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The subject of Handel’s relationship to French music comes with obvious limitations. The entry in the HWV catalogue for his most extended setting of a French text, Sans y penser HWV 155, describes the work as a ‘Französische Kantate für Sopran und B.c.’, and indeed, while the music itself is guided by the rhythms of the French text, it is clearly comparable to the Italian cantatas that he composed at Rome around the same time in 1707.1 Before then, Handel would certainly have been aware of French music and the perceived ‘French’ performing style in Hamburg, most likely also previously in Halle and Weißenfels: at the most basic level, he knew the difference between an Ouverture and a Sinfony.

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Handel and France: The view from London

  • 章节

  • 发表日期：

    2025年

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  • Donald Burrows

摘要

The subject of Handel’s relationship to French music comes with obvious limitations. The entry in the HWV catalogue for his most extended setting of a French text, Sans y penser HWV 155, describes the work as a ‘Französische Kantate für Sopran und B.c.’, and indeed, while the music itself is guided by the rhythms of the French text, it is clearly comparable to the Italian cantatas that he composed at Rome around the same time in 1707.1 Before then, Handel would certainly have been aware of French music and the perceived ‘French’ performing style in Hamburg, most likely also previously in Halle and Weißenfels: at the most basic level, he knew the difference between an Ouverture and a Sinfony.