Studia Musicologica
Volume/Issue:
Volume 63: Issue 3-4
A “Centaur” in Music and Genre: G. F. Handel's Parnasso in festa for Princess Anne's Wedding
Author:
Judit Zsovár Independent Scholar, Hungary

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Pages:
347–366
Online Publication Date:
19 Jun 2023
Publication Date:
19 Jun 2023
Article Category:
Research Article
DOI:
https://doi.org/10.1556/6.2022.00015
Keywords:
G. F. Handel; Parnasso in festa; Princess Anne of Hanover; pastoral; Carestini
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Abstract

Parnasso in festa (HWV 73, 1734), George Frideric Handel's festa teatrale, composed for the wedding festivities of his royal pupil Princess Anne, is a neglected piece within his oeuvre, mostly because of its hybrid nature. The fact that a considerable portion of the work was adapted from the Oxford oratorio Athalia ought not to cloud our appreciation of the newly-composed parts, since this appropriation is best understood as an act of Athalia's “repatriation” to its patrons. As a musical “centaur,” Parnasso shows intriguing multi-layered ambiguities. Was the Janus-faced Handel (Apollo/Orpheus) lamenting the departure of his favorite, or was this a bitter-sweet celebration of an unwanted marriage? Dramatically, the focus falls on Apollo's and Orpheus's loss of their loved ones, but how does this fit together with the massive vocal domain of Carestini (Apollo) and Strada (Clio)? On the vocal side, Carestini was given the most virtuosic numbers, resulting in the musical polarization of the main roles. Anna Maria Strada, as a Muse, represented the pastoral side, while Carlo Scalzi (Orfeo) added plaintive pathetic arias to the palette. Nevertheless, harmonizing points both in Carestini's and Strada's musical style and vocal tone formed a “thread” that helped sew the diverse parts of the Parnasso-centaur together.

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Cover Studia Musicologica
Studia Musicologica
Print ISSN:
1788-6244
Online ISSN:
1789-2422

Senior editors

Editor(s)-in-Chief: Péter BOZÓ (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

Review Editor: Lynn HOOKER (Purdue University, West Lafayette, USA)

Assistant Editor(s):
Patrick DEVINE (Maynooth University, Maynooth, IRL)
Anna LASKAI (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

Editorial Board

  • Anja BUNZEL (Institute of Art History, Czech Academy of Sciences, CZ)
  • William A. EVERETT (Conservatory University of Missouri-Kansas City, USA)
  • Márta GRABÓCZ (University of Strasbourg, Strasbourg, F)
  • Denis HERLIN (Centre National de la Recherche Scientifique, Paris, F)
  • Vjera KATALINIĆ (HR)
  • Katalin KOMLÓS (professor emerita, Liszt Academy of Music, Budapest, H)
  • Valeria LUCENTINI (University of Bern, CH)
  • Tatjana MARKOVIĆ (Österreichische Akademie der Wissenschaften, Wien, A)
  • Pál RICHTER (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
  • László SOMFAI (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
  • László VIKÁRIUS (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

 

Editorial Secretary

  • István Csaba NÉMETH (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

STUDIA MUSICOLOGICA
Address: H–1250 Budapest, PO Box 9, Hungary
Fax: +36 1 375 9282
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2023  
Web of Science  
Journal Impact Factor 0.1
Rank by Impact Factor Q3 (Music)
Journal Citation Indicator 0.17
Scopus  
CiteScore 0.1
CiteScore rank Q4 (Music)
SNIP 0.626
Scimago  
SJR index 0.114
SJR Q rank Q3

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Studia Musicologica
Language English
French
German
Size B5
Year of
Foundation		 2007 (1961)
Volumes
per Year		 1
Issues
per Year		 4
Founder Magyar Tudományos Akadémia
Founder's
Address		 H-1051 Budapest, Hungary, Széchenyi István tér 9.
Publisher Akadémiai Kiadó
Publisher's
Address		 H-1117 Budapest, Hungary 1516 Budapest, PO Box 245.
Responsible
Publisher		 Chief Executive Officer, Akadémiai Kiadó
ISSN 1788-6244 (Print)
ISSN 1789-2422 (Online)

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