The Handel Yearbook is the scholarly publication of the George Frideric Handel Society. It regularly publishes the papers of the International Scholarly Conferences, which are held annually as part of the Handel Festival in Halle and in cooperation with the Handel House Foundation. In addition, the Yearbook offers the report of the President of the George Frideric Handel Society, the text of the public festival lecture, integral part of the Handel festival calendar, statistics on staged performances of works by Handel, and an overview of new publications on the subject of Handel.
The Handel Yearbook has been published in this form since 1955. Between 1928 and 1933 there was already a series of six volumes of the Handel Yearbook, edited by Rudolf Steglich on behalf of the Handel Society. This association was founded in 1925 and dissolved in 1935. It considered itself the successor of the German Handel Society, which had already been initiated in 1856 by Chrysander and Gervinus in view of the jubilee year 1859.
The Handel Yearbook has been published by Bärenreiter since the 1996/1997 volume. It can be purchased online and in bookshops; members of the George Frideric Handel Society regularly receive the Handel Yearbook as a free membership gift. Since the 2020 volume, there is also an edition of the yearbook as an e-book (pdf) in addition to the printed version.
Handel Yearbook 2020
The Handel Yearbook 2020 has been published in time at the end of May 2020. May it keep Handel enthusiasts adequately busy in times of musical austerity.
At the beginning you will find the text of the festival lecture by Prof. em. Dr. Silke Leopold (Heidelberg), held on 1 June 2019 in the Stadthaus at Halle: “Von A(thalia) bis Z(enobia): Händels Galerie der starken Frauen”.
This is followed by the papers of the International Scholarly Conference 2019 “Between Alcina and Theodora. Female figures in the works of Handel and his contemporaries”. In addition to the prominent female title characters, the interest is directed at female characters whose role is linked to that of a male title hero and thus is not initially the focus of attention. “How did Handel and his librettists present these women? What possibilities did they have for designing the characters within the limits of what the sources specified? What dramatic potential for development did the female characters offer? […] On the other hand, Handel’s singers, who embodied these female characters, were extremely important. The composition of a part undoubtedly depended on the singing and acting abilities of the artists for whom the role was written. Handel always considered their specific qualities and concealed their weaknesses. (Preliminary note)
After this, there is a section with free research contributions. The final section contains reports and information, such as the President’s report, the laudation of the winner of the International Handel Research Prize 2019, and a list of new publications on the subject of Handel.