HandelAndHisWorld exists for the free and unfettered (but flame-free!) discussion of Handel, his contemporaries, precursors and followers, and the live and recorded performances of their music; concert and recording release announcements and reports of the activities of committed performers of the music of Handel and his colleagues, whether HIP or anachronistic, also are welcome. Inquiries concerning Handel reception history will also find a happy home at HandelAndHisWorld.

Discussion of and inquiries about collateral and related figures and issues, such as the musicians and singers with whom Handel worked, the builders of the keyboard instruments that he used, his patrons, the architects of the buildings which he knew and in which he presented his performances, are also encouraged.

HandelAndHisWorld is intended to encompass topics that run the gamut from discussions of the Wren churches as performing venues for an HIP recreation of one of Handel's Foundling Hospital "Messiah" performances to "Does anybody have a copy of that disco single called 'Hallelujah 2000' that's based on 'For unto us a child is born' and 'Hallelujah'?"

HandelAndHisWorld is a venue for a discussion of or an inquiry about any topic relevant to Handel and the cultures in which he worked and flourished, as well as any aspect of Handel reception history. If one wants to express disappointment that no one has gotten around to recording any of the anthems of John Travers,if one wants to find out who now has the performing materials for Sir Michael Costa's gargantuan Crystal Palace Handel concerts, if one is seeking information about the licentious costume parties that were regularly held at Vauxhall Gardens, if one is looking for a copy of Leonard Raver's black disc of keyboard works by Roseingrave, the first recording of the 1612 Ruckers harpsichord alleged to have belonged to Handel, HandelAndHisWorld is a venue for such postings.