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Continuo Realization in Handel's Vocal Music (Paperback)
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Continuo Realization in Handel's Vocal Music (Paperback)
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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. 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 oncontext. 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. Patrick J. Rogers is an active
keyboard player and former Fulbright Scholar who studied Handel
under Theodor Goellner, Roland Jackson, Terence Best, and the late
J. Merrill Knapp.
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