The Guide to Current Handel Research
(A-Z by surname of researcher)
This is intended as a useful survey of musicologists (and other kinds of scholars) engaged in academic research related to Handel and his music.
Dr Suzanne Aspden (Lecturer, University of Oxford)
Research interests centre on identity issues in the eighteenth century, and particularly in opera. She has published on these topics in JAMS, JRMA, Musical Quarterly, Cambridge Opera Journal, Music and Letters, and elsewhere. She is the author of The Rival Sirens: Performance and Identity on Handel's Operatic Stage (Cambridge, April 2013), is co-editing a book on Cavalli's Erismena (with Michael Burden), and working on another book project on British national musical identity in the eighteenth century. She is co-editor of the Cambridge Opera Journal.
Dr Amanda Babington (Independent scholar, Manchester)
PhD 'Handel's Messiah: a Guide to the Creative Process' (University of Manchester, 2010), and currently rewriting thesis as a practical guide to the creation of Messiah. Currently editing Dettingen Te Deum and Dettingen Anthem for the HHA (for publication in 2013), and has recently published an article presenting transcriptions and commentary on references to music and musicians in the Jennens/Holdsworth letters.
Prof. Graydon Beeks (Pomona College)
Ph.D. from the University of California, Berkeley with a dissertation on Handel's Cannons Anthems. Has published extensively on the music of Handel and his contemporaries, and especially on the music of Handel's Cannons period. Edited O Praise the Lord with One Consent for Novello. Has edited the Cannons Te Deum and is currently editing the D Major Te Deum and A Major Te Deum for the HHA. President of The American Handel Society and member of the Vorstand of the Georg-Friedrich-Handel Gesellschaft and the Editorial Board of the HHA.
Prof. Terence Best (The Open University / The Handel Institute)
Joint Chief General Editor, Hallische Händel Ausgabe (HHA). HHA edition of Deidamia (2001), revised editions of earlier volumes: chamber sonatas and Organ concertos Op.4 (2001), Serse (2003), Water Music (2007); new editions of Riccardo Primo (2005), La Resurrezione (2010); editing of Silla completed (scheduled for publication in 2014.) Currently involved with the Handel Documents project, especially in transcribing and translating those in French and Italian.
Prof. Donald Burrows (The Open University/ The Handel Institute)
PhD was on Handel and the Chapel Royal (Open University, 1981), and author of Handel and the Chapel Royal (Oxford, 2005). Publications include the Master Musicians volume on Handel (2nd edition published by Oxford, 2012) and numerous books and articles. Editor, co-editor and co-author of The Cambridge Companion to Handel (1997), A Catalogue of Handel's Musical Autographs (Oxford, 1994) and Music and Theatre in Handel's World (Oxford, 2002). Editor of HHA editions of Imeneo and Ariodante, and has edited Alexander's Feast, Belshazzar, Samson, the wedding anthem This is the Day and the Song for St Cecilia's Day for Novello. Has also edited 9 German Arias (Breitkopf) and Messiah (Edition Peters). Current research projects include the publication of the complete collected Handel Documents (to be published in five volumes by Cambridge University Press) and a Novello edition of L'Allegro, il Penseroso ed il Moderato.
A more comprehensive bibliography: http://www.open.ac.uk/Arts/music/dbpubs.shtml
Dr Xavier Cervantes (University of Toulouse)
Dr Hans Dieter Clausen (Independent scholar, Hamburg)
PhD on Handel's 'Conducting' Scores. Forthcoming editions: Solomon (HHA), Giulio Cesare (HHA). Researching Handel's compositional process.
Dr Graham Cummings (University of Huddersfield)
Currently completing an HHA edition of Poro and leading a group of scholars investigating the Opera of the Nobility and operatic competition in London during the 1730s.
Prof. Matthew Gardner (Eberhard Karls Universität Tübingen / The Handel Institute)
Research interests include sources, singers, intellectual contexts (especially English oratorios) and Handel’s contemporaries. PhD on Handel and Maurice Greene’s Circle at the Apollo Academy: the Music and Intellectual Contexts of Oratorios, Odes and Masques (published V&R Unipress, 2008). Edited Handel’s wedding anthems This is the Day and Sing unto God for the HHA (published 2013). Currently writing a book on singing in Handel's London, due for publication in 2022–23, based on findings from a three-year research project (2011–2014) funded by the Deutsche Forschungsgemeinschaft (DFG). Also editing Deborah for the HHA. Member of the HHA Editioral Board, Secretary to the Handel Institute and member of the Vorstand of the Georg-Friedrich-Handel Gesellschaft.
Prof. Ellen T. Harris (Massachusetts Institute of Technology)
Continuing work on Handel’s circle of friends; a book on this subject (Handel: A Life with Friends) has been published by Norton in 2014. Continuing research on financial documents with a current focus on accounts at Goslings Bank for Mary Delany and Anne Donnellan. Presentations in 2012–13 included a paper on aristocratic identity in Italian cantatas (International Musicological Society), Anne Donnellan (British Society for Eighteenth-Century Studies), the requirement that directors of the Royal Academy of Music in the 1720s take the oaths of allegiance (American Handel Society), and vocal performance practice in the 17th century (Renaissance Society of America).
Prof. Wolfgang Hirschmann (Martin-Luther-University Halle-Wittenberg / HHA)
Professor for Historical Musicology and Joint Chief General Editor of the Hallische Händel Ausgabe (HHA). President of the Georg-Friedrich-Händel-Gesellschaft e. V., Internationale Vereinigung. Currently editing Berenice for the HHA and closely involved with the conception of the annual Handel conferences in Halle during the Handel-Festspiele. Research interests centre on seventeenth and eighteenth century music, Telemann, Handel, Mattheson, Pachelbel, music and The Enlightenment.
Dr David Hunter (University of Texas, Austin)
Published articles on a variety of biographical topics, such as Handel's health and eating habits, and examining the historical foundation of biographical myths. Currently undertaking extensive archival research searching for historical documents relating to the patronage and attendance of music in eighteenth-century Britain.
Dr David Ross Hurley (Pittsburg State University, Kansas)
Continuing work on the genesis of various oratorios (beyond those explored in his book Handel’s Muse). Current research includes work on the structure and other characteristics of Handel’s arias. As part of this work, currently engaged in writing an article on aria form and romantic anxiety in Alexander Balus.
Dr Andrew V. Jones (University of Cambridge, Selwyn College / The Handel Institute)
Edited Rodelinda for the Hallische Händel-Ausgabe (2002). Author of several articles: ‘Staging a Handel Opera’, Early Music, xxiv/2 (May, 2006); ‘Handel’s Amore uccellatore cantata’, Händel-Jahrbuch, 52 (2006); ‘The Composer as Dramatist: Handel’s Contribution to the Libretto of Rodelinda’, Music and Letters, 88 (2007). Music director of the Cambridge Handel Opera Group (2013 production: Atalanta). Current research: preparation of a critical edition of the continuo cantatas for the HHA.
Prof. Robert C. Ketterer (University of Iowa)
PhD Michigan (1982) in Classical Studies. Author of Ancient Rome in Early Opera (Illinois 2009); "Helpings from the Great Banquets of Epic: Teseo and Arianna in Creta," in (Dis)embodying Myths in Baroque Opera (ed. Forment, Leuven 2009, pp. 33–61); "The Choice of Hercules and Alexander’s Feast", in Händel-Jahrbuch 54 (2008, pp. 11–20); articles in the Cambridge Handel Encyclopedia. Currently working on ancient Greek myth, literature and history in early opera.
Annette Landgraf (Martin-Luther-Universität Halle-Wittenberg / Hallische Händel Ausgabe Redaktion)
A member of the editorial office of the Hallische Händel-Ausgabe, and has edited Handel's Israel in Egypt (1999) and the Anthem for the Funeral of Queen Caroline (2004). She has published numerous articles about Handel, is currently working on an edition of the 1732 version of Esther, specialises in the reception history of Handel's music, and has recently published a collection of six oratorio librettos. Co-editor with David Vickers of The Cambridge Handel Encyclopedia, since June 2011 she has been secretary of the international Georg-Friedrich-Händel-Gesellschaft and editor of the Händel-Jahrbuch.
Nicholas Lockey (Princeton University)
Authored an article on "Handel's Instrumental Variation Sets" in Händel-Jahrbuch 54 (2008, pp. 345–378). Papers and articles in preparation: Handel's music in keyboard manuscripts from the second half of the eighteenth century; Handel and the Siciliana.
Dr Thomas N. McGeary (Independent scholar, Champaign, Illinois)
Studying the cultural, social, and political context of Italian opera in Britain, and out archival research on opera and opera patronage. Author of The Politics of Opera in Handel's Britain (Cambridge University Press, March 2013) and numerous articles.
Prof. Michael Marissen (Swarthmore College, USA)
Bach scholar turning also to Handel research. Written a short book for scholars and general readers about Messiah and theological anti-Judaism, "And He shall Purify the Sons of Levi: A Re-reading of Handel’s Messiah" (published by Yale University Press).
Prof. Hans Joachim Marx (Hamburg)
General editor of the Göttinger Händel-Beiträge and Das Händel-Handbuch (Laaber-Verlag, 8 volumes; including his two-volume Händel und seine Zeitgenossen: Eine biographische Enzyklopädie). Forthcoming publications are Händel und die geistliche Musik des Barockzeitalters: eine Aufsatzsammlung (Laaber, 2013) and 'Die G. F. Händel zugeschriebenen Kompositionen / The compositions attributed to G. F. Handel' (with Steffen Voss).
Dr Mary Ann Parker (University of Toronto)
She is the co-author with Domenico Pietropaolo of The Baroque Libretto: Italian Operas and Oratorios in the Thomas Fisher Rare Book Library at the University of Toronto (University of Toronto Press, 2011). The second edition of her book G.F. Handel: A Research Guide was issued by Routledge in 2005. During recent years, her articles and reviews have appeared in Music & Letters, JAMS, University of Toronto Quarterly and The Journal for Eighteenth-Century Studies.
Dr Leslie Robarts (Independent scholar, Powys, Wales)
MPhil (Open University, 1996) on aspects of the libretto and music to Theodora. PhD (University of Birmingham, 2008) on bibliographical and textual aspects of the wordbooks to Joseph and his Brethren and Hercules; situating these wordbooks in the contemporary book trade.
Dr Ruth Smith (Independent scholar, Cambridge / The Handel Institute)
Handel's English-language works for theatre performance (oratorios and 'oratorios'); their librettists; their intellectual, religious, political and cultural contexts. Publications include Handel's Oratorios and Eighteenth-Century Thought (Cambridge University Press, 1995) and Charles Jennens: the Man behind Handel's Messiah (Handel House Museum and Gerald Coke Handel Foundation, 2012).
Prof. Colin Timms (University of Birmingham / The Handel Institute)
Edited Theodora for the Hallische Händel-Ausgabe (ser. II, vol. 29) and Comus: An Entertainment at Exton (music by Handel and Arne) for performance in the 2011 London Handel Festival. He has published essays on Theodora and on Handel’s indebtedness to Steffani, as well as contributions to The Cambridge Handel Encyclopedia and Das Händel-Lexikon. He is a trustee and the hon. secretary of The Handel Institute, and editor of its semi-annual Newsletter.
Dr David Vickers (Royal Northern College of Music, Manchester / University of Huddersfield / The Handel Institute)
PhD dissertation reconstructed and evaluated Handel's performing versions of Partenope, Arianna in Creta, Esther and Deborah (Open University, 2007). Co-editor with Annette Landgraf of The Cambridge Handel Encyclopedia (2009) and editor of an anthology of diverse Handel scholarship (Ashgate, 2011). Currently working on new editions of Handel's Semele and Partenope, investigating the London repertoires of Senesino and Frasi, and examining Porpora's works for the Opera of the Nobility.