This book is an edition, with commentary, of Handel's exercises for continuo playing, which he wrote for the daughters of George II. The exercises, which until now have not been readily available, are supplemented by clear and concise ...
Author: George Frideric Handel
Publisher: Clarendon Press
An edition with commentary of Handel's exercises for continuo playing which he wrote for the daughters of George II.
Ledbetter, David. Continuo Playing According to Handel. Early Music Series, No.
12. Oxford: OUP, 1989. Mangsen, Sandra. “The Unfigured Bass and the Continuo
Player: More Evidence from France.” Early Keyboard Journal 3 (1984–1985): ...
Author: Mary Cyr
Listeners, performers, students and teachers will find here the analytical tools they need to understand and interpret musical evidence from the baroque era. Scores for eleven works, many reproduced in facsimile to illustrate the conventions of 17th and 18th century notation, are included for close study. Readers will find new material on continuo playing, as well as extensive treatment of singing and French music. The book is also a concise guide to reference materials in the field of baroque performance practice with extensive annotated bibliographies of modern and baroque sources that guide the reader toward further study. First published by Ashgate (at that time known as Scolar Press) in 1992 and having been out of print for some years, this title is now available as a print on demand title.
“Learning to Ornament Handel's Sonatas through the Composer's Ears.”
American Recorder 30 (1989): 9–14; ... Continuo Playing According to Handel:
His Figured Bass Exercises with a Commentary. Oxford: Oxford University Press,
Author: Mary Ann Parker
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
These are illustrated in facsimile in Alfred Mann, G. F. Handel: Aufzeichnungen
zur Kompositionslehre, and are mostly printed in David Ledbetter (ed.), Continuo Playing according to Handel (Oxford, 1990). There are also a few fragments of ...
Author: Donald Burrows
Publisher: Oxford University Press
Handel is one of the most remarkable figures in the history of western music. His compositions form one of the peaks of creative achievement in the Baroque period, and cover a remarkable range: full-scale Italian operas and English oratorios (including Messiah), but also shorter works such as the Water Music and the Coronation Anthem Zadok the Priest. His compositional processes were often complex, but could result in accessible and memorable 'hit tunes', such as the aria that subsequently became famous as 'Handel's Largo'. His life and career were as remarkable as his music. Born in Germany to a family that reputedly tried to discourage his initial interest in music, he broke away to seek his fortune in Italian opera, and proceeded to gain first-hand experience of the latest Italian styles in Rome, Florence, Venice and Naples. A series of career moves brought him via Hanover to London, where he eventually settled and dominated the city's musical life for half a century. There he quickly made his mark in English church music as well as Italian opera, and eventually created two new musical genres--English theatre oratorio and the organ concerto. Handel is important also because, as a musician, he also became a significant public figure. In Rome he attracted the patronage of princes and cardinals; soon after his arrival in London he appeared at the court of Queen Anne, and he subsequently enjoyed substantial support from the "Hanoverian" royal family. He survived turbulent periods in the musical and political life of London, reached a wider public through publications of his music, died a rich man and was buried in Westminster Abbey. This biography provides a comprehensive and balanced account of both the man and his music, drawing on the unusually rich legacy of documentary and musical sources from Handel's lifetime. This new edition of a book that has been recognized as a 'classic' biography of Handel, reliable on the factual details of the composer's life and comprehensive in the coverage of his music, incorporates a great deal of new material. The last half century has seen a great renewal of research on the circumstances of Handel's life, and a major expansion in performances and recordings of his music. The book brings together the results of this scholarly activity, and is informed by wide experience of modern performances of Handel's music, including the revival of his operas and experimentation with 'authentic' performance practices.
Appendices include brief examples of continuo realization by Handel.BR> Patrick J. Rogers is an active keyboard player and former Fulbright Scholar who studied Handel under Theodor Göllner, Roland Jackson, Terence Best, and the late J. ...
Author: Patrick J. Rogers
Publisher: Studies in Music (University o
Category: Literary Collections
This pioneering study examines aspects of figured bass notation and continuo realization in the High Baroque, especially with respect to the operas and oratorios of G. F. Handel. Contemporary treatises, Handel's manuscripts, original performance material, and other early sources provide clarification and guidance for the modern performer. Part one is an overview of figured bass in Handel source materials: autograph manuscripts, performing scores, original keyboard parts, 18th century scribal copies, and early editions. Part two treats in depth continuo realization problems that are often overlooked and can be troublesome in modern performances. The author defines the most common bass patterns, or formula-progressions, in Handel's music, together with the precise harmony the composer intended. The author attempts to show that continuo figuring can serve different functions depending on context. Much of the figuring that comes down to us in secondary sources may derive from the composer, or it may reflect valid contemporary practice. Modern editions, in the main, are too selective in this regard: they only include bass figuring from primary sources, leaving the modern performer frequently without sufficient guidance in the continuo part to improvise a stylistic accompaniment. Appendices include brief examples of continuo realization by Handel.BR> Patrick J. Rogers is an active keyboard player and former Fulbright Scholar who studied Handel under Theodor Göllner, Roland Jackson, Terence Best, and the late J. Merrill Knapp.
Book Review Abstract of the 1991 American Handel Society Lecture Ledbetter ,
David . Continuo Playing According to Handel : his Figured Bass Exercises .
Oxford : Clarendon Press , 1990 . 106 pages . Cloth : $ 44.95 ; paper , $ 19.95 .
... Learning to Ornament Handel ' s Sonatas through the Composer ' s Ears “ , in :
The American Recorder 30 ( 1989 ) , Nr . 1 , S . 9 – 14 , Nr . 3 , S . 102 – 106 , Nr .
4 , S . 137 – 141 Ledbetter , David , Continuo Playing According to Handel .
DAVID SCHRADER The Church of the Ascension Roosevelt University Continuo Playing According to Handel : His Figured Bass Exercises . By David Ledbetter .
Early Music Series , 12 . Oxford : Clarendon Press , 1990 . ( vi , 106 p . ISBN 0 ...
14 ( 1990 ) pp . 21 - 34 . Facsimile of the London 1763 edition , with an
introduction by John Churchill , Oxford University Press , London 1974 . David
Ledbetter : Continuo Playing according to Handel Oxford University Press ,
Oxford 1990 .
Continuo Playing According to Handel by David Ledbetter . The art of continuo
playing was an inherent part of keyboard instruction in the baroque period .
Handel wrote the exercises in this volume between 1724 and the mid - 1730s ,
Continuo playing according to Handel . Oxford : Oxford University Press , 1990 . (
Early Music Series ; 12 ) . Paperback ; 106 pages . Students of continuo practice
can lay claim to a variety of twentieth - century tutors and what is by now a rich ...
Instead, endnotes are used to provide comprehensive and practical information. Other features included the addition of text sources, breath marks, measure numbers, timings, rehearsal and performance suggestions, and much more.
Author: Leonard Van Camp
Publisher: Roger Dean Publishing Company
At long last, a definitive edition providing an authentic and fresh perspective on this time-honored oratorio. Since the page layout remains identical to the old Schirmer/Spicker edition, you can now replace worn copies with this new publication that has been entirely reedited. Based on Handel's autograph and conducting scores, Van Camp corrected over 100 notational and textual errors which appeared in the Spicker edition and also provided fine keyboard accs comfortably under the fingers...with the original bass line fully restored. Singers will rejoice now that the music pages are no longer cluttered with editorial footnotes and annotations. Instead, endnotes are used to provide comprehensive and practical information. Other features included the addition of text sources, breath marks, measure numbers, timings, rehearsal and performance suggestions, and much more. The pagination and layout of the vocal score match the old Spicker edition, so you can use the two of them together without confusion.
16 Handel and the orchestra Mark W . Stahura Studies of Handels compositions
have in general understandably stressed ... It is not known how many string and
woodwind players performed each part , or how many other realising continuo ...
Author: Donald Burrows
Publisher: Cambridge University Press
A Companion to one of the principal creative figures in Baroque music.
Believed to have been dictated by J.S. Bach to one of his students at the Leipzig Thomas-Schule, the Precepts and Principles for Playing the Thorough Bass or Accompanying in Four Parts is the most important teaching document of Bach's to have survived, providing insights into his teaching ofharmony and fugue, and perhaps on his compositional process as well. Heinrich Schenker made use of Precepts (which he called Bach's Generalbassbuchlein) in the formulation of his analytical system.Here is a translation, commentary, transcription of the music examples into modern notation, and complete facsimile of this treatise. The 48-leaved manuscript, in which the hand of Bach's pupil Carl August Thieme (1721-95) has been identified, consists of thorough bass rules for writing andplaying in four parts, studies in fugue writing, as well as figured basses and cadence patterns suitable for keyboard practice.
Quentin Faulkner , AAGO — then play the bass note first ( say the name of it as
you play it ) , followed by the chord above it . ... Without doubt the best method on
the market is : and Continuo Playing according to Handel : his figured - bass ...