Haendel

Summary

Dominique Pagani mentions Handel only occasionally, and almost always alongside Bach. He places him among the great Baroque composers, noting their regular metre1, and among the Baroque composers more generally2. He links him to the German tradition of sacred music3 and, together with Bach, to the chorale4. In his view, this Protestant chorale is also what the slaves imitated, which brings Handel into a reflection on music and history5. He points out that Handel, born not far from Bach, had the good fortune to serve the English court6. He also mentions the Te Deums composed to celebrate victories7. In a "Musicosophie" session on happiness and the death drive in music, Handel serves as a point of comparison when discussing Strauss8. None of these passages examines him closely: Handel mainly serves as a reference point for situating the Baroque, the chorale and ceremonial music.

1. 1B for Bach16 Dec 2014 · 5:25
2. 2#6 Harnessed to confinitude26 Apr 2020 · 7:51
3. 3#6.1 Prelude: Lacan, “Function and field of speech and language”10 Nov 2019 · 1:04:52
4. 4The aporias of anthropology23 Nov 2022 · 1:28:35
5. 5The music of history26 Apr 2015 · 4:52
6. 6#3.3 From Ulysses to Daedalus1 Aug 2017 · 1:28:12
7. 7#10 Return to the logics of the subject11 Jun 2020 · 54:15
8. 8#5 Happiness versus the death drive in music11 Dec 2020 · 33:36

Summary produced automatically from 8 of the passages below, to be reviewed; the numbers link to the moment in the session.