Combining the insights of present-day biblical studies with those of Handelian studies, this book examines the libretti of ten of Handel's Israelite oratorios and evaluates the relationship between each libretto and the biblical story on which it is based.

This new guide to Handel's most celebrated work traces the course of Messiah from Handel's initial musical response to the libretto, through the oratorio's turbulent first years to its eventual popularity with the Foundling Hospital performances. Different chapters consider the varying reception the work received in Dublin and London, the uneasy relationship between the composer and his librettist Charles Jennens and the many changes Messiah underwent through the varying needs and capacities of Handel's performers. As well as tracing the history of the work's development, the book addresses musical and technical issues such as Messiah's place in the oratorio genre, Handel's treatment of structural design, tonal relationships and English word-setting. An edited libretto elucidates the variants between the text that Handel set and the texts of the early printed word-books. Donald Burrows brings many new insights to this fascinating account of one of the favourite works of the concert hall.

In this wide-r anging and challenging book, Ruth Smith claims that the words to Handel's oratorios reflect the events and ideas of their time and have far greater meaning than has hitherto been realised. She explores eighteenth-century literature, music, aesthetics, politics and religion to reveal Handel's texts as conduits for the thought and sensibility of their time. The book thus enriches our understanding of Handel, his times, and the close relationship between music and its intellectual contexts.

This study of Handel's English church music covers well-known works such as 'Zadok the Priest', but also introduces his Chapel Royal music, the result of a close but changing relationship with Britain's Hanoverian royal family. The story of the political background is complemented by an investigation of the circumstances of Handel's performances.

On July 14th, 1790, a key figure in the French Revolution honoured Milton as a founding father of the French republic. In the light of this connection, it was appropriate that the 8th International Milton Symposium (7-11 June 2005) was held in Grenoble, cradle of the French Revolution. But the connection of Milton and Rights takes us well beyond the specific link with France, and the fascinating selection of essays assembled in this volume, many by leading Milton scholars, addresses the question in the poetry as well as the prose. Milton's fervent but changing attitude to liberties is debated from various points of view, so that the volume contains essays on topics ranging from the musical adaptations of Samson Agonistes to its angrily argued parallel with contemporary terrorism, from air pollution in Paradise Lost to Milton's supposed Puritanism and putative parallels with a French pornographer.