Further Particulars for Research Awards
Applications are invited for Handel Institute Research Awards in support of a research project relating to the music or life of George Frideric Handel or to any individual, group or institution with whom/which he was associated. One or more awards may be offered. No single award will exceed £1,500. The Institute encourages applications from any student or scholar, regardless of age or background. Awards will not be made for the payment of university or college fees.
There is no application form. Applicants should submit:
- an explanation of the research to be undertaken (what, when, where, how and why) and the intended output;
- an itemised statement of the expenses to be incurred;
- details of any other funding (for the same project) that has been applied for or received;
- two references (it is the applicant’s responsibility to ensure that these arrive; the Handel Institute does not solicit references).
Applications must be submitted, before the expenditure is incurred, to the Chair of the Awards Committee, Dr Helen Coffey [email protected] as a single PDF file.
The closing date is 30 November 2022. All applicants will be contacted as soon as possible thereafter.
Previous Recipients and Projects
Elena Abbado (Florence); for research on the singer Stefano Frilli
Emily Baines (London): the implications of mechanical musical instruments for historically informed performance
Susanne Dunlap (New York): the sources of the libretto of Susanna
David Hunter (Austin, Texas): the Irish audience for and against Handel
Berta Joncus (Oxford): the career of singer-actress Kitty Clive
Olga Komok (St Petersburg): London concert life in the first third of the eighteenth century
Thomas McGeary (Champaign, Illinois): opera and patronage in Handel’s London
Natassa Varka (University of Cambridge): the Aylesford sources of Handel’s music from Saul onwards
Helen Coffey (Open University): archival research on musical patronage in Hanover
Matthew Gardner (Ruprecht-Karls-Universität Heidelberg): studying the performing scores of Handel’s Deborah
Robert Rawson (Canterbury): for an edition and recording of Pepusch’s Venus and Adonis
Judit Zsovár (Budapest): for research on the singer Anna Maria Strada del Pò
Carlo Lanfossi (Pennsylvania): Handel as arranger and producer: listening to pasticci in eighteenth-century London
Valentina Anzani (Bologna): a controversial singer among Handel’s interpreters: Antonio Maria Bernacchi
Elizabeth Ford (Glasgow): edition of the chamber music of James Oswald
Makiko Hayasaka (Bristol): accompanying the nation: Handel’s choral works arranged for music festivals in nineteenth-century Britain, with particular reference to manuscript scores by Sir Michael Costa
Carole Taylor (Huddersfield): funding of the Italian opera in 1730s London