Professor Donald Burrows This is Me

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1. 1. www.handelhouse.org

   www.handelhouse.org/news-and-e - [Cached]

   Published on: 4/24/2008   Last Visited: 6/11/2008

   The Stanley Sadie Memorial Lecture with Professor Donald BurrowsHandel House Museum - The Stanley Sadie Memorial Lecture with Professor Donald Burrows
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   The Stanley Sadie Memorial Lecture with Professor Donald Burrows
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   Following both the success of the inaugural lecture by Dr Julie Ann Sadie, and Andrew Porter's lecture last year, we are delighted that Professor Donald Burrows will give this year's lecture.
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   A widely published and distinguished Handel scholar, Professor Burrows is Chairman of the Handel Institute and Professor of Music at the Open University.

2. 2. www.dunedin-consort.org.uk

   www.dunedin-consort.org.uk/200 - [Cached]

   Published on: 4/24/2008   Last Visited: 5/29/2008

   By analysing the lists of adult singers in the two cathedral choirs and subtracting the number who were likely to have been ordained (and thus excluded from secular performances) Donald Burrows has suggested that the original chorus probably consisted of no more than three or four to a part (it is not known who else might have supported Avolio, Mrs Mclean and a Miss Edwards on the soprano line).(6) This certainly allows us to capitalise on the existing strengths of the Dunedin Consort, which comprises singers who are equally adept at solo, ensemble and choral singing.
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   Handel had his own organ transported to Ireland, according to a letter discovered by Donald Burrows, so this was presumably used in the Messiah performances, perhaps by the composer himself (it is mentioned specifically for the new version of ‘How beautiful are the feet'); and we assume that the harpsichord was used much of the time too.(8)
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   The seminal work in deciding which basic movements and versions belonged to the Dublin performances was undertaken by Watkins Shaw,(9) but several details remained uncertain, and later scholars, Donald Burrows in particular, have made considerable strides in circumscribing the range from which choices can be made.
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   I am particularly grateful to Donald Burrows for some excellent spirited discussion of the Dublin version; however, he should be held by no means responsible for any of the decisions I have had to take in relation to the more contentious areas of the Dublin text.
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   [1] For fuller surveys of the circumstances of the composition and Dublin performances, see Donald Burrows, Handel Messiah (Cambridge, 1991) and Richard Luckett, Handel's Messiah: A Celebration (London, 1992).
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   [3] Donald Burrows, ‘Handel's Performances of Messiah: The Evidence of the Conducting Score', Music and Letters 56 (1975), 319-34, esp.322-3. ‘The Autographs and Early Copies of Messiah', Music and Letters 66 (1985), 201-219, esp.201.
   
   [4] Donald Burrows, Handel and the English Chapel Royal (Oxford, 2005), 417-22.
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   [5] Donald Burrows, Handel and the English Chapel Royal (Oxford, 2005), 530-31.
   
   [6] Donald Burrows, ‘Handel's Dublin Performances', Irish Musical Studies, 4: The Maynooth International Musicological Conference 1995, Selected Proceedings: Part 1, ed.
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   [7] Donald Burrows, ‘The Autographs and Early Copies of Messiah', 202-3.

3. 3. Christopher Hogwood - Archive

   www.hogwood.org/archive/?actio - [Cached]

   Published on: 11/1/2005   Last Visited: 2/3/2008

   by DONALD BURROWS
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   © Donald Burrows
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   Donald Burrows is Chairman of the Handel Institute, Professor of Music at the Open University and editor of the new edition of Ariodante for the Hallische Händel-Ausgabe.