Search results for ""Author Wolfgang Sandberger""

The number of eponymous female characters in Handel's work is remarkable, from the first opera Almira (1705) to the last melodramma Deidamia (1740), supplemented by Esther, Deborah and Athalia. In the contributions of the GHB 2016, the female figure is traced in the music of Handel's time, guided by the central aesthetic terms 'sensitive', 'heroic' and 'sublime'. In addition, there are studies by Hans Joachim Marx and Ton Koopman, in addition to the usual bibliography and communications from the Göttinger Handel Society. V.

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For an up-and-coming court musician of the early 18th century, as is also the case with Handel, it would have been obvious to turn to Italy. Contact with a French-influenced court musician would also have recommended a stay in Paris; in the German-speaking area, stays in Dresden, Wolfenbüttel or Vienna would also have been conceivable. A trip to London, on the other hand, was not completely isolated, but unusual enough. It was the aim of last year's Handel Symposium to further narrow down and sharpen these music-specific requirements. The new volume contains all contributions as well as the lecture and, as always, is supplemented by the bibliography on Handel's literature and the communications of the Göttingen Handel Society.

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The Göttingen Handel Festival had to be canceled in the anniversary year 2020, apart from a few digital substitute events, like almost all other music festivals. This also affected the annual symposium and the lecture, which each make up the main part of the GHB. Nevertheless, there are good reasons why the Handel Society decided to keep the GHB published on a regular basis. The present volume therefore brings together, inspired by the anniversary year, five independent contributions that are dedicated to particular aspects of Handel's reception in the late 19th and early 20th centuries. This includes a documentation of the Göttingen anniversary exhibition from 2020. Oskar Hagen's text adaptation of Handel's 'Rodelinda', which was created for the Göttingen performance in 1920, will also be republished for the occasion.

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