The Cambridge Companion to Handel

• Frontmatter
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• pp. i-xvi

• Introduction by Donald Burrows
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• pp. 1-8

Part I - Background

• 1 - Germany – education and apprenticeship by John Butt
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• pp. 9-23

• 2 - Italy – political andmusical contexts by Carlo Vitali
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• pp. 24-44

• 3 - Handel's London – political, social and intellectual contexts by William Weber
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• pp. 45-54

• 4 - Handel's London – the theatres by Judith Milhous and Robert D. Hume
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• pp. 55-63

• 5 - Handel's London – British musicians and London concert life by H. Diack Johnstone
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• pp. 64-77

• 6 - Handel's London – Italian musicians and librettists by Lowell Lindgren
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• pp. 78-91

• 7 - Handel's English librettists by Ruth Smith
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• pp. 92-108

Part II - The music

• 8 - Handel and the aria by C. Steven LaRue
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• pp. 109-121

• 9 - Handel's compositional process by David Ross Hurley
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• pp. 122-144

• 10 - Handel and the idea of an oratorio by Anthony Hicks
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• pp. 145-163

• 11 - Handel's sacred music by Graydon Beeks
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• pp. 164-181

• 12 - Handel's chamber music by Malcolm Boyd
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• pp. 182-192

• 13 - Handel as a concerto composer by Donald Burrows
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• pp. 193-207

• 14 - Handel and the keyboard by Terence Best
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• pp. 208-224

Part III - The music in performance

• 15 - Handel and the Italian language by Terence Best
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• pp. 225-237

• 16 - Handel and the orchestra by Mark W. Stahura
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• pp. 238-248

• 17 - Production style in Handel's operas by Winton Dean
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• pp. 249-261

• 18 - Handel's oratorio performances by Donald Burrows
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• pp. 262-281

• Bibliographical note
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• pp. 282-285

• Notes
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• pp. 286-330

• List of Handel's works
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• pp. 331-337

• Index
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• pp. 338-349