Il pastor fido, HWV 8b/c (Handel, George Frideric)

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Full Scores

 Complete Score, including the ballet Terpsicore
#19067 - 24.62MB, 134 pp. -  8.0/10 2 4 6 8 10 (1- V/V/V - 2414x

PDF scanned by D-Mbs
Ivdruiz (2008/7/18)

PMLP44863-HG Band 84.pdf

Friedrich Chrysander (1826–1901)

Publisher Info.:

Georg Friedrich Händels Werke. Band 84
Leipzig: Deutsche Händelgesellschaft, 1890. Plate H.W. 84.


Public Domain [tag/del]

Misc. Notes:

"Chrysander’s... treatment of the 1734 versions is extremely confused, however, though both versions can be reconstructed with accuracy by reference to the original wordbooks and other source material" (Source: The New Grove Dictionary of Opera)


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General Information

Work Title Terpsicore
Alternative Title
Composer Handel, George Frideric
Opus/Catalogue Number HWV 8b
Year/Date of Composition 1734
First Performance 1734 in London: King's Theatre in the Haymarket
Librettist Giacomo Rossi, after Giovanni Battista Guarini (1538−1612)
Language Italian
Composer Time Period Baroque
Piece Style Baroque
Related Works For the earlier (1712) version, see Il pastor fido, HWV 8a

Misc. Comments

"In the spring of 1734... Handel revived Il pastor fido in a much changed version [HWV 8b], preserving the outlines of the story but retaining only seven of the original arias; the rest (except for a new setting of Mirtillo’s opening cavatina) were taken from cantatas or earlier operas, with the significant addition of choruses taken from the serenata Parnasso in Festa... This version was the basis of yet another revision [HWV 8c] which opened Handel’s first season at John Rich’s new theatre in Covent Garden on 9 November 1734. There were two new arias... but the main changes were prompted by Rich’s engagement of a dance troupe led by Marie Sallé. For her benefit Handel added a new prologue, Terpsicore, a mixture of vocal solos, choruses and orchestral dance movements (some taken from earlier works) in which Terpsichore, the Muse of Dance (played by Sallé), is encouraged by Erato (soprano) and Apollo (mezzo-soprano) to demonstrate her talents...Newly composed dances were also added at the end of each act of the opera" (Source: The New Grove Dictionary of Opera).

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