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Scan 568
Grove's Dictionary of Music and Musicians, 1927
105 lines. Read by computer on 11 September 2026, twice; the two readings disagreed in places. Printed page 516. See the scan on archive.org.
1Vol.
221. Concertos (6 'Hautbois Concertos'; Concerto grosso in C, 1736; 4 Concertos, early works; *Sonata in B♭, about 1710). one of two readings
321. Concertos (6 'Hautbois Concertos'; Concerto grosso in C, 1736; 4 Concertos, early works; *Sonata in Bb, about 1710). one of two readings
422. Oratorio: Judas Maccabeus, 1746.
523. Ode for St. Cecilia's Day, 1739.
6*24. Oratorio: Il Trionfo del Tempo e della Verità (Italian), 1708, 1737.
725. Dettingen Te Deum, 1743.
826. Oratorio: Solomon, 1748.
927. Sonate da camera (15 solo sonatas, first published about 1724; 6 sonatas for 2 oboes and bass, earliest compositions, 1696; 9 sonatas for 2 violins, etc., and bass; 6 sonatas for 2 violins, etc., and bass, 1738).
1028. Twelve Organ Concertos, 1738, etc.
1129. Oratorio: Deborah, 1733.
1230. Twelve Grand Concertos, 1739.
1331. Utrecht Te Deum and Jubilate, 1713.
1432. Duetti e Terzetti (22 Italian vocal duets and 2 trios, 1707–08, 1741–45, six never before printed). one of two readings
1532. Duetti e Terzetti (22 Italian vocal duets and 2 trios, 1707-08, 1741-45, six never before printed). one of two readings
1633. Oratorio: Alexander Balus, 1747.
1734. Anthems, vol. 1. ('Chandos' with 3 voice-parts, with some now first published), 1716–18. one of two readings
1834. Anthems, vol. 1. ('Chandos' with 3 voice-parts, with some now first published), 1716-18. one of two readings
1935. Do. vol. 2. ('Chandos' with 4 voice-parts.)
2036. Do. vol. 3. ('O praise the Lord'; *Wedding Anthems, 1734; Wedding Anthem, 1736; *Dettingen Anthem, 1743; *Foundling Hospital Anthem, 1749.)
2137. Three Te Deums in D, about 1714; in B♭, about 1718–20; in A, perhaps 1727.) one of two readings
2237. Three Te Deums in D, about 1714; in Bb, about 1718-20; in A, perhaps 1727.) one of two readings
2338. Latin Church Music, about 1702, 1707, 1718, 1735–45. one of two readings
2438. Latin Church Music, about 1702, 1707, 1718, 1735-45. one of two readings
2539. Oratorio: Resurrezione (Italian), 1708.
2640. Do. Esther, 1st version ('Haman and Mordecai,' a masque), about 1720.
2741. Do. Esther, 2nd version, 1732.
2842. Do. Joseph, 1743.
2943. Do. Occasional, 1746.
3044. Do. Jephtha, 1751.
3145. Do. Messiah, 1741.
3246. Birthday Ode and A ceste.
3347. Instrumental Music for full orchestra (*Concerto in F, about 1715; Water Music, 1715; *Concertos in F and D; Firework Music, 1749. Double Concerto in Eb, 1740–50 (?); *Double Concerto in F, 1740–50 (?)). one of two readings
3447. Instrumental Music for full orchestra (*Concerto in F, about 1715; Water Music, 1715; *Concertos in F and D; Firework Music, 1749. Double Concerto in Eb, 1740-50 (?); *Double Concerto in F, 1740-50 (?)). one of two readings
3548. Organ and miscellaneous instrumental music.
3649. German, Italian, and English songs and airs (unpublished 1925).
3750. Italian Cantatas, with bass, vol. 1.
3851. Do. vol. 2.
3952. Italian Cantatas, with instruments, vol. 1 | 52a and b.
4053. Italian Cantatas, with instruments, vol. 2 | 53, 95.
4154. Serenata: Il Parnasso in festa, 1734.
42*55. Opera: Almira (German), 1704.
43*56. Do. Rodrigo, 1707.
4457. Do. Agrippina, 1709.
45*58. Do. Rinaldo, 1711.
46*59. Do. Il Pastor Fido, 1712.
4760. Do. Teseo, 1712.
48*61. Do. Silla, 1714.
49*62. Do. Amadigi, 1715.
50*63. Do. Radamisto, 1720.
51*64. Do. Muzio Scevola, Act 3, 1721.
52*65. Do. Floridante, 1721.
53*66. Do. Ottone, 1722.
54*67. Do. Flavio, 1723.
55*68. Do. Giulio Cesare, 1723.
56*69. Do. Tamerlano, 1724.
57*70. Do. Rodelinda, 1725.
58*71. Do. Scipione, 1726.
59*72. Do. Alessandro, 1726.
60*73. Do. Admeto, 1726.
61*74. Do. Riccardo, 1727.
62*75. Do. Siroe, 1728.
63*76. Do. Tolomeo, 1728.
64*77. Do. Lotario, 1729.
65*78. Do. Partenope, 1730.
66*79. Do. Poro, 1731.
67*80. Do. Ezio, 1732.
68*81. Do. Sosarme, 1732.
69*82. Do. Orlando, 1732.
70*83. Do. Arianna, 1733.
71*84. Do. Terpsichore and second Pastor Fido, 1734.
72*85. Do. Ariodante, 1734.
73*86. Do. Alcina, 1735.
74*87. Do. Atalanta, 1736.
75*88. Do. Giustino, 1736.
76*89. Do. Arminio, 1736.
77*90. Do. Berenice, 1737.
78*91. Do. Faramondo, 1737.
79*92. Do. Serse, 1738.
80*93. Do. Imeneo, 1738–40. one of two readings
81*93. Do. Imeneo, 1738-40. one of two readings
82*94. Do. Deidamia, 1740.
8395. Aci e Galatea (Italian), 1708 and 1732, 253.
8496. Miscellaneous Vocal pieces.
8597. Oratorio: Jephtha, facsimile of Handel's MS. score.
87* Published for the first time, at all events in complete score.
89R. M.
91HANDEL AND HAYDN SOCIETY, see BOSTON.
93HANDEL COMMEMORATION. Early in 1783 three musical amateurs, Viscount Fitzwilliam, Sir Watkin Williams Wynn and Joah Bates, conceived the idea of celebrating the centenary of the birth of Handel (1684–85) by performing some of his works on a scale then unprecedented in England. The scheme being supported by the leading musical professors and the directors of the Concert of Ancient Music (who undertook the arrangement of the performances), and warmly entered into by the King, it was determined to carry it into effect by giving two performances in Westminster Abbey (where Handel was buried), and one at the Pantheon. The first performance was given in the Abbey on Wednesday morning, May 26, 1784; it consisted of The Dettingen Te Deum, one of the Coronation Anthems, one of the Chandos Anthems, part of the Funeral Anthem and a few other fragments. The second was on Thursday evening, May 27, at the Pantheon, and comprised various songs and choruses, sacred and secular, four concertos and an overture. The third was at the Abbey on Saturday morning, May 29, when 'Messiah' was given. These performances were so attractive as to lead to a repetition of the first day's music, with some little variations, at the Abbey, on Thursday morning, June 3, and of 'Messiah,' at the same place, on Saturday morning, June 5. The orchestra (erected at the west end of the nave, and surmounted by an organ built for the occasion by Green) contained 525 performers, viz.: one of two readings
94HANDEL COMMEMORATION. Early in 1783 three musical amateurs, Viscount Fitzwilliam, Sir Watkin Williams Wynn and Joah Bates, conceived the idea of celebrating the centenary of the birth of Handel (1684-85) by performing some of his works on a scale then unprecedented in England. The scheme being supported by the leading musical professors and the directors of the Concert of Ancient Music (who undertook the arrangement of the performances), and warmly entered into by the King, it was determined to carry it into effect by giving two performances in Westminster Abbey (where Handel was buried), and one at the Pantheon. The first performance was given in the Abbey on Wednesday morning, May 26, 1784; it consisted of The Dettingen Te Deum, one of the Coronation Anthems, one of the Chandos Anthems, part of the Funeral Anthem and a few other fragments. The second was on Thursday evening, May 27, at the Pantheon, and comprised various songs and choruses, sacred and secular, four concertos and an overture. The third was at the Abbey on Saturday morning, May 29, when 'Messiah' was given. These performances were so attractive as to lead to a repetition of the first day's music, with some little variations, at the Abbey, on Thursday morning, June 3, and of 'Messiah,' at the same place, on Saturday morning, June 5. The orchestra (erected at the west end of the nave, and surmounted by an organ built for the occasion by Green) contained 525 performers, viz.: one of two readings
9659 sopranos, 48 altos, 83 tenors and 84 basses; 48 first and 47 second violins, 26 violas, 21 violoncellos, 15 double basses, 6 flutes, 26 oboes, 26 bassoons, 1 double bassoon, 12 trumpets, 12 horns, 6 trombones, 4 drums, and the conductor (at the organ), Joah Bates.
98The principal vocalists who are included in the above enumeration, were:
100Madame Mara, Miss Harwood, Miss Cantelo, Miss Abrams, Miss Theodosia Abrams and Signor Bartolini; Rev. Mr. Clerk, Dyne and Knyvett, altos; Harrison, Norris and Corfe, tenors; Bellamy, Champness, Reinhold, Matthews and Tasca, basses.
102The orchestra at the Pantheon consisted of 200 performers selected from those at the Abbey, and also included Signor Pacchierotti among the principal sopranos. The total receipts were £12,736:12:10, and the total expenses £5450:6:4, leaving a surplus of £7286:6:6, which, after retaining £286:6:6, to meet subsequent demands, was divided between the Royal Society of Musicians (£6000) and the Westminster Hospital (£1000). A mural tablet recording the event was placed in the Abbey above Handel's monument.
104In 1785 Dr. Burney published An Account of the Musical Performances in Westminster-Abbey and the Pantheon in Commemoration of Handel, a quarto volume containing a Sketch of the Life of Handel, and plates, one of which represents his monument. In this the inscription is altered to support the assertion in the Life (made upon the alleged authority of Dr. Warren, who is asserted to have attended Handel in his last illness), that Handel died on Good Friday, Apr. 13, and not on Saturday, Apr. 14, 1759. Assuming Burney to have believed the unsupported statement of Dr. Warren, made twenty-five
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