By Stanley Sadie, Anthony Hicks (eds.)
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Additional info for Handel: Tercentenary Collection
1 In this article I want to present some observations on the present 'state of the art' and to reflect on the nature of some of the tasks that lie ahead. I plan to deal principally with matters of source philology and source interpretation, drawing examples from areas that I consider to be of especial interest at the moment. The selection will inevitably be influenced by my own particular field of work, but I hope nevertheless to deal in general terms with some of the issues that are currently being brought to the surface by the work of British, American, German and Japanese scholars.
As an essential adjunct to this task, Baselt's catalogue gives us something to work from, to correct and to rearrange. The subject of thematic catalogues is of relevance in another area, one where there have recently been exciting developments in Handel studies. Following three-quarters of a century during which the dust has gradually settled on the controversy provoked by Sedley Taylor's book about Handel's borrowings from other composers/ the issue has suddenly come alive again as various scholars have disclosed a whole new range of compositional source materials, particularly from Telemann and Keiser.
15 In London, Handel did not have a monopoly of the paper supply: how do his paper stocks relate to those used by Weldon, Croft, Greene and others, not to mention contemporary copyists in general? After the repertory of Handel's autographs concludes with his blindness during die early 1750s, useful paper data continues from later insertions in the conducting scores and from some later complete conducting scores (included in Clausen's catalogue). This takes us into the period of Boyce and of prolific copyists such as Barrow, 16 but many more links may be available.