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Ellen T. Harris - George Frideric Handel: A Life with Friends

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An intimate portrait of Handels life and inner circle, modeled after one of the composers favorite forms: the fugue.

During his lifetime, the sounds of Handels music reached from court to theater, echoed in cathedrals, and filled crowded taverns, but the man himselfknown to most as the composer of Messiahis a bit of a mystery. Though he took meticulous care of his musical manuscripts and even provided for their preservation on his death, very little of an intimate nature survives.

One documentHandels willoffers us a narrow window into his personal life. In it, he remembers not only family and close colleagues but also neighborhood friends. In search of the private man behind the public figure, Ellen T. Harris has spent years tracking down the letters, diaries, personal accounts, legal cases, and other documents connected to these bequests. The result is a tightly woven tapestry of London in the first half of the eighteenth century, one that interlaces vibrant descriptions of Handels music with stories of loyalty, cunning, and betrayal.

With this wholly new approach, Harris has achieved something greater than biography. Layering the interconnecting stories of Handels friends like the subjects and countersubjects of a fugue, Harris introduces us to an ambitious, shrewd, generous, brilliant, and flawed man, hiding in full view behind his public persona.

43 illustrations; 3 maps

Ellen T. Harris: author's other books


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This book has been in progress for many years and has incurred many debts I - photo 1

This book has been in progress for many years and has incurred many debts. I was honored to hold the MIT Class of 1949 Professorial Chair from 1996 to the time of my official retirement from MIT in 2011. The fund associated with this chair was the primary support for my archival research over that entire period. I am also indebted to the National Endowment for the Humanities for a Fellowship in 20062007 and to the Institute for Advanced Study in Princeton for a Fellowship in 2004, both of which gave me the time to work with the material I had gathered and to begin shaping it into a narrative.

I am extremely grateful to all the libraries, archives, and museums named in the bibliography where I spent many happy and exciting hours. The staffs of these repositories were unfailingly helpful, responding to my questions and supplying me with the many, many documents I requested.

I am especially grateful to Kim Sloan (curator, Prints and Drawing Room, British Museum), John Greenacombe (former general editor of the Survey of London), and the late Christopher Elrington (former general editor of the Victoria County History) for essential research advice at critical moments.

I am indebted to the research assistants who have worked with me at MIT over the years: Elizabeth Connors, Gerald Waldman, and Dr. Minji Kim. I am also grateful to Dr. Debbie Welham, and to Professor Chris Mounsey, who recommended her, for providing some crucial research on art auction catalogues.

I owe a special debt of gratitude to the many friends and colleagues who read parts or all of the book at various stages. Their criticisms improved my thinking and clarified my writing, while their enthusiasms gave me the encouragement I needed to keep on. Many thanks to Jane Bernstein, Samuel Jay Keyser, Eddie Kohler, Stephanie Leone, Dr. Abraham Lotan, Robert Marshall, Nancy Netzer, Michael Ouellette, Charles Shadle, John H. Roberts, Kay Shelemay, Kim Sloan, Ruth Smith, and Rev. James Weiss. I hope each of you recognizes your importance to this project.

I am particularly indebted to Maribeth Payne, music editor at W. W. Norton, for her continued enthusiasm and persistence during the long gestation of this project. The finished shape of the book owes a great deal to our conversations over the years and to her keen insight into book publishing. Michael Fauver, music assistant editor, only came into this project in the six months before the manuscript was submitted, but in that short space of time has made invaluable contributions, and not only of an editorial nature. It was his clarity that guided me through the many hurdles of manuscript submission, editorial process, and design.

Above all, I am grateful to the direct and lateral descendants of Handels friends who encouraged my work, gave me access to unique documents and portraits, and offered me gracious hospitality in their homes: S. Anthony Bosanquet, Jean Elrington, Ruth Hayden, Lynette Keating, James Lord Malmesbury, and Jacqui Mills.

1 Currencies Denomination Value Abbreviation British - photo 2

1. Currencies

Denomination

Value

Abbreviation

British

penny (pl. pence)

smallest named unit

d. (from the Latin denarius)

derived forms

farthing

d.

hapenny

d.

sixpence

6d.

shilling

12d.

s.

intermediate forms

half crown

2s. 10d.

crown

5s.

half guinea

10s. 6d. (see below)

pound

240d. = 20s.

guinea

21s.

*Approximate

German

value in 18th-c

taler (or reichstaler)

tlr. or rtlr.

4s. 6d.

Levant (Aleppo)

Levant piastre

Picture 3

2s. 11d.

2. Selected Cost-of-Living Figures for England (Primarily London) in the Mid-Eighteenth Century

Figures are drawn from the following sources:

James E. Thorold Rogers, A History of Agriculture and Prices in England, vol. 7: 17031793 (Oxford: Clarendon Press, 1902), given with page references (this is the foundational study)

Marjorie Penn, ed., The Account Books of Gertrude Savile, 173658, Thoroton Society Record Series 24 (1967): 99152; musical references given in bold with date of account entry; others identified Savile

Food and sundries

1d.

one lobster (1745), p. 343

4d.

lb. butter (1742), p. 309

5d.

lb. sugar (1744), p. 377

8d.

lb. salmon (1745), p. 343

6 pigeons (1744), p. 304

10d.

dozen brass coat buttons (1740), p. 466

quire writing paper (1756), p. 452

1s.

London mop (1741), p. 466

lb. tobacco (1744), p. 377

libretto at the opera (February 26, 1737) [Giustino]

1s. 7d.

4 chickens (1744), p. 304

1s. 10d.

lb. black pepper (1744), p. 377

2s.

pair kid gloves (1745), p. 468

2s. 3d.

4 dozen larks (1744), p. 304

3s.

dozen best pencils (1740), p. 466

quire music paper (1755), p. 452

ticket in the gallery for Beggars Opera (January 22, 1737)

3s. 6d.

one barrel of beer (1747), p. 351

4s.

dozen gold buttons (1740), p. 466

5s. (=1 crown)

ticket in the gallery for an opera at the Haymarket (February 26, 1737) [Giustino]

songs out of the Oritorio Saul (May 5, 1739), purchase of score

5s. 6d.

gallon port (1750), p. 358

7s.

dozen candles (1741), p. 315

6 shovels (1742), p. 467

iron hammer (1742), p. 467

8s.

lb. bohea tea (1740), p. 377

10s. 6d. (= g.)

single ticket (in the boxes or pit) for an Oritoria (March 23, 1737) [Il trionfo del Tempo]

Handels Te Deum (May 8, 1739), purchase of score

12s.

ream writing paper (1748), p. 452

13s.

lb. green tea (1740), p. 367

14s.

copper warming pan (1741), p. 466

15s.

new wagon wheel (1741), p. 466

2 new ploughs (1742), p. 467

ruffled hat (1744), p. 467

16s.

lb. finest hyson tea (1740), p. 377

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