Handel as Apollo. The Composer’s Apotheoses in Eighteenth-Century Literature and Art
Abstract
Handel was one of the few Baroque composers to enjoy the status of a ‘deified’ artist already in his lifetime. One still unresearched Handel-related topic is the history of the composer’s representations as the mythological Apollo, an ancient deity important in modern-age aesthetics and considered as particularly suitable for artist apotheoses. This article presents a survey and interpretation of examples from eighteenth-century literature and works of art in which Handel was directly compared to Apollo, or in which Apolline symbolism or the attributes of that god of music were employed to emphasise the composer’s status.
Supporting Agencies
Keywords:
Handel and Apollo, composer apotheosis, idolising an artist, artist as god, musicians’ apotheoses, deification in artReferences
Aspden, Suzanne. „Fam’d Handel Breathing, tho’ Transformed to Stone: The Composer as Monument”. Journal of the American Musicological Society 55, nr 1 (2002): 39–90.
DOI: https://doi.org/10.1525/jams.2002.55.1.39
Google Scholar
Aspden, Suzanne. The Rival Sirens. Performance and Identity on Handel’s Operatic Stage. New York: Cambridge University Press, 2013.
DOI: https://doi.org/10.1017/CBO9781139519663
Google Scholar
Beaussant, Philippe. „[Couperin is too easily…]”, przekł. Frank Dobbins, booklet do płyty CD François Couperin. Les Apothéoses / Hesperion XX, Radio France & Astrée-Auvidis (E 7709), 1986.
Google Scholar
Bergquist, Stephen A. „Francesco Bartolozzi’s Musical Prints”. Music in Art 32, nr 1–2 (2007): 177–187.
Google Scholar
Bindman, David, Malcolm Baker. Roubiliac and the Eighteenth-Century Monument. Sculpture as Theatre. London: New Haven, 1995.
Google Scholar
Bridgwater, David. „Some Engravings of Apollo – Possible Inspirations for the Roubiliac Vauxhall Gardens Statue”, https://bathartandarchitecture.blogspot.com/2015/07/some-engravings-of-apollo-possible.html, dostęp 12 VII 2024.
Google Scholar
Burrows, Donald. Handel. New York: Oxford University Press, 2012.
Google Scholar
Busch, Werner. „The Visible Power of Music: Louis François Roubiliac’s Handel Statue for Vauxhall Gardens”. Göttinger Händel-Beiträge 15 (2014): 39–53.
Google Scholar
Camiz, Franca Trinchieri. „The Castrato Singer: From Informal to Formal Portraiture”. Artibus et Historiae 9, nr 18 (1988): 171–186.
DOI: https://doi.org/10.2307/1483341
Google Scholar
Cheney, Liana De Girolami. „Fame”. W: Encyclopedia of Comparative Iconography. Themes Depicted in Works of Art, red. Helene E. Roberts, 307–313. Chicago–London: Fitzroy Dearborn Publishers, 1998.
Google Scholar
Chrissochoidis, Ilias. „A Handel Relative in Britain?”. The Musical Times 148, nr 1898 (2007): 49–58.
DOI: https://doi.org/10.2307/25434441
Google Scholar
Chrissochoidis, Ilias. „Handel at a Crossroads: His 1737–1738 and 1738–1739 Seasons Re-Examined”. Music & Letters 90, nr 4 (2009): 599–635.
DOI: https://doi.org/10.1093/ml/gcp070
Google Scholar
Clay, Diskin. „Dante’s Parnassus: Raphael’s Parnaso”. A Journal of Humanities and the Classics 22, nr 2 (2014): 3–31.
DOI: https://doi.org/10.2307/arion.22.2.0003
Google Scholar
Coke, David, Alan Borg. Vauxhall Gardens. A History. New Haven–London: Yale University Press, 2011.
Google Scholar
Coke, David. „Roubiliac’s Handel for Vauxhall Gardens: A Sculpture in Context”. Sculpture Journal 16, nr 2 (2007): 5–22.
DOI: https://doi.org/10.3828/sj.16.2.1
Google Scholar
Coke, Gerald. Tercentenary of the Birth of George Frideric Handel. The Gerald Coke Handel Collection. Exhibition: Jenkyn Place, Bentley, Hampshire. Hampshire: [Gerald Coke], 1985.
Google Scholar
Coopersmith, J.M. „The First Gesamtausgabe: Dr. Arnold’s Edition of Handel’s Works”. Notes 4, nr 3 (1947): 438–449.
DOI: https://doi.org/10.2307/889752
Google Scholar
Darr, Alan P. „Virtuoso Carving: Three Eighteenth-Century British Portrait Sculptures by Le Marchand, Roubiliac, and Chaffers”. Bulletin of the Detroit Institute of Arts 83, nr 1/4 (2009): 40–49.
DOI: https://doi.org/10.1086/DIA23183272
Google Scholar
Drügh, Heinz J. „Marsyas”. W: The Reception of Myth and Mythology, red. Maria Moog-Grünewald, przekł. Duncan Smart, David van Eijndhoven, Christine Salazar, Francis G. Gentry, 379–383. Leiden–Boston: Brill, 2010 (= Brill’s New Pauly. Supplements 4).
Google Scholar
Dürr, Alfred. Kantaty Jana Sebastiana Bacha. Przekł. Andrzej A. Teske. Lublin: Polihymnia, 2004.
Google Scholar
Esdaile, Katharine A. The Life and Works of Louis François Roubiliac. London: Oxford University Press, 1928.
Google Scholar
Ford, Terence. „Andrea Sacchi’s Apollo Crowning the Singer Marc’Antonio Pasqualini”. Early Music 12, nr 1 (1984): 79–84.
DOI: https://doi.org/10.1093/earlyj/12.1.79
Google Scholar
Gardner, Matthew. „Seventeenth-Century Literary Classics as Eighteenth-Century Libretto Sources: Congreve, Dryden and Milton in the 1730s and 1740s”. W: Music in the London Theatre from Purcell to Handel, red. Colin Timms, Bruce Wood, 157–174. Cambridge: Cambridge University Press, 2017.
DOI: https://doi.org/10.1017/9781316650813.012
Google Scholar
Geck, Martin. Die Bach-Söhne. Hamburg: Rowohlt Taschenbuch Verlag, 2018.
Google Scholar
George Frideric Handel. Collected Documents, 1609–1763. T. 1, 1609–1725, red. Donald Burrows, Helen Coffey, John Greenacombe, Anthony Hicks. Cambridge: Cambridge University Press, 2015.
Google Scholar
George Frideric Handel. Collected Documents, 1609–1763. T. 2, 1725–1734, red. Donald Burrows, Helen Coffey, John Greenacombe, Anthony Hicks. Cambridge: Cambridge University Press, 2015.
Google Scholar
George Frideric Handel. Collected Documents, 1609–1763. T. 3, 1734–1742, red. Donald Burrows, Helen Coffey, John Greenacombe, Anthony Hicks. Cambridge: Cambridge University Press, 2019.
Google Scholar
George Frideric Handel. Collected Documents, 1609–1763. T. 4, 1742–1750, red. Donald Burrows, Helen Coffey, John Greenacombe, Anthony Hicks. Cambridge: Cambridge University Press, 2020.
Google Scholar
Ghadessi, Touba. Portraits of Human Monsters in the Renaissance. Dwarves, Hirsutes, and Castrati as Idealized Anatomical Anomalies. Kalamazoo: Western Michigan University, 2018.
DOI: https://doi.org/10.2307/j.ctvvncff
Google Scholar
Gilman, Todd. The Theatre Career of Thomas Arne. Newark: University of Delaware Press, 2013.
Google Scholar
Hall, James. Dictionary of Subjects and Symbols in Art. New York–London: Routledge, 2018.
DOI: https://doi.org/10.4324/9780429493959
Google Scholar
Handel. A Celebration of his Life and Times, 1685–1759, red. Jacob Simon. London: National Portrait Gallery, 1985.
Google Scholar
Händel-Bildnisse in den Sammlungen der Stiftung Händel-Haus, red. Edwin Werner. Halle: Freundes- und Fö rderkreis des Händel-Hauses zu Halle, 2013.
Google Scholar
Händel-Handbuch. Band 4: Dokumente zu Leben und Schaffen, red. Otto Erich Deutsch. Leipzig: Deutscher Verlag für Musik, 1985.
Google Scholar
Hardie, Philip R. Rumour and Renown: Representations of Fama in Western Literature. Cambridge: Cambridge University Press, 2012.
Google Scholar
Harris, Ellen T. George Frideric Handel. A Life with Friends. New York–London: W.W. Norton & Company, 2014.
Google Scholar
Harris, Ellen T. Handel as Orpheus. Voice and Desire in the Chamber Cantatas. Cambridge, Mass.–London: Harvard University Press, 2001.
Google Scholar
Harris, Ellen T. „Handel’s Ghost: The Composer’s Posthumous Reputation in the Eighteenth Century”. W: Companion to Contemporary Musical Thought. T. 1, red. John Paynter, Tim Howell, Richard Orton, Peter Seymour, 208–225. London–New York: Routledge, 1992.
Google Scholar
Heller, Wendy. Music in the Baroque. New York–London: W.W. Norton & Company, 2014.
Google Scholar
Hodgkinson, Terence. Handel at Vauxhall. London: Victoria and Albert Museum, 1969.
Google Scholar
Hogwood, Christopher. Händel, przekł. Barbara Świderska. Kraków: Astraia, 2009.
Google Scholar
Horacy. Dzieła wszystkie. Przekł. Andrzej Lam. Warszawa: Oficyna Wydawnicza ASPRA-JR, 2019.
Google Scholar
Hunter, David. „Handel’s Ill Health: Documents and Diagnoses”. Royal Musical Association Research Chronicle 41 (2008): 69–92.
DOI: https://doi.org/10.1080/14723808.2008.10541021
Google Scholar
Hunter, David. Opera and Song Books Published in England, 1703–1726: A Descriptive Bibliography. London: Bibliographical Society, 1997.
Google Scholar
Hunter, David. The Lives of George Frideric Handel. Woodbridge: The Boydell Press, 2016.
DOI: https://doi.org/10.1017/9781782046424
Google Scholar
Hunter, David. „Vauxhall Gardens”. W: The Cambridge Handel Encyclopedia, red. Annette Landgraf, David Vickers, 654. Cambridge: Cambridge University Press, 2009.
Google Scholar
Kassler, Michael. A.F.C. Kollmann’s „Quarterly Musical Register” (1812). An Annotated Edition with an Introduction to his Life and Works. Aldershot–Burlington: Ashgate, 2008.
Google Scholar
Keates, Jonathan. Handel. The Man and his Music. London: Pimlico, 2009.
Google Scholar
Kirkendale, Ursula. Georg Friedrich Händel, Francesco Maria Ruspoli e Roma. Przekł. Giorgio Monari. Lucca: Libreria Musicale Italiana, 2017.
Google Scholar
Kivy, Peter. The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical Genius. New Haven–London: Yale University Press, 2001.
DOI: https://doi.org/10.12987/yale/9780300087581.001.0001
Google Scholar
Kopaliński, Władysław. Słownik symboli. Warszawa: HPS, 2007.
Google Scholar
Loyen, Ulrich van, Silke Walther. „Apollo”. W: The Reception of Myth and Mythology, red. Maria Moog-Grünewald, przekł. Duncan Smart, David van Eijndhoven, Christine Salazar, Francis G. Gentry, 105–121. Leiden–Boston: Brill, 2010 (= Brill’s New Pauly. Supplements 4).
Google Scholar
Marx, Hans Joachim. By Heaven Inspired. Die Bildnisse von Georg Friedrich Händel. Lilienthal: Laaber-Verlag, 2021.
Google Scholar
McGeary, Thomas. „Farinelli and the English: One God or the Devil?”. Revue LISA 2, nr 3 (2004): 19–28.
DOI: https://doi.org/10.4000/lisa.2956
Google Scholar
McGeary, Thomas. „Handel as Orpheus: the Vauxhall Statue Re-Examined”. Early Music 43, nr 2 (2015): 291–308.
DOI: https://doi.org/10.1093/em/cav003
Google Scholar
Merrett, Robert James. „England’s Orpheus: Praise of Handel in Eighteenth-Century Poetry”. Mosaic: An Interdisciplinary Critical Journal 20, nr 2 (1987): 97–110.
Google Scholar
Meyer-Baer, Kathi. „Musical Iconography in Raphael’s Parnassus”. The Journal of Aesthetics and Art Criticism 8, nr 2 (1949): 87–96.
DOI: https://doi.org/10.1111/1540_6245.jaac8.2.0087
Google Scholar
Moroney, Davitt, Julie Anne Sadie. „Apothéose”. Grove Music Online, https://doi.org/10.1093/gmo/9781561592630.article.01103, dostęp 12 VII 2024.
DOI: https://doi.org/10.1093/gmo/9781561592630.article.01103
Google Scholar
Music and Theatre in Handel’s World. The Family Papers of James Harris, 1732–1780, red. Donald Burrows, Rosemary Dunhill. Oxford: Oxford University Press, 2002.
Google Scholar
The New Bach Reader. A Life of Johann Sebastian Bach in Letters and Documents, red. Hans David, Arthur Mendel, Christoph Wolff. New York–London: W.W. Norton & Company, 1999.
Google Scholar
Olson, Todd P. „‘Long Live the Knife’: Andrea Sacchi’s Portrait of Marcantonio Pasqualini”. Art History 27, nr 5 (2004): 697–722.
DOI: https://doi.org/10.1111/j.0141-6790.2004.00445.x
Google Scholar
Paczkowski, Szymon. Styl polski w muzyce Johanna Sebastiana Bacha. Lublin: Polihymnia, 2011.
Google Scholar
Papiro, Martina. „Vaghissimo componimento. Andrea Sacchis Inszenierung des Sängerkastraten Marc’Antonio Pasqualini”. Zeitschrift für Kunstgeschichte 73, nr 2 (2010): 211–236.
Google Scholar
Rice, Paul F. The Solo English Cantatas and Italian Odes of Thomas A. Arne. Newcastle upon Tyne: Cambridge Scholars Publishing, 2020.
Google Scholar
Ripa, Cesare. Ikonologia, przekł. Ireneusz Kania. Kraków: Universitas, 1998.
Google Scholar
Schoelcher, Victor. The Life of Handel. London: Trübner and Co., 1857.
Google Scholar
Simonis, Annette. „Aspasia”. W: Figures of Antiquity and Their Reception in Art, Literature and Music, red. Peter von Möllendorff, Annette Simonis, Linda Simonis, przekł. i red. Duncan Smart, Chad M. Schroeder, 52–54. Leiden–Boston: Brill, 2016 (= Brill’s New Pauly. Supplements 7).
Google Scholar
Słownik terminologiczny sztuk pięknych, red. Krystyna Kubalska-Sulkiewicz, Monika Bielska-Łach, Anna Manteuffel-Szarota. Warszawa: Wydawnictwo Naukowe PWN, 2020.
Google Scholar
Smith, Ruth. Handel’s Oratorios and Eighteenth-Century Thought. Cambridge: Cambridge University Press, 1995.
DOI: https://doi.org/10.1017/CBO9780511470240
Google Scholar
Tunley, David. François Couperin and ‘The Perfection of Music’. Aldershot: Ashgate, 2004.
Google Scholar
Unseld, Melanie. „Händel-Bilder – Oder: Wann ist ein Bild ein Künstlerporträt?”. Händel-Jahrbuch 67 (2021): 31–44.
Google Scholar
Watson, Paul F. „On a Window in Parnassus”. Artibus et Historiae 8, nr 16 (1987): 127–148.
DOI: https://doi.org/10.2307/1483304
Google Scholar
Weber, William. The Rise of Musical Classics in Eighteenth-Century England. A Study in Canon, Ritual, and Ideology. Oxford: Clarendon Press, 1996.
Google Scholar
Werner, Edwin. „Roubiliac, Louis François”. W: The Cambridge Handel Encyclopedia, red. Annette Landgraf, David Vickers, 555–556. Cambridge: Cambridge University Press, 2009.
Google Scholar
Wilson, David. „By Heaven Inspired: A Marble Bust of Handel by Roubiliac Rediscovered”. The British Art Journal 10, nr 1 (2009): 14–29.
Google Scholar
Wolff, Christoph. Johann Sebastian Bach: muzyk i uczony. Przekł. Barbara Świderska. Warszawa: Lokomobila, 2011.
Google Scholar
Statistics
Abstract views: 146PDF downloads: 94
License
Copyright (c) 2024 Michał Sołtysik
This work is licensed under a Creative Commons Attribution 4.0 International License.
The author grants the publisher a royalty-free nonexclusive licence (CC BY 4.0) to use the article in Muzyka, retains full copyright, and agrees to identify the work as first having been published in "Muzyka" should it be published or used again (download licence agreement). By submitting an article the author agrees to make it available under CC BY 4.0 license.
Articles from 2018/1 to 2022/3 were published under a Creative Commons license CC BY-NC-ND 4.0. During this period the authors granted the publisher a royalty-free nonexclusive license (CC BY-ND 4.0) to use their article in "Muzyka", retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.