Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev14 haendel
Rev14 preface
Rev14 burrows
Rev14 gier
Rev14 salvia
Rev14 landgraf
Rev14 degott
Rev14 gardner
Rev14 burden
Rev14 robins
Rev14 duguet
Rev14 tchorek
Rev14 young
Rev14 couderc
Rev14 heberle
Rev14 curkovic
Rev14 zorica
Rev14 cubas
Rev14 vincent
Rev14 deconinck
Rev14 dubois

From the first biography of Handel by John Mainwaring (Memoirs of the Life of the Late G.F.Handel, 1760) to the most recent one published in France (Marc Belissa, Haendel en son temps, 2011), the life of G.F. Handel has always been the object of intensive research and it has spawned numerous publications, with no fewer than 60-odd biographies in English, French and German. However, the way Handel’s life is narrated has never ceased evolving. The biographers’ discourse follows different paths in the course of time. Early biographies were instrumental in founding the Handelian myth grounded in the theory of the sublime and the new conception of ‘natural genius’ and they paved the way for a strongly patriotic discourse that lasted throughout the nineteenth century. More recent works, on the other hand, have tried to reassess factual information and to remain more ‘objective.’ The paper outlines this evolution and takes four specific issues as cases in point – the question of the religious dimension of Handel’s work; the question of Handel’s ‘gross faults’ and borrowings; the ‘national’ question and the question of ‘authentic’ performance. On these four separate issues, the various biographers of Handel prove to have been of varying opinions. Thus, the chronological re-writing of Handel’s biography tells us as much about the perception of his art in each period as it does about the man and his work themselves. There are indeed many ‘Handels after Handel’, each of them echoing, and corresponding to the priorities and beliefs of each succeeding age.


Haendel après Haendel :

Construction, renommée, influence de Haendel et de la figure haendélienne

N° 14c

Pierre Dubois

ICD, Université François-Rabelais, Tours

The Changing Faces of Handelian Historiography



Donald Burrows
Donald Burrows - Turning the Handel

Albert Gier
Albert Gier - Haendel à Karlsruhe

Adrian La Salvia
Adrian La Salvia - La Renaissance de Haendel au miroir des traductions

Annette Landgraf
Annette Landgraf - The German Belletristic Literature about Handel

Pierre Degott
Pierre Degott - From Facts to Fiction

Matthew Gardner
Matthew Gardner - The Great Mr Handel

Michael Burden
Michael Burden - When Giulio Cesare was not Handel's Giulio Cesare

Brian Robins
Brian Robins - John Marsh and Handel

Lionel Duguet
Lionel Duguet - La réception du Messie en France au XIXème siècle

Denis Tchorek
Denis Tchorek - Un exemple de transfert culturel

Steven Young
Steven Young - Handel Redux

Gilles Couderc
Gilles Couderc - Move over, Handel!

Jean-Philippe Heberlé
Jean-Philippe Heberlé - L'héritage haendélien et Michael Tippett

Ivan Curkovic
Ivan Curkovic - Men and/or Women

Maja Vukusic Zorica
Maja Vukusic Zorica - Les périgrinations du genre

Yaiza Bermudez Cubas
Yaiza Bermudez Cubas - Reflexiones de la musica del Haendel en el cine

Nathalie Vincent-Arnaud
Nathalie Vincent-Arnaud - Les métamorphoses de Terpsichore

Françoise Deconinck
Françoise Deconinck - Sharp, Haendel, Nares et les autres

Pierre Dubois
Pierre Dubois - The Changing Faces of Handelian Historiography