BOOKS |
|
TITLE: |
THE
STORY
OF HANDEL'S MESSIAH |
AUTHOR: |
WATKINS
SHAW |
PUBLISHER: |
NOVELLO
& COMPANY LTD |
ISBN
(HARDCOVER): |
N/A |
ISBN (PAPERBACK): |
N/A |
UPC/EAN: |
N/A |
LCCN: |
MT115.H133
S55 |
YEAR: |
1963 |
SERIES: |
N/A |
PAGES: |
80
P. |
PUB.
LOCATION: |
LONDON,
ENGLAND |
DDC: |
N/A |
EXCERPT: |
CLICK
HERE FOR SAMPLE PAGE
(.PDF) |
|
|
|
DESCRIPTION:
The
Story of Handel's Messiah 1741-1784: A Short
Popular History is a non-scholarly,
general interest book aimed at readers who
desire an introduction to Handel's most famous
oratorio. Based on the intensive
investigation undertaken for Shaw's larger and
fully-documented work, A Textual and
Historical Companion to Handel's
Messiah, this book nevertheless
contains new material considered not
appropriate to that other book. Contains
eight illustrations and fourteen music
examples. |
SITE RATING: 7/10
SITE
REVIEW: Watkins Shaw's
1963 publication, a digression of sorts from
his other book, A Textual and
Historical Companion to Handel's Messiah,
is a short, somewhat dry examination of the
historical placement of Messiah, as well as a
look at some of the musical forms Handel uses.
Within its nine chapters, Shaw discusses
the composition of Messiah, how it appeared in
its original form, the Dublin and London
premieres, it subsequent London performances
through 1753, the first Foundling Hospital
charity performance, and subsequent renewal of
Messiah's
popularity,
and its migration outside London through the
years 1784, finishing it's history with the
Westminister Abbey Commemoration of that year.
Despite the relatively short time span
which the book encompasses, the forty-three
year timespan is adequate to show how Messiah
flourished and grew in popularity, becoming a
cornerstone of Baroque literature, and
moreover, a beloved, revered centerpiece of
English choral music. More
conversational in tone than Shaw's Textual and
Historical Companion, I still found
this book to be a bit of a chore to read, with
Shaw's lengthy diversions into specific
musical quotations from the score more attuned
to the student musician than to the casual
reader, while Shaw's enthusiasm for Messiah
is not readily apparent in his rather staid,
academic writing style. Nevertheless,
this is a good, solid introduction to Messiah,
with much useful information.
|
|