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

The first German story about Handel was written in 1834 (Johann Peter Lyser, Händel 1834), and subsequent novels came out after the publication of Friedrich Chrysander’s scholarly biography (1858–1867). The first one was Armin Stein’s full biographical novel Georg Friedrich Händel. Ein Künstlerleben, Halle 1882 (Part 1) and 1883 (Part 2). Handel’s professional life is very well documented, but we do not know very much about his private life. How is it possible to create a captivating story gripping the reader about such a composer, even if he is famous? Examining the belletristic literature about Handel shows that the authors followed the progress of Handel’s works, and they needed to use all the well known anecdotes, passed on by Mainwaring/Mattheson, Burney or Coxe. The anecdotes are narrated in different versions, and it is possible to trace the filiation of the novels and to establish a connection in respect to the plot and the choice of anecdotes.

The paper will deal with different aspects of the German belletristic literature about Handel such as: How are the novels constructed and what were the sources for the authors? The anecdotes are examined in terms of frequency, source, evidence and background. What picture of Handel is conveyed to the reader? What is worth praising and what conclusions can be formed?


Haendel après Haendel :

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

N° 14f

Annette Landgraf

Redaktion der Hallischen-Händel-Ausgabe

The German Belletristic Literature about George Frideric Handel: Fact and Fancy



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