Records
580:'s libretto for
513:
486:, Nero's mother
448:
359:Johann Mattheson
180:Friedrich Zachow
109:was successful,
91:Johann Mattheson
39:
21:
3953:
3952:
3948:
3947:
3946:
3944:
3943:
3942:
3883:
3882:
3881:
3876:
3836:
3832:Händel-Jahrbuch
3785:
3759:
3728:
3684:
3653:
3499:
3478:
3452:
3413:
3394:Chandos Anthems
3353:
3322:
3234:
3195:
3155:Alexander Balus
3091:Scratch Messiah
3043:Israel in Egypt
3008:Brockes Passion
3001:La resurrezione
2973:
2941:
2902:
2553:
2535:
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2500:
2491:
2489:
2470:
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2425:
2414:
2367:
2351:Rolland, Romain
2344:
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2188:
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2167:
2165:
2150:
2117:Dent, Edward J.
2109:
2080:
2045:
2024:
2008:Burrows, Donald
2002:
1997:
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1205:
1201:, pp. 7–8.
1197:
1190:
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1170:
1166:
1162:, pp. 3–4.
1158:
1154:
1150:
1145:
1144:
1138:
1134:
1128:
1124:
1118:John Mainwaring
1115:
1111:
1106:
1102:
1097:
1092:
1047:
980:British Library
952:
892:
861:
791:
774:Händel-Jahrbuch
750:
696:
691:
689:Daphne (Handel)
681:
624:
604:
574:
520:
459:
439:The success of
437:
416:
409:
369:
319:Reinhard Keiser
315:
236:
231:
219:Attilio Ariosti
153:
148:
87:Reinhard Keiser
28:
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3457:Oboe concertos
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3289:Apollo e Dafne
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2907:Opera excerpts
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2617:Il pastor fido
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2551:
2546:
2544:List of operas
2540:
2537:
2536:
2529:
2528:
2521:
2514:
2506:
2499:
2498:
2474:
2468:
2453:
2437:
2417:
2379:
2365:
2347:
2327:
2307:
2287:
2281:
2266:
2260:
2245:
2239:
2224:
2218:
2200:
2181:Hicks, Anthony
2177:
2158:Hicks, Anthony
2154:
2148:
2133:
2113:
2107:
2083:
2049:
2043:
2028:
2022:
2003:
2001:
1998:
1996:
1995:
1983:
1971:
1959:
1957:, p. 163.
1947:
1928:
1916:
1904:
1892:
1890:, p. 117.
1880:
1868:
1856:
1844:
1842:, p. 117.
1823:
1821:, p. 118.
1804:
1792:
1777:
1754:
1739:
1727:
1712:
1710:, p. 119.
1700:
1698:, p. 531.
1688:
1673:
1657:
1642:
1640:, p. 129.
1630:
1628:, p. 152.
1615:
1613:, p. 175.
1603:
1588:
1576:
1557:
1555:, p. 150.
1545:
1533:
1521:
1506:
1494:
1479:
1467:
1455:
1443:
1420:
1408:
1393:
1374:
1359:
1344:
1323:
1311:
1299:
1284:
1269:
1254:
1242:
1227:
1215:
1203:
1188:
1176:
1174:, p. vii.
1164:
1151:
1149:
1146:
1143:
1142:
1132:
1122:
1109:
1099:
1098:
1096:
1093:
1091:
1088:
1084:Richard Wagner
1046:
1043:
1012:Apollo e Dafne
958:collection at
951:
948:
944:Romain Rolland
936:platte-deutsch
891:
888:
860:
857:
856:
855:
841:
827:
824:
821:
818:
815:
812:
809:
806:
790:
787:
749:
746:
695:
692:
680:
671:
623:
620:
603:
600:
584:'s 1642 opera
573:
570:
569:
568:
565:
562:
559:
556:
553:
550:
547:
544:
541:
538:
535:
519:
516:
458:
455:
436:
433:
415:
410:
408:
405:
368:
363:
327:Johann Schelle
314:
311:
235:
232:
230:
227:
152:
149:
147:
144:
26:
9:
6:
4:
3:
2:
3950:
3939:
3936:
3934:
3931:
3929:
3926:
3924:
3921:
3919:
3916:
3914:
3911:
3909:
3906:
3904:
3901:
3899:
3896:
3894:
3891:
3890:
3888:
3873:
3869:
3865:
3863:
3855:
3853:
3852:
3843:
3842:
3839:
3833:
3830:
3828:
3825:
3823:
3820:
3818:
3815:
3813:
3810:
3808:
3805:
3803:
3800:
3798:
3795:
3794:
3792:
3788:
3782:
3779:
3777:
3774:
3772:
3769:
3768:
3766:
3762:
3756:
3753:
3751:
3748:
3746:
3743:
3741:
3738:
3737:
3735:
3731:
3725:
3722:
3720:
3719:
3715:
3713:
3712:
3708:
3706:
3705:
3701:
3699:
3698:
3694:
3693:
3691:
3687:
3681:
3678:
3676:
3673:
3671:
3668:
3666:
3663:
3662:
3660:
3656:
3650:
3647:
3645:
3642:
3640:
3637:
3635:
3632:
3630:
3627:
3625:
3622:
3620:
3617:
3615:
3612:
3610:
3607:
3605:
3602:
3600:
3597:
3595:
3592:
3590:
3587:
3585:
3582:
3580:
3577:
3575:
3572:
3570:
3567:
3565:
3562:
3560:
3557:
3555:
3552:
3550:
3547:
3545:
3542:
3540:
3537:
3535:
3532:
3529:
3525:
3523:
3520:
3519:
3517:
3514:
3510:
3506:
3502:
3496:
3493:
3491:
3488:
3487:
3485:
3481:
3475:
3472:
3470:
3467:
3465:
3462:
3461:
3459:
3455:
3449:
3448:
3444:
3442:
3441:
3437:
3435:
3434:
3430:
3428:
3427:
3423:
3422:
3420:
3416:
3410:
3409:
3405:
3403:
3402:
3398:
3396:
3395:
3391:
3389:
3388:
3387:Sing Unto God
3384:
3382:
3381:
3377:
3375:
3374:
3370:
3368:
3367:
3363:
3362:
3360:
3356:
3350:
3347:
3345:
3342:
3340:
3337:
3335:
3334:Dixit Dominus
3332:
3331:
3329:
3325:
3319:
3318:
3314:
3312:
3311:
3307:
3305:
3304:
3303:Ero e Leandro
3300:
3298:
3297:
3293:
3291:
3290:
3286:
3284:
3283:
3279:
3277:
3276:
3272:
3270:
3269:
3265:
3263:
3262:
3258:
3256:
3255:
3251:
3249:
3248:
3244:
3243:
3241:
3237:
3231:
3230:
3226:
3224:
3223:
3219:
3217:
3216:
3212:
3210:
3209:
3205:
3204:
3202:
3198:
3192:
3191:
3187:
3185:
3184:
3180:
3178:
3177:
3173:
3171:
3170:
3166:
3164:
3163:
3159:
3157:
3156:
3152:
3150:
3149:
3145:
3143:
3142:
3138:
3136:
3135:
3131:
3129:
3128:
3124:
3122:
3121:
3117:
3115:
3114:
3110:
3108:
3107:
3103:
3101:
3100:
3096:
3092:
3089:
3087:(Mozart arr.)
3086:
3085:
3081:
3079:
3076:
3074:
3071:
3069:
3066:
3064:
3061:
3060:
3059:
3058:
3054:
3052:
3051:
3047:
3045:
3044:
3040:
3038:
3037:
3033:
3031:
3030:
3026:
3024:
3023:
3019:
3017:
3016:
3012:
3010:
3009:
3005:
3003:
3002:
2998:
2996:
2995:
2991:
2987:
2983:
2982:
2980:
2976:
2970:
2969:
2965:
2963:
2962:
2958:
2956:
2955:
2954:The Alchemist
2951:
2950:
2948:
2944:
2937:
2933:
2930:
2926:
2923:
2919:
2916:
2912:
2911:
2909:
2905:
2899:
2898:
2894:
2892:
2891:
2887:
2885:
2884:
2883:Giove in Argo
2880:
2878:
2877:
2873:
2871:
2870:
2866:
2864:
2863:
2859:
2857:
2856:
2852:
2850:
2849:
2845:
2843:
2842:
2838:
2836:
2835:
2831:
2829:
2828:
2824:
2822:
2821:
2817:
2815:
2814:
2810:
2808:
2807:
2803:
2801:
2800:
2796:
2794:
2793:
2789:
2787:
2786:
2782:
2780:
2779:
2775:
2773:
2772:
2768:
2766:
2765:
2761:
2759:
2758:
2754:
2752:
2751:
2747:
2745:
2744:
2740:
2738:
2737:
2733:
2731:
2730:
2726:
2724:
2723:
2719:
2717:
2716:
2712:
2710:
2709:
2705:
2703:
2702:
2698:
2696:
2695:
2691:
2689:
2688:
2687:Giulio Cesare
2684:
2682:
2681:
2677:
2675:
2674:
2670:
2668:
2667:
2663:
2661:
2660:
2659:Muzio Scevola
2656:
2654:
2653:
2649:
2647:
2646:
2642:
2640:
2639:
2635:
2633:
2632:
2628:
2626:
2625:
2621:
2619:
2618:
2614:
2611:
2607:
2606:
2602:
2600:
2599:
2595:
2593:
2592:
2588:
2586:
2585:
2581:
2578:
2577:
2572:
2571:
2566:
2563:
2562:
2560:
2556:
2550:
2547:
2545:
2542:
2541:
2538:
2534:
2527:
2522:
2520:
2515:
2513:
2508:
2507:
2504:
2487:
2483:
2481:
2475:
2471:
2465:
2461:
2460:
2454:
2442:
2438:
2423:
2418:
2411:
2407:
2403:
2399:
2396:(4): 531–55.
2395:
2391:
2390:
2385:
2380:
2376:
2372:
2368:
2366:9781473377134
2362:
2358:
2357:
2352:
2348:
2333:
2328:
2313:
2308:
2293:
2288:
2284:
2278:
2274:
2273:
2267:
2263:
2257:
2253:
2252:
2246:
2242:
2240:0-486-29227-4
2236:
2232:
2231:
2225:
2221:
2215:
2211:
2210:
2205:
2201:
2186:
2182:
2178:
2163:
2159:
2155:
2151:
2149:0-674-00617-8
2145:
2141:
2140:
2134:
2130:
2126:
2122:
2118:
2114:
2110:
2104:
2099:
2098:
2092:
2088:
2084:
2077:
2073:
2069:
2065:
2062:(2): 122–31.
2061:
2057:
2056:
2050:
2046:
2040:
2036:
2035:
2029:
2025:
2019:
2015:
2014:
2009:
2005:
2004:
1992:
1987:
1980:
1975:
1969:, p. 38.
1968:
1963:
1956:
1951:
1944:
1939:
1937:
1935:
1933:
1926:, p. 20.
1925:
1920:
1913:
1908:
1901:
1896:
1889:
1884:
1877:
1872:
1865:
1860:
1854:, p. 42.
1853:
1848:
1841:
1839:
1832:
1830:
1828:
1820:
1818:
1811:
1809:
1802:, p. 27.
1801:
1796:
1790:, p. 38.
1789:
1784:
1782:
1775:, p. 72.
1774:
1769:
1767:
1765:
1763:
1761:
1759:
1751:
1746:
1744:
1736:
1731:
1724:
1723:Cudworth 1959
1719:
1717:
1709:
1704:
1697:
1692:
1686:, p. 26.
1685:
1680:
1678:
1671:, p. 77.
1670:
1668:
1661:
1655:, p. 40.
1654:
1649:
1647:
1639:
1634:
1627:
1626:Manuwald 2013
1622:
1620:
1612:
1611:McCleave 2013
1607:
1601:, p. 35.
1600:
1595:
1593:
1585:
1580:
1573:
1568:
1566:
1564:
1562:
1554:
1553:Manuwald 2013
1549:
1542:
1537:
1531:, p. 67.
1530:
1525:
1518:
1513:
1511:
1504:, p. 51.
1503:
1498:
1492:, p. 18.
1491:
1486:
1484:
1476:
1471:
1465:, p. 39.
1464:
1459:
1453:, p. 22.
1452:
1447:
1440:
1435:
1433:
1431:
1429:
1427:
1425:
1417:
1412:
1405:
1400:
1398:
1391:, p. 21.
1390:
1385:
1383:
1381:
1379:
1371:
1366:
1364:
1357:, p. 12.
1356:
1351:
1349:
1341:
1336:
1334:
1332:
1330:
1328:
1321:, p. 18.
1320:
1315:
1309:, p. 18.
1308:
1303:
1297:, p. 19.
1296:
1291:
1289:
1281:
1276:
1274:
1266:
1261:
1259:
1252:, p. 14.
1251:
1246:
1240:, p. 10.
1239:
1234:
1232:
1225:, p. 14.
1224:
1219:
1213:, p. 10.
1212:
1207:
1200:
1195:
1193:
1185:
1180:
1173:
1168:
1161:
1156:
1152:
1136:
1126:
1119:
1113:
1104:
1100:
1087:
1085:
1081:
1077:
1073:
1069:
1068:
1063:
1057:
1055:
1054:
1042:
1040:
1036:
1032:
1031:
1026:
1022:
1018:
1014:
1013:
1008:
1004:
1000:
996:
991:
989:
985:
981:
976:
974:
970:
966:
961:
957:
956:Newman Flower
947:
945:
941:
937:
933:
928:
926:
925:
920:
919:Anthony Hicks
916:
912:
911:
906:
902:
898:
887:
885:
880:
877:
870:
865:
854:
850:
846:
842:
839:
835:
831:
828:
825:
822:
819:
816:
813:
810:
807:
804:
803:
802:
800:
796:
786:
783:
778:
776:
775:
770:
766:
762:
761:
760:Metamorphoses
756:
745:
743:
739:
734:
728:
723:
719:
718:
708:
700:
690:
686:
679:
675:
670:
668:
664:
660:
656:
652:
648:
647:
642:
637:
633:
629:
619:
617:
612:
608:
599:
597:
593:
589:
588:
583:
579:
566:
563:
560:
557:
554:
551:
548:
545:
542:
539:
536:
533:
532:
531:
529:
525:
515:
512:
507:
503:
499:
498:
493:
489:
485:
481:
477:
472:
468:
464:
454:
452:
447:
442:
428:
420:
414:
404:
402:
395:
390:
386:
384:
380:
379:
374:
367:
362:
360:
350:
346:
344:
340:
336:
332:
331:Johann Kuhnau
329:and probably
328:
324:
320:
310:
308:
304:
298:
296:
292:
288:
284:
280:
276:
275:Johann Theile
272:
271:Kapellmeister
268:
264:
257:
252:
245:
240:
226:
224:
220:
216:
212:
208:
203:
201:
197:
193:
187:
185:
181:
177:
173:
169:
165:
157:
143:
141:
137:
133:
132:
127:
122:
120:
116:
112:
108:
104:
100:
96:
92:
88:
84:
80:
75:
73:
72:
67:
66:
61:
57:
56:
51:
47:
34:
30:
19:
3844:
3827:Georg Händel
3817:Handel House
3716:
3709:
3702:
3695:
3445:
3438:
3431:
3424:
3406:
3399:
3392:
3385:
3378:
3371:
3364:
3349:Salve Regina
3344:Nisi Dominus
3315:
3308:
3301:
3294:
3287:
3280:
3273:
3266:
3259:
3252:
3245:
3227:
3220:
3213:
3206:
3188:
3181:
3174:
3167:
3160:
3153:
3146:
3139:
3132:
3125:
3118:
3111:
3104:
3097:
3082:
3055:
3048:
3041:
3034:
3027:
3020:
3013:
3006:
2999:
2993:
2992: /
2989:
2988: /
2985:
2966:
2959:
2952:
2922:Ombra mai fu
2895:
2888:
2881:
2874:
2867:
2860:
2853:
2846:
2839:
2832:
2825:
2818:
2811:
2804:
2797:
2790:
2783:
2776:
2769:
2762:
2755:
2748:
2741:
2734:
2727:
2720:
2713:
2706:
2699:
2692:
2685:
2678:
2671:
2664:
2657:
2650:
2643:
2636:
2629:
2622:
2615:
2603:
2596:
2589:
2582:
2574:
2568:
2564:
2490:. Retrieved
2486:the original
2479:
2458:
2445:. Retrieved
2426:. Retrieved
2393:
2387:
2383:
2355:
2336:. Retrieved
2316:. Retrieved
2296:. Retrieved
2271:
2250:
2229:
2208:
2189:. Retrieved
2166:. Retrieved
2138:
2120:
2096:
2087:Dean, Winton
2059:
2053:
2033:
2012:
1993:, p. 1.
1986:
1974:
1967:Burrows 2012
1962:
1950:
1919:
1907:
1895:
1883:
1871:
1859:
1847:
1837:
1816:
1800:Burrows 2012
1795:
1730:
1703:
1691:
1684:Burrows 2012
1666:
1660:
1633:
1606:
1579:
1548:
1536:
1524:
1497:
1470:
1458:
1451:Burrows 2012
1446:
1411:
1389:Burrows 2012
1314:
1307:Burrows 2012
1302:
1295:Burrows 2012
1280:Burrows 2012
1250:Burrows 2012
1245:
1218:
1211:Burrows 2012
1206:
1179:
1172:Van Til 2007
1167:
1160:Burrows 2012
1155:
1135:
1125:
1112:
1103:
1065:
1061:
1058:
1051:
1048:
1038:
1034:
1028:
1024:
1020:
1016:
1010:
1006:
1002:
998:
994:
992:
987:
983:
977:
972:
968:
964:
953:
939:
935:
929:
922:
908:
904:
896:
893:
883:
881:
875:
874:
798:
794:
792:
781:
779:
772:
768:
764:
758:
751:
741:
737:
715:
713:
677:
673:
663:Peter Holman
658:
655:Bernd Baselt
650:
645:
640:
635:
631:
627:
625:
610:
606:
605:
585:
575:
527:
523:
521:
501:
495:
460:
450:
440:
438:
412:
400:
398:
393:
376:
370:
365:
355:
342:
316:
306:
299:
260:
204:
188:
162:
139:
135:
129:
125:
123:
118:
114:
110:
106:
98:
94:
76:
69:
63:
59:
53:
43:
29:
18:Nero (opera)
3908:Opera seria
3903:Lost operas
3898:1706 operas
3893:1705 operas
3528:Fitzwilliam
3490:Water Music
3084:Der Messias
2492:25 November
2428:25 November
2338:25 November
2318:25 November
2298:12 December
2191:25 November
2168:25 November
1955:Harris 2001
1924:Keates 2009
1888:Harris 2001
1864:Harris 2001
1696:Sawyer 1999
1653:Harris 2001
1584:Keates 2009
1490:Keates 2009
1355:Keates 2009
1265:Keates 2009
1238:Keates 2009
1199:Keates 2009
1053:colla parte
917:, although
291:Winton Dean
211:Frederick I
3887:Categories
3127:Belshazzar
2715:Alessandro
2666:Floridante
1072:Monteverdi
1045:Afterwards
932:Low German
789:Characters
582:Monteverdi
518:Characters
407:Lost works
373:WeiĂźenfels
186:at Halle.
172:WeiĂźenfels
146:Background
3771:Göttingen
3764:Festivals
3697:Germanico
3418:Canticles
3063:Structure
2978:Oratorios
2862:Faramondo
2820:Ariodante
2757:Partenope
2701:Rodelinda
2694:Tamerlano
2652:Radamisto
2598:Agrippina
2447:6 January
2384:Agrippina
2375:300587865
1788:Lang 1996
1599:Lang 1996
1319:Dent 1934
1223:Dent 1934
1184:Dent 1934
1148:Citations
1030:Radamisto
934:dialect (
632:Agrippina
592:Tiridates
578:Busenello
497:Agrippina
488:Agrippina
467:Suetonius
339:Brunswick
200:Calvinist
131:Agrippina
74:survive.
3851:Category
3239:Cantatas
3176:Theodora
3120:Hercules
3078:Part III
2897:Deidamia
2855:Berenice
2848:Giustino
2834:Atalanta
2708:Scipione
2570:Florindo
2353:(2013).
2206:(2009).
2183:(2007).
2160:(2007).
2119:(1934).
2093:(2008).
2010:(2012).
1836:Burrows
1815:Burrows
1665:Burrows
1067:Deidamia
1035:Florindo
1017:Florinda
999:Florindo
993:As with
984:Florindo
969:Florindo
905:Florindo
901:Florence
876:Florindo
801:(2011).
782:Florindo
765:Florindo
748:Libretto
738:Florindo
685:Florindo
674:Florindo
611:Almira's
530:(2011).
506:Anicetus
457:Libretto
401:L'Almira
343:Mahumeth
269:and his
256:George I
136:Florindo
115:Florindo
65:Florindo
3862:Commons
3515:sonatas
3513:XV solo
3358:Anthems
3190:Jephtha
3169:Solomon
3162:Susanna
3073:Part II
3057:Messiah
3029:Athalia
3022:Deborah
2968:Alceste
2841:Arminio
2792:Orlando
2778:Sosarme
2743:Tolomeo
2605:Rinaldo
2591:Rodrigo
2129:2413442
2000:Sources
1062:Rodrigo
1007:Rodrigo
921:in his
897:Rodrigo
849:Tritons
845:Cyclops
717:Octavia
694:General
646:Rodrigo
596:Armenia
480:Octavia
463:Tacitus
435:General
333:at the
307:ripieno
229:Hamburg
223:Hamburg
207:elector
50:Hamburg
36:Handel
3913:Operas
3781:London
3711:Gideon
3339:Gloria
3148:Joshua
3106:Semele
3099:Samson
3068:Part I
3015:Esther
2890:Imeneo
2827:Alcina
2813:Oreste
2785:Catone
2722:Admeto
2680:Flavio
2673:Ottone
2584:Almira
2576:Daphne
2558:Operas
2480:Almira
2466:
2410:854988
2408:
2373:
2363:
2356:Handel
2279:
2258:
2237:
2216:
2146:
2127:
2121:Handel
2105:
2076:728982
2074:
2041:
2020:
2013:Handel
1838:et al.
1817:et al.
1667:et al.
1082:, and
1076:Mozart
1021:Daphne
1003:Daphne
988:Daphne
973:Daphne
965:Daphne
940:Daphne
910:Daphne
884:Daphne
853:Naiads
838:Peneus
834:Vulcan
795:et al.
769:Daphne
742:Daphne
678:Daphne
616:Lenten
524:et al.
492:Seneca
490:, and
484:Poppea
441:Almira
394:Almira
378:Almira
366:Almira
287:Venice
164:Handel
140:Daphne
119:Daphne
107:Almira
95:Almira
71:Daphne
55:Almira
3872:Audio
3776:Halle
3704:Nabal
3689:Other
3505:Flute
2961:Comus
2876:Serse
2736:Siroe
2631:Silla
2624:Teseo
2406:JSTOR
2072:JSTOR
1095:Notes
1080:Verdi
950:Music
924:Grove
830:Cupid
622:Music
168:Halle
151:Halle
3807:Will
3658:Opus
3594:367b
3589:367a
3574:364b
3569:364a
3564:363b
3559:363a
3539:359b
3534:359a
3511:and
3509:solo
3036:Saul
2771:Ezio
2764:Poro
2494:2015
2464:ISBN
2449:2024
2430:2015
2371:OCLC
2361:ISBN
2340:2015
2320:2015
2300:2015
2277:ISBN
2256:ISBN
2235:ISBN
2214:ISBN
2193:2015
2170:2015
2144:ISBN
2125:OCLC
2103:ISBN
2039:ISBN
2018:ISBN
1840:2011
1819:2011
1669:2011
1019:and
995:Nero
986:and
907:and
869:Ovid
859:Plot
767:and
755:Ovid
740:and
687:and
676:and
659:Nero
651:Nero
641:Nero
636:Nero
628:Nero
607:Nero
572:Plot
502:Nero
476:Nero
465:and
451:Nero
413:Nero
293:and
217:and
138:and
126:Nero
117:and
111:Nero
99:Nero
97:and
68:and
60:Nero
40:1710
3649:379
3644:378
3639:376
3634:375
3629:374
3624:373
3619:372
3614:371
3609:370
3604:369
3599:368
3584:366
3579:365
3554:362
3549:361
3544:360
3522:358
2398:doi
2386:".
2064:doi
1001:or
899:in
757:'s
504:is
285:in
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3507:,
2573:,
2404:.
2394:80
2392:.
2369:.
2089:;
2070:.
2060:40
2058:.
1931:^
1826:^
1807:^
1780:^
1757:^
1742:^
1715:^
1676:^
1645:^
1618:^
1591:^
1560:^
1509:^
1482:^
1423:^
1396:^
1377:^
1362:^
1347:^
1326:^
1287:^
1272:^
1257:^
1230:^
1191:^
1078:,
1074:,
851:,
847:,
836:,
832:,
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482:,
478:,
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2451:.
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1441:.
1418:.
1406:.
20:)
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