Les oratorios anglais de Haendel : petite typologie dramatique du hors-champ musical
Being forbidden in 1732 to actually stage his biblical dramas, Handel had to think in terms of musical stategy so as to animate these otherwise oddly still dramatic perfomances. Relying on echoes and quotations, he ‘recycled’ some of his contemporaries’ works, and also some of his own, and thus used...
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| Format: | Article |
| Language: | English |
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Centre de Recherche et d'Etudes en Civilisation Britannique
2006-01-01
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| Series: | Revue Française de Civilisation Britannique |
| Online Access: | http://journals.openedition.org/rfcb/1631 |
| Summary: | Being forbidden in 1732 to actually stage his biblical dramas, Handel had to think in terms of musical stategy so as to animate these otherwise oddly still dramatic perfomances. Relying on echoes and quotations, he ‘recycled’ some of his contemporaries’ works, and also some of his own, and thus used an often highly political musical material in order to provide his biblical oratorios with both a dramatic and ideological density which truly turned them into a nation’s music. |
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| ISSN: | 0248-9015 2429-4373 |