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- January 17, 2015 at 1:51 pm #459334Scott DeanMemberDear Colleagues
I have the Barenreiter urtext full score (available in German only) and instrumental parts, of Mozart’s edition/orchestration of Handel’s Messiah, however, we are performing the work in English (using Clifford Bartlett’s choral edition, pub. Oxford, as the choral parts are virtually unchanged).Does anyone know of a full score of Mozart’s edition/orchestration in English and how to procure a copy? (A performance in German is not an option and the prospect of writting the English into the Barenreiter full score [requires blotting out the German text and microscopic penmanship] is daunting, to say the least.)Many thanks,Scott DeanBellevue Presbyterian ChurchBellevue, WA USAJanuary 18, 2015 at 6:09 am #459352Craig HawkinsParticipantIMSLP.org has just what you’re looking for. http://imslp.org/wiki/Messiah,_HWV_56_(Handel,_George_Frideric) and click on “Arrangements and Transcriptions” and a couple options appear.CraigJanuary 19, 2015 at 10:19 am #459421Vincent RufinoParticipantThe Dover full score (edited by Dr. Mann) is not the Mozart transcription. The G. Schirmer orchestral parts are the Mozart transcription and a full score was available at one time. However, you will incur the added expense of all the wind parts that frequently double the voice parts and can cause balance problems between the chorus and the orchestra. Unless there is a specific reason for choosing the Mozart orchestration, the chorus will project better using the Handel orchestrations. I have used both with my amateur choirs.Dr. Vincent J. Rufinotreasurer, ACDA Eastern DivisionJanuary 19, 2015 at 3:39 pm #459452Scott DeanMemberThanks Craig.I had initially disregarded that score as I had not seen it referenced in articles and other publications and there was no publication date. I was waiting to recieve the Urtext in hard cover as the comparison to the online NMA was too cumbersome. I recieved the Urtext hard copy the other day so I have started the analysis. Perhaps the following information will benefit others.The autograph of the Mozart arrangement was found in the mid-1950s and the Urtext published (NMA, Barenreiter) in 1961. Articles I’ve read reference the earliest publication of the Mozart arrangement by Breitkopf and Hartel in 1803 which was assisted by Johann Hiller who had created and performed his own expanded version (presumably based on Mozarts); a Novello publication in 1859 with English text; and then there is this Peters edition on IMSLP with no publication date. The same score appears on the U of Rochester library web page and indicates a date of 1800 in the catalogue information but this could be an estimate by the cataloger as I don’t see any dates printed in the pdf.The B & H/Hiller version was thought to include much of his Hillers orchestration but when the autograph showed up it turned out that Hiller had not done that much; he only seems to have deleted Mozart’s reworked recitative of “If God Be for Us” for Handel’s original aria, but added his own bassoon obbligato.Although I have not made a thorough study of the orchestration of the Peters score (IMSLP) it appears to be nearly the same as the NMA Urtext (but with the original English text below the German that Mozart used), including Mozart’s dynamic markings and indication for strings sordini on the “Pifa”. Most telling however is the aria “If God Be for Us” as it is indeed Handel’s original with an added Bassoon obbligato (I assume it is Hillers). There are some slur markings in the Peters not in the Urtext but that is it. So far.It looks like the only distinguishing elements of the Peters publication on IMSLP is the addition of some continuo figurations in the full score (not in the Handel or Mozart Urtexts) and a separate organ part by Solomon Jadassohn. That would lead me to conclude, albiet prematurely, the Peters edition (IMSLP) is a reprint of the Hiller, simply with an added organ part.I was hoping for a later critical edition in English but this may get me close enough to use as an English version full score of Mozart’s edition and I’d rather spend my time looking at notes in careful proof reading than re-writting all of the text.If anyone wants to know the end of this suspensful saga, or if I have gotten something wrong, feel free to e-mail or post.NB:
- Barenreiter doesn’t indicate this in their catalogue but I’ve been told by their staff in Germany the NMA parts include the (implied) doubling of A.T.B. chorus parts by trombones.
- Even in Handel’s day there were orchestrations that began to “fill-out” the original Baroque instrumentation (besides the well-known enormous productions).
- There are, of course, later orchestrations by Prout and others, presumably based on Mozarts.
- It would be interesting to find and compare the Breitkopf and Hartel 1803 edition to the Peters
- I don’t have the Dover (Kalmus) publication so I don’t know but I thought that was Handel’s orchestration. I haven’t used the Schirmer since Clifford Bartlett told me of his empending performing edition of Handel’s orginal (including variants) with Oxford in 1997.
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