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Handel as Orpheus : voice and desire in the chamber cantatas

Author: Ellen T Harris
Publisher: Cambridge, Mass. : Harvard University Press, 2001.
Edition/Format:   Book : EnglishView all editions and formats
Database:WorldCat
Summary:
"Handel wrote over 100 cantatas, compositions for voice and instruments that describe the joy and pain of love. In Handel as Orpheus, the first comprehensive study of the cantatas, Ellen Harris investigates their place in Handel's life as well as their extraordinary beauty."
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Genre/Form: Criticism, interpretation, etc
Additional Physical Format: Online version:
Harris, Ellen T.
Handel as Orpheus.
Cambridge, Mass. : Harvard University Press, 2001
(OCoLC)654323130
Named Person: George Frideric Handel; George Frideric Handel; Georg Friedrich Händel
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Ellen T Harris
ISBN: 0674006178 9780674006171
OCLC Number: 47013295
Description: xi, 430 p. : ill. ; 26 cm.
Contents: Prologue: "The Ways of the World" --
Code Names and Assumed Identities --
Women's Voices/Men's Voices --
Pastoral Lovers --
Cantata Couples and Love Triangles --
Silence and Secrecy --
Culmination of the Private --
Epilogue: "True Representation" --
Cantata Chronology --
Texts and Translations of the Continuo Cantatas.
Responsibility: Ellen T. Harris.

Abstract:

Handel wrote over 100 cantatas, compositions for voice and instruments that describe the joy and pain of love. In this comprehensive study of the cantatas, Ellen Harris investigates their place in  Read more...

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Harris has written numerous scholarly studies on Handel's music. Here, she restricts herself to a discussion of his chamber cantatas from a social point of view, exposing the exclusive and secret Read more...

 
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schema:description""The cantatas were written between 1706 and 1723 - from the time Handel left his home in Germany, through the years he spent in Florence and Rome, and into the early part of his London career. In this period he lived as a guest in aristocratic homes, and composed these chamber works for his patrons and hosts, primarily for private entertainments. In both Italy and England his patrons moved in circles in which same-sex desire was commonplace - a fact that is not without significance, Harris reveals, for the cantatas exhibit a clear homosexual subtext."--Jacket."@en
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