Georg Frid ric HANDEL - American Choral Directors · PDF filemusicologically reliable editions for the practical pursuit of music, ... Brahms conceived the original orchestral version

George Frideric

MessiahHWV 56

with variant movements

Stuttgart Handel Editions

Carus 55.056/03

HANDEL

C

George Frideric

HANDELMessiah

HWV 56

Stuttgart Handel EditionsUrtext

Carus 55.056/03

Separate print for ACDA

National Conference 2015

Gottfried August

HOMILIUSPreise, Jerusalem, den Herrn

Praise the Lord, O JerusalemHoWV II.169

Carus 37.221

Ausgewählte Werke · Selected WorksUrtext

Johann Sebastian

BACHMesse in h-Moll

Mass in B minorBWV 232

Stuttgarter Bach-Ausgaben Urtext

Carus 31.232ISMN M-007-14259-9

9 790007 142599

CV 31.232/00 Carus

Bach Messe in h-M

oll BWV

232

CC Carus C

Stuttgarter Bach-AusgabenUrtext im Dienste historisch informierter Aufführungspraxis� wissenschaftlich zuverlässige Notentexte für die Praxis unter

Berücksichtigung des aktuellen Standes der Bach-Forschung

� informative Vorworte zu Entstehungsgeschichte, Rezeption und aufführungs praktischen Fragen sowie Kritische Berichte

� vollständiges Aufführungsmaterial: Partitur, Studienpartitur, Klavierauszug, Chorpartitur und Orchesterstimmen

Stuttgart Bach EditionsUrtext for historically informed performance� musicologically reliable editions for the practical pursuit of music,

taking into account the most current state of Bach research

� informative forewords on the work’s history, reception and performance practice and Critical Reports

� complete performance material available: full score, study score, vocal score, choral score, and orchestral parts

Kantaten · Messen · Oratorien · Passionen · Motetten Cantatas · Masses · Oratorios · Passions · Motets

www.carus-verlag.com/bach.html

Edition Staatsbibliothek zu Berlin

Johannes

Schicksalsliedop. 54

Urtext

Carus 10.399ISMN M-007-09584-0

CV 27.055/50 Carus

Die originale Orchesterfassung seines Requiem hat Brahms für einen Chor von über 200 Sängern konzipiert. Die meisten Aufführungen werden mit viel wenigerSängern realisiert, sodass es zu einem deutlichen Ungleichgewicht zu dem sehr starkbesetzten Orchester kommt. Die Bearbeitung für Kammerensemble entschärft dieseProblematik und macht es auch Chören mit kleinem Budget möglich, dieses einmalige Meisterwerk aufzuführen. Der Instrumentation liegen zwei Standardbesetzungen(Streich- und Bläserquintett) zugrunde. Aufeinander eingespielte Instrumentalistenbzw. Ensembles lassen sich sicherlich gerne als Mitwirkende gewinnen.

Brahms conceived the original orchestral version of his Requiem for a choir with over 200 singers. Most performances of the work will be sung with far fewer singers, resulting in a clear imbalance between the larger orchestra and smaller choir.The present arrangement for chamber ensemble minimizes this problem and makesit possible for choirs with modest budgets to perform this unsurpassed masterpiece.The instrumentation is based on a scoring for two standard instrumental groups(string- and wind quintets). Surely instrumentalists or ensembles playing together will be happy to participate in a performance of this chamber version of the Requiem.

BRAHMSBrahms

Ein deutsches Requiem

· Arrangem

ent Linckelmann

� ��

George Frideric

SaulHWV 53

Stuttgarter Händel-AusgabenUrtext

Carus 55.053

HANDEL

With over 600 vocal scores in its music program, Carus is a leading producer of vocal music from all periods. For singers and conductors this is a true treasure trove of important cantatas, oratorios, and masses. The vocal scores are carefully constructed for playability. Full scores and performance materials are also available.

more than 600 vocal scores for all kinds of vocal works

reliable Urtext editions at attractive prices

readable typesetting with convenient page turns

annotations to original instrumentation

complete scores and performance materials may be purchased

Vocal scores by Carus for study, rehearsal, and performance

Johann Sebastian

BACHMesse in h-Moll

Mass in B minorBWV 232

Stuttgarter Bach-Ausgaben Urtext

Carus 31.232ISMN M-007-14259-9

9 790007 142599

CV 31.232/00 Carus

Bach Messe in h-M

oll BWV

232

CC Carus C

Stuttgarter Bach-AusgabenUrtext im Dienste historisch informierter Aufführungspraxis� wissenschaftlich zuverlässige Notentexte für die Praxis unter

Berücksichtigung des aktuellen Standes der Bach-Forschung

� informative Vorworte zu Entstehungsgeschichte, Rezeption und aufführungs praktischen Fragen sowie Kritische Berichte

� vollständiges Aufführungsmaterial: Partitur, Studienpartitur, Klavierauszug, Chorpartitur und Orchesterstimmen

Stuttgart Bach EditionsUrtext for historically informed performance� musicologically reliable editions for the practical pursuit of music,

taking into account the most current state of Bach research

� informative forewords on the work’s history, reception and performance practice and Critical Reports

� complete performance material available: full score, study score, vocal score, choral score, and orchestral parts

Kantaten · Messen · Oratorien · Passionen · Motetten Cantatas · Masses · Oratorios · Passions · Motets

www.carus-verlag.com/bach.html

Edition Staatsbibliothek zu Berlin

www.carus-verlag.com

Handel entered the date 22 August 1741 into the Messiahautograph as the starting date of the composition. At thetime, the libretto by Charles Jennens (1700–1773) hadbeen already in his possession for quite a while, but Handelonly started work on it when the possibility of a perform-ance presented itself. This came in the form of an invitationfrom William Cavendish, the Duke of Devonshire, to giveseveral concerts in Dublin during the coming winter sea-son.

At the beginning of November 1741 Handel traveled fromLondon to Ireland, without having any precise knowledge ofperformance conditions there. In contrast to the brief time ittook to compose the music, it was over another five monthsbefore the premiere was given on 13 April 1742.

The libretto of the tripartite work is a compilation of Bibli-cal, predominantly Old Testament quotations which man-ages without freely invented material. It is evident fromthe arrangement of the verses from the Scriptures that Jen-nens was an opponent of so-called deism, which was thena subject of heated debate. Taking the work as a whole,one can see the central idea on which each of the threeparts is based. In the first part this is the proclamation ofthe Messiah, his birth, and the fulfilment of the prophecies.The second part deals with his suffering, his ascent intoHeaven, and the defeat of the heathen, while the third partis about the Last Judgement and the salvation of mankindthrough the resurrected Christ. Complementing the reci-tatives and arias for the solo singers, the choir is given amajor role.

Handel himself performed Messiah a number of times. Aswas then customary, he worked in minor changes for laterperformances. This was because different soloists, for ex-ample, would request the transposing of an aria into a dif-ferent register, as can be inferred from the singers’ namesthat Handel entered in his conducting score in the move-ments concerned. If he had any other reasons for modify-ing arias, they are, unfortunately, unknown.

The choral and orchestral forces

Handel’s oratorios were composed for a small choir and asmall orchestral ensemble, but after his death they wereperformed with increasingly larger forces. Thus over 500people took part in the performance of Messiah given inWestminster Abbey during the 1784 Commemoration Fes-tival. The Messiah premiere conducted by Handel in Dublinon 13 April 1742, on the other hand, featured a choir ofonly twenty singers, comprising members of Dublin’s ChristChurch Choir and the St. Patrick’s Cathedral Choir.

In 1749 directions were inserted in the conducting scorewhich differentiate between ‘con rip(ieno)’ and ‘senza rip.’in the orchestra. In other words, the orchestral forces hadbecome too large in the meantime for all the players to ac-company the soloists.

In order to achieve transparency in the polyphonic pas-sages in Handel’s Messiah, it is advisable to follow the‘senza’ and ‘con ripieno’ directions when employing largechoral and orchestral forces. Even more graduations can beadded for the choir, e.g., in coloratura passages, so as toallow these to be these sung using different forces.

Handel gives no indication in Messiah about when theharpsichord, the organ or both these instruments shouldbe used. Hence flexibility should be shown in the deploy-ment of keyboard instruments, and conductors must usetheir discretion. Not every aria needs to be accompaniedby a harpsichord, and not every chorus by the organ.

Ornaments in Handel’s music

Even in the 18th century not all singers and instrumental-ists could improvise ornaments. Of course there were andare exceptional musicians for whom “à l’improviste” is fea-sible, but we know that already in Handel’s time, singerswould ask the composer or somebody else with the neces-sary ability to write out their ornaments, added notes, runsand suspensions. Therefore, in the present vocal score Ihave indicated simple ornaments in passages where thesewere usually improvised. But they should be regarded sole-ly as suggestions which may be changed and added to atthe user’s discretion. In Da Capo Arias ornamentation ofthe A-section should be executed only when it is repeated.

Bussum, June 2008 Ton KoopmanTranslations: Peter Palmer and Jan H. Siemons

Carus 55.056/03IV

Foreword

The following performance material is available:Full score (paperback, CV 55.056/00),(clothbound, CV 55.056/01), study score (CV 55.056/07),vocal score with variant mvts., in English (CV 55.056/03), choral score (CV 55.056/05),vocal score with variant mvts., in German (CV 55.056/53),complete orchestral material (CV 55.056/19).

This work has been recorded and is available on CD in its presentversion by the Kammerchor Stuttgart under the direction ofFrieder Bernius (CV 83.219).

The principle part of this vocal score contains those aria versionswhich are most often performed in present-day practice. For prac-tical purposes, all of the remaining variant movements which canbe ascribed to Handel are printed in the Appendix.

55056�03 �A E�g� �ai� Part Appe�dix�qxp 01�04�2014 15�01 Seite IV

Neun deutsche ArienMonika Mauch · L’arpa festanteRien VoskuilenCarus 83.426 (CD)

O praise the Lord. Psalms and AnthemsGli Scarlattisti · Capella PrincipaleJochen M. ArnoldCarus 83.421 (CD)

Israel in Egypt HWV 54Bourvé · Winter · Wey · Kobow · Wolff · FlaigVocalensemble Rastatt · Les FavoritesHolger SpeckCarus 83.423 (2 SACDs)

Acis und Galatea HWV 49b(Version by Mendelssohn)Kleiter · Prégardien · Slattery · FriedrichNDR Chor · FestspielOrchester GöttingenNicholas McGeganCarus 83.420 (SACD)

Live recordings from the Frauenkirche Dresden

Saul HWV 53Prohaska · Andersen · Mead · Speer · Schmitt Dresdner Kammerchor · Dresdner Barock- orchester · Hans-Christoph RademannCarus 83.243 (3 SACDs)

Samson HWV 57Daneman · Gottwald · Cooley · SlatteryBerger · Friedrich · NDR Chor · FestspielOrchester Göttingen · Nicholas McGeganCarus 83.425 (3 SACDs)

Jephtha HWV 70Meyer · Kulawik · Schwarz · Van GoethemSchäfer · Schwarz · Kammerchor der Frauenkirche Dresdner Barockorchester · Matthias GrünertCarus 83.422 (3 SACDs)

Solomon HWV 67Labelle · McFadden · Mead · Slattery · WilliamsWinchester Cathedral Choir · FestspielOrchester Göttingen · Nicholas McGeganCarus 83.242 (3 SACDs)

400

9350

8324

28

Messiah HWV 56Carolyn Sampson, SopranoDaniel Taylor, AltoBenjamin Hulett, Tenore Peter Harvey, BassoKammerchor StuttgartBarockorchester Stuttgart Frieder BerniusCarus 83.219 (2 SACDs)

Te Deum for the victory of Dettingen HWV 283Labelle · Ainsworth · Cooley ·Berger · NDR Chor · FestspielOrchester Göttingen · Nicholas McGeganCarus 83.358 (CD)

Brockes-Passion HWV 48Gramß · Winkel · Bill · Thomer· Brutscher · Oxley · FlaigKölner Kammerchor · Collegium CartusianumPeter NeumannCarus 83.428 (2 CDs)

L‘Allegro, il Penseroso ed il Moderato HWV 55Doyle · Keohane · Hulett · Wolfkölner Kammerchor · Collegium CartusianumPeter NeumannCarus 83.395 (2 CDs)

Alexander’s Feast HWV 75 Ode for St. Cecilia’s Day HWV 76Kermes · Hartinger · Wolff · Kölner Kammerchor Collegium Cartusianum · Peter NeumannCarus 83.424 (2 SACDs)

George Frideric Handel The Carus Series

All CDs are available from Amazon.com and iTunes


Carus · UrtextOur Urtext editions aim to provide a reliable music text, cleansed of the additions of later centuries. They are developed according to current musicological standards, taking into ac-count all of the known sources, with the objective of most closely realizing the composer’s intention. Every decision made by the editor – from the choice of the definitive source to the individual readings – is docu-mented and discussed in the critical report, and emendations in the musical text – for example, in parallel passages – are marked accordingly. The foreword offers performers important information concerning the work and its genesis as well as suggestions for performance.

Musicology meets performance

Performance MaterialTogether with our critically edited scores, we offer the following affordable performance material:• Vocal scores with playable, substantial and pianistic settings on the basis of the Urtext• Choral scores to reduce the cost of performing large choral works• Orchestral parts with convenient page turns and practical cues• Study scores are available for many of our editions – the supply is being steadily increased

Carus · Sheet Music for Performance• Excellent readability due to clear layout and precise printing.• We use high quality paper which does not crease. Turning pages does not cause any unwanted noise

during concerts. The faint yellow color contributes to the pleasant ease of readability.• A sturdy and practical binding guarantees a long life for the music.• Our customers’ wishes enjoy the highest priority: We are able to offer special printings – for example,

from choral anthologies – quickly and affordably thanks to our affiliated printers.• Also titles that are less in demand are always available from Carus

Choral CollectionsBasic repertoire for every choir! Our goal with our choral collections is to offer choirs an attractive repertoi-re of valuable choral arrangements in convenient collections. The collections are stylistically varied, encom-pass all musical periods, display the proven appearance of our readable music engraving, and demonstrate our standard of quality in paper, print, and binding. These trademarks – together with an attractive price – are prized by many choirs and make the collections a central part of our music program.

Please find more informations about Carus publications at www.carus-verlag.com

Carus – Excellence in Choral Music

Carus was founded in 1972 with the aim of publishing editions of previously unpublished works of sacred choral music, works out of print or works in older editions which did not conform to the standards of modern editorial practice. In pursuing its goal of continually expanding the repertoire available to choirs, Carus has become a leading publisher of sacred music worldwide.

Carus-Verlag

URTEXTC

10 Carus 55.056/03

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Carus 55.056/0312

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63

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Carus 55.056/03 13

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79

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Carus 55.056/0314

geth er, and the glo ry, the glo ry of the Lord shall

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107

glo ry, and the glo ry, the glo ry of the Lord shall be re veal ed,

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130

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Carus – Excellence in Choral Music

C Carus

MESSIAHHELMUTH RILLING

UNDERSTANDING AND PERFORMING HANDEL'S MASTERPIECE

Carus 24.070

Helmuth Rilling: Messiah

This book on Handel’s Messiah reflects Helmuth Rilling’s remar-kable skills, both as a conductor and as an educator. It is literally a ’study-guide’ for conductors and performers which shows the step-by-step thought process Rilling uses in preparing a score. More importantly, Rilling challenges the reader to probe Handel’s thinking – to consider ways of more effectively communicating the deeper layers of meaning found within this masterwork.

Interest session Helmuth Rilling:Looking over Handel’s shoulder at Messiah25 February 2015, Assembly Hall in Temple Square

Georg Friedrich

HANDELMessiah

HWV 56


Carus 55.056

G. F. Handel: Messiah HWV 56

The version of the Messiah which is most often performed today is a combination of various versions. Consequently, the present critical edition by Ton Koopman contains all the surviving alternative versions of the solo movements. In the vocal score Ton Koopman has – as a suggestion for the singers – indicated simple ornaments in passages where these were usually improvised.

Visit us at Booth 304!

Carus 55.056, full score, vocal score, performance material


Georg Friedrich

HANDELMessiah

HWV 56


Carus 55.056

“The Carus edition which Ton Koopman has so carefully crafted is a wonderful edition, the most recent edition that I know. It has been a joy to work with such a wonderful score.” Kathy Saltzman Romey

Publication date: February 2015

Carus 55.056/03 23

the sons of Le vi,

8 And He shall pu ri fy

And He shall pu ri fy,

9 A

And He shall pu ri fy, and He shall pu ri fy

8

5

of Le vi,

Basso

Tenore

8

Alto

Soprano

7. ChorusAllegro

And He shall pu ri fy, and He shall pu ri fy

Maleachi 3.3

the sons

Archi,Bc

senza Rip.

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Carus 55.056/0324

sons of Le vi, the sons, the sons of Le vi,

8 He shall pu ri fy the sons of Le vi,

vi, the sons of Le vi,

18

the sons of Le vi, the sons of Le vi,

and He shall pu ri fy, and He shall pu ri fy the

8 Le vi, and

the sons of Le

15

and He shall pu ri fy

8 the sons of


12

con Rip. per tutto

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Carus 55.056/03 25

fy the sons of Le vi,

8 and He shall pu ri fy,

and He shall pu ri fy,

28

and He shall pu ri

ness, in righ teous ness, and He shall pu ri fy, shall pu ri

8 ness, in righ teous ness, and He shall pu ri fy,

ness, in righ teous ness, and He shall pu ri fy,

24

ness, in righ teous ness, and He shall pu ri fy,

that they may of fer un to the Lord an of fer ing in righ teous

8 that they may of fer un to the Lord an of fer ing in righ teous


21 B


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39


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35

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8 of Le vi, the sons of Le vi,

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49

the sons of Le vi,

of Le vi, and

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46


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a son, and shall call His name Em ma nu el, “God with us.”

28 Carus 55.056/03

Bc

RecitativoAlto

Be

(Alto)

hold, a vir gin shall con ceive, and bear a son, and shall call His name Em ma

Jesaja 7.14; Matthäus 1.23

nu el, “God with us.”

of fer ing in righ teous ness, in righ teous ness.

8 of fer ing in righ teous ness, in righ teous ness.


54


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8 that they may of fer un to the Lord an


52 E


(3)

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The vocal works of Handel occupy a solid place in the concert repertoire of choirs worldwide. Carus continues to increase the number of Handel’s works in its music program to include not only his popular compositions, but also less well-known treasures.

Already available (selection):

Israel in Egypt. Funeral Anthem HWV 54 (English/German)Soli SSATBB, Coro SATB/SATB, 2 Fl, 2 Ob, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, 2 Bc 130 min / / ed. Clifford BartlettPart I: The Lamentation of the Israelites for the Death of JosephPart II: ExodusPart III: Moses’ Song Carus 55.054/50 (Part I–III) Carus 55.264 (Part I) Carus 55.054 (Part II–III)

Saul HWV 53 (English/German)Soli SSAATTBB, Coro SATB, 2 Fl, 2 Ob, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Arpa, Carillons, Org, Bc / / ed. Felix Loy Carus 55.053

Brockes-Passion based on a copy by J. S. Bach, HWV 48 (German) Soli STB, Coro SATB, 2 Ob, Taille, 2 Fg, 2 Vl, Va, Bc / 150 min / / ed. Andreas Traub Carus 55.048

George Frideric Handel’s music at Carus

L’Allegro, il Pensieroso ed il Moderato Oratorio in three parts HWV 55 (English/German)Soli S(A)TB, Coro SATB, Fl, 2 Ob, 2 Fg, Cor, 2 Tr, Timp, Bc / Carus 29.214

Te Deum for the victory of Dettingen HWV 283 (English/German)Soli ATB, Coro SSATB, 2 Ob, Fg, 3 Tr, Timp, 2 Vl, Va, Bc / 40 min / ed. Benedikt Poensgen Carus 55.283

Dixit Dominus HWV 232 (Latin) Soli SSATB, Coro SSATB, 2 Vl, 2 Va, Vc, Bc 40 min / / ed. Wolfgang Gersthofer �Carus 55.232

Ode for St. Cecilia’s Day HWV 76 (German/English) Soli ST, Coro SATB, Fl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc / 50 min / / ed. Christine Martin Carus 10.372

All works are available with full score and complete performance material.

= CD available


Carus 55.056/0392

Him, if He de light in Him,

8 Him, if He de light in Him, let Him de liv er Him, if He de light in Him, if He de

He trust ed in God that He would de liv er Him: let Him de liv er Him, if He de

10 A

if He de light in Him: let Him de liv er Him, if He de light in Him, if He de light in

8trust ed in God that He would de liv er Him: let Him de liv er Him, if He de light in

6

He trust ed in God that He would de liv er Him: let Him de liv er Him, if He de light in Him,

8 He

25. Chorus

con Rip. per tuttoPsalm 22.8Allegro

2 Ob, Archi, Bc

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He trust ed in God, He trust ed in God, let Him de liv er Him, if He de

8 in Him, if He de light in Him, let Him de liv er Him,if He de

light in Him, He trust ed in God that He would de liv er Him: let Him de

22 B

in Him,

Him, if He de light in Him, let Him de liv er Him,

8 in Him, let Him de liv er Him, if He de light

in Him, let Him de liv er Him, if He de

18

if He de light in Him, let Him de liv er Him, if He de light

He trust ed in God, in God, in God He trust ed, let Him de liv er Him, if He de light in

8 light in Him, if He de light

light in Him, if He de light

14

He trust ed in God that He would de liv er Him: let Him de liv er Him,

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let Him de liv er Him,

8 He trust ed in God that He would de liv er

liv er Him, let Him de liv er Him, if He de light in

34

let Him de liv er Him, if He de light in Him, let Him de

let Him de liv er Him,

8 liv er Him, if He de light in Him, if He de light in Him, let Him de liv er Him,

let Him de liv er Him,if He de light in Him, if He de light in Him, let Him de

30

would de liv er Him: let Him de liv er Him, if He de light in

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Him,

light in Him, if He de light in Him,

8 light in Him, if He de light in Him, He trust ed in God, He trust ed in God, let Him de

liv er Him, if He de light in Him, if He de light in Him,

26

let Him de liv er Him, He trust ed in God that He

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Him, let Him de liv er Him, if He de light in

8 Him, let Him de liv er Him, if He de light in

Him, let Him de liv er Him, if He de light in

46

liv er Him, let Him de liv er Him, let Him de liv er Him,

trust ed in God that He would de liv er Him: let Him de liv er Him, if He de light in

8 trust ed in God, let Him de liv er Him, if He de light in

trust ed in God, let Him de liv er Him, if He de light in

42 D

let Him de

let Him de liv er Him, He

8 Him: let Him de liv er Him, if He de light in Him, let Him de liv er Him,He

Him, let Him de liv er Him, if He de light in Him, He

38

liv er Him, let Him de liv er Him, if He de light in Him, let Him de liv er Him,

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God that He would de liv er Him: let Him, let Him de liv er Him, if He de light in Him.

8 in Him, let Him, let Him de liv er Him, if He de light in Him.

in Him, let Him de liv er Him, if He de light in Him.

58

light in Him, let Him de liv er Him,

Adagio

if He de light in Him.

Him, let Him de liv er Him, He trust ed in

8 light in Him, let Him de liv er Him, if He de light in Him, if He de light

liv er Him, let Him de liv er Him, if He de light

54

light in Him, if He de light in Him, if He de

Him, if He de light in Him, if He de light in

8 Him, if He de light, if He de

Him, He trust ed in God, let Him de liv er Him, if He de light in Him, let Him de

50 E

He trust ed in God that He would de liv er Him: let Him de liv er Him, if He de

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Georg Frid ric HANDEL - American Choral Directors · PDF filemusicologically reliable editions for the practical pursuit of music, ... Brahms conceived the original orchestral version