A Conductor's Guide To Selected Baroque Choral-Orchestral

A Conductor’s Guide to
Selected Baroque
Choral-Orchestral Works
A Conductor’s Guide to
Selected Baroque
Choral-Orchestral Works
Jonathan D. Green
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Green, Jonathan D., 1964- author.

A conductor's guide to selected Baroque choral-orchestral
works / Jonathan D. Green.
pages ; cm
Includes bibliographical references and index.
Discography: page .
ISBN 978-0-8108-8649-0 (cloth : alk. paper) -- ISBN 978-0-
8108-8650-6 (ebook) 1. Choruses with orchestra--17th
century--Bibliography. 2. Choruses with orchestra--18th
century--Analysis, appreciation. 3. Choral conducting. I.
Title.
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THE WORKS
Böhm, Georg (b. Hohenkirchen, Thuringia, Germany; 2 Sep-

tember 1661 – d. Lüneburg, Germany; 18 May 1733)
Life: Böhm is now best known as a probable teacher and certain influ-
encer of J. S. Bach. He was an innovative keyboard composer who
had an affinity for variations and chorale partite. He is considered
an important developer of the latter. Böhm’s first teacher was his
father, a local schoolmaster and organist. He continued his studies
at the Latin School on Goldbach and the Gymnasium in Gotha.
Both communities had musical leaders trained by members of the
elder Bach family. He attended the University of Jena and then
moved to Hamburg. Böhm became organist of the Johanneskirche
in Lüneburg in 1697 remaining there until his death, 36 years later.
teachers — his father, Johann Heinrich Hildebrand (?)

students — J. S. Bach (?)
Principal Works: The attribution of a number of the surviving works

is questionable. Keyboard: 10 Chorale Partite and Variations, 10
Chorales, 2 Praeludia, 11 Suites; Vocal: 10 Cantatas, 2 Motets, 23
Sacred Songs.
Selected Composer Bibliography
Wolgast, Johannes: Georg Böhm: Ein Meister der Übergangszeit vom

17ten zum 18ten Jahrhundert. Dissertation: University of Berlin,
1924.
Waldschmidt, Carl: Georg Boehm: His Life and His Works. Thesis:
Northwestern University, 1962.
Crumrine, Carol Ann: The Keyboard and Vocal Settings of Georg
Boehm: An Analysis of Style as Dictated by Text. Dissertation: Sy-
racuse University, 1972.
McLean, Hugh J.: “Böhm, Georg (born 1661), composer organist,”
Grove Music Online. Oxford University Press, viewed 2013.
2 The Works
Passion nach dem Evangelisten Johannes

N.B. This composition is published under Handel’s name in currently
available editions. Hans Joachim Marx has now posited that the work
may be by Christian Ritter.
Duration: ca. 58 minutes
Text: The text was adapted from the Gospel of John by Christian Hein-
rich Postel (1656-1705).
Performing Forces: voices: 2 soprano, 3 alto, 3 tenor, and 2 bass solo-

ists, and SATTB choir; orchestra: 2 oboes, strings and continuo.
The continuo group includes bassoon, cello, double bass, and key-
board.
Autograph: A copyist’s manuscript, which was used in the preparation

of the Hallische Händel-Ausgabe edition is held by the Deutschen
Staatsbibliothek in Berlin.
Notes: This composition is no longer attributed to Handel although it is

so labeled in currently published editions. 1
Performance Issues: The choral writing is primarily homophonic and

declamatory. The vocal parts are well supported by the continuo
group. Imitative passages for the choir are not directly doubled by
the instruments. The choral writing is in five parts throughout. The
second unnamed soloists are not distinctively assigned to solo parts
except when they appear together in ensemble numbers. The role
of Jesus and those of soprano (I) and bass are vocally challenging.
The Evangelist sings throughout, but is not particularly difficult.
All of the other solo parts can be effectively sung by secure chor-
isters. There are two duets for soprano and bass (nos. 62 and 64).
The orchestral writing is quite thin with the vast majority of mate-
rial assigned to the continuo group. The orchestral parts are idio-
matic and within the abilities of most amateur players. Soloists:
soprano I - range: c’-ab’’, tessitura: g’-g’’, this is a lyric role with
1
Baselt, Bernd: “Händel und Bach: Zur Frage der Passionen,” Bericht über das
wissenschaftliche Kolloquium der 24. Handelfestspeile der DDR, 58-66. Halle:
1976.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 3
some long phrases and coloratura passagework; soprano II - range:

d’-g’’, tessitura: e’-d’’, this is a lyric role that appears in duet with
soprano I; Pilatus (alto) - range: a-d’’, tessitura: c’-a’, this is a lyric
role with some melismatic passagework; alto - range: a-d’’, tessitu-
ra: d’-c’’, this is a lyrical role appropriate for a chorister; Evange-
list (tenor) - range: c-g’, tessitura: f-f’, this is a light declamatory
role exclusively in recitative; tenor I - range: d-g’, tessitura: f-f’,
this is a lyrical role with some melismatic passagework; tenor II -
range: d-eb’, tessitura: f-d’, this is a lyric role that appears in duet
with tenor I, it could be assigned to a light baritone; Jesus (bass) -
range: F-f’, tessitura: c-d’, this is a sustained and lyrical role with
some sustained notes at the top of the range bass - range: F-f’, tes-
situra: Bb-eb’, this is a coloratura part that requires clarity across
the range; Choir: medium easy; Orchestra: easy.
Editions: Passion nach dem Evangelisten Johannes is available from

Bärenreiter (BA 4022). It is found in two scholarly editions — G.
F. Händels Werke: Ausgabe der Deutschen Händelgesellschaft,
volume: ix, edited by Friedrich W. Chrysander, Leipzig and
Bergedorf bei Hamburg: 1858-1894, reprinted in 1965; and Hal-
lische Händel-Ausgabe im Auftrage der Georg Friedrich Händel-
Gesellschaft, series: 1, volume: 2, edited by Karl G. Fellerer, Kas-
sel: Bärenreiter, 1967. It was also published in an edition prepared
by Felix Schoeder that includes an English text translated by Lau-
rence Swinyard from Willy Müller, Süddeutscher Musikverlag, c.
1957, which was absorbed by Bärenreiter.
Selected Discography: Maria Zadori, Ibolya Verebics, Judith Nemeth,

Charles Brett, Martin Klietmann, Gabor Kallay, Jozsef Moldvay,
and Istvan Gati; Chamber Choir, Capella Savaria; conducted by
Pal Nemeth. Recorded in 1995 by Hungaroton; re-released on Bril-
liant Classics: 92003.
Selected Bibliography
Pahlen, Kurt: The World of the Oratorio, translated by Judith Schaefer

with additional English-language material by Thurston Dox, 161-
162. Portland, OR: Amadeus Press, 1990.
4 The Works
Buxtehude, Dietrich (b. Helsingborg, Denmark, c. 1637; d.

Lübeck, Germany, 9 May 1707)
Life: Buxtehude was a remarkably influential composer and organist.

His first post as organist was at St. Mary’s Church in Helsingborg
c. 1658. In 1660 he became organist at St. Mary’s Church in Hel-
singør. In 1668, he succeeded Franz Tunder at St. Mary’s Church
in Lübeck, a post he held until his death. Buxtehude continued the
Lübeck tradition of Abendmusik concerts during the 5 or 6 weeks
following Christmas. One of the stipulations of accepting the posi-
tion was that he had to marry the daughter of his successor, which
he did. This same clause, when invoked at the end of Buxtehude’s
career, apparently limited the field of willing takers. Handel,
Matteson, and J. S. Bach each visited Buxtehude in Lübeck, pre-
sumably to investigate the opportunity to succeed him, but it is as-
sumed the proposition of marrying Fräulein Buxtehude led each to
reject the position.2 Although the young Bach returned to Arnstadt
without a new job, it is widely accepted that his playing and com-
position were influenced by his exposure to Buxtehude’s work.
Buxtehude produced richly varied works, particularly for sacred
vocal and organ music. Many of his choral works were made to be
very practical and accessible for amateur singers, which provides a
wonderful resource for developing choirs seeking concerted com-
positions using a small complement of instruments. A significant
number of his compositions are derived from secondary manu-
script resources, often in the hands of younger composers who
made study or playing copies of his works. Others survive only in
tablature notebooks; many of these have been transcribed into
modern editions. Georg Karstädt has produced a catalogue of his
works (see below), which is the source of the work numbers used
here. There are 124 surviving vocal compositions. In those for
multiple voices, it is sometimes ambiguous as to whether soloists
or a choir were intended. In these cases options are presented.
Works that are clearly for soloists only have not been addressed in
this volume.
teachers — Johannes Buxtehude (his father)

students — Nicolaus Bruhns
2
Kupferberg, Herbert: Basically Bach, 37. London: Robson, 1986.
6 The Works
Principal Works: 114 sacred and 10 secular vocal works; 90 solo or-
gan compositions; 18 keyboard suites; assorted chamber music.
Pirro, André: Dietrich Buxtehude. Paris: Fischbacher, 1913.

Blume, Friedrich: “Das Kantatenwerk Dietrich Buxtehudes,” in Jahr-
buch des Musikbibliothek Peters für 1940, volume 48 (1941), 10-
39. Reprinted in Blume: Syntagma musicologicum, edited by Mar-
tin Ruhnke. Kassel: Bärenreiter, 1963. This anthology includes an-
other essay by Blume on Buxtehude.
Stahl, Wilhelm: Dietrich Buxtehude, second edition. Kassel: Bären-
reiter, 1952.
Kilian, H. Dietrich: Das Vokalwerk Dietrich Buxtehudes: Quellen-
studien zu seiner Überlieferüng und Verwendung. Free University
of Berlin: dissertation, 1956.
Grusnick, Bruno: “Zur Chronologie von Dietrich Buxtehudes Vokal-
werken,” Musikforschung, volume 10 (1957), 75-84.
Sørenson, Søren: Diderich Buxtehudes vokale kirkenmusik: Studier til
den evangeliske kirkekantates udviklingshistorie. Copenhagen:
Ejnar Munksgaard, 1958.
Geck, Martin: “Die Authentizität des Vokalwerkes Dietrich Buxtehu-
des in quellenkritischer Sicht,” Musikforschung, volume 14 (1961),
393-414.
Grusnick, Bruno: “Die Dübensammlung: Ein Versuch ihrer chronol-
ogischen Ordnung,” Svensk tidskrift för musikforskning, volume 46
(1964), 27-82; and volume 48 (1966), 63-186.
Geck, Martin: Die Vokalmusik Dietrich Buxtehudes und der frühe Pie-
tismus. Kassel: Bärenreiter, 1965.
Karstädt, Georg: Der Lübecker Kantatenband Dietrich Buxtehudes: Ein
Studie über die Tablatur Mus. A 373. Lübeck: Max Schmidt-
Römhild, 1971.
Karstädt, Georg: “Die Instrumente in den Kantaten und Abendmusiken
Dietrich Buxtehudes,” Beiträge zur Musikgeschichte Nordeuropas:
Kurt Gudewill zum 65. Geburtstag, 111-121, edited by Uwe Haen-
sel. Wolfenbüttel: Moseler Verlag, 1978.
Snyder, Kerala J.: “Dietrich Buxtehude’s Studies in Learned Counter-
point,” Journal of the American Musicological Society, volume 33
(1980), 544-564.
Karstädt, Georg: Thematisch-systematisches Verzeichnis der musikali-
schen Werke von Dietrich Buxtehude: Buxtehude-Werke-Ver-
zeichnis. Wiesbaden: Breitkopf und Härtel, 1974; second edition:

1985.
Snyder, Kerala J.: “Dietrich Buxtehude” in The New Grove North Eu-
ropean Baroque Masters. New York: W. W. Norton, 1985.
Wettstein, Hermann: Dietrich Buxtehude (1637–1707): Bibliographie
zu seinem Leben und Werk. Munich: K. G. Sauer, 1989.
Webber, Geoffrey: North German Church Music in the Age of Buxte-
hude. Oxford: Clarendon Press, 1996.
Snyder, Kerala J.: Dieterich Buxtehude: Organist in Lübeck. New
York: Schirmer Books, 1987. The University of Rochester released
a revised edition in 2007.
Snyder, Kerala J.: “Buxtehude, Dieterich,” Grove Music Online, ed. L.
Macy (Accessed 6 June 2008), http://www.grovemusic.com.
Accedite gentes, accurite populi, BuxWV 1

Text: The text is an adaptation of Psalm 86:9-10 and Psalm 103:8.
Performing Forces: voices: SSATB choir; orchestra: 2 violins, and

continuo.
First Performance: unknown
Editions: Accedite gentes, accurite populi is published in the critical

edition Fire latinske Kantater, edited by Søren Sørenson. Copen-
hagen: Samfundet til Udgivelse af dansk Musik, 1957.
Autograph: Manuscript materials may be found in the Uppsala Uni-

versitetsbiblioteket (38:1, 82:34).
Notes: Kerala Snyder indicates that there is some doubt that this is the
work of Buxtehude.3
Performance Issues: This brief Latin cantata alternates between hom-

ophonic and polyphonic textures. The choral parts are always har-
3
Kerala J. Snyder: Dieterich Buxtehude: Organist in Lübeck, 402. New York:
Schirmer Books, 1987.
8 The Works
monically supported by the continuo. The two violin parts occa-

sionally double the voices, but frequently they provide a filigreed
counterpoint to the singers. These two parts appear to be meant for
solo players and although not technically challenging will require a
musically independent player. The choral portions can be effec-
tively performed by solo singers. The score is not labeled as having
soloists, but there are solo passages for both of the men’s parts. So-
loists: tenor - range: e-g’, tessitura: g-e’, this is a brief recitative;
bass - range: D-c’, tessitura: A-a, this is a declamatory solo that
should be capable of clarity throughout the indicated range; Choir:
medium easy; Orchestra: medium easy.
Selected Discography: Theatre of Voices; conducted by Paul Hillier.

Recorded February 2010 in St. Maria Church, Helsingør. Da Capo:
6220534.

den evangeliske kirkekantates udviklingshistorie, 19, 30, 66, 69,
268, 310, 313. Copenhagen: Ejnar Munksgaard, 1958.
404-406.
__________: Die Vokalmusik Dietrich Buxtehudes und der frühe Pie-
tismus, 14, 58, 198. Kassel: Bärenreiter, 1965.
(1966), 115, 134.
zeichnis, 3. Wiesbaden: Breitkopf und Härtel, 1974.
Snyder, Kerala J.: Dieterich Buxtehude: Organist in Lübeck, 139, 206,
384. New York: Schirmer Books, 1987.
All solch dein Güt’ wir preisen, BuxWV 3

Text: The text is taken from “Helft mir Gottes Güte preisen” by Paul
Eber. It appeared in Geistliche Lieder Dr. Martin Luther und an-
derer frommen Christen, which was published in Frankfurt in

1572.
Performing Forces: voices: SSATB choir; orchestra: 2 violins, 2

violas, violone (double bass) or cello, and continuo.
Editions: All solch dein Güt’ wir preisen is published in a critical edi-
tion edited by Bruno Grusnick. Kassel: Bärenreiter (3197). It is al-
so available from Edition Merseburger (EM 956), edited by
Dietrich Kilian.

versitetsbiblioteket (50:1a).
Notes: This work was composed for the celebration of the New Year.
Buxtehude uses a hymn tune from Michael Praetorius’s Musae
Sionae VIII, which was first published in Wolfenbüttel in 1610. It
is not the same tune as the choral at the end of Bach’s, BWV 16,
which uses the same text.
Performance Issues: The score indicates the use of ripieni, confirming

the implementation of a choir in appropriate ensemble passages.
The work comprises a concerted homophonic five-voice chorale
harmonization followed by a florid, polyphonic “Amen.” Within
the chorale, the vocal parts are well supported by the instruments.
All parts are conservatively written and idiomatic. The nineteen-
measure “Amen” alternates rapid figurations between the strings
and voices and presents the soprano I part with a higher tessitura. It
remains practical, but presents greater musical and technical chal-
lenges than the first section. Choir: medium easy; Orchestra:
medium easy.
Selected Discography: Amsterdam Baroque Orchestra and Soloists;

conducted by Ton Koopman. Challenge: CC 72256.
10 The Works
Kilian, Dietrich: Das Vokalwerk Dietrich Buxtehudes: Quellenstudien

zu seiner Überlieferüng und Verwendung, 22, 29, 190, 194, 243,
258. Free University of Berlin: dissertation, 1956.
310. Copenhagen: Ejnar Munksgaard, 1958.
zeichnis, 3-4. Wiesbaden: Breitkopf und Härtel, 1974.
189-190, 364, 383. New York: Schirmer Books, 1987.
Alles was ihr tut mit Worten oder mit Worden,

BuxWV 4 (1680s)
Duration: ca. 12-15 minutes
Text: The text is Colossians 3:17, Psalm 37:4, and strophes 6 and 7
from “Aus meines Herzengrunde” by Georg Niege. The poet of the
text for the aria has not been established.
Performing Forces: voices: soprano and bass soloists; SATB choir;

orchestra: 2 violins, 2 violas (or 3 violins and 1 viola) violone
(double bass), and continuo.
Editions: Alles, was ihr tut mit Worten oder mit Worden is published in
the critical editions, Abendmusiken und Kirchenkantaten, volume
14 of Denkmäler deutscher Tonkunst, edited by Max Seiffert, page
39. Leipzig: Breitkopf und Härtel, 1903; revised in 1957 by Hans
J. Moser. Wiesbaden: Breitkopf und Härtel, 1957. It appears in the
subsequent critical edition, Dietrich Buxtehude: The Collected
Works, edited by Kerala J. Snyder, volume 9, page 3, published by
Broude. It is also available for purchase in editions from: Kalmus
(edited by Klauss) and Carus Verlag (edited by Derek McCulloch).

versitetsbiblioteket (50:2); the Bibliothek der Hansestadt of the
Deutsche Staatsbibliothek, Berlin (A373); and the Music Collec-
tion of the Staatsbibliothek zu Berlin Preußischer Kulturbesitz (B
2680).
Notes: Buxtehude incorporates a cantus firmus based upon an anony-

mous hymn tune, Aus meines Herzens Grunde. This work is em-
blematic of what has been referred to as “music for the ordinary
citizen,” with concertato chorales and simple strophic arias setting
familiar German texts.4 It is one of Buxtehude’s more popular
works during his own lifetime.
Performance Issues: The choral writing is generally homophonic, and

well supported by the accompaniment. There are some florid mel-
ismatic passages for the choir in the second and fifth movements,
which are thoroughly doubled by the strings. The third movement
alternates the choir accompanied by continuo with ritornelli from
the orchestra. Soloists: soprano - range: f#’-d’’, tessitura: g’-d’’,
this is a very simple, sustained solo; bass - range: A-d’, tessitura:
B-b, this is an easy, declamatory solo with continuo accompani-
ment; Choir: medium easy; Orchestra: medium easy.
Selected Discography: Friedrich Melzer, Bruce Abel; Stuttgart Motet

Choir; conducted by Gunter Graulich. Carus: 83.134.
The Dufay Collective; conducted Ebbe Munk. Naxos: 8570494.
Klaus Mertens; conducted by Ton Koopman. Recorded in 2006 or 2007
in Waalse Church, Amsterdam. Challenge Classics: CC 72246.
Pirro, André: Dietrich Buxtehude, 285, 353, 429, 484. Paris: Fisch-
bacher, 1913.
zu seiner Überlieferüng und Verwendung, 17, 48, 53, 57, 59, 63, 7,
70, 75, 98, 104, 128, 143, 194, 198, 222. Free University of Berlin:
dissertation, 1956.
4
Snyder, Kerala J.: Dieterich Buxtehude: Organist in Lübeck, 205. New York:
12 The Works

91, 136, 172, 180, 187, 200, 270. Copenhagen: Ejnar Munksgaard,
1958.
Studie über die Tablatur Mus. A 373; 23, 32, 37, 77. Lübeck: Max
Schmidt-Römhild, 1971.
Snyder, Kerala J.: “Critical Apparatus,” for Dietrich Buxtehude: The
Collected Works, volume 9, 272-277. New York: Broude, 1987.
__________: Dieterich Buxtehude: Organist in Lübeck, 134, 201-205,
211, 304, 316, 323-324, 358, 364-366, 383. New York: Schirmer
Books, 1987.
An filius non est Dei, BuxWV 6

Text: The author of the text has not been determined.
Performing Forces: voices: alto, tenor, and bass; orchestra: 3 violas d

agama or 3 trombones, and continuo.
Editions: An filius non est Dei is published in a critical edition, Die-

trich Buxtehude: Werke, edited by Wilibald Gurlitt, volume 7, page
49-55.

versitetsbiblioteket (50:3).
Notes: This work was composed for Passiontide.
Performance Issues: This work can be performed with a solo trio or

an ATB choir with solo trio. In the latter configuration there are
echo features of alternating forte and piano that would effectively
be passed between soloists and tutti. Much of the vocal material is
homophonic or in simple close imitation. The tutti vocal material is
doubled by the instruments in two movements. In another there is

only continuo, but this appears to be intended for solo voices. In
the final movement there is alternation between the gambas, trom-
bones, and the voices. In all cases the voices are supported by the
continuo. If trombones are used, they should be alto, tenor, and
bass. The upper part has a top pitch of d’’. Soloists: alto - range:
a#-c#’’, tessitura: b-b’, this is a sustained and simple part; tenor -
range: a-f#’, tessitura: b-f#’, this is a sustained and lyric part; bass -
range: E-b, tessitura: B-b, this is a lyric solo with some broad
leaps; Choir: easy; Orchestra: medium easy.
Selected Discography: Michael Chance, Charles Daniels, Peter Har-

vey; Purcell Quartet; recorded September 2004, St. Jude on the
Hill, Hempstead. Chandos Chaconne Series: 723.
Blume, Friedrich: “Das Kantatenwerk Dietrich Buxtehudes,” in Jahr-

buch des Musikbibliothek Peters für 1940, volume 48 (1941), 21,
31, 34.
den evangeliske kirkekantates udviklingshistorie, 41, 181, 243,
254, 312. Copenhagen: Ejnar Munksgaard, 1958.
tismus, 25, 58, 134, 202. Kassel: Bärenreiter, 1965.
148, 177, 182, 368. New York: Schirmer Books, 1987.
Aperite mihi portas justitiae, BuxWV 7 (1662-1668)

Text: The text is Psalm 117:19-20 and 24-26.
Performing Forces: voices: ATB choir; orchestra: 2 violins, and con-

tinuo.
14 The Works
Editions: Aperite mihi portas justitiae is published in a critical edition,

Dietrich Buxtehude: Werke, edited by Wilibald Gurlitt, volume 7,
page 62-68. It also appears in an edition with the Latin text and a
singing English translation edited by Buzin from Hinrichsen Press.

Notes: This work is dedicated to the Swedish commissioner in Hel-

singør, Christoph Schneider, and was therefore probably composed
between 1662 and 1668.5
Performance Issues: The vocal parts can be performed by a solo trio

or a three-part choir. The choral material is harmonically supported
by the accompaniment, but remains melodically independent
throughout. The alto part has a top range of bb’, making this appro-
priate for tenor, baritone, and bass as well. The instrumental parts
are idiomatic and well within the abilities of amateur players.
Choir: medium easy; Orchestra: easy.
Selected Discography: Andreas Karasiak, Klaus Mertens; conducted

by Ton Koopman. Recorded in 2006 or 2007 in Waalse Church,
Amsterdam. Challenge Classics: CC 72246.

140, 158, 312, 334-337, 357, 394. New York: Schirmer Books,
1987.
5
Snyder, Kerala J.: Dieterich Buxtehude: Organist in Lübeck, 334-335. New
York: Schirmer Books, 1987.
Bedenke, Mensch, das Ende, BuxWV 9

Text: The text is by Salomon Liscow from Frommer Christen Golden-

er Hertzens-Schatz, which was published in Braunschweig in 1686.
Performing Forces: voices: 2 sopranos, bass; orchestra: 3 violins,

violone (double bass), and continuo.
Editions: Bedenke, Mensch, das Ende is published in a critical edition,

page 14.

versitetsbiblioteket (85:1-18), and the Bibliothek der Hansestadt of
the Deutsche Staatsbibliothek, Berlin (A373).
Notes: This work is organized as follows:
Sinfonia instruments only

Verse I voices and continuo
Ritornello instruments only
Verse 2-5 voices and continuo
Verse 6 and Amen tutti
Performance Issues: The vocal writing is three-part throughout treated

homophonically, with the exception of close imitation in the
“Amen.” There are melismatic figurations in all vocal parts. The
vocal parts are harmonically supported by the continuo, but there is
minimal doubling of the sopranos parts even in the concerted
verse. The ranges and tessituri of the vocal parts are conservative
and suitable for a solo trio or choir. All vocal and instrumental
parts are within the abilities of intermediate amateurs. Choir:
easy; Orchestra: easy.
Selected Discography: Miriam Meyer, Bettina Pahn, Klaus Mertens;

conducted by Ton Koopman. Recorded in Utrecht. Challenge Clas-
sics: 72253.
16 The Works

zu seiner Überlieferüng und Verwendung, 148, 185, 191, 255. Free
University of Berlin: dissertation, 1956. Sørenson, Søren: Diderich
Buxtehudes vokale kirkenmusik: Studier til den evangeliske
kirkekantates udviklingshistorie, 29, 63, 70, 271, 306, 310, 313.
Copenhagen: Ejnar Munksgaard, 1958.
(1966), 115, 177, 180.
Snyder, Kerala J.: Dieterich Buxtehude: Organist in Lübeck, 177, 182-
183, 323, 334. New York: Schirmer Books, 1987.
Befiel dem Engel, dass er komm, BuxWV 10

Text: The text is the sixth and seventh strophes of a poem by Erasmus
Alberus, which was published in 1556.
Performing Forces: voices: SATB choir; orchestra: 2 violins, violone

(double bass or cello), and continuo.
Editions: Befiel dem Engel, dass er komm is published in a critical

edition, Dietrich Buxtehude: Werke, edited by Wilibald Gurlitt,
volume 7, page 73. It is also available for purchase in editions
from: Kalmus and Carus.

Notes: This work is a concertato setting of the hymn tune, Christ, der
du bist der helle Tag, a setting of the sacred poem of Erasmus Al-
berus by Cyriacus Spangenberg, which first appeared in print in
1568. The subtitle of the score suggests two violins on a part,
which is supported by the manuscript performance materials.
Performance Issues: The vocal writing is four-part throughout with

rapid melismatic figures in all voice parts. Although the work is
suitable for a solo quartet, it appears to be conceived as a choral
composition. Much of the vocal material is accompanied by con-
tinuo only with frequent interpolations from the strings. The vio-
lone part generally doubles the continuo bass line. It includes
written low C and D, one time each (mm. 67 and 97). The Gurlitt
edition includes a good realization of the continuo part, which
would ideally be played on organ. This work is accessible to in-
termediate vocal and instrumental ensembles. Choir: medium
easy; Orchestra: medium easy.
Selected Discography: Bettina Pahn, Johannette Zomer, Bogna Bar-

tosz, Patrick van Goethem, Daniel Taylor, Jorg Durmuller, Andre-
as Karasiak, Donald Bentvelsen, Klaus Mertens; Amsterdam
Baroque Orchestra and Choir; conducted by Ton Koopman. Chal-
lenge Classics: CC 72244.
Johannes Kunzel; Greifswalder Cathedral Choir; conducted by Hans
Pflugbeil. Recorded in April 1959 at the Teldec Studio in Berlin.
Cantate: 57601.
Wilfried Jochens, Stephan Schreckenberger; Cantus Cölln; conducted
by Konrad Junghänel. Recorded April 1997. Harmonia Mundi:
501629.
Lautten Compagney Capella Angelica; conducted by Wolfgang
Katschner. Carus: 83.193.
Collegium Ad Mosam; conducted by Huub Ehlen. Recorded October
2006 in the Decanal Chapel of the Abbey of St. Amelberga of Sus-
teren. Solal: 4.

University of Berlin: dissertation, 1956.
18 The Works

149, 167, 169, 171. Copenhagen: Ejnar Munksgaard, 1958.
(1966), 177, 179, 184.
zeichnis, 10. Wiesbaden: Breitkopf und Härtel, 1974; second edi-
tion: 1985.
Snyder, Kerala J.: Dieterich Buxtehude: Organist in Lübeck, 189-190,
Canite Jesu nostro citharae, cymbala, organa,

BuxWV 11 (c. 1683)
Text: The author of this text has not been determined.

Editions: Canite Jesu nostro is published in a critical edition, Dietrich

Buxtehude: Werke, edited by Wilibald Gurlitt, volume 5, page 21.

Notes: The copyist’s materials above are dated 11 May 1683.
Performance Issues: The majority of the vocal writing is in consistent

trio textures interrupted by one brief soprano solo. The vocal mate-
rial alternates between imitative and homophonic writing, and the
instrumental support of the vocal writing alternates between con-
tinuo and full ensemble. This is a delightful triple-time composi-
tion with a number of effective hemiolas. The vocal writing is ap-

propriate for trio or choir and is well within the abilities of most
amateur groups. Soloist: soprano - range: c’-g’’, tessitura: f’-f’’,
this is a brief secco recitative with florid melismas; Choir: medi-
um easy; Orchestra: easy.
Selected Discography: Margaret Pearce, Helen Gagliano, Michael

Leighton Shugg; Arcadia; conducted by Jacqueline Ogeil. Record-
ed in the Chapel of the Carmelite Monastery in Kew, Melbourne,
Australia. Tall Poppies: TP 157.
Johannette Zomer, Bettina Pahn, Klaus Mertens; conducted by Ton
Koopman. Recorded in 2006 or 2007 in Waalse Church, Amster-
dam. Challenge Classics: CC 72250.

zu seiner Überlieferüng und Verwendung, 200. Free University of
Berlin: dissertation, 1956.
den evangeliske kirkekantates udviklingshistorie, 29, 63, 306. Co-
penhagen: Ejnar Munksgaard, 1958.
331, 333. New York: Schirmer Books, 1987.
Das neugeborne Kindelein, BuxWV 13

Text: The text is by Cyriacus Schneegaß from Sieben und Zwentzigh

Neue Geistliche Gesenge, which was published in 1588.

(cello or double bass) or bassoon, and continuo.

20 The Works
Editions: Das neugeborne Kindelein is published in a critical edition,

page 121. Other editions have been published by Henle (Graulich
and Horn), Concordia (Oberdoerffer), and Lawson-Gould (Ehret).

Notes: This work is composed for the services celebrating the New
Year. The subtitle of the score suggests two violins on a part,
which is supported by the manuscript performance materials.
Performance Issues: The vocal writing is almost entirely in four-part

homophonic textures. There are occasional passages in close imita-
tion, and no solos. The work appears to have been intended for
choral use. The choral material is supported by the continuo
throughout, and many passages are fully concerted. It is a bright
and agile composition that is not particularly difficult, but that re-
quires a nimbleness and clarity to be of full effect. There are brief
florid figurations in all parts, and a preponderance of quick dotted
figures. The work is sectionalized with a number of tempo and
metric changes. The Gurlitt edition includes a good realization of
the continuo part, which is ideally for organ. Choir: medium easy;
Orchestra: medium easy.
Selected Discography: Emma Kirkby, Michael Chance, Charles Dan-

iels, Peter Harvey; Purcell Quartet; recorded September 2004, St.
Jude on the Hill, Hempstead. Chandos Chaconne Series: 723.
Vocalensemble Rastatt, Les Favorites; conducted by Holger Speck.
Carus: 83.156.
Stuttgart Motet Choir; conducted by Gunter Graulich. Carus: 83.134.
Siri Karoline Thornhill, Klaus Mertens, Jorg Durmuller; conducted by
Ton Koopman. Recorded in 2006 or 2007 in Waalse Church, Am-
sterdam. Challenge Classics: CC 72250.
The Dufay Collective; conducted Ebbe Munk. Naxos: 8570494.

zu seiner Überlieferüng und Verwendung, 15, 22, 29, 99, 185, 190,
222, 243. Free University of Berlin: dissertation, 1956.
(1966), 177, 179, 182.
182, 207, 366, 383. New York: Schirmer Books, 1987.
Dein edles Herz, der Liebe Thron, BuxWV 14 (c.

1685)
Text: The text is by Johann Rist (1607-1667) from Der zu seinem al-
lerheiligsten Leiden und Sterben hingeführter und an das Kreuz
gehefteter Christus Jesus, which was published in Hamburg in
1648.
Performing Forces: voices: soprano, alto, tenor, and bass soloists;

SATB choir; orchestra: 2 violins, 2 violas, violone (double bass),
and continuo.
Editions: Dein edles Herz, der Liebe Thron was edited by Dietrich
Kilian as part of Veröffentlichungen des Instituts für Musik-
forschung Berlin, series I, volume 37, Kantaten von Dietrich Bux-
tehude (EM 960). Berlin: Merseburg, 1959. Bruno Grusnick
produced an edition for Bärenreiter (3364). It is also published in
22 The Works
the critical edition Dietrich Buxtehude: The Collected Works, edit-

ed by Kerala J. Snyder, volume 9, page 35, published by Broude.
Autograph: Manuscript materials, in the hand of Gustav Düben, may

be found in the Uppsala Universitetsbiblioteket (82:35).
Notes: This work is composed for Passiontide. Kerala Snyder, believes

that the vocal ensemble passages are intended for solo singers.6
Performance Issues: The choral writing is primarily homophonic with

a few imitative passages. Versus One is for choir with continuo
alone. There are instrumental ritornelli between movements, which
are subsequent vocal soli. The work closes with a fully concerted
chorus. Soloist: soprano - range: c’-g’’, tessitura: eb’-c’’, this is a
lyric role that appears only in duet with the alto; alto - range: b-bb’,
tessitura: c’-f’, this is an easy solo and duet with continuo accom-
paniment only; tenor - range: eb-f’, tessitura: g-f’, this is a lyric so-
lo with continuo accompaniment and some melismatic writing;
bass - range: Eb-bb, tessitura: G-g, this is a declamatory solo with
some coloratura; Choir: medium easy; Orchestra: medium easy.
Selected Discography: Lautten Compagney Capella Angelica; con-

ducted by Wolfgang Katschner. Carus: 83.193.

zu seiner Überlieferüng und Verwendung, 13, 241. Free University
Grusnick, Bruno: “Zur Chronologie von Dietrich Buxtehudes
Vokalwerken,” Musikforschung, volume 10 (1957), 79, 84.
den evangeliske kirkekantates udviklingshistorie, 42, 190, 213.
tismus, 30, 33, 48, 57, 94. Kassel: Bärenreiter, 1965.
6

__________: Dieterich Buxtehude: Organist in Lübeck, 142, 144, 148,
177, 182, 186, 334, 365. New York: Schirmer Books, 1987.
Der Herr ist mit mir, BuxWV 15

Text: The text is Psalm 118:6-7.

(cello or double bass), and continuo.
Editions: Der Herr ist mit mir is published in a critical edition, Die-
trich Buxtehude: Werke, edited by Dietrich Killian, volume 8, page
85.

versitetsbiblioteket (85:1-18).
Performance Issues: The vocal writing is in four-part textures

throughout and appears to have been conceived as a choral work.
There are rapid melismatic passages for all voices. The majority of
the vocal writing is homophonic, but there are some elaborate imi-
tative passages. The vocal parts are harmonically supported by the
continuo throughout and by the whole ensemble intermittently.
There are a number of tempo and metric changes. There are a few
particularly florid passages for one or two parts that might be best
assigned to a soloist depending upon the speed with which these
melismas can be made clear with a given ensemble. The string
writing is idiomatic and less challenging than the vocal counter-
parts. Choir: medium difficult; Orchestra: medium easy.
Selected Discography: The Dufay Collective; conducted Ebbe Munk.

Naxos: 8570494.
24 The Works

teren. Solal: 4.

tismus, 58, 186. Kassel: Bärenreiter, 1965.
Domine Salvum Fac Regem, BuxWV 18 (c. 1687)

Text: The Latin text is Psalm 20:10 and the Doxology.

violas, cello, and continuo.
Editions: Domine Salvum Fac Regem is published in the critical edi-

tion Fire latinske Kantater, edited by Søren Sørenson. Copenha-
gen: Samfundet til Udgivelse af dansk Musik, 1957.

Performance Issues: This brief Latin cantata is primarily homophonic

with some voices adding subdivided melismas and occasional pas-
sages in close imitation. The five-voice texture is persistent, and
the vocal parts are always harmonically supported by the accom-
paniment. There are a number of metrical and tempo changes. All

of the choral parts are vocally conservative as is true of the instru-
mental parts, which are idiomatic and well within the grasp of in-
termediate-level players. Choir: easy; Orchestra: easy.

Theatre of Voices; conducted by Paul Hillier. Recorded February 2010
in St. Maria Church, Helsingør. Da Capo: 6220534.

Du Frieden-Fürst, Herr Jesu Christ, BuxWV 21

(1675-1676)
Text: The text is the first three strophes of a poem by Jacob Ebert
(1601).
Performing Forces: voices: SAB choir;7 orchestra: bassoon, 2 violins

2 violas (a third viola or cello may be substituted for the bassoon),,
and continuo.
Editions: BuxWV 21 is published in a critical edition, Dietrich Buxte-

hude: Werke, edited by Wilibald Gurlitt, volume 5, page 35. There
is another edition prepared by Bruno Grusnick that is published by
Bärenreiter (1737).

7
In the score, the vocal parts are labeled Canto 1 and 2 and Basso. Canto 2 is
consistent with a typical alto choral range.
26 The Works
Notes: Buxtehude also set this text as BuxWV 20. This cantata is based
upon the chorale tune of the same name composed by Barthol-
omäus Gesius (c. 1555-1613).
Performance Issues: The first verse of this choral-cantata is sung by

Canto I. It is a simple statement of the hymn tune, and is appropri-
ate for a choral section to sing in unison. The individual instrumen-
tal parts are idiomatic and rhythmically easy, but the counterpoint
between the instrumental parts is more complex than many of Bux-
tehude’s other cantatas. The vocal parts are straightforward and
generally homophonic. The “Amen” is the most musically chal-
lenging passage for the singers whose parts are harmonically sup-
ported by the continuo throughout. In concerted passages there are
some variations of rhythm between the strings and the voices that
may require attention in rehearsal. Choir: medium easy; Orches-
tra: medium easy.


117, 153, 167, 169, 173. Copenhagen: Ejnar Munksgaard, 1958.
(1966), 63, 163, 179.
194, 335, 339, 352-354, 357-358. New York: Schirmer Books,
1987.
Du Lebensfurst Herr Jesu Christ, BuxWV 22

Text: The text is by Johann Rist from Himmlische Lieder, which was
published in Lüneburg in 1642.
Performing Forces: voices: soprano, alto, tenor, and bass soloists, and
SATB choir; orchestra: 2 violins, 2 violas, violone (double bass),
and continuo.
Editions: Du Lebensfurst Herr Jesu Christ is published in a critical

edition edited by Bruno Grusnick. Kassel: Bärenreiter; and Die-
trich Buxtehude: The Collected Works, edited by Kerala J. Snyder,
volume 9, page 61, published by Broude. It is also available for
purchase in editions from: Kalmus (Grusnick edition).

versitetsbiblioteket (50:11 and 83:41-45).
Notes: This work is written for use on Ascension Day.
Performance Issues: This cantata is an ideal work for an inexperi-

enced choir with capable soloists, particularly the bass soloists.
The other soli are a lyric and simple soprano-alto duet, and two al-
to-tenor-bass trios. The choral writing is practical and well sup-
ported by the accompaniment. In the vocal ensemble numbers,
passages are accompanied by the full instrumental component or
continuo alone. It would be wise to alternate a solo quartet and the
full choir with the changes of accompaniment. The string writing is
accessible to amateur players. Soloists: soprano - range: c#’-e’’,
tessitura: e’-c#’’, this is a lyric solo paired with the alto in duet; al-
to - range: a-c#’’, tessitura: c#’-a’, this is a lyric role with some
florid passagework; tenor - range: g#-g’, tessitura: a-f#’, this is a
lyric solo with some melismatic writing; bass - range: E-e’, tessitu-
ra: A-a, this is a dramatic role with florid coloratura writing;
Choir: medium easy; Orchestra: medium easy.

28 The Works
Sørenson, Søren: “Instrumentalforspillen i Buxtehudes kantater,”

Dansk Aaborg for Musikforskning (1961), 14, 18, 23.
187, 303, 315, 333, 365-366, 369, 394. New York: Schirmer
Books, 1987.
Ecce nunc Benedicite Domino, BuxWV 23 (1668)

Performing Forces: voices: ATTB choir; orchestra: 2 violins, viola,8

and continuo.
Editions: Ecce nunc Benedicite Domino is published in a critical edi-

tion, Dietrich Buxtehude: Werke, edited by Dietrich Killian, vol-
ume 8, page 105; and Fire latinske Kantater, edited by Søren
Sørenson. Copenhagen: Samfundet til Udgivelse af dansk Musik,
1957. It is also available from Edition Merseburger, edited by Die-
trich Kilian, which is available for purchase as a reprint from Kal-
mus.

versitetsbiblioteket (6:6 and 83:24).
Performance Issues: This work is to accommodate solo singers or a

choral ensemble. There are exposed passages for each vocal line
8
In the works list in Dieterich Buxtehude: Organist in Lübeck, page 404, Kera-
la Snyder does not list viola. A minimal part appears in the score of the Gurlitt
edition.
that could be effectively treated as solos within a larger choral con-

figuration. The soloistic passages have some conservative melis-
matic writing. The four-part textures are almost entirely syllabic
and employ homophonic writing and close imitation. Much of the
string writing is contrapuntally independent from the voices, and
the principal support of the voices comes from the continuo. The
use of solo strings is appropriate. Choir: medium easy; Orches-
tra: medium easy.

6220534.

__________: “Instrumentalforspillen i Buxtehudes kantater,” Dansk
Aaborg for Musikforskning (1961), 14, 20, 35.
(1964), 56, 69; and volume 48 (1966), 120, 134.
206, 335-337, 357, 366, 383. New York: Schirmer Books, 1987.
Eins bitte ich vom Herrn, BuxWV 24

Text: The text is Psalm 27:4.
Performing Forces: voices: 2 soprano and alto soloists; SSATB choir;

orchestra: 2 flutes, 2 violins, 2 violas, violone (double bass) (or
bassoon), and continuo.
30 The Works
Editions: Eins bitte ich vom Herrn is published in the critical editions,
Abendmusiken und Kirchenkantaten, volume 14, page 15 of
Denkmäler deutscher Tonkunst, edited by Max Seiffert. Leipzig:
Breitkopf und Härtel, 1903; revised in 1957 by Hans J. Moser. An-
other critical edition has been produced by Søren Sørenson with
German and Danish text underlays. It is published by Wilhelm
Hansen.

Notes: The tune, which appears in the Nürnbergischen Gesangbuch of

1676 and 1690, is reputed to be by Christian Weselovius.
Performance Issues: The choral writing is principally homophonic

with some close imitation. The vocal parts are harmonically well
supported by the instruments, and the choral passages that are only
accompanied by continuo are contrapuntally the most simple. The
opening of the first chorus is musically the most challenging for
the singers. The instrumental writing is practical and conservative.
Some materials suggest that violins or flutes may be employed, but
the Sinfonia has lines for both although the music is the same. The
use of ripieno strings is not always clear and should be determined
and marked into the parts. The score indicates “for 10 to 15, 5
voices, 5 instruments, and 5 in ripieni.” Soloists: soprano I -
range: e’-g’’, tessitura: f’-f’’, this is a lyric solo with some florid
passages; soprano II - range: e’-f’’, tessitura: g’-e’’, this is a lyric
solo with some ornamental passagework; alto - range: a-b’, tessitu-
ra: b-g’, this is a simple declamatory solo; Choir: medium easy;
Orchestra: easy.

Miriam Meyer, Bettina Pahn; conducted by Ton Koopman. Recorded in
2006 or 2007 in Waalse Church, Amsterdam. Challenge Classics:
CC 72246.

(1966), 179, 183.
Erhalt uns, Herr, bei deinem Wort, BuxWV 27

Text: The text is by Martin Luther (1542).

(double bass or cello) or bombard (bassoon), and continuo.
Editions: Erhalt uns, Herr, bei deinem Wort is published in a critical

edition, Dietrich Buxtehude: Werke, edited by Dietrich Kilian, vol-
ume 8, page 47; and an edition prepared by Bruno Grusnick. Kas-
sel: Bärenreiter, 1956. It is also available for purchase in editions
from: Kalmus (Grusnick edition) and Carus.

32 The Works
Notes: This cantata incorporates the anonymous hymn tune Erhalt uns,
Herr, bei deinem Wort (1543). This tune and text also serve as the
foundation for J. S. Bach’s cantata of the same name, BWV 126.
Performance Issues: This work is an elaborate and effective presenta-

tion of a four-part setting of a Lutheran hymn. The hymn is pre-
sented with instrumental ritornelli between each vocal phrase.
There is an imitative “Amen,” but otherwise the vocal writing is
presented as a chorale. The instrumental parts are idiomatic and
accessible to most amateur players. Choir: easy; Orchestra: easy.

Patrick van Goethem, Andreas Karasiak, Johannette Zomer, Klaus
Mertens; conducted by Ton Koopman. Recorded in 2006 or 2007
in Waalse Church, Amsterdam. Challenge Classics: CC 72250.

Fürwahr, er trug unserer Krankheit, BuxWV

31 (c. 1680-1690)
Text: The text is Isaiah 53:4-5.
Performing Forces: voices: 2 sopranos, alto, tenor, and bass; SSATB

choir; orchestra: 2 violins, 2 violas da gamba,9 violone (double
bass) or bassoon, and continuo.
Editions: Fürwahr, er trug unserer Krankheit is published in a facsimi-

le edition with commentary by Bruno Grusnick. Kassel: Bären-
reiter, 1968. It is also available from Hänssler-Editions, Stuttgart,
edited by Graulich.
Autograph: The autograph score may be found in the Uppsala Univer-

sitetsbiblioteket (6:9).
Notes: The manuscript includes the word “con le capella” indicating

Buxtehude’s expectation for choral participation. He indicates their
entrance with “tutti.”
Performance Issues: The choral writing is primarily in close imitation

with some homophonic passages. The vocal parts are directly dou-
bled by the instruments much of the time. There are a number of
metric and tempo changes all of which are quite natural. The string
writing is idiomatic and well within the abilities of most amateur
players. Soloists: soprano I - range: e’-g’’, tessitura: g’-g’’, this is
a lyric solo appropriate for a chorister; soprano II - range: c’-g’’,
tessitura: g’-eb’’, this is a simple declamatory solo appropriate for a
chorister; alto - range: g-ab’, tessitura: bb-f’, this is a simple de-
clamatory solo appropriate for a chorister; tenor - range: g-f’’, tes-
situra: g-f’’, this is a simple declamatory solo; bass - range: G-bb,
tessitura: Bb-bb, this is a declamatory solo appropriate for a choris-
ter; Choir: medium easy; Orchestra: easy.

Barbara Ulrich, Heidi Reiss, Friedrich Melzer, Oly Pfaff, Bruce Abel;
Stuttgart Motet Choir; conducted by Gunter Graulich. Carus:
83.134.
9
Both of these parts are navigable on viola.
34 The Works
Gerd Turk, Kerstin Bruns, Stephan Schreckenberger; Cantus Cölln;

conducted by Konrad Junghänel. Recorded April 1997. Harmonia
Mundi: 501629.
teren. Solal: 4.

den evangeliske kirkekantates udviklingshistorie, 30, 66, 70, 238.
Gott fähret auf mit Jauchzen, BuxWV 33

Text: The text is Psalm 47:6-7. Johann Rist is the author of poem in the
aria. It is from Himmlische Lieder published in Lüneburg in 1642.
Performing Forces: voices: 2 sopranos and bass soloist; SSB choir;

orchestra: 2 trombettas, 2 cornetti, 2 trombones, 2 violins, 2 vio-
las, and continuo.
Editions: Gott fähret auf mit Jauchzen is published in a critical edition,

page 44.

Notes: This work incorporates the anonymous hymn tune, Nun freut
euch lieben Christen g’mein (1535). Buxtehude also used this tune
in BuxWV 32, 210, and 211. J. S. Bach used this same hymn tune
in BWV 70 and 248.
Performance Issues: The strings and brass play in alternate move-

ments, but never concurrently. The work is scored so that it could
be performed by a solo trio throughout. The three voices appear in
ensemble only in the final two sections, which could be done as
choruses; however, even here the use of a solo trio for the penulti-
mate movement, followed by full choir in the finale would be very
effective. Aside from the ensemble sections, a single soprano solo-
ist could be used. Each pair of like instruments is treated as a hom-
ophonic pair in the orchestration, which is rich and very functional.
The trombetta I part has a fairly high tessitura, but there are ample
rests between most phrases to mitigate fatigue. The choral writing
includes some melismatic writing. The choral material is harmoni-
cally supported by the continuo and is generally presented in alter-
nation with the brass, so balance will not be a challenge. Soloists:
soprano I - range: e’-g’’, tessitura: g’-g’’, this is a declamatory solo
accompanied by continuo alone; soprano II - range: e’-g’’, tessitu-
ra: g’-g’’, this is a declamatory solo accompanied by continuo
alone; bass - range: D-c’, tessitura: G-c’, this is the featured solo
role, it is lyrical with some intricate melismas, pitches below G are
few and not sustained; Choir: easy; Orchestra: medium easy.

conducted by Ton Koopman. Recorded in 2006 or 2007 in Waalse
Church, Amsterdam. Challenge Classics: CC 72250.

36 The Works

Gott hilf mir, BuxWV 34

Text: The text includes Psalm 69:2-3, Isaiah 43:1-3, Psalm 130:7-8, the
chorale “Wer hofft in Gott” by Lazarus Spengler from 1524. The
authors of the two additional texts, “Ach ja mein Gott” and the
fifth strophe of “Durch Adams Fall,” are not known.
Performing Forces: voices: 2 sopranos, and 2 bass soloists; SSATBB

choir; orchestra: 2 violins, 2 violas, violone (double bass), and
continuo. Other editions include Henle (36 006), edited by Grau-
lich; Durand edited by Raugel; and Wilhelm Hansen, edited by
Sørenson.
Editions: Gott hilf mir is published in the critical editions, Abendmus-

iken und Kirchenkantaten, volume 14, page 57, of Denkmäler
deutscher Tonkunst, edited by Max Seiffert. Leipzig: Breitkopf und
Härtel, 1903; revised in 1957 by Hans J. Moser.

Notes: This cantata incorporates the hymn tune, Durch Adams Fall ist
ganz verderbt, which Buxtehude uses as the basis of his organ
work of that name, BuxWV 183. The tune had been a secular song
about the battle of Pavia and was soon adapted to sacred use, ap-
pearing in Klug’s Geistliches Lieder in 1529. J. S. Bach used this
tune in BWV 18 and 109.
Performance Issues: The choral writing is principally homophonic

with some internal contrapuntal sections. There is a five-part vocal
passage that includes some elaborate figures that suggest they are
intended for the solo quintet. Such an approach would be logical if
a choir is to be used, as the textures and writing are so different in
that one section. The instrumental writing is conservative and ac-
cessible to most players. Soloists: soprano I - range: g’-g’’, tessitu-

ra: g’-f’’, this is a lyric solo with some coloratura; soprano II -
range: e’-f’’, tessitura: e’-c’’, this is a lyric solo with some colora-
tura; bass I - range: D-eb’, tessitura: G-d’, this is a vocally chal-
lenging solo requiring clarity throughout the range; bass II - range:
F-db’, tessitura: Bb-c’, this is a straightforward declamatory solo;
Selected Discography: Cologne Musica Fiata; conducted by Roland

Wilson. Recorded November 2006 in St. Nicholas and St. Ulrich’s
Church in Mögeldorf, Germany. CPO: 777318.
Gerd Turk, Hedwig Westhoff-Duppmann, Stephan Schreckenberger;
Cantus Cölln; conducted by Konrad Junghänel. Recorded April
1997. Harmonia Mundi: 501629.
Barbara Ulrich, Heidi Reiss, Bruce Abel; Stuttgart Motet Choir; con-
ducted by Gunter Graulich. Carus: 83.134.
teren. Solal: 4.
Stahl, Wilhelm: Dietrich Buxtehude, second edition, 45, 47, 49, 51.
Kassel: Bärenreiter, 1952.
zu seiner Überlieferüng und Verwendung, 190, 222. Free Universi-
ty of Berlin: dissertation, 1956.
143, 201-202, 364, 383. New York: Schirmer Books, 1987.
38 The Works
Herren vår Gud / Der Herr erhöre dich,

BuxWV 40 (1687)
Text: The text is taken from Then Swenska Psalm Boken, which was
published in Stockholm in 1697.

Editions: Herren vår Gud is published in a critical edition, Dietrich

Buxtehude: Werke, edited by Dietrich Killian, volume 8, page 64.
There is another edition from Edition Merseburger (955), edited by
Dietrich Kilian.

Notes: Buxtehude incorporates the hymn tune, Ach Herr, wie lang
willst du jetzt.

sented with florid instrumental ritornelli between each vocal
phrase. The vocal writing is all presented as a chorale. The instru-
mental parts are idiomatic and accessible to most amateur players.
Choir: easy; Orchestra: medium easy.

6220534.

zu seiner Überlieferüng und Verwendung, 22, 149, 199, 202, 254.
Free University of Berlin: dissertation, 1956.

Vokalwerken,” Musikforschung, volume 10 (1957), 77, 80, 84.
Aaborg for Musikforskning (1961), 14, 22, 24, 34.
Herzlich lieb, hab ich dich o Herr, BuxWV 41

Text: The text is by Martin Schalling (c. 1570).
Performing Forces: voices: SSATB choir; orchestra: strings (2 vio-

lins, 2 violas, and double bass or bassoon) and continuo.
Editions: Herzlich lieb, hab ich dich o Herr is published in a critical

edition edited by Bruno Grusnick. Kassel: Bärenreiter, which is
available for purchase as a reprint from Kalmus.
Autograph: Manuscript materials may be found in the Bibliothek der

Hansestadt of the Deutsche Staatsbibliothek, Berlin (A373).
Notes: This verse cantata uses the anonymous hymn tune, Herzlich
lieb, hab ich dich o Herr, which is attributed to Bernard Schmid
and appears in Orgeltablatur-Buch, Stassburg (1577). The tune re-
ceives a different treatment in each verse, demonstrating Buxtehu-
de’s inventive talents to great effect. J. S. Bach used this tune in
BWV 19, 149, 174, and 245.
40 The Works
Performance Issues: The choral writing is varied including homo-

phonic passages and extended contrapuntal writing with some or-
namental melismas, which is always harmonically supported by
the continuo, but not always accompanied colla parte by the
strings. Some performances utilize a solo quintet throughout the
work, but a good choir can navigate the entire composition suc-
cessfully. Were one to desire a contrast of vocal textures, some
verses could be assigned to a solo quintet with others reserved for
full choir. This would open the piece to less developed ensembles
with a group of stronger choristers handling the more technically
challenging passages. The continuo group has the lion’s share of
the instrumental writing. The string parts are idiomatic and quite
easy. The trumpets only appear in verse 3, mm. 78-97. This pas-
sage is included in the violin parts, and can be navigated without
trumpets, but their presence is desirable. The trumpet I part is high
and exposed; aside from this part the orchestral component is not
challenging. Choir: medium difficult; Orchestra: easy.
Selected Discography: Gothenburg Baroque Arts Ensemble; conduct-

ed by Magnus Kjellson. Intim Musik.
Kerstin Bruns, Wilfried Jochens, Stephan Schreckenberger; Cantus
Cölln; conducted by Konrad Junghänel. Recorded April 1997.
Harmonia Mundi: 501629.
teren. Solal: 4.
Miriam Meyer, Bettina Pahn, Klaus Mertens, Jorg Durmuller; conduct-
ed by Ton Koopman. Recorded in 2006 or 2007 in Waalse Church,

zu seiner Überlieferüng und Verwendung, 22, 48, 51, 53, 107, 143.
394, 396.

Studie über die Tablatur Mus. A 373; 17, 20, 23, 26, 32, 54, 77, 79.
Lübeck: Max Schmidt-Römhild, 1971.
__________: Thematisch-systematisches Verzeichnis der musicali-
189, 193-195, 201, 205, 323-324, 338-339, 364, 376. New York:
Ich habe Lust, abzuscheiden, BuxWV 46 and 47

Text: The text is Philippians 1:23 and “Spann aus, ach frommer Gott,”
by Michael Walther from Neu-erfundene Geistliche Wasser-
Quelle, published in Franfurt in 1658.

violone (double bass) or bassoon, and continuo.
Editions: Both versions of Ich habe Lust, abzuscheiden are published

in a critical edition, Dietrich Buxtehude: Werke, edited by Wilibald
Gurlitt, volume 5, page 56, and page 62. BuxWV 46 also appears
in an edition by Bruno Grusnick. Kassel: Bärenreiter (894), which
is available Lucks as a reprint.
Autograph: Manuscript materials for BuxWV 46 may be found in the

Uppsala Universitetsbiblioteket (51:4 and 82:42). Additional man-
uscript materials for BuxWV 47 may be found in the Bibliothek
der Hansestadt of the Deutsche Staatsbibliothek, Berlin (A373).
Notes: BuxWV 46 and 47 are two versions of the same work of which
the former is the more elaborate.
Performance Issues: The vocal writing is organized in a way that three

soloists can be used throughout, or they can be integrated with a
42 The Works
choral component. The vocal parts are supported harmonically by

the continuo. The instrumental writing is idiomatic and will work
well with single instruments. Soloists: soprano I - range: g’-g’’
(f#’-g’’ in version 2), tessitura: g’-eb’’, this is a simple lyric solo;
soprano II - range: g’-g’’, tessitura: g’-eb’’, this is a simple lyric so-
lo; bass - range: G-eb’, tessitura: c-c’, this is a lyric solo with some
coloratura writing; Choir: easy; Orchestra: easy.
Selected Discography (BuxWV 47): Miriam Meyer, Bettina Pahn,

Klaus Mertens; conducted by Ton Koopman. Recorded in 2006 or
2007 in Waalse Church, Amsterdam. Challenge Classics: CC
72246.
Emma Kirkby, Suzie LeBlanc, Peter Harvey; Purcell Quartet. Recorded
February 2002 in St. Jude on the Hill, Hempstead, London. Chan-
dos: 691.

zu seiner Überlieferüng und Verwendung, 48, 51, 194. Free Uni-
versity of Berlin: dissertation, 1956.
72, 74, 82, 92, 190, 224. Copenhagen: Ejnar Munksgaard, 1958.
tismus, 30, 34, 52, 57, 143, 196. Kassel: Bärenreiter, 1965.
Studie über die Tablatur Mus. A 373; 20, 22, 25, 59, 77, and 79.
__________: Thematisch-systematisches Verzeichnis der musikali-
323, 333, 339, 341, 343-346, and 359. New York: Schirmer Books,
1987.
Ihr lieben Christen freut euch nun, BuxWV 51

Duration: ca. 11 to 12 minutes
Text: The text is by Erasmus Alber (1546).

Performing Forces: voices: 2 soprano and bass soloists; SSATB

choir; orchestra: 2 trumpets, strings (with 3 violin parts and 2 vio-
la parts), and continuo.
The following winds may be added to or substituted for the strings

above: 3 cornetts10 (or 3 oboes or 3 trumpets), bassoon, 3 trom-
bones, and continuo. Ideally, the full complement of instruments
will be employed.
Editions: Ihr lieben Christen freut euch nun is published in the critical
editions, Abendmusiken und Kirchenkantaten, volume 14, page
104, of Denkmäler deutscher Tonkunst, edited by Max Seiffert.
Leipzig: Breitkopf und Härtel, 1903; revised in 1957 by Hans J.
Moser. Wiesbaden: Breitkopf und Härtel, 1957. It appears in a
subsequent scholarly edition prepared by Bruno and Barbara
Grusnick published in Neuhausen-Stuttgart by Hännsler, 1979. It is
also available for purchase in editions from: Kalmus and Carus.

Notes: This work utilizes the hymn tune Nun laßt uns den Leib begra-
ben, which was composed by George Rhau (1488-1548) and was
first published in 1544. It is the basis of Bach’s chorale prelude for
organ, BWV 1111.
Performance Issues: The choral writing is practical and well support-

ed by the accompaniment. The small ensemble vocal parts are ac-
cessible to choristers, and the work will accommodate a large
choir. The orchestral writing is idiomatic, but technically more
demanding than in most of Buxtehude’s concerted choral works.
The trumpet parts are filled with conspicuous high flourishes, and
the integration of the cornetto parts is desirable. These parts in par-
10
These are labeled “Zinken,” which is the German name for the cornetto. It is
a short, wide-bored instrument often made of wood or ivory that has finger
holes and a cup-shaped mouthpiece. It has a bright, trumpet like quality. Carse,
Adam: Musical Wind Instruments, 44. New York: Da Capo Press, 1965.
44 The Works
ticular require very strong players. This is a sonorously varied

work that exhibits some of the composer’s most brilliant orchestra-
tions. Soloists: soprano I - range: d’-f#’’, tessitura: f#’-e’’, this is a
lyric solo appearing only in duet with the other soprano part; so-
prano II - range: c#’-d’’, tessitura: d’-d’’, this is a lyric solo ap-
pearing only in duet with the other soprano part; alto - range: b-b’,
tessitura: d’-a’, this is a lyric solo appearing only in a trio with bass
and tenor; tenor - range: a-f#’, tessitura: a-f#’, this is a lyric solo
appearing only in a trio with bass and alto; bass - range: F#-c#’,
tessitura: B-b, this is a lyric solo; Choir: medium easy; Orches-
tra: difficult.

Cologne Musica Fiata; conducted by Roland Wilson. Recorded No-
vember 2006 in St. Nicholas and St. Ulrich’s Church in Mögeldorf,
Germany. CPO: 777318.
Carus: 83.156.

143, 185, 190, 222, 236, 241. Free University of Berlin: disserta-
tion, 1956.
394, 397.
Studie über die Tablatur Mus. A 373; 8, 18, 23, 25, 33, 41, and 77.

201, 304, 323-324, 339, 362-363, 374-376, and 383. New York:
In dulci jubilo, BuxWV 52

Text: The text is a traditional Christmas song from the late Middle Ag-
es.
Performing Forces: voices: 2 sopranos and bass; orchestra: 2 violins

and continuo.
Editions: In dulci jubilo is published in a critical edition, Dietrich Bux-

tehude: Werke, edited by Wilibald Gurlitt, volume 5, page 69. It is
also available from Bärenreiter, edited by Grusnick; Hansen, edited
by Hedar; Hännsler, edited by Graulich and Horn; Carus, edited by
Derek McCulloch; and Kalmus.

versitetsbiblioteket (82:43); and the Music Collection of the
Staatsbibliothek zu Berlin Preußischer Kulturbesitz (2680).
Notes: This work incorporates the well-known German carol melody In

dulci jubilo, which fist appears in Codex 1305, and manuscript
from c. 1400.

tion of a four-part setting of a popular Christmas hymn. The hymn
is presented with florid instrumental ritornelli between each vocal
46 The Works

Margaret Pearce, Helen Gagliano, Michael Leighton Shugg; Arcadia;
conducted by Jaqueline Ogeil. Recorded in the Chapel of the Car-
melite Monastery in Kew, Melbourne, Australia. Tall Poppies: TP
157.
Carus: 83.156.

75, 98, 100, 128, 222. Free University of Berlin: dissertation, 1956.
189-190, 316, 333. New York: Schirmer Books, 1987.
Ist es recht, das man dem Kaiser Zinse gebe

oder nicht? BuxWV 54
Text: The text is Gospel of St. Matthew 22:17 and 21 and a poem,
“Meister, ist es recht,” by an unidentified author.

violas, violone (double bass), and continuo.

Editions: Ist es recht is published in a critical edition edited by Bruno

Grusnick. Kassel: Bärenreiter, 1959.

Notes: The score is organized into three movements, which are labeled
for choir in movements I and III and trio in Movement II. The writ-
ing in the middle movement is stylistically consistent with the cho-
ruses and would be entirely appropriate as an ATB choral passage,
or it could be done by a semi-choir or soloists. The parts are vocal-
ly easy and well within the abilities of choristers.
Performance Issues: The choral writing is almost exclusively syllabic

and alternates sections of pure homophony with close imitation be-
tween varying groupings within the choir. The choral material is
vocally and musically conservative. Much of the choral parts are
directly doubled by the instruments with some rhythmic variation.
The string writing is simple and idiomatic. This is a practical work
well within the abilities of most amateur ensembles. Choir: medi-
um easy; Orchestra: easy.
Selected Discography: Miriam Meyer, Siri Karoline Thornhill, Klaus

Mertens, Jorg Durmuller; conducted by Ton Koopman. Recorded
in 2006 or 2007 in Waalse Church, Amsterdam. Challenge Clas-
sics: CC 72250.

tismus, 31, 33, 37, 46, 48, 53, 55, 58, 68, 194. Kassel: Bärenreiter,
1965.
48 The Works

198, 362-364, 383. New York: Schirmer Books, 1987.
Je höher du bist, BuxWV 55

Text: The text is Ecclesiasticus 3:20 and the poem “Liebstes Kind,”
which is by an unknown author.

Editions: Je höher du bist is published in a critical edition, Dietrich


Performance Issues: This work can be effectively performed by a solo

vocal trio, with choir providing all of the ensemble work, or with
choir providing the final versus and soloists singing the other en-
semble passages. The two solo soprano sections are nearly musi-
cally identical, presenting two successive strophes. Buxtehude has
implemented his most conservative vocal writing for this final sec-
tion, which makes this a good choice for a novice choir with a
good trio available. The violone part often doubles the basso con-
tinuo, but the latter has some differing material. Organ is the clear
best choice for the continuo, and in this case, a solo bass instru-
ment need not be added to the part. Substituting a cello for the vio-
lone would be effective as well. The string writing is
contrapuntally independent and would be successful with solo
players. Soloist: soprano I - range: d’-g’’, tessitura: f#’-f#’’, this is
a simple declamatory solo; soprano II - range: d’-g’’, tessitura: f#’-
f#’’, this is a simple declamatory solo; bass - range: F#-d’, tessitu-
ra: d-d’, this is a declamatory solo with some wide leaps that
should be able to project at the bottom of the indicated range;

Selected Discography: Dorothee Wohlgemuth, Siri Karoline Thorn-

hill, Klaus Mertens; conducted by Ton Koopman. Recorded in
Utrecht. Challenge Classics: 72253.

302-303, 333. New York: Schirmer Books, 1987.
Jesu dulcis memoria, BuxWV 57

Text: The text is by Jubilus Bernhardi.
Performing Forces: voices: alto, tenor, and bass; orchestra: 2 violins

and basso continuo.
Editions: Jesu, dulcis memoria is published in a critical edition, Die-

72.

Notes: Buxtehude also set this text for two sopranos using different
melodic material, BuxWV 56. The piece is a very attractive single-
movement chaconne on a three-bar ground bass.
50 The Works
Performance Issues: The vocal material is suitable for a solo trio or

ATB choir. There are rapid melismatic passages for all vocal parts,
and the choral writing combines homophonic writing with close
imitation and free counterpoint. The violin parts are fairly florid
and occasionally invert. Because of the ground bass pattern, the
continuo part does not double the bass vocal line. With the excep-
tion of one pedal D in the bass, all of the ranges are conservative,
and the general tessitura is fairly low. The nature of the form
makes this a work of six independent contrapuntal lines. There are
some cross relations related to some shifting tonicizations that may
prove challenging on initial reading. Choir: medium difficult; Or-
chestra: medium easy.

Klaus Mertens, Jorg Durmuller; conducted by Ton Koopman. Recorded
in Utrecht. Challenge Classics: 72253.

(1966), 174, 178, 183.
Jesu, komm, mein Trost und Lachen, BuxWV

58
Text: The text is by Ernst Christian Homburg from Geistlicher Lieder

erste Theile, which was published in Jena in 1659.
Performing Forces: voices: alto, tenor, and bass; orchestra: 2 violins,

viola, violone (double bass), and continuo.
Editions: Jesu, komm, mein Trost und Lachen is published in a critical

edition, Dietrich Buxtehude: Werke, edited by Wilibald Gurlitt,
volume 7, page 81.

Notes: This work is a set of variation using a strophic bass.
Performance Issues: This work alternates instrumental passages with

secco solo recitatives and tutti vocal passages that are appropriate
for a solo trio or choral ensemble. The choral numbers are homo-
phonic and well reinforced by the accompaniment. Soloist: alto -
range: g-c’’, tessitura: b-b’, this is a declamatory solo with some
intricate rhythmic figures; tenor - range: g-g’, tessitura: b-e’, this is
a declamatory solo with some intricate rhythmic figures; bass -
range: G-d’, tessitura: c-c’, this is a declamatory solo with some
broad melodic leaps; Choir: easy; Orchestra: easy.

Klaus Mertens, Jorg Durmuller; conducted by Ton Koopman. Recorded
in Utrecht. Challenge Classics: 72253.
52 The Works

183-184, 369. New York: Schirmer Books, 1987.
Jesu, meine Freude, BuxWV 60

Text: The text is by Johann Franck (1653).
Performing Forces: voices: 2 sopranos and bass soloists; SSB choir;

orchestra: bassoon, 2 violins, and continuo.
Editions: Jesu, meine Freude is published in a critical edition, Dietrich

It is also available for purchase in editions from Carus, edited by
Jean Lunn; Bärenreiter, edited by Grusnick; Henrichsen, edited by
Groves; Chantry Music Press, edited by Gore with the text, “Jesu
Joy and Treasure”; Foetisch, edited by Margot with the text “Jésus
ma joie”; and Kalmus.

versitetsbiblioteket (85:1-18); and the Bibliothek der Hansestadt of
Notes: This work is an elaboration on the hymn “Jesu, meine Freude,”

by Johann Crüger (1653).
Performance Issues: This work alternates concerted chorale verses

with highly ornamented solo verses cleverly derived from the
hymn tune. The string and bassoon parts include some florid pas-
sagework and could effectively be all solo players. The ensemble
vocal sections are most effectively choral passages given the cho-
ral nature of the vocal writing. Soloists: soprano I - range: d’-g’’,
tessitura: e’-e’’, this is a brief solo with florid melismas; soprano II
- range: d#’-g’’, tessitura: e’-e’’, this is a lyric solo with some flor-
id writing; bass - range: D-d’, tessitura: E-g, this is a declamatory
solo with wide melodic leaps for a true bass; Choir: easy; Orches-
tra: easy.
Selected Discography: Emma Kirkby, Suzie LeBlanc, Peter Harvey;

Purcell Quartet. Recorded February 2002 in St. Jude on the Hill,
Hempstead, London. Chandos: 691.
Harrad Wehrung, Gundula Bernat-Klein, Wilhelm Pommerien; Westfa-
lische Kantorei; conducted by Wilhelm Ehmann. Recorded in June
1967 at the Petrikirche in Herford, Germany. Cantate: 57601.

zu seiner Überlieferüng und Verwendung, 21, 48, 51. Free Univer-
sity of Berlin: dissertation, 1956.
Studie über die Tablatur Mus. A 373; 20, 22, 24, 26, 60, 77, and
79. Lübeck: Max Schmidt-Römhild, 1971.
193-194, 323-324, 334. New York: Schirmer Books, 1987.
54 The Works
Jesu, meiner Freuden Meister, BuxWV 61 (1677)

Text: The text is by Mauritius Rachelius from “Trost-Lied…Bey Bey-

setzung seiner selein Ehe-Liebsten Margarita Rachelin,” which
was included in Geistliche Gedechtnis-Seule…Margarita Rachelin
/ Zum Andencken auffgerichtet and published in Ratzeburg in
1677.
Performing Forces: voices: bass soloists and SAT choir or trio; or-
chestra: strings and continuo.
Editions: Jesu, meiner Freuden Meister is published by Wilhelm Han-

sen in an edition by Søren Sørenson.
Autograph: Print and manuscript materials may be found in the Upp-

sala Universitetsbiblioteket (86:36).
Notes: This work was composed as a memorial for the wife of Mauri-
tius Rachelius (author of the poem), a minister whose son had lived
with Buxtehude at one time, perhaps as a student. It is one of the
few compositions of Buxtehude to be published during his lifetime.
The form is a strophic dialog between the soul (trio) and Christ
(bass soloist). 11
Performance Issues: The choral movement may also be sung by a trio.

It is in chorale form and fully supported by the continuo. The
string writing is very easy and primarily in a chorale style. Soloist:
bass - range: E-b, tessitura: G-g, this is a lilting sustained solo for a
true bass; Choir: very easy; Orchestra: very easy.

Gothenburg Baroque Arts Ensemble; conducted by Magnus Kjellson.
Intim Musik.
11
Sørenson, Søren: “Foreward” to Jesu meines Lebens Leben, 5. Copenhagen:
Wilhelm Hansen, 1977.

Jesu, meines Lebens Leben, BuxWV 62 (1671-

1674)
Text: The text is strophe 1-4 and 8 by Ernst Christian Homburg from
Geistlicher Lieder erste Theile, which was published in Jena in
1659 with a melody for two voices by Wernero Fabricio.
Performing Forces: voices: soprano and tenor soloists; SATB choir

(optional); orchestra: 2 violins (violin I may be doubled by flute),
2 violas, violone (double bass), and continuo.
Editions: Jesu, meines Lebens Leben was edited by Dietrich Kilian as

part of Veröffentlichungen des Instituts für Musikforschung Berlin,
series I, volume 37, Kantaten von Dietrich Buxtehude. Berlin:
Merseburg, 1959. It is also published in the critical edition Dietrich
Buxtehude: The Collected Works, edited by Kerala J. Snyder, vol-
ume 9, page 91, published by Broude.

56 The Works
Notes: The Kerala J. Snyder edition above includes an appendix with

an early version of the work that, among a variety of differences
from the later version, does not include the final choral “Amens.”
The critical commentary of that edition suggests the likelihood of
the earlier version being from the 1670s and the later version from
the 1680s.
Performance Issues: It appears that the composer intended that this

work be for solo quartet; however, alternation of solo and ensem-
ble singing with a nimble choir would be very effective. In this
format there are only two extended passages for solo voice for
which the parameters are given below. The ensemble passages in-
clude some florid passagework for all parts, which are not directly
doubled by the accompaniment. Soloists: soprano - range: c#’-g’’,
tessitura: d’-d’’, this is a lyric solo; tenor - range: g-a’, tessitura: a-
f’, this is a lyric solo; Choir: medium difficult; Orchestra: medi-
um difficult.
Selected Discography: Collegium Ad Mosam; conducted by Huub

Ehlen. Recorded October 2006 in the Decanal Chapel of the Abbey
of St. Amelberga of Susteren. Solal: 4.
Donald Bentvelsen, Johannette Zomer, Jorg Durmuller; conducted by
Ton Koopman. Recorded in 2006 or 2007 in Waalse Church, Am-
sterdam. Challenge Classics: CC 72246.

161, 194, 250. Free University of Berlin: dissertation, 1956.

175, 177, 184, 206, 315, 335, 341-342, 344, 347-349, 365, 374.
New York: Schirmer Books, 1987.
Jesulein, du Tausendschön, BuxWV 63

Text: The author of this text is unknown.

bassoon or violone (double bass), and continuo.
Editions: Jesulein, du Tausendschön is published in a critical edition,

page 89.

Performance Issues: The tutti vocal movements are appropriate for a

choral ensemble or a solo trio. A choir can be used only in the final
“Alleluia” movement even if soloists are feature in the other vocal
ensemble sections. The parts in the movement are simple vocally
and musically. In the vocal ensemble passages there are extended
florid melismas in each part. The alto and tenor solos are secco
recitatives and the choral material has both continuo and concerted
accompaniment. The bass solo is considerably longer than the oth-
ers and has a fully concerted accompaniment. There are a few pas-
sages in which the violins are divided. This can be navigated with
double stops, but the parts have two sets of stems suggesting the
intention of multiple players and a true divisi at these points. Solo-
ists: alto - range: a-bb’, tessitura: c’-g’, this is a melismatic and lyr-
ical solo; tenor - range: g-g’, tessitura: g-g’, this is a declamatory
solo; bass - range: G-d’, tessitura: c-c’, this solo is lyrical with mel-
ismatic writing and is the feature of the cantata; Choir: medium
58 The Works
Selected Discography: Andreas Karasiak, Klaus Mertens; conducted

by Ton Koopman. Recorded in 2006 or 2007 in Waalse Church,

Snyder, Kerala J.: Dieterich Buxtehude: Organist in Lübeck, 146, 177.
Klinget mit Freuden, ihr klaren Klarinen,

BuxWV 65 and BuxWV 119 (1680)
Duration: ca. 7 minutes with all verses
Text: The text is from an unknown source.
Performing Forces: voices: SSB choir; orchestra: 2 trumpets and/or 2

violins, violone (double bass), and continuo.
First Performance: 1680
Editions: Klinget mit Freuden is published in a critical edition, Die-

96.

Notes: The sacred work is a parody of Buxtehude’s secular cantata,

Klinget mit Freuden, ihr lärmen Klarinen, BuxWV 119. As
BuxWV 65, the text is for Feast of the Circumcision (1 January).
The secular text is a narrative about the wedding between the
Charles XI, son of the King of Sweden, to Princess Ulricka Eleon-
ore of Denmark.
Performance Issues: The work is a five-verse homophonic trio with

continuo accompaniment with ritornelli for strings and continuo or
an alternate ritornello for trumpets and continuo. If resources al-
low, alternating between ritornelli would be ideal. Choir: very


166, 186, 190, 194, 202, 234. Free University of Berlin: disserta-
tion, 1956.
Vokalwerken,” Musikforschung, volume 10 (1957), 83.
zeichnis, 60, 117. Wiesbaden: Breitkopf und Härtel, 1974.
139, 147, 156, 177, 182, 208, 312, 314, 333, 377, 383. New York:
60 The Works
Kommst du, Licht der Heiden, BuxWV 66

Text: The text is by Ernst Christian Homburg from Geistlicher Lieder

erste Theile, which was published in Jena in 1659.
Performing Forces: voices: SSB choir; orchestra: 2 violins, 2 violas,

Editions: Kommst du, Licht der Heiden is published in a critical edi-

tion, Dietrich Buxtehude: Werke, edited by Wilibald Gurlitt, vol-
ume 6, page 14. It is also available from Hännsler, edited by Horn,
and Wilhelm Hansen, edited by Hedar.

Notes: The text is presented in five strophes that include varied musical
material that is bound together by an instrumental ritornello.
Performance Issues: The vocal material is well supported by the ac-

companiment. The vocal textures are primarily three-part with
some two-part passages, but all of the vocal writing is homophon-
ic. A solo trio would be effective, but this work also provides a
great opportunity for a small, less-experienced choir that has ac-
cess to a capable quintet of strings. The vocal writing is simple and
within conservative ranges. The instrumental writing is more or-
nate and contrapuntally complex. The parts remain idiomatic and
technically accessible, but present greater musical independence
than does the vocal material. Choir: easy; Orchestra: medium
easy.
Selected Discography: Vocalensemble Rastatt, Les Favorites; con-

ducted by Holger Speck. Carus: 83.156.

(1964), 59; and volume 48 (1966), 138, 142, 143.
182, 309-311, 333-334, 369, 374. New York: Schirmer Books,
1987.
Lauda Sion Salvatorem, BuxWV 68

Text: The text is a traditional communion sequence for the Mass of

Corpus Christi.
Performing Forces: voices: 2 sopranos and bass; orchestra: 2 violins,

viola da gamba, and continuo.
Editions: Lauda Sion Salvatorem is published in a critical edition, Die-

24. It is also available from Bärenreiter, edited by Grusnick with
the German text “Lobet Christen, euren Heiland”; Wilhelm Han-
sen, edited by Hedar; Chantry Music Press, edited by Otto; and
Kalmus.
62 The Works

versitetsbiblioteket (51:14 and 82:42); and in the Bibliothek der
Performance Issues: This work alternates trio passages of various

textures. Some of the vocal ensemble writing is florid and imita-
tive. A choir can be used for all the three-part material, or a solo
trio could be used in alternation. Only the sopranos have true solo
passages, and they are virtually musically identical. The vocal ma-
terial is supported by the continuo alone. The string writing is
flashy, but idiomatic. The gamba part parallels the continuo, but is
rhythmically independent. An additional solo bass instrument is
unnecessary for the continuo, although double bass would be effec-
tive. Soloists: soprano I - range: e’-f’’, tessitura: e’-e’’, this is a
brief lyric solo; soprano II - range: e’-f’’, tessitura: e’-e’’, this is a
brief lyric solo; Choir: medium difficult; Orchestra: medium
easy.
Selected Discography: Maria Friesenhausen; Kantorei Barmen-

Gemarke; conducted by Helmut Kahlhofer. Recorded in January
1960 at the Immanuelkirche in Wuppertal-Barmen, Germany. Can-
tate: 57601.
Johannette Zomer, Bettina Pahn, Klaus Mertens; conducted by Ton


323, 332-334. New York: Schirmer Books, 1987.
Mein Gemüt erfreuet sich, BuxWV 72

Text: The text, by an unknown author, is taken from Vollständigen

Gesangbuch, which was published in Hamburg in 1679.
Performing Forces: voices: soprano, alto, and bass; orchestra: 2

flutes, 3 bassoons, 2 trumpets, 2 cornetti, 3 trombones, 4 violins,
and continuo.
Editions: Mein Gemüt erfreuet sich is published in a critical edition,

page 10.

Notes: The text refers to various musical instruments, and the accom-
panying instruments change to reflect the textual references.
Therefore the winds appear in only nine consecutive measures
when the text states “Dulcians [baroque bassoons] and Flutes
sound,” and the brass appear in six measures when the text states
“Trombones and Trumpets echo.” The remainder of the work is
accompanied by strings.
Performance Issues: There are connecting passages for one voice part
that appear intended for soloists. The cantata is in one movement
with changes in orchestration by section of the work. The density
of orchestration throughout suggests the use of choir for all three-
part vocal sections, and a good argument could be made for the use
of sections for some of the “solo” passages as well. Soloists: so-
prano - range: g’-g’’, tessitura: g’-e’’, this is a simple declamatory
64 The Works
solo; alto - range: g-a’, tessitura: b-g’, this is a lyrical solo with ex-
tended melismas; bass - range: B-c’, tessitura: c-c’, this is a lyrical
part with extended melismas; Choir: medium easy; Orchestra:
medium easy.

Bettina Pahn, Klaus Mertens; conducted by Ton Koopman. Recorded in
2006 or 2007 in Waalse Church, Amsterdam. Challenge Classics:
CC 72246.

tismus, 30, 35, 38, 46, 57, 105, 135, 148, 218. Kassel: Bärenreiter,
1965.
185, 334, 374-376, 383. New York: Schirmer Books, 1987.
Meine Seele, willtu ruhn, BuxWV 74

Text: The text is by Angelus Silesius from Heilige Seelen-Lust, which

was published in Breslau in 1657.
Performing Forces: voices: SSB choir; orchestra: 2 violins, violone

Editions: Meine Seele, willtu ruhn is published in a critical edition,

page 30.

versitetsbiblioteket (51:16); and the Bibliothek der Hansestadt of
Performance Issues: The vocal writing is three-part throughout with

the voices supported by the continuo and other instruments appear-
ing between the vocal phrases. Much of the vocal material is de-
clamatory, and the vocal parts are conservative in range and
contour. There is a final “Amen” section that is considerably more
florid and provides some greater integration of voices and instru-
ments. The string writing is idiomatic and would lend itself to solo
players. Choir: medium easy; Orchestra: easy.

394, 396.
(1966), 179, 184.
Studie über die Tablatur Mus. A 373; 20, 22, 25, 63, 77, 79.
66 The Works
Membra Jesu Nostri, BuxWV 75 (1680)

Text: The text, Salve mundi salutare, is also called the Rhythmica ora-
tio of St. Bernard. It is believed to be the work of Arnulf de Leu-
ven, but has also been attributed to Bernard de Clairvaux, but he
died two centuries before the earliest surviving copies were pro-
duced. The text is divided into seven parts, each addressed to a dif-
ferent part of Christ’s crucified body: feet, knees, hands, side,
chest, heart, and head. In Buxtehude’s setting each canto of the po-
em is interpolated with a passage of scripture as follows:
1. Ad pedes — Nahum 2:1

2. Ad genua — Isaiah 66:12
3. Ad manus — Zacharia 13:6
4. Ad latus — Song of Solomon 2:13-14
5. Ad pectus — I Peter 2:2-3
6. Ad cor — Song of Solomon 4:9
7. Ad faciem — Psalm 31:17

choir; orchestra: 2 violins and viola or 3 violins,12 viola da gamba,
and continuo.
Unlike the other sections, Canto six is scored for 2 sopranos and bass, 5
“violas,” which can be realized by 3 violas (or 1 violin and 2 vio-
las) and 2 violas da gamba, and continuo.
Editions: A critical edition has been prepared by Dietrich Kilian and

published by Edition Merseburger (981-991). Another edition edit-
ed by Bruno Grusnick is published by Bärenreiter (3456-3463).
Autograph: The autograph materials may be found in the Uppsala

Universitetsbiblioteket (50:12) with a dedication page to Gustaf
Düben.
12
The score includes a “complemento” part that completes the harmony and
could be played by violin or viola.
Notes: This is a cycle of seven cantatas. Some have referred to it as the

first Lutheran oratorio. It is dedicated to Gutaf Düben, who was di-
rector of the Swedish Court Orchestra and organist of St. Ger-
trude’s Church in Stockholm. Paul Gerhardt’s German hymn, “O
Haupt voll Blut und Wunden” (O Sacred Head now Wounded) is a
poetic translation of the last section.
Performance Issues: The score presents a rich variety of contrapuntal

textures interweaving five-part homophonic sections with perva-
sive imitation and frequent solo, duet, and trio passages. The entire
work can be performed by a solo quintet and single strings, but the
tutti passages, particularly the homophonic ones, would benefit
from a larger ensemble presence. The score includes some refer-
ences to the ripieno, but these references do not appear to be com-
plete. Careful attention to the assignment of soli and tutti passages
will yield great dramatic effect. The instrumental parts are very
practically written and provide consistent support of the vocal
parts. The score is devoid of dynamic markings and has only a few
tempo indications, which should be carefully considered prior to
rehearsal. The use of a theorbo in the continuo group is well worth
considering. Soloists: soprano I - range: d’-bb’’, tessitura: f’-f’’,
this is a lyric solo with some coloratura passagework; soprano II -
range: d’-g’’, tessitura: g’-eb’, this is a simple lyric solo; alto -
range: g-c’’, tessitura: bb-g’, this is a lyric solo with some rapid
passagework that is particularly well suited for a countertenor; ten-
or - range: f#-g’, tessitura: g-g’, this is a lyric and gentle solo; bass
- range: D-d’, tessitura: Bb-c’, this is a declamatory role that re-
quires clarity across the indicated range; Choir: medium difficult;

Carolyn Sampson, Libby Crabtree, Robin Blaz, James Gilchrist, Simon
Birchall; The Symphony of Harmony and Invention; conducted by
Harry Christophers. Recorded at St. Jude’s Church, Hampstead
Garden, 7-9 February 2000. Linn Records: CKD 141.
Joshua Cheatham, Ricardo Rodriguez Miranda, Christine Plubeau;
Cantus Cölln; conducted by Konrad Junghänel. Recorded May
2005 in the Church of St. Osdag, Neustadt. Harmonia Mundi:
901912.
68 The Works
Johannette Zomer, Anne Grimm, Andrew Tortise, Bas Ramselarr;

Netherlands Bach Society; conducted by Jos van Veldhoven. Rec-
orded November 2005 in Waalse Church, Amsterdam. Channel:
24006 [SACD].
Suzie LeBlanc, Catherine Webster, Matthew White, Pascal Charbon-
neau, Thomas Maglioranza; Les Voix Baroques. Recorded 2007 at
the Church of Saint-Augustin de Mirabel, Quebec. ATMA
Classique: 2563.

167, 185, 191, 193, 200, 234, 254. Free University of Berlin: dis-
sertation, 1956.
91, 190, 302, 306, 310, 312. Copenhagen: Ejnar Munksgaard,
1958.
Kilian, Dietrich: “Buxtehudes Membra,” Norddeutsche und
nordeuropäische Musik (1963), 32-36.
tismus, 27, 44, 48, 57, 94, 158, 202. Kassel: Bärenreiter, 1965.
(1966), 178, 180, 186.
Studie über die Tablatur Mus. A 373; 23, 32, 35. Lübeck: Max
Schmidt-Römhild, 1971.
142, 148, 156, 158, 198-199, 280, 312, 314, 331, 333, 368-369,
383-384. New York: Schirmer Books, 1987.
Nichts soll uns scheiden von der Liebe Gottes,

BuxWV 77
Text: The text is Romans 8:9 and the poem, “Wie sollte wohl heißen
das zeitliche Leiden” the authorship of which is undetermined.
Performing Forces: voices: soprano, alto, and bass;13 orchestra: 2

violins, violone (double bass), and continuo.
Editions: Nichts soll uns scheiden is published in a critical edition,

page 20. It is also available from Hännsler, edited by Trubel; Pro
Musica, edited by Westerlund; Krumpholz, edited by Leichti; and
in a Swedish version from Nordiska Musikförlaget, edited by
Hjorth.

Performance Issues: This work can be effectively performed by a vo-

cal trio with a choir performing the closing chorale, or all SAB
passages could be sung by a choir interspersed by the two brief so-
los. The choral material is harmonically supported by the accom-
paniment, and the bass part is nearly doubled by the continuo line.
The violin parts have some ornamental passagework, and the vio-
lone part is occasionally independent of the continuo. Soloists: so-
prano - range: f’-f’’, tessitura: f’-f’’, this is a simple solo
appropriate for a chorister; alto - range: f-g’, tessitura: a-f’, this is a
simple solo appropriate for a chorister; Choir: medium easy; Or-
Selected Discography: Emma Kirkby, Michael Chance, Peter Harvey;

Purcell Quartet; recorded September 2004, St. Jude on the Hill,
Hempstead. Chandos Chaconne Series: 723.
Miriam Meyer, Klaus Mertens; conducted by Ton Koopman. Recorded
in 2006 or 2007 in Waalse Church, Amsterdam. Challenge Clas-
sics: CC 72246.
13
The score labels the part as “bassetto,” or little bass. This implies a baritone.
The range A-f’.
70 The Works

Studie über die Tablatur Mus. A 373; 20, 23, 25, 32, 36, 58, 77, 79.
Nimm von uns, Herr, BuxWV 78 (c. 1680)

Text: The text is by Martin Moller (1584).
Performing Forces: voices: SATB choir and/or solo quartet; orches-

tra: bassoon, 2 violins, 2 violettas,14 and continuo.
Editions: Nimm von uns, Herr is published in a critical edition pre-

pared by Bruno Grusnick. Kassel: Bärenreiter, 1967. It also ap-
pears in Dietrich Buxtehude: The Collected Works, edited by
Kerala J. Snyder, volume 9, page 109. The Grusnick edition is also
available from Kalmus.
Autograph: Manuscript materials including an autograph score may be

found in the Uppsala Universitetsbiblioteket (82:38).
Notes: This work incorporates the anonymous hymn tune Vater unser
im Himmelreich, which Martin Luther adapted as a setting of the
Lord’s Prayer (1539). Buxtehude also used this tune in the organ
14
These parts correspond to modern viola.
work Nimm von uns, Herr, BuxWV 207. J. S. Bach used this tune
in BWV 243 and 248.

some close imitation. There are extended sections wherein the up-
per three voices alternate with the bass part (data provided below).
These seem particularly well suited for bass soloists and choral
parts, although a variety of configurations using tutti and soli will
be effective. The instrumental parts are practical for amateur play-
ers. The bassoon part generally doubles the continuo part, but is
indicated independently in the score. Soloists: bass - range: G-d’,
tessitura: B-b, this is a declamatory and straightforward solo;

Joshua Cheatham, Ricardo Rodriguez Miranda, Christine Plubeau;
Cantus Cölln; conducted by Konrad Junghänel. Recorded May
2005 in the Church of St. Osdag, Neustadt. Harmonia Mundi:
901912.

__________: Dieterich Buxtehude: Organist in Lübeck, 189, 193-194,
312, 365, 369-370. New York: Schirmer Books, 1987.
72 The Works
Nun laßt uns Gott dem Herren, BuxWV 81

Text: The text is by Ludwig Helmhold (1575). The work also has a
Swedish text underlay as “Nu låt oss Gudh wår Herra tacka.”
Performing Forces: voices: SATB choir; orchestra: strings and con-

tinuo.
Editions: Nun laßt uns Gott dem Herren is published in a critical edi-
tion, Dietrich Buxtehude: Werke, edited by Dietrich Killian, vol-
ume 8, page 9. It is also available from Edition Merseburger,
edited by Dietrich Kilian.

Notes: This work uses the hymn tune, Nun laßt uns Gott dem Herren
(1587) by Niklaus Selnecker (1532-1592). J. S. Bach used this
hymn tune in BWV 79, 165, and 194.



Sørenson, Søren: “Ein neu gefundene Buxtehude-Kantate,” Kon-
greßbericht, Hamburg 1956, 221. Kassel: Bärenreiter, 1957.
O fröhliche Stunden, o herrliche Zeit, BuxWV

85 (1680)
Text: The text is by Johann Rist from Neue Musikalische Fest-

Andachten, which was published in Lüneburg in 1655.
Performing Forces: voices: 2 sopranos, alto, and bass; SSAB choir;

orchestra: 2 violins, 2 violas da braccia,15 violone (double bass),
and continuo.
First Performance: This work may have been composed for the entry
of the newly married King Charles of Sweden and Ulika Eleanor,
Princess of Denmark, into Stockholm in November 1680; or it may
have been intended for Easter of that year, 11 April.16
15
Playable on modern viola.
16
“Editorial Commentary,” Dietrich Buxtehude: The Collected Works, edited
by Kerala J. Snyder, volume 9, page 289. New York: Broude, 1987.
74 The Works
Editions: O fröhliche Stunden, o herrliche Zeit was edited by Dietrich

Kilian as part of Veröffentlichungen des Instituts für Musik-
forschung Berlin, series I, volume 37, Kantaten von Dietrich Bux-
tehude. Berlin: Merseburg, 1959. It is also published in the critical
edition Dietrich Buxtehude: The Collected Works, edited by Kerala
J. Snyder, volume 9, page 151, published by Broude.
Autograph: Manuscript materials including an autograph score may be

found in the Uppsala Universitetsbiblioteket (51:13a and 86:61).
Notes: Buxtehude also set this text for solo soprano using different
melodic material in BuxWV 84.
Performance Issues: This work can be performed by four soloists

throughout, or utilize a choir for the final movement, which is
SSAB. The choral writing of this final movement is homophonic
and syllabic with only a few staggered entrances. The violone part
doubles the continuo part when it plays, but this is intermittently,
presumably indicating the composer’s wish to add the lower octave
when it is present. Use of an 8’ instrument for the continuo part
will guarantee this distinction. Soloists: soprano I - range: c’-g’’,
tessitura: a’-e’’, this is a declamatory solo with some long phrases;
soprano II - range: e’-g’’, tessitura: g’-e’’, this is a declamatory
part that appears in ensemble only; alto - range: c’-c’’, tessitura: c’-
c’’, this is a declamatory solo with long phrases; bass - range: G-
d’, tessitura: c-c’, this is a declamatory part that appears in ensem-
ble only; Choir: easy; Orchestra: easy.
Selected Discography: Chamber Choir of St. Peter’s in the Great Val-

ley, The Sacrum Consort; conducted by Martha Johnson. PGM:
102.


158, 177, 186, 303, 312, 314, 365, 369, 370. New York: Schirmer
Books, 1987.
O Gott, wir danken deiner Güt’, BuxWV 86

Text: The chorale text by Nikolaus Boie17 (1541). The aria, “Gottes
reiche Segenwolke” is anonymous.
Performing Forces: voices: 2 soprano and bass soloists; SSATB

choir; orchestra: 2 violins, cello,18 and continuo.
Editions: O Gott, wir danken deiner Güt’ is published in a critical edi-

tion from Edition Merseburger, edited by Dietrich Kilian. It is also
available from Wilhelm Hansen, edited by Sørenson.

Notes: The chorale tune O Gott, wir danken deiner Güt’ first appears in
Gesangbüchlein, which was published in Augsburg in 1557. The
work provides an ideal opportunity for an inexperienced church
choir to present a multi-sectioned work with instruments. It is or-
ganized as follows:
1. Sinfonia
2. Chorus (concerted)
17
Spelled Nicholas Boye in some sources.
18
The Sørenson edition has cello, but violone appears in some references. Al-
though the addition of the lower octave would be welcome in the continuo
group, it is clear that the part is intended at pitch in the Sinfonia.
76 The Works
3. Soprano Aria (continuo only)

4. SSA Trio (continuo only)
5. Da capo of the Sinfonia and Chorus
Performance Issues: The choral material is homophonic throughout.

Nearly all of the choral material is doubled directly, with some in-
versions by the instruments. This work is accessible to all mixed
choirs. The instrumental parts are simple and idiomatic well within
the abilities of most amateur players. The trio could easily be sung
by the choir, although the contrast of texture is an appealing com-
ponent of this practical work. Soloists: soprano I - range: e’-g’’,
tessitura: a’-f’’, this solo includes a simple declamatory aria appro-
priate for a chorister; soprano II - range: e’-e’’, tessitura: e’-c’’,
this simple solo appears within a homophonic trio; bass - range: D-
c, tessitura: A-a, this simple solo appears within a homophonic
trio; the few very low pitches can logically be taken up an octave;
Choir: very easy; Orchestra: very easy.
Selected Discography: Patrick van Goethem, Andreas Karasiak, Jo-

hannette Zomer, Bettina Pahn, Klaus Mertens; conducted by Ton

Aaborg for Musikforskning (1961), 14, 19.
Pange Lingua, BuxWV 91 (1684)

Text: This text is a hymn by Thomas Aquinas, which was written c.

1264 at the request of Pope Urban IV for use in the newly estab-
lished Feast of Corpus Christi.19
Performing Forces: voices: alto soloist; SSAB choir; orchestra: 2

violins, 2 violas,20 violone (double bass), and continuo.
Editions: Pange Lingua is published in the critical edition Fire latinske

Kantater, edited by Søren Sørenson. Copenhagen: Samfundet til
Udgivelse af dansk Musik, 1957. It also appears in the subsequent
scholarly edition, Dietrich Buxtehude: The Collected Works, edited
by Kerala J. Snyder, volume 9, page 183, published by Broude.

Performance Issues: The score was probably intended for four solo-
ists, but the writing invites a choral treatment with some extended
passages for alto soloist, described below. The choral writing al-
ternates passages that are homophonic and in close imitation.
There are some florid melismatic passages and a brief fughetta in
the final verse for the singers that are not directly supported by the
accompaniment. The violone part doubles the continuo part when
it plays, but this is intermittently, presumably indicating the com-
poser’s wish to add the lower octave when it is present. Use of an
8’ instrument for the continuo part will guarantee this distinction.
Soloist: alto - range: g-c’’, tessitura: b-b’, this is a lyric solo with
some florid passagework; Choir: medium difficult; Orchestra:
medium easy.

6220534.
19
Jeffers, Ron: Translations and Annotations of Choral Repertoire, Volume I:
Sacred Latin Texts, 213-214. Corvallis, OR: Earthsongs, 1988.
20
Labeled as violetta.
78 The Works

Vokalwerken,” Musikforschung, volume 10 (1957), 77, 79, 84.
Salve, desiderium, BuxWV 93

Performing Forces: voices: 2 sopranos and bass; orchestra: 2 violins,

violone (double bass) or bassoon, and continuo.
Editions: Salve, desiderium is published in a critical edition, Dietrich



some close imitation. The two soprano solos are merely two verses
of the same musical material. The vocal parts are well supported
by the instruments. The instrumental writing is conservative and
practical. Soloist: soprano I - range: c’-eb’’, tessitura: d’-d’’, this is

a brief lyric solo; soprano II - range: c’-eb’’, tessitura: d’-d’’, this is
a brief lyric solo; bass - range: Eb-c’, tessitura: G-bb, this is a brief
florid solo; Choir: easy; Orchestra: easy.

Schwinget euch himmelan, BuxWV 96 (1686-1687)


choir; orchestra: 3 violins, violone (double bass), and continuo.
Editions: Schwinget euch himmelan is published in a critical edition

edited by Bruno Grusnick. Kassel: Bärenreiter, 1959 (3366).

80 The Works
Notes: This work is emblematic of what has been referred to as “music

for the ordinary citizen,” with concertato chorales and simple
strophic arias setting familiar German texts.21
Performance Issues: The choral writing is consistently in five voices

and combines sections that are purely homophonic with some mel-
ismatic ornamentation and a few florid passages in the final
movement. The choral material is harmonically supported by the
instruments, but there is little direct doubling of the singers. The
solo writing is all simple and conservative, making this an ideal
work for an amateur choir wishing to use its members as soloists.
The instrumental writing is very practical and within the abilities
of most amateur players. Soloists: soprano I - range: e’-f’’, tessitu-
ra: g’-e’’, this is a simple solo part that appears only in homophon-
ic trios; soprano II - range: d’-f#’’, tessitura: e’-e’’, this is a simple
solo part that appears only in homophonic trios; alto - range: b-c’’,
tessitura: d’-b’, this is a simple solo part that appears only in hom-
ophonic trios; tenor - range: B-f’, tessitura: g-e’, this is a simple,
lyric part and the only soloist to appear alone; bass - range: G-d’,
tessitura: B-c’, this is a simple solo part that appears only in homo-
phonic trios; Choir: medium easy; Orchestra: easy.


21

177, 184-186, 205, 208, 334, 358, 364. New York: Schirmer
Books, 1987.
Surrexit Christus hodie, BuxWV 99

Text: This text is a 14th-century sequence for Easter that originated as

a Latin carol in Bohemia.
Performing Forces: voices: 2 sopranos and bass; orchestra: bassoon,

3 violins, and continuo.
Editions: Surrexit Christus hodie is published in a critical edition, Die-

51. It is also available from Hännsler, edited by Hellmann, with the
German text, “Erstanden ist der heilig Christ.”

Performance Issues: This work is suitable for solo trio or choir. Only
the bass part has any extended solo passages. These are really
voiced for tenor. The tutti material includes a B in the bass part,
but the range and tessitura throughout correspond to modern tenor
parts. The choral material is contrapuntally varied and rhythmical-
ly independent. The string writing is contrapuntally independent,
but idiomatic. Soloist: bass - range: d-g’, tessitura: f-f’, this is a
tenor part with some florid coloratura; Choir: medium easy; Or-

Aaborg for Musikforskning (1961), 28, 31, 37.
82 The Works
Wachet auf, ruft uns die Stimme, BuxWV 100

Text: The text is a hymn by Philipp Nicolai (1599).

4 violins,22 and continuo.
Editions: Wachet auf, ruft uns die Stimme is published in a critical edi-
tion, Dietrich Buxtehude: Werke, edited by Wilibald Gurlitt, vol-
ume 6, page 60. It is also available from Kalmus, edited by
Traugott Fedtke; Concordia, with the English text, “Wake, Awake,
for night is flying,” edited by Thomas; Hännsler and Carus also
publish editions of this work.
Autograph: Manuscript materials may be found in the Music Collec-

tion of the Staatsbibliothek zu Berlin Preußischer Kulturbesitz
(2680).
Notes: This work uses the hymn tune Wachet auf, ruft uns die Stimme
(1599) by Philipp Nicolai. Buxtehude also set this text for alto,
tenor, and bass using different melodic material in BuxWV 101.
This tune is also used in J. S. Bach’s cantata of the same name,
BWV 140.
Performance Issues: This work can be sung by a solo trio. Soprano I

only appears in the third verse, which is all in three-part textures.
This is most effectively treated as a choral movement. The vocal
22
Violin 4 is scored for viola or violin.
parts are harmonically well supported, but contrapuntally inde-

pendent of the instruments. There are some long sustained passag-
es for the voices in the third verse. The instrumental parts are very
accessible to amateur players, but a sensitivity to balance will be
important. Soloists: soprano II - range: d’-f#’’, tessitura: d’-d’’,
this is a sustained and lyrical solo; bass - range: F#-d’, tessitura: A-
a, this is a sustained lyrical solo; Choir: easy; Orchestra: easy.

Wachet auf, ruft uns die Stimme, BuxWV 101

Text: The text is a hymn by Philipp Nicolai (1599).

and continuo.
Editions: Wachet auf, ruft uns die Stimme is published in a critical edi-
tion, Dietrich Buxtehude: Werke, edited by Hilmar Trede, volume
7, page 100. It is also found in Abendmusiken und Kirchenkan-
taten, volume 14, of Denkmäler deutscher Tonkunst, edited by
Max Seiffert. Leipzig: Breitkopf und Härtel, 1903; revised by Hans
J. Moser. Wiesbaden: Breitkopf und Härtel, 1957. Another edition,
edited by Fedtke is published by Bärenreiter (1734).
84 The Works
Autograph: Manuscript materials may be found in the Music Collec-

tion of the Staatsbibliothek zu Berlin Preußischer Kulturbesitz
(2680).
Notes: Buxtehude set this hymn text to original music in this cantata.
He also set this text for 2 sopranos and bass using Nicolai’s hymn
tune in BuxWV 100.
Performance Issues: This work is well suited for use with a solo vocal
trio, or alternation between choral and solo singing. The vocal
parts are sometimes directly doubled by the accompaniment and at
other times melodically independent, although there is always clear
harmonic support for the voices. The entire work is sung by choir,
but the section beginning “Zion hört die wächter singen” lends it-
self particularly well to an alto-tenor duet followed by a bass solo
with the choir reëntering with the “Gloria.” The following solo
ranges are addressing this section only. The instrumental parts are
idiomatic and well within the abilities of most amateur players. So-
loists: alto - range: b-b’, tessitura: c’-g’, this is a simple melismatic
solo appropriate for a chorister; tenor - range: g-f#’, tessitura: g-d’,
this is a simple melismatic solo appropriate for a chorister; bass -
range: G-d’, tessitura: c-c’, this is a simple melismatic solo appro-
priate for a chorister; Choir: medium easy; Orchestra: easy.

69, 75, 95, 106, 128. Free University of Berlin: dissertation, 1956.
Wär Gott nicht mit uns diese Zeit, BuxWV 102

Text: The text is by Martin Luther. It appears in Johann Walther’s

Geystliche Gesangk Buchleyn, which was published in Wittenberg
in 1524.
Performing Forces: voices: soprano, alto, tenor, and bass; orchestra:

2 violins and continuo.
Editions: Wär Gott nicht mit uns diese Zeit is published in a critical
edition, Dietrich Buxtehude: Werke, edited by Dietrich Killian,
volume 8, page 22. It is also available from Edition Merseburger,
edited by Dietrich Kilian.

Notes: This work incorporates the hymn tune Wär Gott nicht mit uns
diese Zeit, which may be by Johann Walter (1496-1570). It first
appears in Gesangbuch, Wittenberg (1537). This tune was used by
J. S. Bach in BWV 14.



86 The Works

404, 407.
Walts Gott, mein Werk ich lasse, BuxWV 103

Text: The text is by Michael Ziegenspeck from Christliche Tag- und

Uhrwerk, which was published in Leipzig in 1617.
Performing Forces: voices: soprano, alto, tenor, and bass; orchestra:

2 violins, violone, and continuo.
Editions: Walts Gott, mein Werk ich lasse is published in a critical

edition, Dietrich Buxtehude: Werke, edited by Dietrich Killian,
volume 8, page 31.


phrase. With the exception of a richly melismatic “Amen,” the vo-
cal writing is all presented as a chorale. The instrumental parts are
idiomatic and accessible to most amateur players. Choir: easy;
Selected Discography: Dresdner Kammerchor; conducted by Hans-

Christoph Rademann. Carus: 83.234.

Geck, Martin: “Rezension des 8. Bandes der Buxtehude-
Gesamtausgabe,” Musikforschung, volume 13 (1960), 504.
zeichnis, 98. Wiesbaden: Breitkopf und Härtel, 1974. Wiesbaden:
Breitkopf und Härtel, 1974.
Was frag’ ich nach der Welt, BuxWV 104

Text: The text is by Balthasar Kindermann from Das Buch der Red-
lichen, which was published in Küstrin in 1664.
Performing Forces: voices: soprano, alto, and bass; orchestra: 2 vio-

lins, violone (double bass), and continuo.
Editions: Was frag’ ich nach der Welt is published in a critical edition,
page 29. It is also available from Hännsler, edited by Trubel; and
Concordia, edited by Wunderlich.
88 The Works

Performance Issues: The vocal parts can be sung entirely by a solo

trio, but the score is well disposed for alternations between soloist
and choir. The choral material is harmonically supported by the
continuo, but is not doubled by the strings. There are considerable
melismas for the choir and some harmonic cross relations. The vio-
lone part is sometimes independent of the continuo. The string
parts are idiomatic and contrapuntally independent. Soloists: so-
prano - range: c’-g’’, tessitura: e’-e’’, this is a declamatory solo
with some broad leaps; alto - range: g-c’’, tessitura: c’-a’, this is a
simple, declamatory solo; bass - range: C-c’, tessitura: A-a, this is
a melismatic solo with some broad leaps and a few critical pitches
at the bottom of the indicated range; Choir: medium easy; Or-
chestra: easy.
Selected Discography: Katherine Hill, Matthew White, Paul Grindlay;

Arcadia Baroque Ensemble; conducted by Kevin Mallon. Record-
ed May 2002 in Grace Church on the Hill, Toronto. Naxos:
8557041.

394, 396.
Studie über die Tablatur Mus. A 373; 20, 23, 25, 32, 62, 77, 79.

Welt, packe dich, ich sehne mich nur dem

Himmel, BuxWV 106
Text: The text is by Justus Sieber from Poetisierende Jugend, which

was published in Dresden in 1658.
Performing Forces: voices: 2 sopranos and bass; SSB choir; orches-

tra: 2 violins, violone (double bass), and continuo.
Editions: Welt, packe dich is published in a critical edition, Dietrich


Performance Issues: The vocal ensemble passages can be performed

by a solo trio or choir, although the scoring and texture suggests
that Buxtehude intended the latter. The two soprano solos are a
presentation of two verses with the same music material. The in-
strumental parts are idiomatically written and provide a fair
amount of direct doubling of the choir. The choral material in-
cludes some close imitation and paired doubling. Soloists: soprano
I - range: e’-g’’, tessitura: g’-e’’, this is a lyric solo with long
phrases; soprano II - range: e’-g’’, tessitura: g’-e’’, this is a lyric
solo with long phrases; bass - range: F#-c#’, tessitura: A-a, this is
a declamatory solo; Choir: easy; Orchestra: easy.

90 The Works

Aaborg for Musikforskning (1961), 14, 22, 24, 34.
Wie schmeckt es so lieblich und wohl, BuxWV

108
Text: The text is by Heinrich Miller from Geistliche Seelen-Musik,

which was published in Rostock in 1659.
Performing Forces: voices: soprano, alto, and bass; orchestra: 2 vio-

lins, violone (double bass), and continuo.
Editions: Wie schmeckt es so lieblich und wohl is published in a criti-

cal edition, Dietrich Buxtehude: Werke, edited by Wilibald Gurlitt,
volume 7, page 39.

Performance Issues: The vocal parts can be performed exclusively by

a solo trio or by alternating choir with solo passages. The vocal
material is harmonically supported by the accompaniment, but
aside from the bass line, there is very little direct doubling of the
voices by the instruments. The closing “alleluia” section contains
the most challenging music of the work. The violone part is some-
times independent of the continuo. Soloists: soprano - range: b-g’’,
tessitura: d’-d’’, this is a lyric solo with some melismatic writing;

alto - range: a#-d’’, tessitura: d’-b’’, this is a simple lyric solo; bass
- range: G-b, tessitura: A-a, this is a sustained lyric solo; Choir:
Selected Discography: Katherine Hill, Matthew White, Paul Grindlay;

Aradia Baroque Ensemble; conducted by Kevin Mallon. Recorded
May 2002 in Grace Church on the Hill, Toronto. Naxos: 8557041.

tismus, 30, 34, 38, 58, 94, 105, 135, 154, 220. Kassel: Bärenreiter,
1965.
Wie soll ich dich empfangen, BuxWV 109

Text: The text is by Paul Gerhardt from Praxis Pietatis Melica.

2 violins, and continuo.
Editions: Wie soll ich dich empfangen is published in a critical edition,

page 84. It has also been included in Das Choralwerke, volume 32,
number 14, edited by Jakoby. An edition prepared by Metzler is
published by Edition Merseburger.
92 The Works

Notes: This is an elegantly structured work that sets 6 verses of text as

follows:
Sonata Music A Instruments only

Verse I Music B Choir and continuo
Ritornello Music C Instruments only
Verse II Music D Soprano I and continuo
Verse III Music D Soprano II and continuo
Verse IV Music E Bass and continuo
Verse V Music B Choir and continuo
Verse V Music B Choir and continuo
Performance Issues: The choral material of “music B” is contrapuntal-

ly complex with some florid coloratura in each part, but it is fun-
damentally twelve measures of music sung three times. The
instrumental writing presents contrapuntally independent parts that
are idiomatically written and accessible to intermediate-level play-
ers. Soloist: soprano I - range: e’-f’’, tessitura: e’-e’’, this is a sim-
ple declamatory solo; soprano II - range: e’-f’’, tessitura: e’-e’’,
this is a simple declamatory solo; bass - range: A-c’, tessitura: A-a,
this is a simple declamatory solo; Choir: medium difficult; Or-
Selected Discography: Vocalensemble Rastatt, Les Favorites; con-

ducted by Holger Speck. Carus: 83.156.


Wo soll ich fliehen hin, BuxWV 112

Text: The text is a hymn by Johann Heermann, “Trostgesänglein”; the

Gospel of St. Matthew 11:28-30 and 7:7; and a poem by Sigis-
mund von Birken from Der Geistlichen Erquickstunden des Fürs-
trefflichen Theologi H. Doct. Heinrich Müllers…Poetischer An-
dacht-Klang, published in Nürnberg in 1673.
Performing Forces: voices: soprano, tenor, and bass; SATB choir;

orchestra: 2 violins, 2 violas, violone (double bass), and continuo.
Editions: Wo soll ich fliehen hin is published in the critical editions,

Abendmusiken und Kirchenkantaten, volume 14 of Denkmäler
deutscher Tonkunst, edited by Max Seiffert, page 39. Leipzig:
Breitkopf und Härtel, 1903; revised in 1957 by Hans J. Moser.
Wiesbaden: Breitkopf und Härtel, 1957. It appears in the subse-
quent critical edition, Dietrich Buxtehude: The Collected Works,
edited by Kerala J. Snyder, volume 9, page 211, published by
Broude. It is also available from Kalmus, edited by Adrio, and Ca-
rus.

Notes: This work uses the anonymous hymn tune, Auf meinen lieben
Gott (1609), which Buxtehude also utilized as the foundation for
94 The Works
the organ work of that title, BuxWV 179. The tune is based upon a
secular song that is found in Kurtzweilige Teutsche Lieder, Nürn-
berg, 1576. It also uses the hymn tune, Herr Jesu Christ, du höch-
stes Gut (1588), by Bartholomäus Ringwaldt (c. 1532-1599),
which Buxtehude uses in the organ work of that title, BuxWV193.
J. S. Bach incorporates that tune into his cantata, Aus Tiefen rufe
ich, zu dir, BWV 131.
Performance Issues: This work comprises a series of solos with a final

concerted quartet that is equally suited as a choral finale. There are
no independent solos for alto. It does require a flexible and sensi-
tive choral ensemble. The violone part doubles the continuo part
when it plays, but this is intermittently, presumably indicating the
composer’s wish to add the lower octave when it is present. Use of
an 8’ instrument for the continuo part will guarantee this distinc-
tion. The string writing is more contrapuntally independent than
many of Buxtehude’s other works in this genre. Soloists: soprano -
range: d’-f’’, tessitura: g’-d’’, this is a lyric solo role; tenor - range:
d-g’, tessitura: g-f’, this is a lyric solo; bass - range: D-e’, tessitura:
G-b, this is a sustained solo with some articulate passagework. It
can be performed with a lowest pitch of [F] by taking the cadence
of the lowest indicated pitch up an octave; Choir: medium diffi-
cult; Orchestra: medium difficult.

Patrick van Goethem, Bettina Pahn, Klaus Mertens, Jorg Durmuller;

201, 304, 323-324, 339, 365. New York: Schirmer Books, 1987.
Benedicam Dominum in omni tempore, BuxWV

113 (1683)
Performing Forces: This work is scored for 6 “choirs” as follows:
1. orchestra: 2 violins and violone (double bass);

2. orchestra: 4 trumpets, trombone, bombard23 (or bass trom-
bone);
3. voices: 2 sopranos, alto, tenor, and bass soloists;
4. orchestra: 2 cornettos, bassoon;
5. orchestra: 3 trombones;
6. voices: SATB choir; orchestra: continuo.
First Performance: This work was composed for the second day of
Christmas (26 December) 1683.
Editions: Benedicam Dominum is published in a critical edition, Die-

23.
23
The modern equivalent is bassoon.
96 The Works

Notes: This work has a brief introductory sonata for the instrumental
groups followed by a multi-sectioned concerted choral portion. It is
an orchestrational tour de force that is very effective as a celebrato-
ry work.
Performance Issues: The score integrates a variety of polyphonic and

homophonic textures. The vocal portions are sometimes doubled
by the instruments and always supported by the continuo. There
are many changes of tempo and meter. It will be advantageous to
treat the 6 choirs as spatially independent groups. The composer
has labeled the vocal parts in choir 3 as “concertato.” Therefore,
soloists are appropriate. There are some rhythmically florid imita-
tive passages for the soloists. The trumpet writing has a high tessi-
tura. Small-bore baroque trombones and trumpets will also allow
the vocal parts to be clearly heard throughout the doubled passag-
es. Clarity of counterpoint and balance will be the primary chal-
lenges throughout this work. Choir: medium difficult; Orchestra:
medium difficult.

Cologne Musica Fiata; conducted by Roland Wilson. Recorded No-
vember 2006 in St. Nicholas and St. Ulrich’s Church in Mögeldorf,
Germany. CPO: 777318.

(1966), 177, 183.

158, 174, 362-363, 374-376. New York: Schirmer Books, 1987.
Auf! Stimmet die Saiten, BuxWV 116 (1672)

Text: The text is a wedding poem by an unidentified author.
Performing Forces: voices: 2 altos and bass; orchestra: bassoon, 2

trumpets, 2 trombones, and continuo.
First Performance: possibly 23 November 1672
Editions: Auf! Stimmet die Saiten is published in a critical edition, Die-

116.
Autograph: Print and manuscript materials may be found in the Upp-

sala Universitetsbiblioteket (6:10a).
Notes: This work was written for the wedding of Henricus Kirchrink
and Agneta von Stiten.
Performance Issues: This is a simple strophic trio. The voices present

four verses with continuo. There is a trumpet introduction and ri-
tornelli for all of the instruments. The trumpet and trombone parts
are muted throughout. Choir: very easy; Orchestra: medium easy.
Selected Discography: Klaus Mertens; conducted by Ton Koopman.

Recorded in 2006 or 2007 in Waalse Church, Amsterdam. Chal-

98 The Works

177, 182, 309, 335, 368, 375-377. New York: Schirmer Books,
1987.
Klinget für Freuden, BuxWV 119 (1680)

See BuxWV 65, above.
Carissimi, Giacomo (b. Marino, Italy [baptized], 18 April

1605; d. Rome, 12 January 1674)
Life: An organist and composer, Carissimi began his career as organist

at the Cathedral in Tivoli in 1625. From 1628 to 1629 he worked in
Assisi, and then as the maestro di cappella at the cathedral in San
Rufino. He became maestro di cappella of the Collegio Germanico,
a Jesuit institution in Rome in 1629, remaining there for the rest of
his life. There he taught generations of students from throughout
Europe. He also served as maestro di cappella at the Church of St.
Apollinaire, which belonged to the college. He was ordained as a
priest in 1637. In 1656, Queen Christina of Sweden bestowed upon
him the title, maestro di cappella del concerto di camera. Carissi-
mi made significant contributions to the development of monody
including an increased sophistication in the writing of recitatives.
His works demonstrate a rich variety of instrumental color and a
keen sense of dramatic pacing.
teachers — Unknown
students — Vincenzo Albrici, Antonio Cesti, Marc-Antoine Char-
pentier, Giuseppe Corso, Johann Kaspar Kerll, Giovanni Battista
Mocchi
Writings: Ars cantandi eine Anleitung zur Singkunst. Augsburg, 1696.
Principal Works: numerous motets and cantatas; oratorios: Historia

Jephte, Baltazar, Jonas, Judicium Salomonis, Dives Malus, Histo-
ria Job.
Bianchi, Lino: “Giacomo Carissimi: nuovi documenti nell’archivio del

Collegio Germanico Ungarico di Roma,” Nuova rivista musicale
italiana, vii (1974), 107-124, 254-262.
__________: “Due appunti su recenti studi dedicati a Giacomo Caris-
simi,” Nuova rivista musicale italiana, xix (1985), 112–121.
Dixon, Graham: Carissimi. Oxford: Oxford University Press, 1986.
Stein, Beverly Ann: Between Key and Mode: Tonal Practice in the Mu-
sic of Giacomo Carissimi. Dissertation: Brandeis University, 1994.
100 The Works
Jephte (before 1650)

Text: The text is an anonymous adaptation of Judges 11:28-40 from

the Vulgate Bible.

SSATTB choir; orchestra: strings and continuo.
Editions: There are two scholarly editions of Jephte: one from Novel-
lo, edited by Janet Beat, 1974; and another from Ricordi, edited by
Adelchi Amisano, Milan, 1977.
Roger Dean publishes a piano-vocal edition (HCMC107) prepared

by Fiora Contino, which includes a literal translation of the text
and optional realizations of ornamentation.
Autograph: The location of this manuscript is unknown.
Notes: This work was praised by the theorist Athanasius Kircher in his
Musurgia universalis in 1650.
Performance Issues: The choral writing is full of rich dissonances. All

of the choral material is well supported by the accompaniment.
The string parts are colla parte with the choir, and most of the solos
are secco recitatives, although there are lyric ariosi for the soprano,
tenor, and bass soloists. Throughout the work there are passages
embedded within the choir that seem intended for soloists. These
could be assigned to the named soloists, or assigned to choristers.
This is a work well suited to an ensemble with access to a good
continuo group and soloists. Soloists: soprano (Filia) - range: d’-
g’’, tessitura: g’-g’’, this is a florid lyric solo; alto (Historicus) -
range: a-f’’, tessitura: f’-f’’, this is a simple declamatory solo; ten-
or (Jephte) - range: f-f#’, tessitura: f-f, this is a lyric solo with
some florid passagework; bass - range: G-d’, tessitura: c-c’, this is
a lyric solo with some florid passagework; Choir: medium easy;
Selected Discography: Stephan Van Dyck, Luca Dordolo, Stephan

Imboden, Elisa Franzetti, Mercedes Hernandez, Emmanuelle
Halimi; Le Parlement de Musique; conducted by Martin Gester.
Recorded in October 2000 in the Church of Walbourg in France.
Naïve: 30526.
Garrick Comeaux, Marco Scavazza, Elena Biscuola, Eiko Morikawa,
Nadia Caristi, Annamaria Calciolari, Fabio Furnari, Paolo Costa;
conducted by Vittorio Zanon. Recorded in November 2003 in the
Museo Civico, Marino Italy. Naxos: 8557390.
Chrysander, Friedrich: “Das Oratorium Jephta von Carissimi,” Allge-

meine musikalische Zeitung, xiii (1878), 337–339, 353–355, 369–
371, 385–388.
Beat, Janet: “Two problems in Carissimi's oratorio Jephte,” Music Re-
view 34 (1973) 339-343.
Contino, Fiora: “Editor’s Preface” to Carissimi: Historia di Jephte, ii-
iii. Macomb, IL: Roger Dean, 1976.
Smither, Howard E.: A History of the Oratorio, volume I, 224-225,
230-248, 326. Chapel Hill: University of North Carolina Press,
1977.
Jonas (c. 1649)

Text: The text is an anonymous adaptation of passages from the Book

of Jonah from the Vulgate Bible.
Performing Forces: voices: 2 soprano, 2 alto, 2 tenor, and bass solo-

ists; 2 SATB choirs; orchestra: 2 oboes (optional), strings, and
continuo.
Editions: Jonas is published by Oxford University Press in an edition

prepared by Jack Pilgrim.
Autograph: There are manuscripts in the Staatsbibliothek der Stiftung

Preussischer Kulturbesitz (Ms. 3104) in Berlin, the Staats- und
102 The Works
Universitätsbibliothek in Hamburg, and the Bibliothèque de Ver-

sailles (Ms. M 58) in Paris.
Notes: There are movements in which the soloists are assigned a char-
acter’s name, but they may appear at other times without the same
attribution.
Performance Issues: The choirs are primarily homophonic with some

close imitation and passages that are treated antiphonally. Some
separation is advisable. All of the choral material is well supported
by the accompaniment. The solos are nearly all secco recitatives.
Jonah has one more elaborate solo, but it is also quite simply pre-
sented. The string parts are all colla parte with the choir. This work
is well suited to amateur ensembles with access to a strong contin-
uo group. Soloists: soprano I (Historicus) - range: f’-g’’, tessitura:
f’-f’’, this is a simple declamatory solo; soprano II - range: f’-g’’,
tessitura: f’-f’’, this is a simple declamatory solo; alto I - range: a-
a’, tessitura: c’-a’, this is a simple declamatory solo; alto II - range:
a-a’, tessitura: d’-a’, this is a simple declamatory solo; tenor I (Jo-
nah) - range: d-g’, tessitura: e-e’, this is a lyric solo with some flor-
id passagework; tenor II - range: f-d’, tessitura: f-d’, this is a
simple declamatory solo; bass I (Deus) - range: F-c’, tessitura: c-c’,
this is a simple declamatory solo; Choir: medium easy; Orches-
tra: easy.
Selected Discography: Garrick Comeaux, Marco Scavazza, Elena Bis-

cuola, Nadia Caristi, Annamaria Calciolari, Cristiano Contadin,
Fabio Furnari, Paolo Costa; conducted by Vittorio Zanon. Record-
ed in November 2003 in the Museo Civico, Marino Italy. Naxos:
8557390.
Smither, Howard E.: A History of the Oratorio, volume I, 224-227,

236, 239-241, 243. Chapel Hill: University of North Carolina
Press, 1977.
Charpentier, Marc-Antoine (b. Paris, 1643; d. Paris, 24

February 1704)
Life: Following studies in Rome with Carissimi, Charpentier returned

to his native Paris where he served the Duchess of Guise, Marie de
Lorraine from c. 1675 until her death in 1688. While in her service,
Charpentier also established a highly productive relationship with
Molière and the Comédie Francaise for whom he provided numer-
ous sets of incidental music. He became maître de musique at the
Church of St. Louis, and then at Sainte-Chapelle from 1698 until
his death. He was a very prolific composer of both sacred and sec-
ular compositions of the highest quality. Little of his music was
published during his lifetime, but he kept meticulous care of his
manuscripts, all of which are contained in a set of 28 bound vol-
umes in the Bibliothèque Nationale in Paris.
teacher — Giacomo Carissimi

student — Philippe, Duke of Chartes
Principal Works: 11 Masses, 10 Magnificats, 4 Te Deums, 84 psalms

settings, over 200 motets, and music for 30 theatrical productions.
Barber, Clarence H. The Liturgical Music of Marc-Antoine Charpen-

tier: The Masses, Motets, Leçons de tenebres. Harvard University:
dissertation, 1955.
Cessac, Catherine: Marc-Antoine Charpentier. Paris: Librairie Artème
Fayard, 1988. Translated into English by C. Thomas Glasow. Port-
land, OR: Amadeus Press, 1995.
Hitchcock, H. Wiley: Marc-Antoine Charpentier. Oxford: Oxford Uni-
versity Press, 1990.
Messe de Minuit à 4 voix flutes et violon pour

Noël, H. 9 (c. 1694)
Text: The text is the Latin ordinary of the Roman Catholic Mass.
104 The Works
Performing Forces: voices: SATB choir; orchestra: 2 flutes, strings,

and continuo (organ).
Editions: Messe de Minuit à 4 voix flutes et violon pour Noël is pub-

lished by Ernst Eulenberg (8041) in an urtext edition prepared by
Jean-Paul Montaignier. A full score and performance materials are
available for purchase from Lucks.
Autograph: The composer’s manuscript is contained in volume 25 of

the collection of Charpentier’s autograph score in the Bibliotèque
Nationale in Paris.
Notes: This work may have been commissioned by Jesuits of the

Church of St. Louis, now Saint-Paul-Saint-Louis.24 Throughout the
mass, there are textual incipits indicating events in the Christmas
story.
Performance Issues: There are passages labeled seul (solo) and tous
(tutti) for all of the voice and string parts. The score indicates 2 dif-
ferent solo quintets, but the work can be performed with a single
quintet and choir. The review treats these parts as a single quintet.
The vocal writing combines pervasive imitation with homophonic
passages. All of the choral material is directly doubled by the in-
struments and is not vocally demanding. The instrumental writing
is not technically challenging and can be performed by intermedi-
ate-level players. Soloists: dessus I (soprano) - range: a’-a’’, tessi-
tura: b’-g’’, this is a simple lyric solo appropriate for a chorister;
dessus II (soprano) - range: a’-a’’, tessitura: b’-g’’, this is a simple
lyric solo appropriate for a chorister; haute-contre (alto) - range: a-
a’, tessitura: d’-a’’, this is a simple declamatory solo appropriate
for a chorister; taille (tenor) - range: a-g’, tessitura: a-d’, this is a
simple declamatory solo appropriate for a chorister; bass - range:
A-d’, tessitura: d-d’, this is a simple declamatory solo appropriate
for a chorister; Choir: medium easy; Orchestra: medium easy.
24
Montaignier, Jean-Paul: “Preface” Charpentier: Messe de Minuit à 4 voix
flutes et violon pour Noël. London: Ernst Eulenberg, 1996.
Selected Discography: Choir of King’s College, English Chamber

Orchestra; conducted by David Willcocks. EMI: 756823.
Hitchcock, H. Wiley: Marc-Antoine Charpentier, 10. Oxford: Oxford

University Press, 1990.
Fayard, 1988. Translated into English by C. Thomas Glasow, 175,
304, 305, 310-311, 331, 467, 493. Portland, OR: Amadeus Press,
1995.
Messe des Morts a quatre voix et orchestre, H.

10 (1687-1697)
Text: The text is from the Roman Catholic Liturgy of the Mass for the
Dead.
Performing Forces: voices: soprano, 2 alto, 2 tenor, and 2 bass solo-

ists; SATB choir; orchestra: 2 flutes, 2 oboes, strings, and contin-
uo (organ).
Editions: Messe des Morts a quatre voix et orchestre is published by

Editions Costallat as edited by Fr. J. Deleu.

Nationale in Paris.
Notes: There is another work by Charpentier entitled Messe des Morts

a quatre voix, H. 7, which is written for choir and continuo.
Performance Issues: The score includes solo and tutti passages for all
voices and strings. The choral writing includes significant perva-
sive imitation, but all of the material is vocally conservative, and
there is colla parte doubling of all of the choral material by the in-
106 The Works
struments. The instrumental writing is conservative and well with-

in the abilities of most amateur players. The nuances of the numer-
ous suspensions and retardation may need reinforcement with less-
experienced musicians. Soloists: soprano I- range: c’’-g’’, tessitu-
ra: c’’-g’’, this is a simple declamatory solo appropriate for a chor-
ister, it is the largest of the solo roles; soprano II - range: d’-g’’,
tessitura: a’-d’’, this is a simple lyric solo appropriate for a choris-
ter; alto I - range: bb-bb’, tessitura: d’-a’, this is a simple lyric solo
appropriate for a chorister; alto II - range: a-bb’, tessitura: c’-g’,
this is a simple lyric solo appropriate for a chorister; tenor I -
range: g-g’, tessitura: a-g’, this is a simple lyric solo appropriate
for a chorister; tenor II - range: f#-g’, tessitura: b-g’, this is a sim-
ple lyric solo appropriate for a chorister; bass I - range: c-d’, tessi-
tura: d-d’, this is a simple lyric solo appropriate for a chorister;
bass II - range: G-c,’ tessitura: c-c’, this is a simple sustained solo
appropriate for a chorister; Choir: medium easy; Orchestra: me-
dium easy.
Selected Discography: Le Concert Spirituel; conducted by Hervé Ni-

quet. Naxos: 8.553173.

304, 305, 306, 312-315, 419, 467, 493. Portland, OR: Amadeus
Press, 1995.
Te Deum, H. 145 (early 1670s)

Text: This is an anonymous hymn of thanksgiving in church use since

the sixth century. It is usually sung during the Matins service. The
apocryphal source of its genesis is that it was spontaneously sung
by Ss. Ambrose and Augustine on the evening when Augustine
was baptized.25
25
Sacred Latin Texts, 218. Corvallis, OR: Earthsongs, 1988.

ists; 2 SATB choirs; orchestra I: 2 flutes, 2 oboes (oboes II dou-
bling English horn), bassoon, strings (3 violin parts or 2 violin
parts and 1 viola part, cellos); orchestra II: strings (3 violin parts
or 2 violin parts and 1 viola part, cellos) and basso continuo (or-
gan, cello, and double bass).26
Editions: Full score and performance material of the Te Deum are

available for purchase from Heugel-Paris as edited by Denise
Launay as part of Le Pupitre: Collection de musique ancienne. It
is also distributed by Universal Edition.
Autograph: The composer’s manuscript is contained in volumes 15

and 17 of the collection of Charpentier’s autograph score in the
Bibliotèque Nationale in Paris.
Performance Issues: The voices and strings have indications for solo
and tutti playing throughout the work. The choirs divide with the
orchestras, and the ensembles should be arranged to take advantage
of this musical separation. Much of the choral material is doubled
by the instruments, but there are passages assigned either to the
complement of soloists or choir I that are quite florid and only
supported by continuo. Likewise, the solo material, which is at
times quite florid, is often presented with sustained chordal ac-
companiment à la recitative. The instrumental writing is practical
and idiomatic throughout. The instrumental material is accessible
to most intermediate-level players. The two oboe parts may present
some endurance challenges in a few movements. Soloists: soprano
I - range: f#’-a’’, tessitura: a’-g’’, this is a sustained, lyric solo with
some florid melismatic passagework; soprano II - range: d’-g’’,
tessitura: a’-g’’, this is a lyric solo with some florid melismatic
passagework; alto I - range: g-bb’, tessitura: a-g’, this is a sus-
tained solo with some melismatic writing; alto II - range: c’-a’, tes-
situra: c’-g’, this is a sustained solo with some melismatic writing;
tenor I - range: f#-g’, tessitura: g-d’, this is a lyric solo with some
florid melismatic passagework; tenor II - range: f-g’, tessitura: g-
d’, this is a lyric solo with some florid melismatic passagework;
bass I - range: G-d’, tessitura: c-c’, this is a lyric solo; bass II -
26
Some references include trumpet and timpani, probably conflating the infor-
mation with H. 146.
108 The Works
range: A-d’, tessitura: c-c’, this is a sustained solo with some mel-
ismatic writing; Choir: medium easy; Orchestra: medium easy.
Selected Discography: Le Concert Spirituel; conducted by Hervé Ni-

quet. Glossa: GCDSA921611.
Hitchcock, H. Wiley: Marc-Antoine Charpentier, 25, 31. Oxford: Ox-

ford University Press, 1990.
130, 245, 451, 454, 495. Portland, OR: Amadeus Press, 1995.
Te Deum, H. 146 (early 1690s)


was baptized.27
Performing Forces: voices: 2 soprano, alto, tenor, and bass soloists;

SATB choir; orchestra: 2 flutes, 2 oboes, 2 trumpets, timpani,28
strings, and basso continuo.
Editions: Te Deum is published in an urtext edition by Jean-Paul Mon-

taignier by Ernst Eulenberg (8042). Heugel-Paris also publishes an
edition with performing materials.

Nationale in Paris.
27
28
The score includes the label, “Timbales et Basse de Trompette.” This is only
a timpani part. The composer is indicating the role of the timpani as the bass
companion to the trumpet parts.
Notes: This was the first work of Charpentier’s to be recorded (1953).29

The opening prelude was used as the signature theme for Euro-
vision in the early 1950s.30
Performance Issues: There are passages labeled solo and tutti for all
voices and strings. The choral material is well doubled by the in-
struments. It is vocally conservative, leaving the more challenging
vocal material for the soloists, but this is also not technically de-
manding. The instrumental writing is practical and within the abili-
ties of most payers. The trumpet part is unison throughout.
Charpentier may have wanted the sonority of two players, but it is
also likely that he recognized the need for the part to be shared be-
tween two players. The tessitura is high, and the part is quite per-
sistent. It requires a player with significant stamina. Soloists:
dessus (soprano) I - range: f#’-a’’, tessitura: a’-d’’, this is a simple
solo; dessus (soprano) II - range: e’-d’’, tessitura: a’-d’’, this is a
simple solo; haute-contre (alto) I - range: b-a’, tessitura: d’-a’, this
is a simple lyric solo; haute-contre (alto) II - range: b-b’, tessitura:
d’-a’, this is a lyric solo with some florid ornaments; taille (tenor) I
- range: f#-e’, tessitura: a-d’, this is a simple lyric solo; taille (ten-
or) II - range: g-f#’, tessitura: a-f#’, this is a lyric solo with some
florid ornaments; bass I - range: B-e’, tessitura: d-d’, this is a sim-
ple declamatory solo; bass II - range: G-d’, tessitura: d-d’, this is a
lyric baritone solo; Choir: medium easy; Orchestra: medium easy
(except for trumpet).
Selected Discography: Le Parlement de Musique; conducted by Mar-

tin Gester. Recorded at the Lycée de l’Assomption, Rennes,
France, on June 2000. Naïve: 30463.
Choir of King’s College, Academy of St. Martin in the Fields; conduct-
ed by Philip Ledger. EMI: 756823.
Hitchcock, H. Wiley: Marc-Antoine Charpentier, 25-29. Oxford: Ox-

ford University Press, 1990.
29
Cessac, Catherine: Marc-Antoine Charpentier. Paris: Librairie Artème Fay-
ard, 1988. Translated into English by C. Thomas Glasow, 246. Portland, OR:
Amadeus Press, 1995.
30
Montaignier, Jean-Paul: “Preface” to Charpentier: Te Deum. London: Ernst
Eulenberg, 1996.
110 The Works

Fayard, 1988. Translated into English by C. Thomas Glasow, 245-
247, 370, 372, 448, 496. Portland, OR: Amadeus Press, 1995.
Judicium Salomonis, H. 422 (1702)

Text: The text is drawn from the Bible, particularly, I Kings 3:1-28;
and Psalm 117.
Performing Forces: voices: SATB choir; orchestra: 2 flutes, oboe,

bassoon, strings, and continuo.
First Performance: 11 November 1702, Palais de Justice, Paris.
Editions: Judicium Salomonis, H. 422 is published in a critical score,

edited by H. Wiley Hitchcock as Recent Researches in the Music
of the Baroque Era, volume I. New Haven, CT: A-R Editions,
1964.
Autograph: The composer’s manuscript is contained in volume 27,

folios 19-36, of the collection of Charpentier’s autograph score in
the Bibliothèque Nationale in Paris.
Notes: This work was composed to serve as a motet for the “Red
Mass,” an event celebrating the convening of the French Parlia-
ment during the reign of Louis XIV. The soloists include two nar-
rators, Solomon, and the true and false mothers who each claim a
baby as her own.
Performance Issues: The composer’s manuscript indicates plural

winds and at times he calls for a second orchestra, which appears
to be the equivalent of a concertante group. The flutes and oboes
double the violin I part much of the time, but there are some divisi
and a few independent passages. The choral material is well sup-
ported by the instruments with much colla parte doubling. There
are some florid passages for the choristers, but overall, the parts
are not vocally difficult. There are frequent ornaments indicated
for the instruments and choristers. These should be worked out in
the parts if possible. The instrumental writing includes some intri-
cate passagework that is not technically difficult but may provide

ensemble challenges for less-experienced players. Soloists: Vera
mater (soprano) - range: e’-e’’, tessitura: f’-eb’’, this is a simple
declamatory solo; Falsa mater (alto) - range: g-bb’, tessitura: c’-a’,
this is a lyric solo; Salomon (tenor) - range: g-g’, tessitura: g-f’,
this is a lyric part with florid coloratura within a narrow compass;
Historicus II (tenor) - range: g-eb’, tessitura: g-eb’, this is a simple
recitative; Historicus I (bass) - range: c-d’, tessitura: c-c’, this is a
simple declamatory solo; Deus (bass) - range: c-d’, tessitura: c-c’,
this is a sustained declamatory solo; Choir: medium easy; Orches-
tra: medium difficult.
Selected Discography: Ana Quintans, Maud Gnidzaz, Paul Agnew,

Leif Arun-Solén, Marc Molomot, Marc Mauillon, Neal Davies, Jo-
ão Fernandes; Les Arts Florissants; conducted by William Christie.
Virgin: 140308.
Brenet, Michel: “Note sur le ‘Jugement de Salomon’ et son auteur M.-

A. Charpentier,” Tribune de Saint-Gervais, 128-130, xx, 1914.
Hitchcock, H. Wiley: “Preface,” to Judicium Salomonis, v-xvi, Recent
Researches in the Music of the Baroque Era, volume I. New Ha-
ven, CT: A-R Editions, 1964.
__________: Marc-Antoine Charpentier, 60-61. Oxford: Oxford Uni-
Fayard, 1988. Translated into English by C. Thomas Glasow, 23-
24, 263, 270, 272, 283, 291-295, 368, 370, 372-373, 415, 420, 469,
500. Portland, OR: Amadeus Press, 1995.
112 The Works
Handel, George Frideric (b. Halle, Germany, 23 February

1685; d. London, 14 April 1759)
Life: Handel’s father, a barber/surgeon, opposed his son’s intentions to

become a musician. He studied law at Halle University and turned
his attention fully toward music upon his father’s death. He joined
the opera orchestra in Hamburg in 1703 as a violinist. He led per-
formances of his own Almira there two years later. He traveled to
Italy in 1706 where he met the Scarlattis and Corelli and quickly
absorbed the Italian opera style. In 1710 he was appointed conduc-
tor of the opera in Hanover. At that time he was commissioned to
compose an opera, Rinaldo, to be performed in London. Soon
thereafter, he moved permanently to England.
From 1712 onward, he received pensions from the British mon-

arch, spanning Queen Anne and Georges I and II. For the latter he
composed the four Coronation Anthems, HWV 258-261. From
1718 to 1720 he served as music director to the Duke of Chandos
for whom he composed the Chandos Anthems, HWV 246-256. He
produced operas through a company he founded with Ariosti and
Bononcini called the Royal Academy of Music and later he devel-
oped an establishment through the King’s Theatre and then Covent
Garden.
As the popularity of Italian opera waned in London, Handel devel-

oped the English oratorio, beginning with Esther, HWV 50. Rising
Tory sentiments and Handel’s innate dramatic gifts fueled the as-
cendant popularity of the genre. Following a stroke in 1737 and the
remarkable success of Messiah, HWV 56, Handel began a series of
oratorio triumphs on Old Testament dramas. Many of these works
were composed in inconceivably short periods of time, and as a re-
sult often include reworkings of earlier compositions, often with
surprisingly successful prosody with a second (or third) text.
Handel became blind, but continued to conduct performances of

his oratorios. His conducting scores, which include numerous cor-
rections and revisions, have become the bases for modern editions.
In many cases, changes in Handel’s scores reflect particular solo-
ists engaged in new performances of established works. For this
reason, there are often multiple versions of particular arias, and in
other cases, a solo role will contain vocal elements in one move-
114 The Works
ment that appear incongruous with other movements for the same
solo role. On occasion, modern conductors must reconcile these
incongruities when assigning solos.
Handel’s oratorios and anthems have remained a staple of the cho-

ral-orchestral repertoire from his time to the present. The Corona-
tion Anthems have been sung at every British coronation since that
of George II, and Messiah has persisted for centuries as the most-
performed concerted choral composition.
Teacher — Friedrich Wilhelm Zachau

Student — John Christopher Smith
Principal Works: operas — Agrippina (1709), Giulio Cesare (1724),

Tamerlano (1724), Rodelinda (1725), Orlando furioso (1733), Al-
cina (1735), Serse (1738); orchestra — Water Music (c. 1717), 6
Concerti Grossi, op. 3 (1734), 6 Organ Concerti, op. 7 (1740-
1751); 12 Concerti Grossi, op. 12 (1740), Music for Royal Fire-
works (1749); numerous chamber works.
Chrysander, Friedrich: G. F. Handel, 3 volumes. Leipzig: Breitkopf

und Härtel, 1858-1867, reprinted in 1919.
Streatfield, Richard Alexander: Handel, second edition. London: Me-
thuen, 1910; reprinted: New York: Da Capo Press, 1964 and Kes-
singer Publishing, 2007.
Abraham, Gerald, editor: Handel: A Symposium. London: Oxford Uni-
Deutsch, Otto Erich: Handel: A Documentary Biography. New York:
W. W. Norton, 1954.
Dean, Winton: Handel’s Dramatic Oratorios and Masques. London:
Oxford University Press, 1959.
Young, Percy M.: The Oratorios of Handel. London: Dennis Dobson,
1959.
Gooch, Bryan Niel Shirley: Poetry and Music in England 1660-1760:
A Comparison Based on the Works of Dryden, Purcell, Pope, and
Handel. University of British Columbia: dissertation, 1962.
Dean, Winton: The New Grove Handel, with works list by Anthony
Hicks. New York: W. W. Norton, 1982.
Landon, H. C. Robbins: Handel and His World. Boston: Little, Brown,

and Company, 1984.
Baselt, Bernd: Verzeichnis der Werke Georg Friedrich Händels: Kleine
Ausgabe. Leipzig: VEB Deutscher Verlag für Musik, 1986.
Sadie, Stanley, editor: Handel: Tercentenary Collection. Ann Arbor,
MI: UMI Research Press, 1987.
Burrows, Donald and Martha J. Ronish: A Catalogue of Handel’s Mu-
sical Autographs. Oxford: Oxford University Press, 1994.
Smith, Ruth: Handel’s Oratorios and Eighteenth-Century Thought.
Cambridge: Cambridge University Press, 1995.
Burrows, Donald: The Cambridge Companion to Handel. Cambridge:
Cambridge University Press, 1997.
Hurley, David Ross: Handel’s Muse: Patters of Creation in His Orato-
rios and Musical Dramas, 1743-1751. Oxford: Oxford University
Press, 2001.
Parker, Mary Ann: G. F. Handel: A Guide to Research, second edition.
New York: Routledge, 2005.
Hogwood, Christopher: Handel. London: Thames and Hudson, 2007.
Hicks, Anthony: “Handel, George Frederick,” Grove Music Online ed.
http://www.grovemusic.com.
Burrows, Donald: Handel, second edition. Oxford: Oxford University
Press, 2012.
N.B. All dates, first-performance information, revisions, and much of

the text information has been taken from the excellent works lists pre-
pared by Anthony Hicks for the New Grove and the Handel-Werke Ver-
zeichnis (see above). Likewise, the bulk of work-specific bibliographic
information is from Mary Ann Parker’s exceedingly useful G. F. Han-
del: A Guide to Research.
Il trionfo del Tempo e del Disinganno, HWV

46a (1707) and Il trionfo del Tempo e della
Veritá, HWV 46b (1737)
Duration: HWV 46b: ca. 180 minutes
Text: The libretto is by Cardinal Benedetto Pamphili (25 April 1653-22

March 1730).
116 The Works
Performing Forces:
HWV 46a voices: 2 soprano, alto, and tenor soloists; SATB choir;
orchestra: 2 oboes, 2 trumpets, solo organ, strings, and continuo.
HWV 46b voices: 2 soprano, alto, and tenor soloists; SATB choir;
orchestra: 2 oboes, 2 trumpets, solo organ, strings, and continuo.
First Performance: HWV 46a probably June 1707 in Cardinal Pietro

Ottoboni’s palace in Rome; HWV 46b 23 March 1737; Covent
Garden, London; conducted by the composer.
Editions: Il trionfo del Tempo e della Veritá is found in the scholarly

edition — G. F. Händels Werke: Ausgabe der Deutschen Hän-
delgesellschaft, volumes: 20 and 24, edited by Friedrich W. Chry-
sander, Leipzig and Bergedorf bei Hamburg: 1858-1894, reprinted
in 1965; and an entry in the Hallische Händel-Ausgabe im
Auftrage der Georg Friedrich Händel-Gesellschaft is planned.
Autograph: The composer’s manuscripts are in the British Library in

London and the Fitzwilliam Museum, Cambridge. Additional
manuscript materials in other hands are in the Central Public Li-
brary, Manchester; and the Music Collection of the Staats- und
Universitätsbibliothek Carl von Ossietzky, Hamburg.
Notes: HWV 46b is dated 14 March 1737 and is a significant revision

of Handel’s first oratorio, Il trionfo del Tempo e del Disinganno,
HWV 46a, which is believed to have been composed in Rome in
1707. He would again revise this score in 1757 as The Triumph of
Time and Truth, HWV 71, see below. The first version of this ora-
torio includes the aria, “Lascia la spina,” which was adapted from
an instrumental sarabande in Almira (1704) and then adapted again
into the famous aria “Lascia ch’io pianga” from Handel’s opera,
Rinaldo (1711).
Performance Issues: The choral writing is vocally demanding, but

well supported by the orchestra. There are some rapid contrapuntal
passages for the choir. The beginning of Act II includes a section
for SSSSAA soli from the choir. In the Chrysander edition there
are passages labeled “Pleasure (soprano),” these should be as-
signed to the soprano portraying Deceit. Some others are just la-
beled “soprano” and one must exercise best judgment as dictated
by the nature of the text. The orchestral writing is challenging for

all parts. There is rapid passagework for the strings including solo
work for the principals. There are some sustained and challenging
solos for oboe I, and the orchestration provides numerous chal-
lenges for cohesive ensemble playing. There are sections of the
score assigned to solo violins serving as a concertino group. The
organ solos are fairly virtuosic requiring a skilled player. There
need not be an additional instrument for the continuo group, but
the solo passages should be distinguished by changes in registra-
tion. In the Chrysander edition, the organ part includes passages in
soprano and tenor clef following the composer’s notation. Soloists:
Bellezza (soprano) - range: d#’-a’’, tessitura: f#’-f#’’, this is a lyric
solo with florid coloratura passages; Piacere (soprano) - range: d’-
g’’, tessitura: e’-e’’, this is a lyric solo with rapid coloratura writ-
ing; Disinganno (alto) - range: bb-e’’, tessitura: c’-c’’, this is a sus-
tained lyric solo; Tempo (tenor) - range: d-a’, tessitura: f-f’, this is
a dramatic solo with some florid passagework; Choir: difficult;
Orchestra: difficult.
Selected Discography: Claron McFadden, Elisabeth Scholl, Nicholas

Hariades, Peer Abilgaard; Junge Kantorei, Barockorchester Fran-
furt; conducted by Joachim Carlos Martini. Recorded 31 May 1998
in Kloster Eberbach, Eltville am Rhein, Germany. Naxos:
8554440-42.
Kimbell, David: “Aspekte von Händels Umarbeitungen und Revisionen

eigener Werke,” Händel-Jahrbuch, volume 23 (1977), 45-67.
Knapp, J. Merrill: “Die drei Fassungen von Händels Il trionfo del
Tempo,” Konferenzbericht Halle 1981, 86-94.
Schmidt, Roland Dieter: “Die mittlere Fassung von Georg Friedrich
Händels Il triono del Tempo, HWV 46b (London 1737),” Aspekte
der englisch-deutschen Musikgeschichte im 17. und 18. Jahrhun-
dert, edited by Friedhelm Brusniak and Annemarie Clostermann,
69-96. Köln: Studio, 1997.
__________: “Die drei Fassungen von Händels Oratorium Il trionfo del
tempo/The Triumph of Time and Truth (HWV 46a, 46b, 71),” Göt-
tinger Händel-Beitrage, volume 7 (1998), 86-118.
118 The Works
Passion nach Barthold Heinrich Brockes,

“Brockes Passion” HWV 48 (1715)
Text: The text is the story of the Passion of Christ written for Lutheran
use by Barthold Heinrich Brockes and first published in 1712.

ists;31 SATB choir; orchestra: 2 oboes, 2 bassoons, strings, and
continuo. The continuo group includes bassoon, cello, double bass,
and keyboard.
First Performance: possibly 1716 or 1719; Hamburg, Germany; con-

ducted by the composer.32
Editions: Brockes Passion is available from Bärenreiter. It is also

found in two scholarly editions — G. F. Händels Werke: Ausgabe
der Deutschen Händelgesellschaft, volume: 15, edited by Friedrich
W. Chrysander, Leipzig and Bergedorf bei Hamburg: 1858-1894,
reprinted in 1965; and Hallische Händel-Ausgabe im Auftrage der
Georg Friedrich Händel-Gesellschaft, series: 1, volume: 7, edited
by Felix Schroeder, Kassel: Bärenreiter, 1965.
Autograph: The composer’s manuscript is in the British Library in

London. Additional manuscript materials in other hands are in the
Central Public Library, Manchester; the Library of the Gesellschaft
der Musikfreunde, Vienna; the Music Collection of the Öster-
reichische Nationalbibliothek, Vienna; the Music Collection of the
Staatsbibliothek zu Berlin Preußischer Kulturbesitz; and the Music
Collection of the Staats- und Universitätsbibliothek Carl von Ossi-
etzky, Hamburg.
31
David Daniels states that by combining roles this work can be performed
with SATTBB soloists, in Orchestral Music: A Handbook, fourth edition, 162.
Lanham, MD: Scarecrow Press, 2005.
32
Bernd Baselt indicates 3 April 1719 in the Domkirche in Hamburg in Ver-
zeichnis der Werke Georg Friedrich Händels: Kleine Ausgabe, 74. Leipzig:
VEB Deutscher Verlag für Musik, 1986. Anthony Hicks indicates the possibil-
ity of a 1716 performance in his “Works List” in the New Grove.
Notes: This work was originally entitled, Der für die Sünde der Welt
gemartete und sterbende Jesus. It provides a fascinating opportuni-
ty to hear Handel’s German Lutheran musical heritage that was
quickly eclipsed by the cosmopolitan style he developed through
his work with Italian opera. Telemann also produced a setting of
this text, and J. S. Bach incorporated some passages from Brocke’s
text in his St. John Passion, BWV 245.
Performance Issues: The choral material is practically written for an

amateur choir. Much of the choral material is in Lutheran chorale
style. The imitative counterpoint for the choir is conservatively
written and quite accessible for less experienced singers. The or-
chestra doubles the choral parts throughout. The orchestration is
transparent with considerable doubling between the oboes and vio-
lins. The first oboe has some exposed passagework with long
phrases. There are numerous extended passages with rhythmically
intricate unison writing in all treble instruments, which will expose
discrepancies in ensemble. There are passages with 2 obbligato
bassoon parts. When using a small choral contingent, the work
could be done with solo strings, although a slightly larger compo-
nent would better balance the continuo group. Movement 49 is la-
beled terzetto. It is scored SAB, and could be a trio from the choir.
The roles of Tochter Zion, Gläubige Seele (soprano), Petrus, the
Evangelist, tenor (unnamed), and Jesus all require experienced so-
loists. The remaining solos can quite effectively be assigned to
members of the choir. Three of the roles are labeled “Gläubige
Seele,” but are distinguished by being scored for soprano, tenor,
and bass. Soloists: soprano (Tochter Zion) - range: c’-a’’, tessitura:
g’-f’’, this is a lyric solo with some coloratura writing, it is the
most vocally complex role; soprano (Johannes) - range: e’-c’’, tes-
situra: f’-bb’, this is a minor solo appropriate for a chorister; sopra-
no (unnamed) - range: d’-eb’’, tessitura: f’-d’’, this is a minor solo
appropriate for a chorister; soprano (Magdelan) - range: g’-e’’, tes-
situra: a’-d’’, this is a minor solo appropriate for a chorister; sopra-
no (Gläubige Seele) - range: d’-g’’, tessitura: g’-f’’, this is a lyrical
role with sustained and lilting passages; soprano (Maria) - range:
f’-g’’, tessitura: a’-e’’, this is a lyrical role appropriate for an ad-
vanced chorister; alto (Jakobus) - range: d’-g’, tessitura: d’-g’, this
is a minor solo appropriate for a chorister; alto (unnamed) - range:
a-bb’, tessitura: c’-a’, this is a minor solo appropriate for a choris-
ter; alto (Judas) - range: b-d’’, tessitura: d’-b’, this is a declamatory
120 The Works
role with some dramatic writing, it is scored for countertenor, but

could be effectively presented by a baritone down an octave; tenor
(Evangelist) - range: eb-f’, tessitura: g-d’, this is a declamatory role
primarily in recitative; tenor (Petrus) - range: c-a’, tessitura: e-f’,
this is a declamatory role with some ensemble work and coloratura
passagework, it is more vocally challenging than the Evangelist;
tenor (unnamed) - range: e-g’, tessitura: f-f’, this is a challenging
solo with florid coloratura writing; tenor (Gläubige Seele) - range:
e-f’’, tessitura: g-e’, this is a minor solo appropriate for a chorister;
bass (Jesus) - range: Ab-e’, tessitura: c-d’, this is a lyric role with
some wide melodic leaps and occasionally florid passagework with
sustained legato singing and long phrases, it is logically the promi-
nent role within the work and one that requires a secure soloist;
bass (Caiaphas) - range: c-eb’, tessitura: d-c’, this is a minor solo
appropriate for a chorister; bass (Pilatus) - range: d-d’, tessitura: e-
b, this is a minor solo appropriate for a chorister; bass (Haupt-
mann) - range: d-e’, tessitura: e-d, this is a declamatory solo ap-
propriate for a chorister; bass (Gläubige Seele) - range: G-eb’,
tessitura: d-d’, this is a dramatic solo appropriate for an advanced
chorister; Choir: medium easy; Orchestra: medium difficult.
Selected Discography: Maria Stader, Edda Moser, Paul Esswood,

Ernst Haefliger, Jerry J. Jennings, Theo Adam, and Jakob
Stämpfli; Regensburger Domchor, Schola Cantorum Basiliensis;
conducted by August Wenzinger, recorded in 1967. Re-released as
Deutsche Grammophon/Archiv 463 644-2.
Maria Zadori, Katalin Farkas, Eva Barfai-Barta, Eva Lax, Drew Minter,
Peter Bajan, Martin Klietmann, Guy de May, Janos Bandi, Istvam
Gai, Gunter Burzynski; Stadtsingechor Halle, Capella Savaria;
conducted by Nicholas McGegan. Recorded in 1994 by Hunga-
roton; re-released on Brilliant Classics: 92003.
Becker, Heinz: “Die frühe Hamburgische Tagespresse, als musikge-

schichtliche Quelle,” Beiträge zur Hamburgischen Musikgeschich-
te, volume 1, edited by Heinrich Husman. Hamburg: Schriftenreihe
des Musikwissenschaftliche Instituts der Universität, 1956.
Fredrichs, Henning: Das Verhältnis von Text und Musik in den Brock-
es-Passionen Keisers, Händels, Telemanns, und Matthesons. Mu-
nich: Musikverlag Emil Katzbicher, 1975.
__________: “Zur theologischen Interpretation der Brockes-Passion

von G. F. Händel,” Göttinger Händel-Beitrage, volume 1 (1984),
21-34.
Britsch, Edwin: Musical and Poetical Rhetoric in Handel’s Setting of
Brocke’s Passion Oratorio: A Rhetorical Analysis of the Poem
with a Study of Handel’s Use of the Figurenlehre. Ph.D. disserta-
tion: Florida State University, 1984.
Braun, Werner: “Händel und der Dichter Barthold Heinrich Brockes,”
Händel und Hamburg: Austellung anläßlich des 300. Geburtstages
von Georg Friedrich Händel, edited by Hans Joachim Marx, 85-
97. Hamburg: Karl Dieter Wagner, 1985.
Acis and Galatea, HWV 49a/b (1718)

Text: The text was composed by John Gay and others based upon Ov-
id’s Metamorphoses, XIII.
Performing Forces: voices: soprano, 2 tenor, and bass soloists;

STTTB choir; orchestra: piccolo,33 2 flutes, 2 oboes, strings
(without violas), and continuo (bassoon, cello, bass, and key-
board).
First Performance: The premiere is believed to have been in the

summer of 1718 at Cannons, Edgware; conducted by the compos-
er.
A later adaptation in Italian was premiered 10 June 1732, King’s

Theater, London.34
Editions: Acis and Galatea is available from Bärenreiter, Kalmus, and

Novello. It is also found in two scholarly editions — G. F. Händels
33
Sopranino recorder.
34
Handel incorporated some music from his earlier Italian setting of the story
Aci, Galatea e Polifemo, Serenata a Tre, HWV 72 in his setting of the Dryden
text in 1718. That composition of 1708 is scored for three soloists and an or-
chestra. This earlier serenade should not be confused with the three-act Italian
adaptation of the 1718 composition using text by Nicola Giuvo and cataloged
as HWV 49b.
122 The Works
Werke: Ausgabe der Deutschen Händelgesellschaft, volumes: 3

and 4, edited by Friedrich W. Chrysander, Leipzig and Bergedorf
bei Hamburg: 1858-1894, reprinted in 1965; and Hallische Hän-
del-Ausgabe im Auftrage der Georg Friedrich Händel-Gesell-
schaft, series: 1, volume: 9 (first version), edited by Wolfram
Windszus, Kassel: Bärenreiter, 1991.
Autograph: The composer’s manuscript of the first version is in the

British Library. Additional manuscript materials in other hands are
in the Gerald Coke Collection in Bentley, England; the Durham
Cathedral Library; the Central Public Library, Manchester; St. Mi-
chael’s College Library, Tenbury Well, England; the Music Col-
lection of the Staats- und Universitätsbibliothek Carl von
Ossietzky, Hamburg; and in the Library of Congress.
Autograph materials of later versions are in the British Library in

London; and the Fitzwilliam Museum, Cambridge. Additional
manuscript materials in other hands are in the Durham Cathedral
Library; and in the Library of Congress.
Notes: Mozart reorchestrated this work, adding 2 flutes, 2 clarinets,

bassoon, and two horns. This version was premiered in Vienna in
November 1788. It is catalogued as K. 566 and can be found in the
Neue Mozart Ausgabe series 10, work group 28, part 1, volume 1.
Performance Issues: The tessitura of the first tenor part is very high.
The choral parts are well supported by the accompaniment. There
are solo passages within the choir, and the choral writing is vocally
demanding. The score can easily be realized with single instru-
ments and solo singers on the choral parts. The preface to the Hal-
lische Händel-Ausgabe suggests that this was apparently the
practice of the first performance. The editor also recommends the
use of piccolo/sopranino recorder in place of the flute in movement
12. There are extended florid passages for the violins in unison.
This also occurs with the oboes, which requires consistently strong
players to maintain good ensemble. There are alternate orchestra-
tions of 9.a., which includes a carillon and viola. If this version
were to be used, the use of solo parts within the choral and orches-
tral ensemble would be less effective. Soloists: Galatea (soprano)-
range: d’-g’’, tessitura: f’-f’’, this is a lyric role with a fair amount
of coloratura passagework; Acis (tenor) - range: d-a’, tessitura: g-
g’, this is a lyric role with coloratura writing and long sustained
passages; Damon (tenor) - range: f-a’, tessitura: g-g’, this is a lyric
role that is less demanding than Acis; Polypheme (bass) - range: F-
f’, tessitura: Bb-d’, this is a powerful coloratura bass role portray-
ing a giant; Choir: difficult; Orchestra: medium difficult.
Selected Discography: Norma Burrowes, Anthony Rolfe Johnson,

Martyn Hill, Willard White; English Baroque Soloists; conducted
by John Eliot Gardiner. Archiv: 028947422525.
Kym Amps, Robin Doveton, Angus Davidson; Scholars Baroque En-
semble; conducted by David von Asch. Recorded in All Saints
Church, East Finchley, London, September 1993. Naxos: 8553188.
Sophie Daneman, Patricia Petibon, Paul Agnew, Joseph Cornwell, Alan
Ewing; Les Arts Florissants; conducted by William Christie. Erato:
25505.
Rendall, E. D.: “The Influence of Henry Purcell on Handel traced in

Acis and Galatea,” Musical Times, volume 36 (1895), 293-296.
Smith, William, C.: “Acis and Galatea in the Eighteenth Century,”
Concerning Handel: His Life and Works, 197-265. London: Cas-
sell, 1948.
Dean, Winton: Handel’s Dramatic Oratorios and Masques, 153-190.
London: Oxford University Press, 1959.
Fellerer, K. G.: “Haendels Acis and Galatea in der Bearbeitung Mo-
zarts (KV 566),” Deutsches Mozartfest der Deutschen Mozart-
Gesellschaft, edited by Erich Valentin, 32-40. Schwetzinger:
Deutsche Mozart-Gesellschaft, 1975.
Beechey, Gwilym: “Acis and Galatea: Some Notes on a Handel Mas-
terpiece,” Musical Opinion, volume 108 (1985), 227-229, 258-260.
Trowell, Brian: “Acis, Galatea, and Polyphemus: ‘sernata a tre voci’?”
Music and Theatre: Essays in Honour of Winton Dean, edited by
Nigel Fortune, 31-94. Cambridge: Cambridge University Press,
1987.
Dugaw, Diane: “Parody, Gender, and Transformation in Gay and Han-
del’s Acis and Galatea,” Eighteenth-Century Studies, volume 29
(1996), 345-367.
Winemiller, John: “Recontextualizing Handel’s Borrowing,” Journal of
Musicology, volume 15 (1997), 444-470.
124 The Works
Esther, HWV 50a/b (1717)

Text: The text was written by Alexander Pope and John Arbuthnot
based upon Thomas Brereton’s translation of Racine’s Esther of
1689. Additional text was provided by Samuel Humphreys for the
1732 revision.
Performing Forces: voices: 2 soprano, alto, 6 tenor, and bass soloists;

SATTBB choir; orchestra: oboe, 2 bassoons, 2 horns, trumpet,
harp, strings, and continuo (bassoon, cello, double bass, and key-
board).
First Performance: The premiere is believed to have been in 1718 or

1720 at Cannons, Edgware; conducted by the composer.35 The first
fully documented performance occurred 23 February 1732 in the
Crown and Anchor Tavernin London, conducted by Bernard Gates.
Editions: The first version of Esther is available from Bärenreiter,

Kalmus, and Novello. It is also found in two scholarly editions —
G. F. Händels Werke: Ausgabe der Deutschen Händelgesellschaft,
volumes: 40 and 41, edited by Friedrich W. Chrysander, Leipzig
and Bergedorf bei Hamburg: 1858-1894, reprinted in 1965; and
Hallische Händel-Ausgabe im Auftrage der Georg Friedrich Hän-
del-Gesellschaft, series: 1, volume: 8 (first version), edited by
Howard Serwer, Kassel: Bärenreiter, 1995. A subsequent edition
of revised version will be published in the HHA as series: 1, vol-
ume 10.
Autograph: The composer’s and early copyists’ manuscripts of the

first version are in the British Library in London; and the Fitzwill-
iam Museum, Cambridge. Additional manuscript materials in other
hands are in the Music Collection of the Staats- und Universitäts-
bibliothek Carl von Ossietzky, Hamburg; Archives of the Moravi-
an Church in Bethlehem, Pennsylvania; and in the Library of
Congress.
35
Baselt, Bernd: Verzeichnis der Werke Georg Friedrich Händels: Kleine Aus-
gabe, 76. Leipzig: VEB Deutscher Verlag für Musik, 1986.
Autograph materials of later versions are in the British Library in

London; and the Fitzwilliam Museum, Cambridge. Additional
manuscript materials in other hands are in the Gerald Coke Collec-
tion in Bentley, England; the Central Public Library of Manches-
ter; and the New York Public Library.
Notes: Nine numbers from the first version of Esther were borrowed
from Handel’s Brockes Passion (qv). It is believed to have been
composed for James Brydges, Duke of Chandos, but clear docu-
mentation has not been found to confirm this.
Performance Issues: The choral writing is well supported by the or-

chestra and much of it is homophonic. The choral parts are pri-
marily scored for SATTB. The only movement with two bass parts
is the finale, which is also the only movement in which the trumpet
plays. This final number comprises the major challenges for the
choir and represents nearly half of the choral material of the entire
oratorio. A review of that movement will confirm the suitability of
this work for proposed choirs and orchestras. The Hallische Hän-
del-Ausgabe provides a number of alternate instrumentations based
upon alternate manuscripts and known concert variants during the
composer’s lifetime. The harp part is an exposed solo. There is an
interesting variety of instrumental combinations used to accompa-
ny the arias and duets. All of the wind parts have exposed inde-
pendent passagework that is idiomatically written. There is rapid
passagework in unison between the violins and oboes that may
present some ensemble challenges. The first horn part has a high
tessitura and stays in a narrow range for extended periods of time.
Each of the solo parts has some passages of substance with the ex-
ceptions of the Officer and Habdonah, which should be given to
members of the choir. Aside from Esther, the Israelite Woman, As-
suerus, Mordecai, and Hamman, the roles can be assigned to strong
choristers. Soloists: Esther (soprano) - range: f’-a’’, tessitura: g’-
f’’, this is a sustained role with very long phrases; Israelite woman
(soprano) - range: e’-g’’, tessitura: a’-g’’, this is a sustained solo
part appropriate for a lighter voice; 3rd Israelite (alto) - range: bb-
c’’, tessitura: d’-b’’, this is a sustained lyric role; Assuerus (tenor) -
range: e-a’, tessitura: g-g’, this is a lyric role with sustained singing
in the top of the range and some coloratura passagework; Mordecai
(tenor) - range: eb-g’, tessitura: f-f’, this is a sustained role perhaps
best assigned to the darkest of the tenor soloists; 1st Israelite (ten-
126 The Works
or) - range: f-a’, tessitura: g-g’, this is a lyric role with sustained
singing at the top of the indicated range; 2nd Israelite (tenor) -
range: f-a’, tessitura: a-f’, this is a lyric and sustained role; Habdo-
nah (tenor) - range: bb-f’, tessitura: bb-f’, this is a very brief and
simple part best assigned to a chorister; Officer (tenor) - range: c’-
g’, tessitura: c’-g’, this is a very brief and simple part best assigned
to a chorister; Haman (bass)- range: Ab-e’, tessitura: c-c’, this is a
declamatory role for a powerful voice; Choir: medium difficult;
Orchestra: medium difficult.
Selected Discography: Lynda Russell, Nancy Argenta, Mark Padmore,

Anthony Robson, Michael George: The Sixteen, Symphony of
Harmony and Invention; conducted by Harry Christopher. Record-
ed at St. Jude’s on the Hill, Hempstead Garden, England. Coro:
16019.
Patrizia Kwella, Emma Kirkby, Drew Minter, Paul Elliott, Andrew
King, Anthony Rolfe Johnson, Ian Partridge, David Thomas;
Westminster Cathedral Boys Choir, Chorus and Orchestra of the
Academy of Ancient Music; conducted by Christopher Hogwood.
L’Oiseau-Lyre: 414423-2.

Young, Percy M.: The Oratorios of Handel, 43-58. London: Dennis
Dobson, 1959.
Larsen, Jens Peter: “Esther and the Origin of the Handelian Oratorio
Tradition,” American Choral Review, volume 6, number 2 (1964),
1-5.
Serwer, Howard: “Die Anfänge des Händelschen Oratoriums (Esther
1718),” Konferenzbericht Halle 1981, 34-45.
Baselt, Bernd: “Händels englische Oratorien und ihre Anfänge,
Musikalisches Füllhorn” Aufsätze zur Musik Günter Fleischhauer
zum 60. Geburtstag, edited by Berd Baselt, 5-11. Halle: Martin-
Luther-Univerität Halle-Wittenberg, 1990.
Deborah, HWV 51 (1733)

Duration: ca. 140 minutes36
Text: The text is by Samuel Humphreys based upon chapter 5 of the

Book of Judges from the Old Testament.
Performing Forces: voices: 2 soprano, 2 alto, and bass soloists; dou-

ble SATB choir; orchestra: 2 flutes, 2 oboes, 2 bassoons, 3 horns,
3 trumpets, timpani, organ, strings, and continuo (bassoon, cello,
double bass, harpsichord, and organ).37
First Performance: 17 March 1733; King’s Theater, Haymarket, Lon-

don; conducted by the composer.
Editions: Deborah is available from Kalmus (A 2622). It is also found

in the scholarly edition — G. F. Händels Werke: Ausgabe der
Deutschen Händelgesellschaft, volume: 29, edited by Friedrich W.
Chrysander, Leipzig and Bergedorf bei Hamburg: 1858-1894, re-
printed in 1965; and an entry in the Hallische Händel-Ausgabe im
Auftrage der Georg Friedrich Händel-Gesellschaft is planned.

Fitzwilliam Museum, Cambridge; the Central Public Library,
Manchester; the Durham Cathedral Library; the Music Collection
of the Staats- und Universitätsbibliothek Carl von Ossietzky,
Hamburg.
Notes: Handel reused earlier music. The score includes a completion

date of 21 February 1733. It includes a richly elaborate chorus built
on the hymn tune St. Anne (1708), by William Croft.
Performance Issues: This is a remarkably rich score with many melo-

dies well remembered from Handel’s reuses of them in more fre-
quently performed works. A strong choir and orchestra are
necessary for a successful performance. This is an excellent vehi-
cle to show off a mature and skilled choir in a sadly underper-
36
This is listed as 86 minutes in some sources, which is incorrect.
37
The use of a lute in the continuo group is advised if possible.
128 The Works
formed composition. The choral writing places vocal demands on

all of the parts, but the choral material is well supported by the in-
struments. The orchestration will effectively balance a large string
section and choir. A significant portion of the score is given to the
choir, and the 8-part texture occurs in a number of choruses. The
orchestral writing is aggressive and presents challenges to all parts,
especially the trumpets and violins. The trumpets and horns have
more playing time than most works in this repertoire, which will
present endurance challenges. Some of the string writing will pre-
sent intonation challenges, especially in doublings with the winds.
There are imaginative and counterintuitive rhythmic figures in
some of the instrumental movements that will require attention to
integrate parts. An ensemble of experienced players is necessary,
and some of the tutti melodic material will present challenges to
clarity of ensemble. There is an elaborate organ solo that is inde-
pendent of the continuo group. There are a number of very brief
solos representing minor characters in the story that are appropriate
for choristers. Soloists: Deborah (soprano) - range: f’-bb’’, tessitu-
ra: g’-g’’, this is a lyric and sustained solo with some long phrases
and ornamental passages; Jael (soprano) - range: bb-a’’, tessitura:
g’-g’’, this is a lyric solo with some rapid coloratura; Barak (alto) -
range: a-eb’’, tessitura: b-b’, this is a dramatic solo with some rapid
passagework and for which an ossia can eliminate the top third of
the indicated range; Sisera (alto38) - range: g-eb’’, tessitura: c’-c’’,
this is a sustained solo with an alternate tenor version and ossia at
the extremes of range; Abinoam (bass) - range: G-e’, tessitura: c-
c’, this is a dramatic solo with some rapid passagework; Choir:
difficult; Orchestra: difficult.
Selected Discography: Yvonne Kenny, Susan Gritton, Catherine Den-

ley, James Bowman, Michael George; Choristers of Salisbury Ca-
thedral, King’s Consort; conducted by Robert King. Hyperion:
66841.
Elisabeth Scholl, Natasha Ducret, Lawrence Zazzo, Knut Schoch, Jelie
Draijer; Junge Kantorei, Barockorchester Franfurt; conducted by
Joachim Carlos Martini. Recorded 23 May 1999 in Kloster Eber-
bach, Eltville am Rhein, Germany. Naxos: 8554785-87.
38
The score indicates that this role may be sung by an alto or tenor. An alto was
used in the premiere.

Dobson, 1959.
Serwer, Howard: “In Praise of Handel’s Deborah,” American Choral
Review, volume 27, numbers 2-3 (1985), 14-19.
Gutknecht, Dieter: “Friedrich Chrysander und die Aufführungen Hän-
delischen Oratorien,” Georg Friedrich Händel: ein Lebensinhalt.
Gedenkschrift für Bernd Baselt (1934-1993), edited by Klaus Hor-
tansky and Kostanze Musketa, 241-260. Kassel: Bärenreiter, 1995.
Athalia, HWV 52 (1733)

Text: The text is by Samuel Humphreys based upon Jean Racine’s

Athalie of 1691, which in turn is inspired by the biblical account in
the second Book of Kings.

double SATB choir; orchestra: 2 flutes, 2 oboes, 2 bassoons, 2
horns, 2 trumpets, timpani, organ solo, strings (including 4 violin
parts), and continuo (cello, bass, bassoon, theorbo, harpsichord,
and organ).
First Performance: 10 July 1733; Sheldonian Theater, Oxford; con-

ducted by the composer.
Editions: Athalia is published in two scholarly editions — G. F. Hän-

dels Werke: Ausgabe der Deutschen Händelgesellschaft, volume:
5, edited by Friedrich W. Chrysander, Leipzig and Bergedorf bei
Hamburg: 1858-1894, reprinted in 1965; and Hallische Händel-
Ausgabe im Auftrage der Georg Friedrich Händel-Gesellschaft,
series: 1, volume: 12, edited by Stephan Blaut, Kassel: Bärenreiter,
2006.

London the Fitzwilliam Museum, Cambridge. Additional manu-
script materials in other hands are in the Royal College of Music,
130 The Works
London; the Central Public Library, Manchester; the Gerald Coke

Collection in Bentley, England; the Music Collection of the Staats-
und Universitätsbibliothek Carl von Ossietzky, Hamburg; and the
Nanki Ongaku Bunko (Nanki Music Library), Tokyo.
Notes: The score includes a completion date of 7 June 1733. Additions

were made in 1735, including Italian arias. A subsequent revision
was made in 1756. Portions of this score also appear in Parnasso
in festa, HWV 73, and “This is the Day the Lord hath made.”
HWV 262. Handel made a habit of performing organ concerti at
the end of the first act.
The title character, Athalia, is the Queen of Judah, who upon the
death of her son the king, Ahaziah, slaughters the remaining royal
family to remain in power; Joas, Ahaziah’s son survives, hidden
from his grandmother by his aunt, Josabeth; Joad is a high priest
and husband of Josabeth; Mathan, a former Jewish priest is now a
priest of Baal; and Abner is captain of the Jewish forces. Joad or-
der has Joas declared King and has Athalia slain. Mathan is also
slain before the altars as the Jewish soldiers destroy the altars of
Baal and reclaim the temple.
Performance Issues: The choral writing is vocally demanding. The

choral material is well supported by the orchestra. There are some
movements for double chorus, but much is SATB, combining
homophonic and imitative textures. Likewise, the string writing is
primarily for 2 violins. There is a challenging cello solo in move-
ment 11. The orchestral writing is rich and idiomatic. The string
writing, in particular, is demanding with very rapid unison passag-
es that will require experienced players. If one is to perform this
work, some thought will need to be given to which version of vari-
ous numbers will be used. The interpolation of Italian arias may be
problematic for modern audiences, but the available soloists may
be the best guide for these decisions, especially for the role of
Joad, which is quite flamboyant in the 1735 score. There are pas-
sages in the HHA edition in which it is not always clear where a
solo part ends and a choral part begins when they are assigned a
common line of the score. There is an alternate version of one
movement, 4.a., which is a duet for 2 bass soloists with double
SATB choir. This duet lists one of the soloists as Joas who is else-
where a mezzo. Handel’s many revisions for a variety of soloists is
the cause of this anomaly. Soloists: Athalia (soprano) - range: d’-

a’’, tessitura: a’-a’’, this is a dramatic role with some rapid figures;
Josabeth (soprano) - range: f’-bb’’, tessitura: a’-f’’, this is a lyric
role with considerable coloratura; Joas (soprano) - range: eb’-ab’’,
tessitura: g’-g’’, this is a lyric role best suited to a boy soprano;
Joad (alto) - range: bb-c’’, tessitura: c’-a’, this is a lilting role, but
in the revision it is a high mezzo role with long phrases and con-
siderable coloratura (range: b-g’’); Mathan (tenor) - range: e-g’,
tessitura: f-f’, this is a lyric role with rapid coloratura writing; Ab-
ner (bass) - range: (F)39 G-f’, tessitura: A-d’, this is a dramatic solo
with some rapid coloratura; Choir: difficult; Orchestra: difficult.
Selected Discography: Elisabeth Scholl, Barbara Schlick, Friederike

Holzhausen, Stephan MacLeod, Markus Britscher; Junge Kantorei,
Franfurt Baroque Orchestra; conducted by Joachim Carlos Martini.
Recorded in Kloster Eberbach, Eltville im Rheingau, 19 May 1996.
Naxos: 8554364-65.
Emma Kirkby, Aled Jones, James Bowman, Anthony Rolfe Johnson,
David Thomas; Academy of Ancient Music; conducted by Chris-
topher Hogwood. L’Oiseau-Lyre: 4171262.

Dobson, 1959.
Brett, Philip, and George Haggerty: “Handel and the Sentimental: The
Case of Athalia,” Music & Letters, volume 68 (1987), 112-127.
Téllez, Carmen Helena: Musical Form and Dramatic Concept in Han-
del’s Athalia. D. M. dissertation: Indiana University, 1989.
Haake, Claus: “Beispiele dramatischer Gestaltung im Händels Musik
zum Oratorium Athalia,” Händel-Jahrbuch, volume 37 (1991),
147-152.
Burrows, Donald: “Handel’s 1735 (London) Version of Athalia,” Mu-
sic in Eighteenth-Century Britain, edited by David Wyn Jones,
193-212. Aldershot: Ashgate, 2000.
39
In the alternate version only.
132 The Works
Held, Anette Christina: “Händels Oratorium Athalia (HWV 52, 1733)

und die biblischen Tragödien Racines,” Göttinger Händel-
Beitrage, volume 8 (2000), 75-104.
Blaut, Stephan: “Preface” to Athalia, Hallische Händel-Ausgabe im
Auftrage der Georg Friedrich Händel-Gesellschaft, series: 1, vol-
ume: 12, xix-xxix. Kassel: Bärenreiter, 2006.
Saul, HWV 53 (1738)

Text: The text is by Charles Jennens, based upon Abraham Cowley’s

Davideis and I Samuel, chapter 17, and II Samuel, chapter 1 from
the Old Testament.
Performing Forces: voices: 3 soprano,40 alto, 4 tenor, and 4 bass solo-

ists; SATB choir; orchestra: 2 flutes (recorders), 2 oboes, 2 bas-
soons, 2 trumpets, 3 trombones, timpani, carillons,41 harp, organ,
strings, and continuo (bassoon, cello, double bass, harpsichord, and
organ).
First Performance: 16 January 1739; King’s Theater, Haymarket,

London; conducted by the composer.
Editions: Saul is available from Bärenreiter. It is also found in two

scholarly editions — G. F. Händels Werke: Ausgabe der
printed in 1965; and Hallische Händel-Ausgabe im Auftrage der
by Percy M. Young, Kassel: Bärenreiter, 1962.

40
The Witch of Endor is listed as a tenor role, but appears in soprano range in
the score.
41
This was a keyboard instrument for which a chime stop on the organ or ce-
leste may be used. The size of the orchestra may make a celeste difficult to
balance. The range goes beyond typical glockenspiels. In the right setting a
handbell choir could be effectively added to the score.
Fitzwilliam Museum, Cambridge; the Bodleian Library, Oxford;

the Royal College of Music, London; the Central Public Library,
Manchester; and the Music Collection of the Staats- und Universi-
tätsbibliothek Carl von Ossietzky, Hamburg.
Notes: This is the first of Handel’s four collaborations with the libret-
tist Charles Jennens: Saul; L’Allegro, HWV 55; Messiah, HWV
56; and Belshazzar’s, HWV 61. It is noteworthy that only 4 of the
30 arias are in da capo form. This is one of the largest orchestra-
tions of the era.
Performance Issues: The choral writing includes a diverse array of

homophonic and imitative textures all of which are well supported
by the orchestra. There are some divisi for the sopranos and tenors.
There are some exposed and challenging solo passages for oboe I.
A few of the solos are labeled with voice type without specifying
the character. The orchestral writing is idiomatic. The brass and
wind scoring make the use of a full string section advisable. The
trombone parts are alto, tenor, and bass with the tessitura of the al-
to trombone quite high. There are a number of organ solos within
the score. There are a few passages with 3 violin parts. The carillon
part is labeled “Carillons in F.” The plural is of note, but the key
appears to be an error. To remain harmonically consistent with the
other instruments, the transposition should be down a perfect
fourth rather than a perfect fifth. The harp appears as a brief solo
movement representing David’s playing of the harp. It includes
figured bass. This should be realized in the part to allow for an idi-
omatic solution. Soloists: Merab (soprano) - range: d’-bb’’, tessitu-
ra: g’-g’’, this is a lyric role with some extended coloratura
passagework; Michal (soprano) - range: e’-a’’, tessitura: g’-g’’,
this is a light lyric role; Witch of Endor (soprano) - range: g’-e’’,
tessitura: g’-e’’, this is a simple sustained role listed as a tenor in
many sources and the frontismaterial of the critical edition, but
written in soprano range; David (alto/countertenor) - range: bb-a’’,
tessitura: d’-d’’, this is a lyric role with some sustained passages
and occasional coloratura passages, the range and tessitura of this
part are higher in the third act than in acts I and II; Jonathan (tenor)
- range: c#-ab’, tessitura: g-f’, this is a lilting and sustained role;
Abner (tenor) - range: f-eb’, tessitura: a-d’, this is a simple part on-
ly in recitatives, it is appropriate for a chorister; An Amalekite
(tenor) - range: d-f#’, tessitura: f-e’, this is a simple solo appropri-
134 The Works
ate for a chorister; High Priest (tenor) - range: d-g’, tessitura: f-e’,
this is a simple declamatory role; Saul (bass) - range: Bb-e’, tessitu-
ra: d-d’, this is a powerful and declamatory role with some colora-
tura writing; Doeg (bass) - range: f-d’, tessitura: f-d’, this is a brief
and simple solo appropriate for a chorister; Apparition of Samuel
(bass) - range: Bb-d’, tessitura: d-d’, this is a simple solo appropri-
ate for a chorister; Abiathar (bass) - range: Bb-eb’, tessitura: eb-eb’,
this character appears in the personnel list, but is not specifically
identified in the score, there is a trio in the first scene for which
this part must be the bass, it is a simple lyric part; Choir: difficult;
Selected Discography: Julia Varady, Elisabeth Gale, Matthias Holle,

Paul Esswood, Anthony Rolfe Johnson, Dietrich Fischer-Dieskau;
Konzertvereinigung Wiener Staatsoperchor, Concentus Musicus
Wien; conducted by Nikolaus Harnoncourt. Live concert recording
Musikvereinsall, Vienna, 28 April 1985. Warner Classics (Das Al-
te Werk re-release): 4686983.
Barbara Schlick, Marcel Beekman, Claron McFadden, David Cordier,
Knut Schoch, Stephan MacLeod, Gotthold Schwarz; Junge Kanto-
rei, Barockorchestra Frankfurt; conducted by Joachim Carlos Mar-
tono. Recorded in Kloster Eberbach, Eltville am Rhein, Germany,
May 1997. Naxos: 8554361-3.
Donna Brown, Lynne Dawson, Ruth Holton, Derek Lee Ragin, Neil
Mackie, John Mark Ainsley, Philip Salmon, Philip Slane, Simon
Oberst, Alastair Miles, Richard Savage; Monteverdi Choir, English
Baroque Soloists; conducted by John Eliot Gardiner. Recorded in
Stadthalle Göttingen, June 1989. Philips: 000942802.

Dobson, 1959.
Webb, Ralph: “Views and Viewpoints: Handel’s Oratorios as Drama,”
College Music Symposium, volume 23, number 2 (1983), 122-144.
Latini, Lucilla: Analisi e fortuna del Saul di G. F. Haendel (con
traduzione e studio critico del libretto). Ph.D. dissertation: Univer-
sità degli Studi di Perugia, 1986.
Hicks, Anthony: “Handel, Jennens, and Saul: Aspects of a Collabora-

tion,” Music and Theatre: Essays in Honour of Winton Dean, edit-
ed by Nigel Fortune, 75-104. Cambridge: Cambridge University
Press, 1987.
Cox, Howard: “Character Portraits of the Hebrew kings in Handel’s
Oratorios,” Göttinger Händel-Beiträge, volume 5 (1993), 216-223.
Israel in Egypt, HWV 54 (1738)

Text: The text is taken from the Book of Exodus, chapter 15 from the
Old Testament and the Psalter in the Book of Common Prayer.
Performing Forces: voices: 2 soprano, alto, tenor, and 2 bass soloists;

SSAATTBB choir; orchestra: 2 oboes, 2 bassoons, 2 trumpets, 3
trombones, timpani, strings, and continuo (cello, double bass,
harpsichord, and organ). 42
First Performance: 4 April 1739; King’s Theater, Haymarket, Lon-

Editions: Israel in Egypt is available from Bärenreiter, Kalmus,

Luck’s, and C. F. Peters. It is also found in two scholarly editions
— G. F. Händels Werke: Ausgabe der Deutschen Händelgesell-
schaft, volume: 16, edited by Friedrich W. Chrysander, Leipzig
del-Gesellschaft, series: 1, volume: 14, parts 1 and 2 edited by
Arnette Landgraf, Kassel: Bärenreiter, 1999.

Fitzwilliam Museum, Cambridge; the Gerald Coke Collection in
Bentley, England; the Central Public Library, Manchester; the
Durham Cathedral Library; and the Music Collection of the Staats-
und Universitätsbibliothek Carl von Ossietzky, Hamburg.
42
David Daniels indicates that the Bärenreiter edition includes 2 flute in Or-
chestral Music: A Handbook, fourth edition, 161. Lanham, MD: Scarecrow
Press, 2005.
136 The Works
Notes: Early performances (1739 and 1740) of this composition used

an arrangement of Handel’s Funeral Anthem as the first act. From
1756 on, the first act was a reworking of passages from Solomon
and the Occasional Oratorio. The Chrysander edition does not in-
clude the Sinfonia.
Performance Issues: This work is a showcase for a virtuosic choir and

orchestra. The choral material is almost entirely doubled by the or-
chestra. Sections scored for 8-part choir are generally less contra-
puntally complex and syllabic than those for 4 parts. The
significant majority of this work is choral. The solos and duets
comprise only about a quarter of the composition, and each soloist
has only one or two extended numbers. The choral material in-
cludes passages that are vocally challenging to all singers, but of
greater significance is the amount of choral music to be learned
and the vocal endurance of the choir. A choir that is musically sol-
id and vocally mature is needed for an effective performance. The
scoring suggests the use of a large choir. Despite the idiomatic
writing for all of the instruments, there are some very florid pas-
sages for the violins that will require close attention in rehearsal.
The trombones were added by Handel to his conducting score and
provide colla parte support of the choir in selected passages. The
orchestration is quite rich and at times the density of the voicing
presents challenges to clarity of line. Effort will need to be given to
maintain a lightness of articulation to produce these passages ef-
fectively. Soloists: soprano I - range: eb’-bb’’, tessitura: e’-e’’, this
is a lyric solo with some extended coloratura; soprano II - range:
e’-g’’, tessitura: e’-e’’, this is a lyric solo with some extended colo-
ratura; alto - range: bb-c’’(e’’), tessitura: bb-c’’, this is a sustained
lyric solo with long phrases; tenor - range: d-g’, tessitura: f-e’, this
is a lyric solo rapid coloratura passagework; bass I - range: A-e’,
tessitura: c#-c#’, this is a lyric solo with long melismatic passage-
work; bass II - range: G#-e’, tessitura: c#-c#’, this is a lyric solo
with long melismatic passagework; Choir: difficult; Orchestra:
difficult.
Selected Discography: Nicola Jenkins, Simon Birchall, Robert Evans;

The Sixteen, Symphony of Harmony and invention; conducted by
Harry Christophers. Recorded in St. Jude’s on the Hill, Hempstead,
England, in March 1993. Coro: 16011.
Susan Gritton, Michael Chance, Iain Bostridge, Stephen Varcoe;

King’s College Choir, Cambridge; Brandenburg Consort; conduct-
ed by Stephen Cleobury. Decca.
Tovey, Donald Francis: “Handel: Israel in Egypt,” in Essays in Musical

Analysis, volume 5, 82. London: Oxford University Press, 1937.
Dobson, 1959.
Leopold, Silke: “Israel in Egypt — ein mißglückter Glücksfall,” Göt-
tinger Händel-Beiträge, volume 1 (1984), 35-50.
Kropfinger, Klaus: “Israel in Egypt — das fragwürdige Fragment,”
Beiträge zur Geschichte des Oratoriums seit Händel: Festschrift
Günther Massenkeil zum 60 Geburtstag, edited by Rainer Caden-
bach and Helmut Loos, 1-28. Bonn: Voggenreiter, 1986.
Landgraf, Annette: “Israel in Egypt: ein Oratorium als Opfer der Poli-
tik,” Händel-Jahrbuch, volumes 42-43 (1996-1997), 213-221.
L’Allegro, il Penseroso ed il Moderato, HWV 55

(1740)
Text: The text of parts I and II is an arrangement by Charles Jennens

and James Harris of John Milton’s poems “L’Allegro” and “Il Pen-
seroso,” which are companion poems first published in 1645, but
probably written in 1631. “L’Allegro” refers to the “cheerful man”
invoking the goddess Mirth to live with the poet in the pastoral
countryside and the busy city. “Il Penseroso” refers to the “con-
templative man” and is an invocation to the goddess Melancholy
requesting Peace, Quiet Leisure, and Contemplation. 43
Jennens provided original text for part III, “Il Moderato,” which
was omitted in later performances.
43
The Oxford Companion to English Literature, fifth edition, edited by Marga-
ret Drabble, 492 and 544. Oxford: Oxford University Press, 1985.
138 The Works

SATB choir; orchestra: 2 flutes (transverse), 2 oboes, bassoon, 2
horns, 2 trumpets, carillon, timpani, strings, and continuo (bassoon,
cello, double bass, harpsichord, and organ). 44
First Performance: 27 February 1740; Lincoln’s Inn Fields, London;

conducted by the composer.
Editions: L’Allegro, il Penseroso ed il Moderato is available from

Bärenreiter. It is also found in two scholarly editions — G. F.
Händels Werke: Ausgabe der Deutschen Händelgesellschaft, vol-
ume: 6, edited by Friedrich W. Chrysander, Leipzig and Bergedorf
schaft, series: 1, volume: 16, edited by Martin V. Hall and James
S. Hall, Kassel: Bärenreiter, 1965. The aria, “Sweet Bird,” is pub-
lished as an independent concert work by Kalmus.

tion in Bentley, England; and the Music Collection of the Staats-
Notes: The work was composed between 19 January and 4 February

1740. After 1742, Handel omitted part III in his performances.
Performance Issues: The choral writing is primarily homophonic and

well supported by the orchestra. The choral numbers are only
about a fifth of the work. There are some passages that are vocally
demanding for the choristers, but it is a work intended to show off
the soloists, particularly the soprano. The score allows for some
work to be assigned to the tenor or soprano, which is probably the
result of particular soloists at the composer’s disposal in different
performances. This does allow the soprano to take responsibility
for the more florid material. There is considerable rapid unison
44
There are 3 violin parts and 2 viola parts; likewise, the critical edition allows
for the use of 2 obbligato bassoons or cellos in certain movements. There is an
independent bassoon part in some movements, which is not indicated in the
instrumentation list of the score.
passagework for the treble instruments requiring careful attention

to achieve good ensemble. This includes a fair amount of ornamen-
tation. There is an exposed horn solo in movement 13 that is quite
high. The carillon appears in movement 19. It is a florid and criti-
cal part; however, there is an alternate simple movement to replace
this when an instrument is unavailable. If the carillon movement is
to be included, it will be necessary to interpret the octaves in the
notation to correspond with available instruments as the notated
range is D-g’’. There are some challenging solo passages for violin
and cello. The trumpets and timpani appear only in movement 30.
The first part is high and sustained. Soloists: soprano - range: bb-
bb’’, tessitura: f’-f’’, this is a lyric role with considerable coloratura
passagework and long phrases, it is a tour de force requiring a
strong vocalist, and if the numbers alternately assigned to tenor or
soprano are given to the soprano, it represents a substantial portion
of the oratorio; alto - range: c’-d’’, tessitura: d’-c’’, this is a lilting
and small solo role; tenor - range: d-a’, tessitura: f-f’, this is a de-
clamatory and articulated solo with some coloratura writing; bass -
range: Bb-e’, tessitura: d-d’, this is a declamatory role with some
coloratura writing; Choir: medium difficult; Orchestra: difficult.
Selected Discography: Linda Perillo, Barbara Hannigan, Knut Schoch,

Stephan MacLeod; Junge Kantorei, Franfurt Baroque Orchestra;
conducted by Joachim Carlos Martini. Recorded in Kloster Eber-
bach, Eltville im Rheingau, 19 May 2002. Naxos: 8557057.
Susan Gritton, Claron McFadden, Lorna Anderson, Paul Agnew, Neal
Davies; The King’s Consort; conducted by Robert King. Recorded
at St. Jude-on-the-Hill, Hempstead, London, 5 through 12 February
1999. Hyperion: 67283/4.
Myers, Robert Manson: Handel, Dryden, and Milton. London: Bowes

and Bowes, 1956.
Key, Ivor: “Handel’s L’Allegro: A Celebration of Country and Town,”
Studies in Music, volume 22 (1988), 39-47.
Cookson, Sandra: “‘Linkèd Sweetness’: Milton, Handel, and the Com-
panion Poems,” Milton Quarterly, volume 30 (1996), 132-142.
140 The Works
Schauerte, Gesine: “Purcells Glocken und Luthers Choral: Anklänge

Englischer und Deutscher Kirchenmusik in Händels Oratorium
L’Allegro, il Penseroso ed il Moderato,” Händel-Jahrbuch, vol-
ume 48 (2002), 281-295.
Messiah, HWV 56 (1741)

Text: The text was compiled from the Bible and the Psalter in the Book
of Common Prayer by Charles Jennens.

SATB choir; orchestra: 2 oboes, 2 bassoons, 2 trumpets, timpani,
organ, strings, and continuo.
W. A. Mozart orchestration: 2 flutes (flute II doubling piccolo), 2

oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones,
timpani, organ, and strings.45
Ebenezer Prout orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bas-

soons, 2 horns, 2 trumpets, 3 trombones, timpani, organ, piano, and
strings.
Eugène Goossens orchestration: 3 flutes (piccolo), 4 oboes (Eng-

lish horn), 2 clarinets (bass clarinet), 2 bassoons, contrabassoon, 4
horns, 2 trumpets, 3 trombones, tuba, timpani, 3 percussionists,
harp, and strings.
First Performance: 13 April 1742, New Music Hall, Fishamble Street,

Dublin; conducted by the composer.
Editions: Messiah is published by Bärenreiter and Eulenberg, edited by

Chrysander; Novello, edited by Watkins Shaw; Dover, edited by
Alfred Mann; G. Schirmer, edited by Max Spicker; Roger Dean,
45
This version was premiered in Vienna in March 1789. It is catalogued as K.
572 and can be found in the Neue Mozart Ausgabe, series 10, work group 28,
part 1, volume 2. Mozart used the music of Handel’s fugal chorus, “And with
his stripes,” as the first theme of the double-fugue opening movement of the
Requiem.
edited by Leonard Van Camp (piano-vocal score: 65/1001, full

score: 30/1026, orchestral parts are available individually for pur-
chase). Of the available piano-vocal scores, the Watkins Shaw edi-
tion is highly recommended. Alfred Mann’s edition of the full
score and parts is also commendable for their accuracy, clarity, and
affordability.
N.B. Orchestral materials corresponding to the Dover edition are

available for purchase from Broude Brothers. The Van Camp edi-
tion is published to serve as a correction of the Spicker edition, in-
cluding matching pagination and corresponding rehearsal numbers.
Messiah is also found in two scholarly editions — G. F. Händels

Werke: Ausgabe der Deutschen Händelgesellschaft, volume: 45,
edited by Friedrich W. Chrysander, Leipzig and Bergedorf bei
series: 1, volumes: 17 and 18, edited by John Tobin, Kassel:
Bärenreiter, 1965 and 1966.
The Mozart orchestration is available from Bärenreiter and C. F.

Peters. The Prout orchestration is available from G. Schirmer. The
Goossens orchestration is available from Meriden Music, repre-
sented by Theodore Presser in the United States.

London; St. Michael’s College Library, Tenbury Wells; and the
Fitzwilliam Museum, Cambridge. Additional manuscript materials
in other hands are in the Gerald Coke Collection in Bentley, Eng-
land; Rowe Music Library, King’s College, Cambridge; Royal
Academy of Music Library, London; Senate House Library, Uni-
versity of London; the Thomas Coram Foundation, London; Trini-
ty College Library, Dublin; Marsh’s Library, Dublin; the New
York Public Library; and the Music Collection of the Staats- und
Notes: Messiah is Handel’s best-known and most performed work, and

it is the most widely performed oratorio in the choral-orchestral
repertoire. Its success was nearly immediate, and the composer led
many performances of the work, the last of these a mere nine days
before his death. Handel conducted from a second manuscript
142 The Works
score made by his copyist, John Christopher Smith. The majority

of Handel’s changes to the work over the seventeen years of per-
formances he led were recorded in that copy. This document has
provided much of the evidence for the multiple versions of many
of the arias.
This work was written in twenty-one days, a herculean feat made

only somewhat less miraculous as one begins to discover the clever
reuses of musical material from earlier works including Italian ari-
as.
Performance Issues: The choral writing is vocally challenging for all

parts employing widely varied contrapuntal techniques that include
significant rapid melismas in all parts. The work is very practically
scored to provide colla parte doubling of much of the choral mate-
rial. The tunefulness and widespread familiarity of the choruses
have made them more accessible to mid-level choirs than other
works this technically demanding for the choristers. The chorus,
“Lift up your gates” includes passages for semi-chorus, which
would be extremely effective as an antiphonal group. The instru-
mental writing is idiomatic with conservative orchestration that in-
cludes significant doubling between parts. The trumpet I part has a
fairly high tessitura, but Handel provides ample tacets between
numbers employing the trumpets and timpani. Logically, there is
an exposed and extended trumpet solo in the aria, “The trumpet
shall sound.” None of the various reorchestrations of the work
make it easier, and it can be well argued that they also do not im-
prove upon the original. Soloists: Perhaps more than any of Han-
del’s other oratorios, the composer created numerous alternate
versions of arias to correspond to the singers at his disposal. The
Watkins Shaw edition provides four scenarios for the allocation of
the solos. The following descriptions are based upon all versions
contained within that edition. The stylistic variety within each
voice part could be enhanced by using more than four soloists. So-
prano - range: c’-a’’, tessitura: f’-f’’, this is a sustained and lyric
solo with some rapid coloratura writing; alto - range: a-eb’’, tessitu-
ra: c’-c’’, this is a dramatic role with some aggressive coloratura
and sustained passagework ideally suited to a countertenor; tenor -
range: e-g’, tessitura: e-g’, this is a lyric solo with some florid col-
oratura passagework and long phrases; bass - range: (F#) G#-e’,
tessitura: d-d’, this is a declamatory solo with some rapid passage-
work, the role seems best suited for a bass baritone with the excep-
tion of “Behold, I tell you a mystery” and “The trumpet shall
sound,” which are ideal for a lyric baritone; Choir: medium diffi-
Selected Discography: Sibylla Rubens, Ingeborg Danz, James Taylor,

Thomas Quastoff; Oregon Bach Festival Chorus and Orchestra;
conducted by Helmuth Rilling. Recorded in Silva Concert Hall,
Eugene, Oregon. Hänssler: 98198.
Margaret Marshall, Catherine Robbin, Saul Quarke, Charles Brett, An-
thony Rolfe Johnson, Robert Hale; Monteverdi Choir, English Ba-
roque Soloists; conducted by John Eliot Gardiner. Recorded in
London, November 1982. Philips: 434297.
Sylvia McNair, Anne Sophie von Otter, Michael Chance, Jerry Hadley,
Robert Lloyd; Academy of St. Martin in the Fields, conducted by
Neville Marriner. Philips: 470044.
Lynne Dawson, Hilary Summers, John Mark Ainsley, Alastair Miles;
Choir of King’s College, Cambridge; Brandenburg Consort; con-
ducted by Stephen Cleobury. Brilliant Classics: 955336.
Larsen, Jens Peter: Handel’s Messiah, Origins, Composition, Sources.

London: Adam and Charles Black, 1957. Revised, New York: W.
W. Norton, 1972.
Dobson, 1959.
Shaw, Watkins: The Story of Handel’s Messiah: 1741-1784. London:
Novello, 1963.
Shaw, Watkins: A Textual and Historical Companion to Handel’s Mes-
siah. London: Novello, 1965.
Tobin, John: Handel’s Messiah: A Critical Account of the Manuscript
Sources and Printed Editions. London: Cassell, 1969.
Burrows, Donald: “Handel’s Performances of Messiah: The Evidence
of the Conducting Score,” Music and Letters, volume 56 (1975),
319.
__________: “Handel and the Foundling Hospital,” Music and Letters,
volume 58 (1977), 269.
144 The Works
Larsen, Jens Peter: “Wandlungen der Auffassung von Händels Mes-

sias,” Göttinger Händel-Beiträge, volume 1 (1984), 7-20.
Burrows, Donald: “The Autographs and Early Copies of Messiah:
Some Further Thoughts,” Music and Letters, volume 66 (1985),
201.
Gudger, William D.: “Sketches and Drafts for Messiah,” American
Choral Review, volume 27, numbers 2-3 (1985), 31-44.
Moses, Don V: Face-to-Face with an Orchestra: A Handbook for Cho-
ral Conductors Performing Handel’s Messiah, Bach’s Magnificat,
Vivaldi’s Gloria, and Other Works. Princeton, NJ: Prestige Publi-
cations, 1987.
Burrows, Donald: Handel’s “Messiah.” Cambridge: Cambridge Uni-
Luckett, Richard: Handel’s Messiah: A Celebration. London: Victor
Gollancz, 1992.
Van Camp, Leonard: Practical Guide for Performing, Singing, and
Teaching Messiah. Dayton, OH: Roger Dean, 1994.
Samson, HWV 57 (1741)

Duration: ca. 205 minutes46
Text: The text is an adaptation by John Hamilton of John Milton’s

Samson Agonistes (1671) with interpolations of other poems.
Performing Forces: voices: 2 soprano, alto, 3 tenor, and 2 bass solo-

ists;47 SATB choir; orchestra: 2 flutes, 2 oboes, 2 bassoons, 2
horns, 2 trumpets, timpani, organ, strings, and continuo.
First Performance: 18 February 1743; Covent Garden, London; con-

Editions: Samson is available from Bärenreiter, Kalmus, and C. F. Pe-

ters. It is also found in the scholarly edition — G. F. Händels
46
Recordings range from 159 to 215 minutes.
47
A number of the solo roles are not listed in many sources, but those reviewed
have independent arias.
Hamburg: 1858-1894, reprinted in 1965; and an entry in the Hal-

Gesellschaft is planned.
tion in Bentley, England; Rowe Music Library, King’s College,
Cambridge; the Central Public Library, Manchester; the Music
etzky, Hamburg; and Nanki Ongaku Bunko (Nanki Music Li-
brary), Tokyo.
Notes: The score was composed in September and October of 1741 and
revised in 1742. A new aria was added in 1745 and another, from
the Occasional Oratorio, in 1754. The score identifies choruses of
Philistines and Israelites. These designations are made in the libret-
to, but not the score. If two ensembles are used they should be
physically divided.
Performance Issues: The choral parts include a number of vocally

demanding passages, but there are considerable opportunities to
recover between them. There are numerous brief passages wherein
the choir is unaccompanied, but the vast majority of the choral pas-
sages are clearly doubled by the instruments. There is one move-
ment score for SSATTB choir, which is homophonic. The trumpet
and horn parts are exposed and quite difficult, but there is consid-
erable recovery time between movements in which they appear.
The flutes appear in only a brief portion of the score and would
have been played by the oboists during Handel’s time. The string
writing includes some rapid passagework throughout the section.
There is a notated organ part in one movement that is quite simple.
There is an additional soprano solo labeled “Virgin” that appears in
duet with Dalila. It would be practical to assign this to the same so-
loist who portrays the Philistine Woman. There are also a few re-
citative passages assigned to a “Messenger,” which can be a tenor
chorister. This is a monumental work with a number of very de-
manding sections, but Handel has provided practical balance with
less-challenging material. The work is well paced to avoid signifi-
cant fatigue, but it remains a three-hour work. Soloists: Dalila (so-
prano) - range: c#’-a’’, tessitura: e’-e’’, this is a lyric solo with
considerable florid passagework; Philistine Woman/Israelite
146 The Works
Woman (soprano) - range: e’-a’’, tessitura: f#’-f#’’, this is a lyric

solo with long phrases and some florid passagework, the role could
be divided between two soloists, the parts are vocally similar; Mi-
cah (alto) - range: a-eb’’ (e’’), tessitura: c’-c’’, this is a declamatory
solo with some long phrases; Samson (tenor) - range: d-a’, tessitu-
ra: f-f’, this is a dramatic declamatory role; Philistine (tenor) -
range: c#-g’ (a’ optional), tessitura: f#-f#’, this is a lyric solo with
some florid passagework; Israelite (tenor) - range: d-g’, tessitura: f-
f’, this is a lyric solo role; Manoah (bass) - range: Bb-f’, tessitura:
d-d’, this is a dramatic baritone role with extended melismatic pas-
sagework; Harapha (bass) - range: G-e’, tessitura: Bb-d’, this is a
dramatic solo with some rapid coloratura; Choir: medium diffi-
cult; Orchestra: difficult.
Selected Discography: Lynne Dawson, Lynda Russell, Matthew Vine,

Jonathan Best, Thomas Randle, Mark Padmore, Michael George;
The Sixteen, Symphony of Harmony and Invention; conducted by
Harry Christophers. Recorded at St. Jude’s on the Hill, Hempstead
Garden, England. Coro: 16008.
Lynne Dawson, Donna Brown, Ruth Holton, Derek Lee Ragin, John
Mark Ainsley, Neil Mackie, Richard Savage, Alastair Miles; Mon-
teverdi Choir, English Baroque Soloists; conducted by John Eliot
Gardiner. Recorded in Stadthalle, Göttingen, Germany, June 1989.
Philips: 000942802.
Smith, William C.: “Samson: The Earliest Editions and Handel’s Use
of the Dead March, Musical Times (August 1938), 581-584.
and Bowes, 1956.
Dobson, 1959.
Stahura, Mark: “The Publishing Copy Text of Handel’s Samson,”
Journal of Musicology, volume 4 (1985-1986), 207-216.
Burrows, Donald: “Handel and English Recitative,” Symposien-Bericht
Karlsruhe (1998-2000), 209-229.
Semele, HWV 58 (1743)

Text: The text is by William Congreve’s libretto for the opera by John
Eccles based upon Ovid’s Metamorphoses, book III, which was
completed in 1707, but never produced.48 To adapt the text for an
oratorio, Handel used additional passages from Alexander Pope’s
“Summer: The Second Pastorale.”

ists; SATB choir; orchestra: 2 oboes, 2 bassoons, 2 horns, timpa-
ni, strings, and continuo.

Editions: Semele is available from Kalmus and Novello. It is also

reprinted in 1965; and an entry in the Hallische Händel-Ausgabe
im Auftrage der Georg Friedrich Händel-Gesellschaft is planned.
Autograph: : The composer’s manuscripts are in the British Library in

brary, Manchester; the Music Collection of the Staats- und Univer-
sitätsbibliothek Carl von Ossietzky, Hamburg; and the Library of
Congress.
Notes: This work was composed between 3 June and 4 July 1743. Six
arias, some in Italian, were added for a second set of performances
given in December 1744.
Performance Issues: The choral material is dramatic, but quite practi-

cal. In many cases the orchestra accompanies the choir in highly
ornamented versions of their material giving the effect of it being
48
Lincoln, Stoddard: “The First Setting of Congreve’s Semele,” Music and
Letters, volume 44, number 2 (April 1963), 104.
148 The Works
more difficult for the choir than it actually is. Much of the choral
material is homophonic and syllabic. A larger choir is appropriate
to balance the declamatory choral passages with a fairly thick or-
chestration. The orchestral writing is quite virtuosic, with consid-
erable rapid passagework for all winds and strings. There are some
exposed cello solos. The violin parts in particular will require
strong players to maintain tempi. This is a work that features the
soloists with the choir providing dramatic effect. A number of the
soloists must be technically gifted, especially Athamus, Juno, Ino,
and Jupiter, but this is truly a showcase for the title character. This
work should only be programmed with this soloist as the lynchpin.
Soloists: Iris (soprano) - range: f’-bb’’, tessitura: g’-f’’, this is a
lyric solo with rapid coloratura; Semele (soprano) - range: c’-a’’,
tessitura: g’-g’’, this is a virtuosic lyric role with considerable col-
oratura; Athamas (alto) - range: a-bb’, tessitura: c’-a’, this is a lyric
role with some ornamental passagework ideally a countertenor; Ju-
no (alto) - range: a-eb’’ (f’’), tessitura: d’-d’’, this is a dramatic de-
clamatory mezzosoprano role; Ino (alto) - range: bb-eb’’, tessitura:
d’-bb’, this is a simple, although considerable, lyric role; Jupiter
(tenor) - range: e-a’, tessitura: f#-f#’, this is a lyric role with ex-
tended melismatic passages; Apollo (tenor) - range: f-f#’, tessitura:
f-e’, this is a brief simple recitative appropriate for a chorister;
Cadmus (bass) - range: c-d’, tessitura: c-d’, this is a simple part;
Somnus (bass) - range: A-d’, tessitura: d-c’, this is a lyric solo with
some melismatic passagework; Priest (bass) - range: Bb-eb’, tessitu-
ra: c-c’, this is a simple brief solo appropriate for a strong chorister
– it is the first vocal entry of the oratorio; Choir: medium easy;
Selected Discography: Kathleen Battle, Sylvia McNair, Marilyn

Horne, Michael Chance, John Aler, Samuel Ramey; Ambrosian
Opera Chorus, English Baroque Orchestra; conducted by John
Nelson. Recorded in Abbey Road Studios, May 1990. Deutsche
Grammophon: 435782.
Elisabeth Scholl, Julia Schmidt, Ralf Popken, Knut Schoch, Klaus
Mertens; Junge Kantorei, Frankfurt Baroque Orchestra; conducted
by Joachim Carlos Martini. Recorded 27 May 2007 in Kloster
Eberbach, Rheingau, Germany. Naxos: 8570431-33.
Lawrence, J. T.: “Handel’s Semele,” Musical Opinion (June 1900).

Heuss, Alfred: “Das Semele-Problem bei Congreve und Händel,”
Zeitschrift der internationalen Musikgesellschaft, volume 15
(1914).
Squire, W. Barclay: “Handel’s Semele,” Musical Times (February
1925).
Hicks, Anthony: “Ravishing Semele,” Musical Times, volume 114
(1973), 275-280.
Leopold, Silke: “Semele von John Eccles und Georg Friedrich Händel,”
Symposien-Bericht Karlsruhe (1986-1987), 29-38.
Hurley, David Ross: “‘The Summer of 1743’: Some Handelian Self-
Borrowings,” Göttinger Händel-Beiträge, volume 4 (1991), 174-
193.
__________: Handel’s Muse: Patterns of Creation in His Oratorios
and Musical Dramas, 1743-1751. Oxford: Oxford University
Press, 2001.
Joseph [Joseph and His Brethren], HWV 59

(1743)
Text: The text was compiled by James Miller from the Book of Gene-
sis, chapter 41-44, and Apostolo Zeno’s Giuseppe.

ists; SATB choir; orchestra: 2 flutes, 2 oboes, bassoons, 2 trum-
pets, timpani, strings, and continuo (bassoon, cello, double bass,
harpsichord, and organ).
First Performance: 2 March 1744; Covent Garden, London; conduct-

ed by the composer.
Editions: Joseph and His Brethren is found in the scholarly editions —

volume: 42, edited by Friedrich W. Chrysander, Leipzig and
Bergedorf bei Hamburg: 1858-1894, reprinted in 1965; and an en-
150 The Works
try in the Hallische Händel-Ausgabe im Auftrage der Georg Frie-

drich Händel-Gesellschaft is planned.

tion in Bentley, England; Rowe Music Library, King’s College,
Cambridge; the Central Public Library, Manchester; and the Music
etzky, Hamburg.
Notes: This work is referred to by two titles: Joseph is the name of the
oratorio, but the libretto used the name, Joseph and His Brethren.
The final chorus is from the Dettingen Anthem, HWV 265.
Performance Issues: The choral writing is contrapuntally varied. The

choral material is clearly doubled by the instruments. There are a
number of vocal challenges for the choir, including rapid coloratu-
ra passages in multiple concurrent voices. The trumpets and timpa-
ni appear in only a couple of movements, and although logical
members of the continuo group, the bassoons and organ are only
specifically identified in the final chorus. That movement also in-
cludes the label “Cantus I, II” on the top choral line, but it is a sin-
gle part throughout. The flutes appear in a single movement and
would have been played by the oboists in Handel’s time. The wind
and brass parts are practical and offer adequate recovery time be-
tween passages. The string writing is idiomatic, but often quite
challenging. There are some very rapid passages for all upper
strings in unison that may prove troublesome for ensemble unity.
In his conducting score, Handel created a number of versions and
transpositions of solos to take advantage of the soloists at his dis-
posal. He also added optional notes (lower for Joseph and higher
for Phanor and Potifera) to exploit the vocal qualities of particular
singers. The resulting published editions present a few roles that
have musical multiple personality disorders. Rather than being an
alto part with some high notes or a soprano part with some low
notes, these roles shift between alto and soprano tessituri by
movement. The roles are navigable by many good singers, but pac-
ing and possible transpositions or ossia passages may need to be
considered depending upon the singers employed. Absenath, Jo-
seph, and Phanor are the most challenging roles. In addition to
Reuben, Simeon and Judah can also be assigned to string choris-

ters. Soloists: Benjamin (soprano) - range: e’-g’’, tessitura: g’-g’’,
this is a sustained lyric solo; Absenath (soprano) - range: c’-a’’,
tessitura: g’-g’’, this is a large, virtuosic solo with some extended
coloratura; Phanor (soprano49) - range: ab-g’’, tessitura: f’-d’’, this
is a declamatory solo; High Priest (soprano) - range: e’-a’’, tessitu-
ra: g’-g’’, this is a lyric soprano role labeled “alto” in some scores;
Joseph (alto) - range: (ab) a-g’’, tessitura: d’-d’’, this is a substan-
tial lyric role with some rapid passagework; Potiphera or Simeon
(tenor) - range: d-g’, tessitura: g-g’, this is a declamatory solo with
some rapid passagework; Judah (tenor) - range: d-g’, tessitura: f-f’,
this is a lilting role with some extended passagework; Pharaoh
(bass) - range: G-e’, tessitura: d-d’, this is a dramatic solo with
some rapid coloratura; Reuben (bass) - range: d-db’, tessitura: f-bb,
this is a very simple part that appears only in recitative and is ap-
propriate for a chorister; Choir: difficult; Orchestra: difficult.
Selected Discography: Yvonne Kenny, Connor Burrowes, Catherine

Denley, James Bowman, John Mark Ainsley, William Missin, Mi-
chael George; King’s Consort; conducted by Robert King. Hyperi-
on: 67171.
Fiske, Roger: “Handel’s Joseph,” Music and Letters, volume 15 (Octo-

ber 1934), 301-305.
Dobson, 1959.
Siegmund-Schutze, Walther: “Händels Oratorium Joseph und seine
Brüder — eine Wiederentdeckung,” Händel-Jahrbuch, volume 30
(1984), 81-93.
Chisholm, Duncan: “New Sources for the Libretto of Handel’s Joseph,”
Handel: Tercentenary Collection, edited by Stanley Sadie, 182-
208. Ann Arbor, MI: UMI Research press, 1987.
49
Within the Chrysander edition, Phanor is labeled as both an alto and soprano
in different movements. A high mezzo soprano is ideal for navigating passages
that appear to have been conceived for different soloists.
152 The Works

193.
Hercules, HWV 60 (1744)

Text: The text was written by clergyman Thomas Broughton, based

upon Sophocles’s Trachiniae and Ovid’s Metamorphoses, book
IX.

SATB choir; orchestra: 2 oboes, 2 trumpet, timpani, strings, and
continuo.
First Performance: 5 January 1745; King’s Theater, Haymarket, Lon-

Editions: Hercules is available from Kalmus and Novello. It is also

found in the scholarly edition — G. F. Händels Werke: Ausgabe

Bentley, England; the Central Public Library, Manchester; and the
Music Collection of the Staats- und Universitätsbibliothek Carl
von Ossietzky, Hamburg.
Notes: Hercules was composed between 19 July and 17 August 1744.

The score calls for a Chorus of Trachinians and a Chorus of Oe-
chalians.
Performance Issues: The choral writing combines a variety of contra-

puntal textures, but the majority of the choral material is homo-
phonic and syllabic. There are some rapid melismatic figures for
all choristers. The tessituri of each choral part is conservative, and
all of the choral parts are clearly doubled by the accompaniment.

The trumpets and horns appear in only a few movements and the
parts are not very demanding. There are a few exposed cello solos.
The string writing is idiomatic and presents the greatest challenges,
but even the most rapid passages fall naturally, and should come
together with minimal rehearsal if an experienced string section is
on hand. The score identifies the strings con ripieno and senza ri-
pieno. There are some brief choral solos and recitative passages for
various Oechalians that should be assigned to choristers. The her-
culean roles are ironically Dejanira and Iöle. They have the largest
portion of solos and the most vocally challenging material. Solo-
ists: Dejanira (soprano) - range: a-g’’, tessitura: e’-e’’, this is a
dramatic role with florid coloratura passages and broad melodic
leaps; Iöle (soprano) - range: c’-a’’, tessitura: f’-f’’, this is a virtu-
osic role with considerable florid passagework; Lichas (alto) -
range: bb-eb’’, tessitura: eb’-c’’, this is a sustained lyric solo; Hyllus
(tenor) - range: e-g’, tessitura: f-f’, this is a lyric solo with some
rapid passagework; Hercules (bass) - range: G-eb’, tessitura: d-d’,
this is a dramatic role with extended melismatic passages; Priest of
Jupiter (bass) - range: d-d’, tessitura: d-d’, this is a set of brief reci-
tatives appropriate for a chorister; Choir: medium difficult; Or-
chestra: medium difficult.
Selected Discography: Anne Sofie Von Otter, Lynne Dawson, David

Daniels, Richard Croft, Gidon Saks; Les Musiciens du Louvre;
conducted by Marc Minkowski. DG Archiv: 469532.
Sarah Walker, Jennifer Smith, Catherine Denley, Anthony Rolfe John-
son, John Tomlinson; Monteverdi Choir, English Baroque Soloists;
conducted by John Eliot Gardiner. DG Archiv: 4779112.
In German: Doris Soffel, Hebe Dijkstra, Kari Lövaas, Eberhard Büch-
ner, Hermann Christian Polster.

Rackwitz, Werner: “Die Herakles-Gestalt bei Händel,” Festschrift zur
Händel-Ehrung der Deutschen Demokratischen Republik 1959,
51-61. Leipzig: Deutscher Verlag für Musik, 1959.
154 The Works
Hurley, David Ross: “Dejanira and the Physicians: Aspects of Hysteria

in Handel’s Hercules,” Musical Quarterly, volume 80 (1996), 548-
561.
__________: “Handel’s Compositional Process,” The Cambridge
Companion to Handel, edited by Donald Burrows, 122-144. Cam-
bridge: Cambridge University Press, 1997.
Gilman, Todd S.: “Handel’s Hercules and its Semiosis,” Musical Quar-
terly, volume 81 (1997), 449-481.
Hurley, David Ross: Handel’s Muse: Patterns of Creation in His Ora-
torios and Musical Dramas, 1743-1751. Oxford: Oxford Universi-
ty Press, 2001.
Belshazzar, HWV 61 (1744)

Text: The text was produced by Charles Jennens based upon History I
of Herodotus, Xenophon’s Cyropaedia, and the Bible (Daniel,
chapter 5; Jeremiah, chapter 25; and Isaiah, chapter 13).
Performing Forces: voices: soprano, 2 alto, 2 tenor, and 2 bass solo-

ists; SATB choir; orchestra: 2 oboes, 2 trumpets, timpani, strings,
and continuo.

Editions: Belshazzar is available from Bärenreiter and C. F. Peters. It

is also found in the scholarly edition — G. F. Händels Werke:
Ausgabe der Deutschen Händelgesellschaft, volume: 19, edited by
Friedrich W. Chrysander, Leipzig and Bergedorf bei Hamburg:
1858-1894, reprinted in 1965; and an entry in the Hallische Hän-
del-Ausgabe im Auftrage der Georg Friedrich Händel-Gesellschaft
is planned.

tion in Bentley, England; the Central Public Library, Manchester;
St. Michael’s College Library, Tenbury Wells; the Music Collec-
tion of the Staats- und Universitätsbibliothek Carl von Ossietzky,

Hamburg; and the Princeton University Library.
Notes: This work was composed between 23 August and 23 October

1744. Revisions were made in 1751, and an aria was added in
1758.
Performance Issues: There are movements for SSATTB choir, which

are generally less contrapuntally complex than the 4-part move-
ments. There are choral solos for soprano and alto in the final two
choruses. All of the choral parts have some vocally challenging
passages including rapid melismatic passages in multiple concur-
rent voices, which may present challenges for rhythmic and har-
monic clarity. The choral material is thoroughly doubled by the
orchestra. The majority of this work is assigned to the soloists, so
the duration of choral material is less daunting than the length of
the total work might imply. The open portion of Act II includes the
most challenging music for the total ensemble. A review of this
section should be a helpful gauge. The trumpet parts are practical,
and adequate recovery time exits between movements in which
they appear. There are some challenging passages for the strings,
but much of the orchestral material is conservatively written. This
is a text-heavy oratorio, and care will need to be given to the con-
certed portions to maintain clarity of the words. Soloists: Nitocris
(soprano) - range: d’-a’’, tessitura: f#’-f#’’, this is a declamatory
role with rapid coloratura passages; Cyrus (alto) - range: bb-f’’, tes-
situra: eb’-eb’’, this is a declamatory role with some challenging
melismatic passages ideal for a countertenor; Daniel (alto) - range:
a-eb’’, tessitura: d’-b’, this is a lyric role with rapid coloratura pas-
sages ideal for a countertenor; Belshazzar (tenor) - range: d’-ab’,
tessitura: f-f’, this is a lyric role with rapid coloratura; Arioch (ten-
or) - range: f-f’, tessitura: f-f’, this is a brief and simple set of reci-
tatives appropriate for a chorister; Gobrias (bass) - range: G-f’,
tessitura: d-d’, this is a dramatic baritone role with rapid melis-
matic passagework; Messenger (bass) - range: eb-eb’, tessitura: f-c’,
this is a brief and simple set of recitatives appropriate for a choris-
ter; Choir: medium difficult; Orchestra: medium difficult.
Selected Discography: Arleen Auger, James Bowman, Catherine Rob-

bin, Jane Coe, Julia Gooding, Anthony Rolfe Johnson, David Wil-
son-Johnson, Richard Wistreich; English Concert and Choir;
156 The Works
conducted by Trevor Pinnock. Recorded in Henry Wood Hall in

London, July 1990. DG Archiv: 477037.
Simone Kermes, Markus Brutscher, Franz-Josef Selig, Patrik von Goe-
them, Christopher Robson; Kölner Kammerchor, Collegium
Cartusianum; conducted by Peter Neumann. Recorded in Trini-
tatiskirchen, Köln, Germany, 2001. MDG: 3321079.

Dobson, 1959.
Stutzenberger, David: Belshazzar, and Oratorio by George Frideric
Handel: An Edition, Critical Report, and Performance Tape. D. M.
A. dissertation: University of Maryland, 1980.
Hurley, David Ross: “Handel’s Compositional Process,” The Cam-
bridge Companion to Handel, edited by Donald Burrows, 122-144.
Cambridge: Cambridge University Press, 1997.
__________: Handel’s Muse: Patterns of Creation in His Oratorios
and Musical Dramas, 1743-1751. Oxford: Oxford University
Press, 2001.
Occasional Oratorio, HWV 62 (1746)

Text: The text is a compilation by Newburgh Hamilton of Milton’s

paraphrases of the Psalms and Edmund Spenser’s The Faerie
Queen, Hymn of Heavenly Beauty, and Tear of the Muses. There
are also original texts by Thomas Morell.
Performing Forces: voices: soprano, tenor, and bass soloists,50

SSAATTBB choir; orchestra: 2 oboes, 2 bassoons, 2 horns, 3
trumpets, timpani, organ, strings (including 3 violin parts in some
50
The Hallische edition lists 2 sopranos and an alto among the soloists in the
frontismaterial, but there are no parts for soprano II or alto.
movements), and continuo (bassoon, cello, double bass, and harp-

sichord).51

Editions: Occasional Oratorio is available from Bärenreiter. It is also

reprinted in 1965; and the Hallische Händel-Ausgabe im Auftrage
der Georg Friedrich Händel-Gesellschaft, series 1, volume 23, ed-
ited by Merlin Channon.

tion in Bentley, England; and the Music Collection of the Staats-
Notes: The title of the work is because it was composed and performed
by contemporaneous circumstances. It was written to boost the mo-
rale of the loyalists in the midst of the Scottish Rebellion The bass
aria, “The sword that’s drawn in virtue’s cause” is the only work
known to have been performed outside of Europe during the com-
poser’s lifetime: 18 March 1756, New York City Hall. Handel re-
used earlier material, especially from Athalia, HWV 52 and Israel
in Egypt, HWV 54. It was in turn cannibalized to provide material
for Judas Maccabaeus, HWV 63; Joshua, HWV 64; and revisions
of Samson, HWV 57. 52
Performance Issues: The choral writing includes homophonic and

imitative passages. The choral parts are clearly doubled by the in-
struments. This includes doubling by the trumpets suggesting the
51
David Daniels notes that the performing materials include trombone parts in
some of the movements that were adapted from Israel in Egypt. There is no
evidence that Handel intended there to be trombones in these movements in this
later incarnation. In Orchestral Music: A Handbook, fourth edition, 161. Lan-
ham, MD: Scarecrow Press, 2005.
52
Dean, Winton: Handel’s Dramatic Oratorios and Masques, 460-461. Lon-
don: Oxford University Press, 1959.
158 The Works
use of a large choir. The choral parts are vocally demanding with
some high tessituri for the sopranos. The choruses are mostly
scored for SATB. The 8-part passages are syllabic and homophon-
ic, but there are also sections where two SATB choirs are used.
These are more contrapuntally complex, but the choirs sing in al-
ternation. Physical separation of these groups would be advanta-
geous. Act III begins with two orchestral movements that have
concertino and ripieno string parts. There are a number of exposed
oboe solos. All of the instrumental parts are challenging. The
trumpets have a significant presence in this work, which will pre-
sent some endurance challenges. This is a very demanding compo-
sition for all participants. It is a particular tour de force for the
soloists. The clumsiness of the libretto and the saber-rattling nature
of the text has diminished the exposure of this work, which despite
its derivative generation is a dramatically effective and musically
inspiring composition. Soloists: soprano I - range: b-a’’, tessitura:
e’-e’’, this is a demanding solo with rapid coloratura and complex
rhythms; tenor - range: B(d)-a’, tessitura: e-e’, this is a declamato-
ry solo with some broad melodic leaps and long phrases, move-
ment 20 introduces the low B and has a lower tessitura than the
other movements, it could be assigned to a baritone; bass - range:
G-e’, tessitura: d-d’, this is a dramatic role with some extended
coloratura passagework; Choir: difficult; Orchestra: difficult.
Selected Discography: Lisa Milne, Susan Gritton, James Bowman,

John Mark Ainsley Michael George; King’s Consort; conducted by
Robert King. Hyperion: 66961.

and Bowes, 1956.
Dobson, 1959.
Dean, Winton: Handel’s Dramatic Oratorios and Masques, 460-463,
507-509. London: Oxford University Press, 1959.
Richard, Joel: “Chant de guerre, chant de paix: Les oratorios de Haen-
del de 1746 à 1749.” Guerres et paix: la Grande-Bretagne au
XVIIIe siècle, edited by Paul-Gabriel Boucé, volume 2, 303-310.
Paris: Presses de la Sorbonne nouvelle, 1998.
Channon, Merlin: “Preface” to Occasional Oratorio, xiv-xx, Hallische

Händel-Ausgabe im Auftrage der Georg Friedrich Händel-
Gesellschaft, series 1, volume 23. Kassel: Bärenreiter, 2009.
Judas Maccabeus, HWV 63 (1746)

Text: The text is by Thomas Morell, based upon I Maccabees from the
Old Testament and Flavius Josephus’s Antiquities, XII. A Hebrew
singing translation was prepared by Aharon Ashman for the Mac-
cabiah Games in 1932. Levin Kipnis has created an original He-
brew text to be used with Handel’s score that is specifically
conceived for Hanukkah.

SATB choir; orchestra: 2 flutes,53 2 oboes, 2 bassoons, 2 horns, 3
trumpets, timpani, organ, strings, and continuo (bassoon, cello,
bass, organ, and harpsichord).
First Performance: 1 April 1747; Covent Garden, London; conducted

by Handel.
Editions: Judas Maccabeus is available from Kalmus, Luck’s, and C.

F. Peters. It is also found in the scholarly edition — G. F. Händels

brary, and the Music Collection of the Staats- und Universitätsbib-
liothek Carl von Ossietzky, Hamburg.
53
Some parts are labeled traverse and other flute. One should determine if re-
corders are preferred in the former instances.
160 The Works
Notes: The score was written between 8 July and 11 August 1746. Ad-
ditional material was added during the first performance run and in
subsequent performances.
Performance Issues: The choral writing includes a variety of contra-

puntal textures. All of the choral material is well supported by the
orchestra. One movement has extended divisi for the sopranos and
another in Act I is scored ATB. Also in Act II are two brief cho-
ruses labeled Chorus of Youths (SSA) and Chorus of Virgins (SS),
which are scored to accommodate small semi choirs. This is also a
feature of Joshua, HWV 64. There are vocal challenges for all of
the choral parts, but the choir has limited coloratura. The orchestral
parts require solid professional players. The horn and trumpet parts
have high tessituri, but ample breaks are provided. The flutes and
horns appear in only a handful of movements. There is a solo at the
beginning of Act III that is labeled Israelite of Israeli Priest. It is
consistent with the description of Israelitish Man below, but could
be assigned to another soloist for dramatic purposes. The largest
roles are Judas Maccabeus, the Israelitish Woman, the Israelitish
Man, and Simon. These require technically advanced soloists. So-
loists: Isrealitish Woman (soprano) - range: d’-a’’, tessitura: f’-f’’,
this is a declamatory solo role with some ornamental passagework;
Israelitish Man (soprano54) - range: c’-g’’, tessitura: e’-e’’, this is a
declamatory solo role with some ornamental passagework well
suited to a mezzosoprano for contrast of characters; Messenger (al-
to) - range: b-c’’, tessitura: d’-b’, this is a role of a few recitatives
appropriate for a chorister; Judas Maccabeus (tenor) - range: d-a’,
tessitura: g-g’, this is a dramatic solo with some rapid coloratura
and numerous wide melodic leaps; Simon (bass) - range: G-e’, tes-
situra: c-c’, this is a dramatic and declamatory solo; Eupolemus
(bass) - range: f-d’, tessitura: f-d’, this is a simple recitative appro-
priate for a chorister; Choir: medium difficult; Orchestra: medi-
um difficult.
Selected Discography: Heather Harper, Jean Temperly, Patricia Clark,

Alexander Young, John Shirley-Quirk, Christopher Keyte; Amor
Artis Chorale, English Chamber Orchestra; conducted by Johannes
Somary. Recorded in 1971. Alto: 2002.
54
This part is labeled for soprano in the score and for mezzosoprano or alto in
the preface.
Emma Kirkby, Catherine Denley, James Bowman, Jamie MacDougall,

Michael George, Simon Birchall; King’s Consort; conducted by
Robert King. Recorded in March 1992. Hyperion: 66641/2.
Heuss, Alfred: “Das Textproblem von Händels “Judas Maccabäus,”

Händel-Jahrbuch (1928).
Dobson, 1959.
Hudson, Frederick: “Das Concerto in Judas Maccabeus identifiziert,”
Händel-Jahrbuch, volume 20 (1974), 119-133.
Cosgrave, Peter W.: “Affective Unities: The Esthetics of Music and
Factional Instability in Eighteenth-Century England,” Eighteenth-
Century Studies, volume 22 (1988), 133-155.
Schläder, Jürgen: “Der patriotische Held: Politische Moral und Gesell-
schaftsentwurf in Judas Maccabeus,” Symposien-Bericht Karls-
ruhe (1994-1997), 295-310.
Channon, Merlin: “Handel’s Early Performances of Judas Maccabeus:
Some New Evidence and Interpretations,” Music and Letters, vol-
ume 77 (1996), 499-526.
Smith, Ruth: “The meaning of Morell’s Libretto of Judas Maccabeus,”
Music and Letters, volume 79 (1998), 50-71.
Joshua, HWV 64 (1747)

Text: The source of the text is unknown.55
55
Bernd Baselt indicates that it may be the work of Thomas Morell. Verzeich-
nis der Werke Georg Friedrich Händels: Kleine Ausgabe, 86. Leipzig: VEB
Deutscher Verlag für Musik, 1986.
162 The Works

SATB choir; orchestra: 2 flutes, 2 oboes, bassoon, 2 horns, 3
trumpets, timpani, strings, and continuo.

ed by the composer.
Editions: Joshua is available from Kalmus, Luck’s, and C. F. Peters. It

is planned.

tion in Bentley, England; the Durham Cathedral Library; the Cen-
tral Public Library, Manchester; St. Michael’s College Library,
Tenbury Wells; the Music Collection of the Staats- und Universi-
tätsbibliothek Carl von Ossietzky, Hamburg; and the Princeton
University Library.
Notes: The score was composed between 19 July and 19 August 1747.
Five numbers were added in 1754.
Performance Issues: The choral writing is contrapuntally varied and

clearly doubled by the orchestra with some instrumental ornamen-
tation and rhythmic variation. There are passages that are vocally
challenging for all of the choral parts. There is one brief movement
for an SSA “Chorus of Youths” and another SS “Chorus of Vir-
gins.” This is also a feature of Judas Maccabaeus, HWV 63. Semi-
choirs from the main ensemble can be used, although the former
would be effectively sung by a children’s choir. There are a few
very demanding passages for the orchestra. The most challenging
movement is the chorus, “Glory to God.” It includes vary rapid
scalar figures in the violin II and bass lines with some wind writing
that presents particular pitch challenges. The trumpet III part ap-
pears in only one purely instrumental movement. It could be cov-
ered by one of the horns, which do not play in that movement. The
horn I and trumpet I have exposed high passages, but reasonable

recovery time between movements in which they play. The oboe I
part and the strings have a significant amount of rapid passagework
throughout the composition. The instrumental writing exposes all
of the players to challenges. Seasoned players are needed through-
out the orchestra. Soloists: Achsah (soprano) - range: d’-g’’, tessi-
tura: f#’-f#’’, this is a virtuosic role with ornate coloratura; Angel
(soprano) - range: g’-g’’, tessitura: a’-f’’, this is a simple declama-
tory role; Othniel (alto) - range: b-e’’, tessitura: d’-b’, this is a de-
clamatory solo with some ornate figures; Joshua (tenor) - range: d-
a’, tessitura: f-f’, this is a challenging role with rapid coloratura;
Caleb (bass) - range: G-e’, tessitura: c-d’, this is a lyric solo with
extended melismatic passagework; Choir: medium difficult; Or-
chestra: difficult.
Selected Discography: Emma Kirkby, James Bowman, Aidan Oliver,

John Mark Ainsley, Michael George; Choir of New College, Ox-
ford; The King’s Consort; conducted by Robert King. Recorded in
1990 in St. Joseph’s College, Mill Hill, London.

Dobson, 1959.
Smith, Ruth: “Handel’s Israelite Librettos and English Politics, 1732-
52,” Göttinger Händel-Beiträge, volume 5 (1993), 195-215.
Burrows, Donald: “Handel’s Last Musical Autograph.” Händel-
Jahrbuch, volumes 40-41 (1994-1995), 155-164.
Rosand, Ellen: “Handel’s Oratorical Narrative,” Göttinger Händel-
Beiträge, volume 8 (2000), 33-58.
Alexander Balus, HWV 65 (1747)

164 The Works
Text: The text is by Thomas Morell, based upon Maccabees 1:10-11.

SATB choir; orchestra: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2
trumpets, timpani, harp, mandolin, strings, and continuo (bassoon,
cello, bass, harpsichord, organ).
First Performance: 23 March 1748; Covent Garden, London; con-

Editions: Alexander Balus is found in the scholarly edition — G. F.

ume: 33, edited by Friedrich W. Chrysander, Leipzig and

brary, Manchester; the Music Collection of the Staats- und Univer-
sitätsbibliothek Carl von Ossietzky, Hamburg; and the Princeton
University Library.
Notes: The score was composed between 1 June and 4 July 1747. It
was revised in 1754, incorporating some material from the masque,
Alceste, HWV 45. The choir is identified as “Chorus of Israelites”
and “Chorus of Asiates” in alternating movements, but there are no
passages for two choirs. There are three brief recitative passages
for choristers: a messenger (soprano), another messenger (bass),
and a sycophant (bass).
Performance Issues: The choral writing is primarily homophonic.

There are a few brief passages in close imitation, but these are vo-
cally practical, and all of the choral material is clearly doubled by
the orchestra. The final “Amen” is the most ornate of the choral
movements. The movement “Triumph Hymen in the pair” is la-
beled for soloists and chorus. The composer appears to have in-
tended these solos for members of the choir, as they are not
assigned to the characters. These brief passages are well within the
abilities of amateur choristers. There are many florid and orna-
mented passages for the violins in unison that will present chal-
lenges to successful ensemble. The remaining orchestra parts are
quite practical. The harp and mandolin appear in only one move-
ment where they represent a lyre. This is an ideal oratorio for a
less-experienced choir with access to strong players and expert so-
loists. Soloists: Cleopatra (soprano) - range: e’-g’’, tessitura: g’-
g’’, this is a dramatic solo with some ornate figures; Aspasia (so-
prano) - range: d’-a’’, tessitura: e’-f#’’, this is a lyric role with
some rapid figurations; Alexander Balus (alto) - range: a-f#’’, tes-
situra: d’-c’, this is a sustained and declamatory solo; Jonathan
(tenor) - range: d-a’, tessitura: f-e’, this is a challenging dramatic
solo with long phrases and extended coloratura passagework;
Ptolomee (bass) - range: G-f’, tessitura: Bb-eb’, this is a dramatic
solo with some rapid coloratura and broad melodic leaps; Choir:
medium easy; Orchestra: medium difficult.
Selected Discography: Julianne Baird, D’Anna Fortunato, Jennifer

Lane, Frederick Urrey, Peter Castaldi; Palmer Singers, Brewer
Chamber Orchestra; conducted by Rudolph Palmer. Recorded in
1997 at SUNY Purchase, Purchase, NY. Newport Classic: 85625.
Lynne Dawson, Claron McFadden, Catherine Denly, Charles Daniels,
Michael George; Choir of New College, Oxford; Choir of the
King’s Consort; King’s Consort; conducted by Robert King. Rec-
orded in 1997. Hyperion: 67241.
Steglich, Rudolf: “Über Händels Alexander Balus,” Zeitschrift für

Musik (February 1928).
Dean, Winton: “Handel’s Alexander Balus,” Musical Times, volume
93, number 1314 (August, 1952), 351-353.
__________: Handel’s Dramatic Oratorios and Masques, 482-497.
Dobson, 1959.
Bachmann, Peter: “‘From Arabia’s Spicy Shores’ — Orient in Händels
Textvorlagen,” Göttinger Händel-Beiträge, volume 8 (2000), 1-14.
166 The Works
Rosand, Ellen: “Handel’s Oratorical Narrative,” Göttinger Händel-

Beiträge, volume 8 (2000), 33-58.
Susanna, HWV 66 (1748)

Text: The text is the story of “Susanna and the Elders” from the Apoc-
rypha. The identity of the adapting author is unknown.
Performing Forces: voices: 3 soprano, 1 mezzosoprano or counterten-

or, 1 tenor, and 3 bass soloists; SATB choir; orchestra: 3 oboes,
bassoon, 2 trumpets, strings, and continuo (bassoon, cello, double
bass, and keyboard56).

Editions: Susanna is available from Kalmus (K 01322). It is also found

in two scholarly editions — G. F. Händels Werke: Ausgabe der
by Bernard Rose, Kassel: Bärenreiter, 1967.

Notes: The score was composed between 11 July and 24 August 1748.
The work was abbreviated with an interpolation from Semele,
HWV 58 in 1759.
Performance Issues: The choral writing combines imitative and hom-

ophonic counterpoint with some sustained and harmonically rich
56
Some period performances also utilize harpsichord, organ, and theorbo in
the continuo group with great effect.
movements. The choral material is well supported by the orchestra

throughout the work with some doublings of vocal line occurring
in different octaves in the orchestra. The choral parts include rapid
melismatic passagework and dramatic changes of articulation and
mood. The counterpoint is rich, and the singers will need to be well
rehearsed to provide adequate clarity in the most complex sections
of their music. The principal solo roles are Susanna, Joachim, and
Chelsias. The orchestral writing includes rapid unison passagework
between instruments and considerable ornamentation within sec-
tions. All of the instruments are treated idiomatically, and the scor-
ing throughout is conceived to balance well with the singers. The
violins are identified as solo and ripieno, primarily using solo
strings to accompany arias. There are two independent viola parts
in movement 10. In that movement, solo players may be employed.
The trumpets appear in only the final chorus. The first part has a
typically high tessitura, but neither part is particularly demanding.
Soloists: Susanna (soprano) - range: c#’-a’’, tessitura: f#’-f#’’, this
is a lyric, coloratura role; Attendant (soprano) - range: d’-g’’, tessi-
tura: e’-e’’, this is a simple lyrical role appropriate for a chorister;
Daniel (soprano) - range: c’-g’’, tessitura: f’-f’’, this is a lyrical
role with a number of recitative passages and two extended arias, it
is ordinarily assigned to a sopranist countertenor, but could be ef-
fectively presented by a gifted boy soprano; Joachim (mezzosopra-
no) - range: b-e’’, tessitura: d’-b’, this is a critical role that is best
assigned to a countertenor, it includes some rapid passagework and
text-heavy declamations; 1st Elder (tenor) - range: d-a’, tessitura:
e-e’, this role includes some coloratura writing; Chelsias (bass) -
range: G-eb’, tessitura: c-d’, this is a powerful role with rapid pas-
sagework; 2nd Elder (bass) - range: F-e’, tessitura: B-c’, this is a
dramatic role that includes some rapid melismatic passagework;
Judge (bass) - range: d-c’, tessitura: d-c’, this is a brief recitative
passage appropriate for a chorister; Choir: difficult; Orchestra:
difficult.
Selected Discography: Lorraine Hunt, Drew Minter, Jill Feldman,

William Parker, Jeffrey Thomas, David Thomas; U. C. Berkeley
Chamber Chorus; Philharmonia Baroque Orchestra; conducted by
Nicholas McGegan. Recorded in 1992. Harmonia Mundi: 907030.
Ruth Holton, Elisabeth von Magnus, Syste Buwalda, John Elwes, Tom
Sol; Kölner Kammerchor, Collegium Cartusianum; conducted by
168 The Works
Peter Neumann. Recorded 6 February 1999 in Stadthalle Wupper-

tal. MDG: 332 0945-2.
Heuss, Alfred: “Die Braut- und Hochzeitsarie in Händels Susanna,”

Zeitschrift der internationalen Musikgesellschaft, volume 14
(1913).
Dobson, 1959.
Zimmerman, Franklin: “Händels Parodie-Overtüre zu Susanna: eine
neue Ansicht über die Entstehungsfrage,” Händel-Jahrbuch, vol-
ume 24 (1978), 19-30.
Dunlap, Susanne: “Susanna and the Male Gaze: The Musical Iconogra-
phy of a Baroque Heroine,” Women and Music, volume 2 (2001),
40-60.
ty Press, 2001.
Solomon, HWV 67 (1748)

Text: The author of the text is unknown. It is based upon II Chronicles

(chapter 7) and I Kings (chapter 5) from the Old Testament and
Flavius Josephus’s Antiquities, VIII: 2-7.

double SATB choir; orchestra: 2 flutes, 2 oboes, 2 bassoons, 2
horns, 2 trumpets, timpani, 2 organs,57 strings (including 2 viola
parts), and continuo.

ducted by Handel.
57
The score includes 2 organ parts that each include some composed passages.
Editions: Solomon is available from Bärenreiter and Breitkopf und

Härtel. It is also found in the scholarly edition — G. F. Händels

Notes: This score was composed between 5 May and 13 June 1748. It
was revised with 5 additional arias in 1759. The opening of Act III
has become known as “The Arrival of the Queen of Sheba,” which
is frequently excerpted for orchestra concerts.
Performance Issues: The choirs combine integrated passages with

antiphonal material that would benefit from a physical division of
the groups. Much of the choral material is homophonic or in close
imitation, but there are some significant complexities that are am-
plified by the number of parts. Each of the choral parts includes
passages that are vocally challenging. There is a fair amount of
colla parte doubling by the orchestra, but there are many choral
passages that are only reinforced harmonically by the accompani-
ment. The orchestration is quite rich and varied. Clarity between
parts and between the singers and instruments will be particularly
important. The orchestration accommodates a large choir. The
brass parts are challenging, but used sparingly. Much of the violin
writing is in unison. Soloists: Pharaoh’s Daughter/Queen (soprano)
- range: d’-a’’, tessitura: g’-g’’, this is a lyric role with significant
coloratura; Nicaule/Queen of Sheba (soprano) - range: d’-g’’, tessi-
tura: e’-e’’, this is a dramatic role with some highly ornamented
passages; First Woman (soprano) - range: c#’-g’’, tessitura: d’-d’’,
this is a simple declamatory role; Second Woman (soprano) -
range: c#’-g’’, tessitura: d’-d’’, this is a simple declamatory role;
Solomon (alto) - range: a-f#’’, tessitura: d’-d’’, this is a declamato-
ry role with some rapid ornamental figures ideal for a countertenor;
Zadok (tenor) - range: d-a’, tessitura: f-f’, this is a dramatic solo
170 The Works
with some extended passagework; Levite (bass) - range: G-eb’, tes-

situra: c-c’, this is a lyric and lilting solo; Choir: difficult; Orches-
tra: difficult.
Selected Discography: Carolyn Watkinson, Nancy Argenta, Barbara

Hendricks, Joan Rodgers, Della Jones, Anthony Rolfe Johnson,
Stephen Varcoe; Monteverdi Choir, English Baroque Soloists;
conducted by John Eliot Gardiner. Recorded June 1984 in London.
Philips: 000667002.
Ewa Wolak, Elisabeth Scholl, Knut Schoch, Nicola Wemyss, Matthias
Vieweg; Junge Kantorei, Baroque Orchestra Franfurt; conducted
by Joachim Carlos Martini. Recorded 30 May 2004 in Kloster
Eberbach, Eltville am Rhein, Germany. Naxos: 8557574.
Heuss, Alfred: “Über Händels Salomo, inbesondere die Chöre,”

Zeitschrift für Musik (June 1925).
Dobson, 1959.
Webb, Ralph: “Views and Viewpoints: Handel’s Oratorios as Drama,”
College Music Symposium, volume 23, number 2 (1983), 122-144.
Derr, Ellwood: “Handel’s Procedures for Composing with Materials
from Telemann’s Harmonischer Gottes-Dienst in Solomon,” Göt-
Cox, Howard: “Character Portraits of the Hebrew Kings in Handel’s
Oratorios,” Göttinger Händel-Beiträge, volume 5 (1993), 216-223.
Zywietz, Michael: “Die Vision vom Goldenen Zeitalter: Händels Solo-
mon im Konntext der späten Oratorien,” Symposien-Bericht Karls-
ruhe (1994-1997), 311-322.
Bachmann, Peter: “‘From Arabia’s Spicy Shores’ — Orient in Händels
Textvorlagen,” Göttinger Händel-Beiträge, volume 8 (2000), 1-14.
ty Press, 2001.
Theodora, HWV 68 (1749)

Text: The text is by Thomas Morell, based upon Robert Boyle’s The
Martyrdom of Theodora and of Didymus, which was first pub-
lished in 1687.
Performing Forces: voices: soprano, 2 alto, 2 tenor, and bass soloists;

SATB choir; orchestra: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2
trumpets, timpani, strings, and continuo (bassoon, cello, double
bass, and keyboard).

Editions: Theodora is available from Kalmus and Novello. It is also


Notes: This work was composed between 28 June and 31 July 1749.58
Performance Issues: The choral writing is primarily syllabic and vo-

cally conservative. There is colla parte doubling of the choral parts
throughout the work, and even the passages in pervasive imitation
are accessible to intermediate-level choirs. The brass and wind
writing is idiomatic and practical. There are a number of move-
ments that are challenging with extended unison passages that are
quite challenging for the strings. The roles of Theodora, Didimus,
Septimius, and Valens are quite challenging. The other roles could
be assigned to advanced choristers. This is one of the most acces-
sible of Handel’s oratorios. It is an excellent choice for choirs
58
The cover of the Kalmus reprint displays 1730, but the correct dates are in-
cluded in the preface.
172 The Works
wishing to expand their experiences with these oratorios who have

access to strong instrumentalists. Soloists: Theodora (soprano) -
range: d’-ab’’, tessitura: f’-f’’, this is a sustained lyric solo; Didi-
mus (alto) - range: bb-eb’’, tessitura: d’-c’’, this is a lyric solo with
rapid coloratura; Irene (alto) - range: b-e’’, tessitura: c’-c’’, this is
a sustained role with long phrases and some ornamental figures;
Septimius (tenor) - range: c#-a’, tessitura: f-f’, this is a high lyric
tenor role with rapid coloratura; Messenger (tenor) - range: e-f#’,
tessitura: f-f’, this is a very simple role of two brief recitatives ide-
al for a chorister; Valens (bass) - range: A-e’, tessitura: d-d’, this is
a dramatic declamatory role with some rapid figures; Choir: me-
dium easy to medium difficult; Orchestra: medium difficult.
Selected Discography: Sophie Daneman, Juliette Galstain, Daniel

Taylor, Layrent Laars, Nathan Berg. Les Arts Florissants; conduct-
ed by William Christie. Recorded in May 2000 at IRCAM in Paris.
Erato: 43181.
Johanette Zomer, Sytse Buwalda, Helena Rasker, Knut Schoch, Tom
Sol; Kölner Kammerchor, Collegium Cartusianum; conducted by
Peter Neumann. MDG: 3321019-2.
Christina Wieland, Diana Schmid, Franz Vizthum, Knut Schoch, Klaus
Mertens; Junge Kantorei, Barockorchester Frankfurt; conducted by
Joachim Carlos Martini. Recorded 23 May 2010 in Kloster Eber-
bach, Eltville am Rhein, Germany. Naxos: 8572700-02.
Macfarren, George Alexander: “The Theodora of Handel,” Musical

Times, volume 16, number 364 (June 1873), 103-106.
Dobson, 1959.
Stenzl, Jurg: “‘Where Grace, and Truth, and Love Abound?’ Zu Rezep-
tion und Geschichte von Händels Oratorium Theodora (1749),”
Analysen: Beiträge zu einer Problemgeschichte des Komponierens.
Festschrift für Hans Heinrich Eggebrecht zum 65. Geburtstag, ed-
ited by Werner Breig, Reinhold Brinkmann, and Elmar Budde,
180-201. Wiesbaden: Franz Steiner, 1984.
Hill, Cecil: “Theodora and the 18th-Century Feminist Movement,”
Kongreßbericht Stuttgart, volume 2 (1985), 49-54.
__________: “The Composition of Handel’s Theodora: The Evidence

of the Autograph,” Konferenzbericht Halle (1985), 153-158.
__________: “The Composition of Handel’s Theodora: The Evidence
of the Smith Copies,” Händel-Jahrbuch, volume 35 (1989), 136-
145.
Schröder, Dorothea: “‘A sect, rebellious to the Gods and Rome,’ Hän-
dels Oratorium Theodora und der Methodismus,” Göttinger Hän-
del-Beiträge, volume 6 (1996), 101-114.
The Choice of Hercules, HWV 69 (1751)

Text: The text is an adaptation of Joseph Spence’s Polymetis (1747),

which used Robert Lowth’s poem, The Judgment of Hercules
(1743) as its foundation.
Performing Forces: voices: 2 soprano, mezzosoprano (countertenor),

and tenor soloists; SATB choir; orchestra: 2 flutes, 2 oboes, bas-
soon, 2 horns, 2 trumpets, strings, and continuo (bassoon, cello,
double bass, harpsichord, and organ).

ed by the composer.
Editions: The Choice of Hercules is available from Bärenreiter, Kal-

mus (the Siegmund-Schultze edition below), and Novello. It is also
reprinted in 1965; and Hallische Händel-Ausgabe im Auftrage der
by Walther Siegmund-Schultze, Kassel: Bärenreiter, 1963.

174 The Works
Notes: This work was composed between 28 June and 5 July 1750 in-
corporating significant material from the masque, Alceste, HWV
45. During Handel’s lifetime, it was performed between the acts of
his Alexander’s Feast, in place of the original concerto, which
served the same interludial purpose.
Performance Issues: There are occasions where Handel uses the con-
vention of dotted-eighth sixteenth note to serve as a tripletized
quarter and eighth. The choral movements are assigned to allegori-
cal groups: Chorus of the Attendants of Pleasure (movements 5
and 9) and the Chorus of the Attendants of Virtue (movements 8,
15, and 17). The choral material is contrapuntally varied and well
doubled by the orchestra. The choral parts are vocally challenging
requiring a choir of experienced singers. The orchestral writing is
idiomatic and scored to accommodate a full choir. This is a rhyth-
mically articulate score that will present some demands in estab-
lishing clean ensemble between the orchestra and choir. Soloists:
Pleasure (soprano) - range: d’-g’’, tessitura: f’-f’’, this is a lyric
and sustained role with some long phrases; Virtue (soprano) -
range: a-f#’’, tessitura: c’-c’’, this is a lyrical role, which Handel
has labeled for soprano; however, it seems better suited to a mez-
zosoprano; Hercules (mezzo-soprano/countertenor) - range: b-d’’,
tessitura: c’-c’’, this is a sustained and declamatory role; An At-
tendant on Pleasure (tenor59) - range: e-a’, tessitura: f#-f#’, this is a
florid role with extended melismatic passagework; Choir: diffi-
Selected Discography: Alice Coote, Susan Gritton, Robin Blaze,

Charles Daniels; The King’s Consort, conducted by Robert King.
Recorded in March 2001 at St. Jude-on-the Hill, Hampstead Gar-
den, London. Hyperion: CDA67298.
Venceslava Hruba-Freiberger, Arleen Auger, Alaine Zaeppffel, Eber-
hard Büchner; Leipziger Universitätschor, Neues Bachisches Col-
legium Musicum Peizig, conducted by Max Pommer. Recorded in
1984. Capriccio: 10019.
Heather Harper, Helen Watts, James Bowman, Robert Tear; Choir of
King’s College Cambridge, Academy of St. Martin in the Fields,
conducted by Philip Ledger. Virgin Classics: 562118.
59
The role is identified as tenor; however, in the Hallische edition, the part is
written in treble clef an octave higher than the range given here.
Dean, Winton: “The Choice of Hercules,” The Listener, volume 49

(1953), 989.
__________: Handel’s Dramatic Oratorios and Masques, 579-588.
Rackwitz, Werner: “Die Herakles-Gestalt dei Händel,” Festschrift zur
Händel-Ehrung der Deutschen Demokratischen Republik 1959,
51-61. Leipzig: Deutscher Verlag für Musik, 1959.
Jephtha, HWV 70 (1751)

Text: The text is by Thomas Morell, based upon Judges, chapter 9, and
George Buchanan’s Jephthes sive Votum (1554).
Performing Forces: voices: 2 soprano, 2 alto, tenor, and bass soloists;

SATB choir; orchestra: 2 flutes,60 2 oboes, 2 horns, 2 trumpets,
strings, and continuo.

Editions: Jephtha is available from Kalmus and Novello. It is also

For the bicentenary of the composer’s death, the 1885 facsimile

edition was reprinted as — Georg Friedrich Händel, Jephtha: Ein
Oratorium nach Worten von Thomas Morell. Faksimile-
Wiedergabe der Originalhandschrift, edited by Friedrich Chrysan-
der. Celle: Hermann Moeck, 1959.
60
The score indicates flutes, but they are in unison.
176 The Works

Notes: This score was composed between 21 January and 30 August

1751. An aria from the opera Agrippina, HWV 6, and a quintet
were added in 1756.
Performance Issues: The choral writing includes some rapid melis-

matic passagework, but the bulk of the choral material is homo-
phonic. In most cases the choral parts are clearly doubled by the
orchestra, but there are a few imitative sections that are exposed.
There is a movement labeled, “Chorus of Boys,” which ideally
would be just that, but can be sung by an SS subgroup of the choir.
Another SATB movement is labeled “Chorus of Priests,” which
could be a semi-choir. The orchestration is rich. The instrumental
parts are idiomatic, but all parts include challenging material. The
trumpets and horns are provided with adequate recovery time be-
tween movements. A single flute can be used. The lion’s share of
this work belongs to the soloists. The Angel is an easy role, which
is missing in the personnel list. It must be a different singer from
Iphis as the Angel sings about her. All of the other solo roles are
virtuosic requiring expert singers. Soloists: Iphis (soprano) - range:
c’-a’’, tessitura: f’-g’’, this is a lyric solo with extended coloratura
passagework; Angel (soprano) - range: d’-g’’, tessitura: f’-f’’, this
is a gentle lyric solo appropriate for an advanced chorister; Storgè
(mezzosoprano61) - range: bb-f’’, tessitura: b-b’, this is a dramatic
role with long phrases and considerable coloratura; Hamor (alto) -
range: b-e’’, tessitura: e’-e’’, this is a lyric role with some extended
coloratura; Jephtha (tenor) - range: B-a’, tessitura: f#-f#’, this is a
lyric role with extended coloratura passages; Zebul (bass) - range:
G-f’, tessitura: d-d’, this is a dramatic declamatory baritone role
with some extended melismatic passagework; Choir: medium dif-
ficult; Orchestra: medium difficult.
61
There are alternate versions of the arias assigned to Storgé for a soprano up a
perfect fifth.
Selected Discography: Christiane Oelze, Julia Gooding, Catherine

Denley, Axel Kohler, John Mark Ainsley, Michael George; RIAS-
Kammerchor, Akademie für Alte Musik Berlin; conducted by
Marcus Creed. Recorded in June 1992 in Kirche zur frohen
Botschaft, Berlin. Berlin Classics: 10572.
Mona Julsrud, Elisabeth Jansson, Elisabeth Rapp, Marienne Lielland,
James Gilchrist, Håvard Stenvold; Collegium Vocale Gent, Sta-
vanger Symphony Orchestra; conducted by Fabio Biondi. Record-
ed in 2008 in Stavanger, Norway. Bis: 1864.

Dobson, 1959.
Gudger, William D.: “Handel’s Last Composition and His Borrowings
from Habermann (Part 2),” Current Musicology, volume 23
(1977), 28-45.
Boetticher, Wolfgang: “Zum Problem eines Spätstils in Händels Orato-
rienschaffen,” Konferenzbericht Halle (1981), 95-103.
Schläder, Jürgen: “Die biblische Oper Jephtha,” Kongreßbericht
Stuttgart (1985), volume 2, 33-42.
Ickstadt, Christine: “Prinzipien der Parodie in Händels Jephtha,” Göt-
Ruf, Wolfgang: “‘Whatever is, is right,’ Die Weltsicht in Händels Ora-
torium Jephtha,” Symposien-Bericht Karlsruhe (1994-1997), 323-
332.
Nott, Kenneth: “Heroick vertue…Handel and Morell’s Jephtha in the
Light of Eighteenth-Century Biblical Commentary and Other
Sources,” Music and Letters, volume 77 (1996), 194-208.
ty Press, 2001.
The Triumph of Time and Truth, HWV 71 (1757)

Text: The text is by Thomas Morell based upon George Oldmixon’s

1737 translation of Pamphili’s Il trionfo del Tempo e della Verità.
178 The Works

SATB choir; orchestra: 2 flutes (optional), 2 oboes, 2 bassoons, 2
horns, 2 trumpets, timpani, strings, and continuo.

Editions: The Triumph of Time and Truth is available from Kalmus. It

is planned.
Autograph: Manuscript materials in hands other than the composer’s

are in the British Library in London; St. Michael’s College Li-
brary, Tenbury Wells; and the Music Collection of the Staats- und
Notes: This is primarily a reworking of Il trionfo del Tempo e della

Veritá, HWV 46b (1739), which is in turn a reworking of Il trionfo
del Tempo e del Disinganno, HWV 46a (1707). How fitting it is
that nearing the end of his life, Handel would return to this subject
that he first addressed 51 years earlier. Five arias were added in
1758.
Performance Issues: The choral writing is vocally demanding, but

well supported by the orchestra. There are some rapid contrapuntal
passages for the choir. The beginning of Act II includes a section
for SSSSAA soli from the choir. In the Chrysander edition there
are passages labeled “Pleasure (soprano),” these should be as-
signed to the soprano portraying Deceit. Some others are just la-
beled “soprano” and one must exercise best judgment as dictated
by the nature of the text. The trumpet I and horn I have high tessi-
turi and appear in unison in passages where the horn is intended to
play in octaves below the trumpet. The flutes appear only in one
section and may be substituted with oboes. There is also one pas-
sage that calls for violin III, but this is also played by the violas.
The orchestral writing is varied and challenging. The violins have
some rapid passagework that is challenging for ensemble playing,

and there are subtleties of intonation throughout the work. Solid
professional players are needed. Soloists: Beauty (soprano) -
range: c’-a’’, tessitura: f#’-f#’’, this is a lyric solo with some colo-
ratura; Deceit - range: b-a’’, tessitura: f#’-f#’’, this is a lyric solo
with rapid coloratura passages; Counsel or Truth (alto) - range: a-
e’’, tessitura: d’-d’’, this is a lyric solo with some demanding mel-
ismatic passagework; Pleasure (tenor) - range: B-f#’, tessitura: e-
e’, this is a lilting solo with long phrases that may be well suited to
a lyric baritone; Time (bass) - range: Bb-eb’, tessitura: c-c’, this is a
declamatory solo with some rapid passagework; Choir: medium
difficult; Orchestra: difficult.
Selected Discography: Emma Kirkby, Gillian Fisher, Charles Brett,

Ian Partridge, Stephen Varcoe; London Handel Choir, London
Handel Orchestra; conducted by Denys Darlow. Dyad:
CDD22050.
Kimbell, David: “Aspekte von Händels Umarbeitungen und Revisionen

eigener Werke,” Händel-Jahrbuch 23 (1977), 45-67.
Boetticher, Wolfgang: “Zum Problem eines Spätstils in Händels Orato-
rienschaffen,” Konferenzbericht Halle (1981), 95-103.
Knapp, J. Merrill: “Die drei Fassungen von Händels Il trionfo del
Tempo,” Konferenzbericht Halle 1981, 86-94.
Cervantes, Xavier: “Illusion italienne et désillusion anglaise: un orato-
rio de Handel à la croisée des chemins,” Études anglaises, volume
48 (1995), 25-37.
Schmidt, Roland Dieter: “Die drei Fassungen von Händels Oratorium Il
trionfo del tempo/The Triumph of Time and Truth (HWV 46a, 46b,
71),” Göttinger Händel-Beitrage 7 (1998), 86-118.
Parnasso in festa, HWV 73 (1734)

Text: The author of this Italian text is unknown. An English version of

the libretto was prepared by George Oldmixon.
180 The Works
Performing Forces: voices: 4 soprano, 3 alto, and bass soloists;

SSATB choir; orchestra: 2 flutes, 2 oboes, 2 horns, 2 trumpets,
timpani, strings, and continuo.

Editions: Parnasso in festa is found in the scholarly edition — G. F.

ume: 54, edited by Friedrich W. Chrysander, Leipzig and

London; the Fitzwilliam Museum, Cambridge. Additional manu-
script materials in other hands are in the Music Collection of the
Staats- und Universitätsbibliothek Carl von Ossietzky, Hamburg.
Notes: This composition is primarily a reworking of Athalia, HWV 52.
Performance Issues: The choral numbers primarily utilize an ensem-

ble of the soloists with added tenor parts. See comments for Atha-
lia, HWV 52, above.
Selected Discography: Carolyn Sampson, Lucy Crowe, Diana Moore,

Rebecca Outram, Peter Harvey; The King’s Consort, conducted by
Matthew Halls. Recorded in February 2008 at St. Jude-on-the Hill,
Hampstead Garden, London. Hyperion: CDA67701.
Hicks, Anthony: “Handel and Il Parnasso in festa,” Musical Times,

volume 112 (1971), 338-340.
Hortchansky, Klaus: “Ein verkapptes Orpheus-Drama? Händels
Hochzeit-Serenata Il Parnasso in Festa per gli Sponsali di Teti e
Peleo für Prinzessin Anne und Prinz Wilhelm von Oranien (HWV
75),” Händel-Jahrbuch, volume 49 (2003), 127-146.
Alexander’s Feast, HWV 75 (1736)

Text: The text is John Dryden’s Ode for St. Cecilia’s Day (1697) with
additional passages from Newburgh Hamilton’s The Power of Mu-
sic.
Performing Forces: voices: soprano, tenor, and bass soloists;

SSATTBB choir; orchestra: 2 recorders, 2 oboes, 3 bassoons,62 2
horns, 2 trumpets, timpani, strings, and continuo (bassoon, cello,
double bass, and keyboard).

Editions: Alexander’s Feast is available from Bärenreiter and Kalmus.

It is also found in two scholarly editions — G. F. Händels Werke:
1858-1894, reprinted in 1965; and Hallische Händel-Ausgabe im
ume: 1, edited by Konrad Ameln, Kassel: Bärenreiter, 1957.

Fitzwilliam Museum, Cambridge; the Royal College of Music,
London; the Gerald Coke Collection in Bentley, England; the Cen-
tral Public Library, Manchester; the Durham Cathedral Library; the
von Ossietzky, Hamburg.
Notes: The score is dated 17 January 1736. Additions were made for a
performance in 1742 including a solo for which only the continuo
part survives and a new duet that was revised in 1751.
Mozart reorchestrated this work, adding 2 flutes, 2 clarinets, and

rewriting portions of the trumpet parts. This version was premiered
62
The bassoon III part appears only in movement 21 and is labeled “ripieno.” It
is entirely practical to use only 2 bassoons throughout.
182 The Works
in Vienna in July 1790. It is catalogued as K. 591 and can be found

in the Neue Mozart Ausgabe series 10, work group 28, part 1, vol-
ume 3.
Performance Issues: Much of the choral writing is SATB, but there

are numbers with 7 discrete parts. There are solo passages interpo-
lated into the choral numbers that could be sung by choristers or
the featured soloists. Those passages are lightly accompanied, but
the tutti choral parts are well doubled by the orchestra. The choral
component combines homophonic and contrapuntal writing with
the latter always well doubled by the orchestra. There are three
violin parts in the beginning of the overture, but not after that. The
scoring of the work allows for a full complement of strings and a
large choral ensemble. The orchestral writing is idiomatic and in-
cludes florid passagework for all parts. There are numbers in
which all treble instruments play ornamented unison material,
which may require editing of parts to assure uniform realization of
the ornaments. There is a cello solo in movement 16 independent
of the continuo part. The tessituri of the horn parts is quite high
and may present some balance challenges. A number of instru-
ments, including the recorders and trumpets, appear in only a few
movements. In the case of the flutes, it would seem that the parts
were to be played by oboists doubling on flute except there is a
transition in movement 25 that does not provide adequate time to
switch instruments. Soloists: soprano - range: d’-bb’’, tessitura: a’-
a’’, this is a coloratura role with long phrases; tenor - range: e-a’,
tessitura: f-f’, this is a lyric role with extended coloratura writing;
bass - range: c-f’, tessitura: f-d’, this is a declamatory role for a
baritone with flexibility in the top of the range; Choir: medium
difficult; Orchestra: medium difficult.
Selected Discography: Nancy Argenta, Ian Partridge, Michael George;

The Sixteen and the Symphony of Harmony and Invention; con-
ducted by Harry Christophers. Coro: 16028.
Mozart orchestration: Lynne Dawson, John Mark Ainsley, William

Hite, Alastair Miles; Handel and Haydn Society; conducted by
Christopher Hogwood. Recorded in 1993. Arabesque: 6762.

and Bowes, 1956.
__________: “An Unrecognized Handel Singer” Carlo Arrigoni,” Mu-
sical Times, volume 118 (1977), 556-558.
Burrows, Donald: “Handel and Alexander’s Feast,” Musical Times,
volume 123 (1982), 252.
__________: “The Composition and First Performance of Handel’s
Alexander’s Feast,” Music and Letters, volume 64 (1983), 206.
Fleischhauer, Günther: “Zur Verwendung einiger musikalischer-
rhetorischer Figuren in Händels Alexander’s Feast or the Power of
Musick (HWV 75),” Konferenzbericht Halle (1985), 159-171.
Smith, Ruth: “Timotheus, Alexander, Semele, and Handel,” Handel
Institute Newsletter, volume 14, number 1 (2003), 1-4.
Ode for St. Cecilia’s Day, HWV 76 (1739)

Text: The text is “From harmony, from heav’nly harmony” by John

Dryden (19 August 1631 – 12 May 1700).
Performing Forces: voices: soprano and tenor soloists; SATB choir;

orchestra: flute, 2 oboes, bassoon, 2 trumpets, timpani, organ,
strings, and continuo.63
First Performance: 22 November 1739; Lincoln’s Inn Fields, London;

Editions: Ode for St. Cecilia’s Day is available from Bärenreiter. It is

also found in the scholarly edition — G. F. Händels Werke: Aus-
gabe der Deutschen Händelgesellschaft, volume: 23, edited by
63
Some sources list lute, but it does not appear in the score.
184 The Works

is planned.

Bentley, England; the Central Public Library, Manchester; the
Durham Cathedral Library; the Music Collection of the Staats- und
Universitätsbibliothek Carl von Ossietzky, Hamburg; and the
Princeton University Library.
Notes: This work was composed between 15 and 24 September 1739.
Mozart reorchestrated this score, adding 2 flutes, 2 clarinets, 2 bas-

soons, 2 horns, and revising the trumpet parts. This version was
premiered in Vienna in July 1790. It is catalogued as K. 592 and
can be found in the Neue Mozart Ausgabe series 10, work group
28, part 1, volume 4.
Performance Issues: This is a tour-de-force composition demonstrat-

ing in music the descriptions in Dryden’s poem. The choir has
some vocally demanding sections, but much of their portion is syl-
labic, and all of the choral material is well supported by the orches-
tra. All of the orchestral material is challenging. The trumpet parts
are quite demanding. There is an exposed and difficult cello solo,
and all of the strings are presented with some rapid passagework.
Handel’s placement of rests and use of various dotted figures will
present challenges for accurate ensemble cohesion. Soloists: so-
prano - range: d’-a’’, tessitura: f#’-f#’’, this is a lyric solo with
considerable coloratura; tenor - range: d-a’, tessitura: f#-f#’, this is
a dramatic and articulate role with rapid coloratura passages;
Choir: medium difficult; Orchestra: difficult.
Selected Discography: Monika Frimmer, Eberhard Büchner; Händel-

Festspielorchester Halle; conducted by Christian Kluttig. Berlin
Classics: 13992.
Felicity Lott, Anthony Rolfe Johnson; English Concert and Choir; con-
ducted by Trevor Pinnock. Archiv: 129902.
Jill Gomez, Robert Tear; Choir of King’s College, Cambridge, English
Chamber Orchestra; conducted by Philip Ledger. ASV: 512.
Mozart orchestration: Lynne Dawson, John Mark Ainsley, Alastair

Miles; Handel and Haydn Society; conducted by Christopher
Hogwood. Recorded in 1993. Arabesque: 6762.

and Bowes, 1956.
Dean, Winton: Handel’s Dramatic Oratorios and Masques, 319. Lon-
don: Oxford University Press, 1959.
Heap, Harold E.: Festival Odes for St. Cecilia’s Day in England from
Their Inception to the Time of Handel. D. M. A. dissertation: Uni-
versity of Illinois, 1980.
Ostergren, Eduardo A.: A Conductor’s Study of George Frideric Han-
del’s Ode for Saint Cecilia’s Day. D. M. A. dissertation: Indiana
University, 1980.
Siegmund-Schultze, Walther: “Händels Caecilien-Ode (HWV 76): Ihre
Stellung in seinem Gesamtwerk,” Kongreßbericht Stuttgart (1985),
volume 2, 55-59.
CHANDOS ANTHEMS (1717-1718)

Streatfield, Richard Alexander: Handel, Canons, and the Duke of

Chandos. London: C. Whittingham, 1916.
Johnstone, H. Diack: “The Chandos Anthems: The Authorship of No.
12,” Musical Times, 117 (1976), 601.
Beeks, Graydon: “Handel’s Chandos Anthems: The ‘Extra’ Move-
ments,” Musical Times, volume 119 (1978), 621-623.
__________: The Chandos Anthems and Te Deum of George Frideric
Handel (1685-1759). Ph.D. dissertation: University of California,
Berkeley, 1981.
__________: “Handel’s Chandos Anthems: “More ‘Extra’ Move-
ments,” Music and Letters, volume 62 (1981), 155-161.
__________: “Zur Chronologie von Händels Chandos Anthems und Te
Deum B-Dur,” Händel-Jahrbuch, volume 27 (1981), 89-105.
186 The Works
__________: “Handel and Music for the Earl of Carnarvon,” Bach,

Handel, Scarlatti: Tercentenary Essays, edited by Peter F. Wil-
liams, 1-20. Cambridge: Cambridge University Press, 1985.
__________: “Handel’s Chandos Anthems,” American Organist, vol-
ume 19, number 1 (1985), 93-96.
Hendrie, Gerald: “Handel’s ‘Chandos’ and Associated Anthems: An
Introductory Survey,” Bach, Handel, Scarlatti: Tercentenary Es-
says, edited by Peter F. Williams, 149-159. Cambridge: Cambridge
University Press, 1985.
Schröder, Dorothea: “Wiederentdeckt: der Kopie der Chandos-
Anthems aus der ehemaligen Sammlung Cummings,” Göttinger
Händel-Beiträge, volume 4 (1991), 94-107.
Beeks, Graydon “The Chandos Anthems of Haym, Handel, and Pe-
pusch,” Göttlinger Händel-Beiträge, volume 5 (1993), 161-193.
__________: “Reconstructing a Lost Archive Set of the Chandos An-
thems,” Georg Friedrich Händel: ein Lebensinhalt. Gedenkschrift
für Bernd Baselt (1934-1993), edited by Klaus Hortansky and
Kostanze Musketa, 151-165. Kassel: Bärenreiter, 1995.
__________: “More Handel Anthems in American Libraries,” Newslet-
ter of the American Handel Society, volume 12, number 1 (1997),
1, 6.
1 — O Be Joyful, HWV 246

Text: The text is Psalm 100:1-4 and the Doxology.
Performing Forces: voices: soprano, tenor, and bass soloists; STB

choir; orchestra: oboe, 2 violins, and continuo (bassoon, cello,
double bass, and organ).
First Performance: unknown, but probably 1717 or 1718.
Editions: O Be Joyful is available from Carus Verlag, Plymouth Music,

and Kalmus (A2630, a reprint of the Chrysander edition-see be-
low). It is also found in two scholarly editions — G. F. Händels
page: 1, edited by Friedrich W. Chrysander, Leipzig and Bergedorf

schaft, series: 3, volume: 4, page: 3, edited by Gerald Hendrie,

Fitzwilliam Museum, Cambridge; the Hereford Cathedral Library;
the Thomas Coram Foundation, London; the Bodleian Library, Ox-
ford; and the University of Chicago.
Notes: This work is a reworking of the “Utrecht” Jubilate; it is also

referred to as the “Chandos Jubilate.”
Performance Issues: The choral writing includes rapid coloratura pas-

sagework for all voices. These are regularly alternated with sus-
tained phrases preventing fatigue, but requiring vocal nimbleness.
The choral material is harmonically reinforced by the orchestra,
but there are extended sections in which the choral parts are not
doubled by the instruments. The tessitura of the choral tenor part is
fairly high. The choral bass and soprano parts have conservative
ranges well within the abilities of moderately skilled choristers.
There are passages in which the continuo part is separated for bas-
soon, cello, and bass. There are solos for the oboe and violin I. The
labeling suggests multiple players on each part, although a single
oboist throughout is customary. The oboe part is pervasive and
presents a taxing part as a result. All of the instrumental parts are
idiomatically written. Soloists: soprano - range: c’-g’’, tessitura:
e’-c’’, this is a lyric role with some coloratura passagework; tenor -
range: a-a’, tessitura: c’-g’, this is a lyric solo with long phrases
and rapid coloratura passagework; bass - range: G-e’, tessitura: d-
d’, this is a lyric role with broad leaps and coloratura passagework;
Selected Discography: Lynne Dawson, Ian Partridge, Michael George;

The Sixteen Choir and Orchestra; conducted by Harry Chris-
tophers. Recorded: St. Jude’s Church, London, 1987. Chandos:
0554-7.
See the collective bibliography for the Chandos Anthems, above.

188 The Works
2— In the Lord put I my trust, HWV 247

Text: The text is taken from A New Version of the Psalms Fitted to the
Tunes Used in Churches (1696) by Nahum Tate and Nicholas
Brady. It uses Psalms 9:9; 11:1-2, 6-7; 12:5; and 13:6.
Performing Forces: voices: tenor soloist; STB choir; orchestra: oboe,

2 violins, and continuo (bassoon, cello, double bass, and organ).
Editions: In the Lord Put I My Trust is available from Novello, GIA,

and Kalmus (A2632, a reprint of the Chrysander edition — see be-
low). It is also found in two scholarly editions — G. F. Händels
page: 3, edited by Friedrich W. Chrysander, Leipzig and Bergedorf
schaft, series: 3, volume: 4, page: 51, edited by Gerald Hendrie,

Bentley, England; the Music Collection of the Staats- und Univer-
sitätsbibliothek Carl von Ossietzky, Hamburg; and the University
of Chicago.
Performance Issues: The choral parts are harmonically well supported

by the orchestra, but they are often not directly doubled. There are
extended melismatic figures in all of the choral parts, which at
times are the only parts performing the smallest division of the
beat, so the singers must propel the tempo at these times. The tessi-
tura of the choral tenor part is fairly high. The ranges and tessituri
of the bass and soprano parts are modest. In the Sinfonia, notation
includes extended tripletization in the violins, which should con-
vey to the dotted-eighth/sixteenth figures as well. This should be
clarified in the parts. The instrumental writing is idiomatic and
very practical. In the arias, it may be prudent to consider using solo

strings. Soloists: tenor - range: f-a’, tessitura: g-g’, this is a dra-
matic role with extended, rapid coloratura passages; Choir: medi-
um easy; Orchestra: medium easy.
Selected Discography: Ian Partridge; The Sixteen Choir and Orches-

tra; conducted by Harry Christophers. Recorded: St. Jude’s
Church, London, 1987. Chandos: 0554-7.
3 — Have mercy upon me, O God, HWV 248

Text: The text is Psalm 51:1-4, 8, and 10-13.
Performing Forces: voices: soprano and tenor soloists; STB choir;

orchestra: oboe, 2 violins, and continuo (bassoon, cello, double
bass, and organ).
Editions: Have Mercy Upon Me is available from Masters Music and

Kalmus (A2631, a reprint of the Chrysander edition — see below).
Ausgabe der Deutschen Händelgesellschaft, volume: 34, page: 79,
series: 3, volume: 4, page 103, edited by Gerald Hendrie, Kassel:
Bärenreiter, 1985.

Thomas Coram Foundation, London; the Gerald Coke Collection
in Bentley, England; the Music Collection of the Staats- und Uni-
190 The Works
versitätsbibliothek Carl von Ossietzky, Hamburg; Rutgers Univer-

sity; and the University of Chicago.
Performance Issues: The choral parts are well supported by the or-
chestra. The tenor and bass choral parts have some sustained high
singing. The soprano part is more conservative in pitch, but all of
the choral parts have some very demanding coloratura passages re-
quiring advanced choristers. There are passages in which the con-
tinuo part is separated for bassoon, cello, and bass. The
instrumental parts are idiomatic and generally conservatively writ-
ten. There are a few passages that are highly ornamented in one
aria (no. 7) for which single players may be used. Soloists: sopra-
no - range: d’-g’’, tessitura: f’-d’’, this is a sustained lyric solo;
tenor - range: d-g’, tessitura: f-d’, this is a lyric and tender role;
Choir: medium difficult; Orchestra: medium easy.
Selected Discography: Lynne Dawson, Ian Partridge; The Sixteen

Choir and Orchestra; conducted by Harry Christophers. Recorded:
St. Jude’s Church, London, 1987. Chandos: 0554-7.
4 — O Sing unto the Lord, HWV 249a (1712-1714)

Text: The text is Psalm 96:1-4, 6, 9, and 11.
Performing Forces: voices: tenor and bass soloists; SATB choir; or-
chestra: flute, 2 oboes, 2 trumpets, strings, and continuo.
First Performance: 26 September 1714; Chapel Royal; conducted by

the composer.
Editions: O Sing unto the Lord is available from Kalmus, Novello, and
Novato. It is also found in two scholarly editions — G. F. Händels
page: 219, edited by Friedrich W. Chrysander, Leipzig and

Gesellschaft, series: 3, volume: 9, page: 49, edited by Gerald Hen-
drie, Kassel: Bärenreiter, 1992.

London.
Notes: This version was written to take advantage of two specific solo-
ists: Mr. Eilfort, tenor, and Mr. Baker, bass.
Performance Issues: The choral material is primarily syllabic and

homophonic. All of the choral parts are vocally conservative and
directly doubled by the instruments. There are exposed solos for
flute and oboe. The orchestral writing is efficient and idiomatic.
The majority of the work is assigned to the soloists who are sparse-
ly accompanied. Soloists: tenor - range: g-c’’, tessitura: b-a’, this
is a sustained lyric role that may be best suited to a countertenor;
bass - range: E-e’, tessitura: G-d’, this is a dramatic solo with long
phrases and some coloratura; Choir: easy; Orchestra: medium
easy.
4 — O Sing unto the Lord, HWV 249b

Text: The text from is Psalms 93:4; 96:1, 3-4, 9, 11, and 13.

bass, and organ).
Editions: O Sing unto the Lord is available from G. Schirmer, Merse-

burger Verlag, Concordia, and Kalmus (A7087, the Grot, Elvers
edition). It is also found in two scholarly editions — G. F. Hän-
dels Werke: Ausgabe der Deutschen Händelgesellschaft, volume:
192 The Works
34, page: 109, edited by Friedrich W. Chrysander, Leipzig and

Gesellschaft, series: 3, volume: 4, page: 141, edited by Gerald
Hendrie, Kassel: Bärenreiter, 1985.

Thomas Coram Foundation, London; the Fitzwilliam Museum,
Cambridge; the Durham Cathedral Library; and the Music Collec-
tion of the Staats- und Universitätsbibliothek Carl von Ossietzky,
Hamburg.
Notes: There is an alternate aria in the manuscript, crossed out by the

composer. It appears as an addendum to the Hendrie edition.
Performance Issues: This is a flashy and effective work. The choral

writing includes rapid coloratura writing, but the ranges and tessi-
turi of the choral parts are conservative, and the choral material is
well supported by the orchestra. There are passages in which the
continuo part is separated for bassoon, cello, and bass. The orches-
tral writing is idiomatic and includes rapid passagework across the
ensemble. Although well conceived for the players these sections
may prove problematic for ensemble and maintenance of tempo
with less-experienced groups. Soloists: soprano - range: f’-f’’, tes-
situra: d’-g’’, this is a lyric solo with some intricate passagework;
tenor - range: e-a’, tessitura: f-f’, this is a solo with demanding
coloratura passagework and long phrases; Choir: medium diffi-

5 — I will magnify thee, O God, HWV 250a

Text: The text is from Psalms 144:15; 145:1-2, 4, 17, 19-21.

bass, and organ).
Editions: I will magnify thee, O God, HWV 250a is available from

Novado Music Press and Bärenreiter. It is also found in two schol-
arly editions — G. F. Händels Werke: Ausgabe der Deutschen
Händelgesellschaft, volume: 34, page: 133, edited by Friedrich W.
Georg Friedrich Händel-Gesellschaft, series: 3, volume: 5, page:
3, edited by Gerald Hendrie, Kassel: Bärenreiter, 1987.

Bodleian Library, Oxford; the Gerald Coke Collection in Bentley,
England; the Royal College of Music, London; the St. Michael’s
College Library, Tenbury Wells; the Music Collection of the
Staats- und Universitätsbibliothek Carl von Ossietzky, Hamburg;
Rutgers University; and the University of Chicago.
Performance Issues: The choral parts are harmonically well supported

by the orchestra, but they are melodically independent, and in
many cases the choristers have the smallest divisions of the beat,
which requires them to move the tempo forward. There are extend-
ed coloratura passages for the choristers that demand experienced
singers. There are passages in which the continuo part is separated
for bassoon, cello, and bass. The string writing is flashy, but idio-
matic and well within the abilities of intermediate players. The
oboe part will require some stamina. Soloists: soprano - range: d’-
g’’, tessitura: f#’-f#’’, this is a lyric solo with some coloratura writ-
ing; tenor- range: e-a’, tessitura: f#-e’, this is a lyric solo with some
extensive ornamented passagework; Choir: medium difficult; Or-
194 The Works

5 — I will magnify Thee, O God, HWV 250b

(1722-1724?)
Text: The text is from Psalms 89:14; 96:6, 9, 10; 145:1 and 21.
Performing Forces: voices: alto, tenor, and bass soloists; SATB choir;
orchestra: oboe, strings, and continuo.
First Performance: 5 January 1724; Chapel Royal; conducted by the

composer.
Editions: I will magnify Thee, O God, HWV 250b is available from

Kalmus. It is also found in two scholarly editions — G. F. Händels
Gesellschaft, series: 3, volume: 9, page: 169, edited by Gerald

University of Chicago; the Library of Congress; and the Mercer’s
Hospital Collection, Trinity College Library, Dublin.
Notes: This work is based upon four of the Chandos Anthems.
Performance Issues: The choral movements are scored S[ATB]ATB

with the bracketed parts being the soloists. The choral material is
harmonically well supported by the orchestra, but it is not always
directly doubled. There are some rapid melismatic passages for the
choir that remain independent of the instruments. The final move-

ment is the most challenging for the choir and orchestra. The or-
chestral writing is practical and idiomatic. There are some interest-
interesting part crossings for the violins that would benefit from
antiphonal seating. The oboe part has a number of exposed solos.
Soloists: alto - range: b-d’’, tessitura: e’-b’, this is a lyric solo with
some ornamental passagework; tenor - range: a-a’, tessitura: d’-a’,
this is a high solo that appears only as part of the soli group in as
single movement with the choir, it is never alone, but often appears
a third higher than the tutti tenors; bass - range: A-f#’, tessitura: g-
d’, this is a high baritone role with long phrases; Choir: medium
6 — As pants the hart, HWV 251b

Text: The text is Psalm 42:1 and 3-7, as it appears in Divine Harmony:
Or a New Collection of Select Anthems Used in Her Majesty’s
Chappels Royal, Westminster Abbey, St. Paul’s Cathedral, Wind-
sor, both Universities, Eaton, and Most Cathedrals in her Majes-
ty’s Dominion, edited by J. Church. London, 1712.

orchestra: oboe, bassoon, 2 violins, and continuo (cello, double
bass, harpsichord,64 and organ).
Editions: As pants the hart is available from Kalmus, Novello, and

Novado. It is also found in two scholarly editions — G. F. Händels
64
The Sinfonia includes two continuo lines from which Hendrie has determined
the intention to use two keyboards, which his edition wisely suggests through-
out the anthem.
196 The Works

Gesellschaft, series: 3, volume: 5, page: 53, edited by Gerald Hen-
drie, Kassel: Bärenreiter, 1987.

Christ Church Library, Oxford; the Thomas Coram Foundation,
London; the St. Michael’s College Library, Tenbury Wells; the
von Ossietzky, Hamburg; Rutgers University; and the University
of Chicago.
Performance Issues: The choral material is well supported by the or-

chestra. Handel uses the solo trio in all vocal ensemble passages
that require significant independence from the accompaniment.
The bassoon is treated as an obbligato instrument in some sections
of this score. The orchestral writing is practical and well within the
abilities of intermediate players. This is a score well conceived for
an amateur choral organization seeking concerted repertoire. Solo-
ist: soprano - range: e’-f#’’, tessitura: g’-e’’, this is a lyric and sus-
tained solo; tenor - range: e-a’, tessitura: a-f#’, this is a sustained
and lyrical role with some extended coloratura; bass - range: B-e’,
tessitura: e-e’, this is a declamatory solo that appears only in the
context of a concerted trio that appears in one movement in alter-
nation with the choir; it is appropriate for a chorister; Choir: me-
dium easy; Orchestra: medium easy.

Burrows, Donald: “Handel’s As Pants the Hart,” Musical Times, vol-

ume 126 (1985), 113-116.
White, Chris D.: “Christ lag in Todesbanden: A Setting by Handel,”
American Choral Review, volume 35, number 1 (1993), 1-2.
See also the collective bibliography for the Chandos Anthems, above.
7 — My song shall be alway, HWV 252

Text: The text is Psalm 89:1, 5-10, 12, 15-16, and 18.

SATB choir; orchestra: oboe, 2 violins, and continuo (bassoon,
cello, double bass, and organ).
Editions: My song shall be alway is available from Novello, Bären-

reiter, and Merseburger. It is also found in two scholarly editions
schaft, volume: 35, page: 1, edited by Friedrich W. Chrysander,
Leipzig and Bergedorf bei Hamburg: 1858-1894, reprinted in
1965; and Hallische Händel-Ausgabe im Auftrage der Georg Frie-
drich Händel-Gesellschaft, series: 3, volume: 5, page: 93, edited
by Gerald Hendrie, Kassel: Bärenreiter, 1987.

Fitzwilliam Museum, Cambridge; the Durham Cathedral Library;
the St. Michael’s College Library, Tenbury Wells; the Music Col-
lection of the Staats- und Universitätsbibliothek Carl von Ossietz-
ky, Hamburg; Rutgers University; and the University of Chicago.
Performance Issues: The choral material is harmonically well sup-

ported by the orchestra, but it is not directly doubled throughout
the work. The choral altos have some very low pitches belying
countertenors in the section. There are adequate ossia and tenor
doublings to accommodate the score with a section for which these
notes are unreasonable. There are passages in which the violin I
part divides between a soloist and ripieno. The oboe part requires a
solid player. The orchestra as a whole is idiomatically conceived
and well within the abilities of intermediate players. Soloists: so-
prano - range: d’-g’’, tessitura: f#’-f#’’, this is a florid solo with
some wide melodic leaps; alto - range: g-b’, tessitura: a-a’, this is a
lyric solo that appears in duet with the bass; tenor - range: f#-a’,
tessitura: g-e’, this is a lyric solo with long sustained phrases; bass
- range: A-e’, tessitura: B-d’, this is a declamatory solo with long
198 The Works
phrases that appears in duet with the alto; Choir: medium difficult;
Selected Discography: Patrizia Kwella, James Bowman, Ian Partridge;

0554-7.
8 — O come let us sing unto the Lord, HWV

253
Text: The text is from Psalms 95:1-3, 6-7; 96:6, 10; 97:10-12; 99:9;
and 103:11.
Performing Forces: voices: soprano and tenor soloists; STTB choir;

orchestra: 2 recorders,65 oboe, bassoon, 2 violins, and continuo.
Editions: O come let us sing unto the Lord is available from Novello. It
is also found in two scholarly editions — G. F. Händels Werke:
Ausgabe der Deutschen Händelgesellschaft, volume: 35, page: 41,
series: 3, volume: 5, page: 141, edited by Gerald Hendrie, Kassel:
Bärenreiter, 1987.

65
The third movement is scored for flauto dolce I and II, violin I and II, tenor
solo, and continuo. The instrument list in the Hallische Händel-Ausgabe edition
has left out the 2 flauti, which should be recorders if possible.
Royal College of Music, London; the Central Public Library, Man-

chester; the Music Collection of the Staats- und Universitätsbiblio-
thek Carl von Ossietzky, Hamburg; Rutgers University; and the
University of Chicago.
Performance Issues: The choral material is harmonically well sup-

ported by the orchestra, and direct doubling, though inconsistent,
provides stability in the more complex sections of the work. A
strong alto section is a necessity. The choral alto range is low, with
exposed low e. The use of countertenors would be advantageous.
This section also has the largest portion of coloratura passagework
within the choir. The instrumental writing is idiomatic, but more
demanding than in the majority of these anthems. There are some
passages for the violins that would benefit from careful marking
before rehearsal. It is likely that one of the recorder parts would
have been played by the oboist who sits out in the one movement
with recorder. Soloists: soprano - range: e’-g#’’, tessitura: g#’-e’’,
this is a lyric solo with rhythmic coloratura; tenor - range: e-b’,
tessitura: g-g’, this is a demanding lyric solo with some intricate
ornamental figurations; Choir: medium difficult; Orchestra: me-
dium difficult.
Selected Discography: Patrizia Kwella, James Bowman, Ian Partridge;

0554-7.
9 — O praise the Lord with one consent, HWV

254
Text: The text is taken from A New Version of the Psalms Fitted to the
Tunes Used in Churches (1696) by Nahum Tate and Nicholas
Brady. It uses Psalms 117:1-2; 135:1-3, 5; and 148:1-2.
200 The Works
Performing Forces: voices: soprano, 2 tenor, and bass soloists; SATB

choir; orchestra: oboe, 2 violins, and continuo (bassoon, cello,
Editions: O praise the Lord with one consent is available from Novel-
lo, Kalmus, and Serenissima. It is also found in two scholarly edi-
tions — G. F. Händels Werke: Ausgabe der Deutschen
Händelgesellschaft, volume: 35, page: 98, edited by Friedrich W.
Georg Friedrich Händel-Gesellschaft, series: 3, volume: 6, page:
3, edited by Gerald Hendrie, Kassel: Bärenreiter, 1991.
Autograph: The composer’s manuscript is in the Fitzwilliam Museum,

Cambridge. Additional manuscript materials in other hands are in
the British Library in London; the Gerald Coke Collection in Bent-
ley, England; the Durham Cathedral Library; the Hereford Cathe-
dral Library; Gloucester Cathedral Library; Gresham College,
London; the St. Michael’s College Library, Tenbury Wells; the
von Ossietzky, Hamburg; Rutgers University; and the University
of Chicago.
Notes: This work is the only entry among the eleven Chandos Anthems
that does not have a Sinfonia. The opening chorus is based upon
the hymn tune St. Anne, which is generally attributed to William
Croft (1678-1727). It first appeared in the 1708 Supplement to
New Version of the Psalms as a setting of Psalm 42, “As pants the
hart for cooling stream,” the text Handel uses in Chandos Anthem
6, HWV 251.
Performance Issues: The choral parts include coloratura passagework

that is harmonically supported, but not doubled by the instruments.
The score includes a rich palette of contrapuntal textures including
close imitation, and ornate fugal passages. The tessitura of the cho-
ral altos is low; it is especially well suited for countertenors. The
instrumental parts are practically written and conservative in range.
Soloists: soprano - range: d’-ab’’, tessitura: g’-g’’, this is a lilting,
lyric solo with long phrases; tenor I - range: f-ab’, tessitura: g-g’,
this is a lyric solo with sustained phrases; tenor II - range: g-a’, tes-
situra: a-g’, this is a lyric solo with some ornate passagework; bass
- range: A-f’, tessitura: Bb-d’, this is a powerful solo with long

phrases; Choir: medium difficult; Orchestra: medium difficult.
Selected Discography: Patrizia Kwella, James Bowman, Ian Partridge,

Michael George; The Sixteen Choir and Orchestra; conducted by
Harry Christophers. Recorded: St. Jude’s Church, London, 1989.
Chandos: 0554-7.
10 — The Lord is my light, HWV 255

Text: The text is from Psalms 18:7, 14, 31; 27:1, 3, 4, 7; 28:8; 29:4, 9;
30:4; and 34:3.
Performing Forces: voices: soprano and 2 tenor soloists; SATTB

choir; orchestra: 2 recorders, oboe, 2 violins, and continuo (bas-
soon, cello, double bass, and organ).
Editions: The Lord is my light is available from Kalmus. It is also

der Deutschen Händelgesellschaft, volume: 35, page: 151, edited
by Friedrich W. Chrysander, Leipzig and Bergedorf bei Hamburg:
ume: 6, page: 75, edited by Gerald Hendrie, Kassel: Bärenreiter,
1991.

Christ Church Library, Oxford; the Fitzwilliam Museum, Cam-
bridge; the Central Public Library, Manchester; the St. Michael’s
College Library, Tenbury Wells; the Music Collection of the
202 The Works
Staats- und Universitätsbibliothek Carl von Ossietzky, Hamburg;

and the University of Chicago.
Notes: The opening chorus was originally scored STTTB, but modern
editions are often assigned SATTB because of the generally high
tessitura of the tenor I part. This results in a low alto part best suit-
ed to countertenors.
Performance Issues: The choral writing is accessible to less experi-

enced singers and their parts are reinforced by the orchestra
throughout most of the work, although some melismatic passage-
work in lower voices is not directly doubled. The basses have some
exposed, high coloratura singing that requires mature, flexible
voices. The instrumental writing is contrapuntally complex, but it
is idiomatic and within the abilities of good amateur players. Solo-
ists: soprano - range: d’-g’’, tessitura: f’-f’’, this is a lilting, lyric
solo; tenor I - range: f-a’, tessitura: g-g’, this is a declamatory solo
with some rapid coloratura passagework; tenor II - range: g-ab’,
tessitura: g-g’, this is a dramatic solo with some ornamental figura-
tions; Choir: medium difficult; Orchestra: medium difficult.

11 — Let God arise, HWV 256a

Text: The text is from Psalms 68:1-4, 19, 35; and 76:6.
Performing Forces: voices: soprano and tenor soloists; SATB choir;

orchestra: oboe, bassoon, 2 violins, and continuo (bassoon, cello,

Editions: Let God arise, HWV 256a is available from Novello, Kal-
mus, and Bärenreiter. It is also found in two scholarly editions —
volume: 35, page: 211, edited by Friedrich W. Chrysander, Leipzig
del-Gesellschaft, series: 3, volume: 6, page: 163, edited by Gerald

Royal College of Music, London; the St. Michael’s College Li-
brary, Tenbury Wells; the Music Collection of the Staats- und
Universitätsbibliothek Carl von Ossietzky, Hamburg; Rutgers Uni-
versity; and the University of Chicago.
Notes: Handel reused the Sinfonia as the first two movements of his
Sonata, op. 5, no. 7 (HWV 402).
Performance Issues: In the opening chorus, there are rapid repeating

figures over thirds that are doubled by the orchestra, but require
secure technique for the singers. There are a variety of vocal fig-
ures that are clearly conceived to exploit the technical abilities of
an experienced choir. Movement 6 includes a contrapuntal four-
part chorus against a sustained recitative accompaniment. The or-
chestral writing is flamboyant, but completely practical for the
players. Soloists: soprano - range: e’-g’’, tessitura: f’-f’’, this lyric
solo has coloratura passagework and long phrases; tenor - range: d-
a’, tessitura: g-g’, this role has broad leaps and rapid coloratura
singing; Choir: difficult; Orchestra: medium difficult.


204 The Works
11 — Let God arise, HWV 256b (1722-1726?)

Text: The text is Psalm 68:1, 2, 4, and 35.
Performing Forces: voices: alto and bass soloists; SATB choir; or-
chestra: oboe, bassoon, strings, and continuo.
First Performance: 16 January 1726; Chapel Royal; conducted by the

composer.
Editions: Let God arise, HWV 256b is available from Bärenreiter. It is

also found in two scholarly editions — G. F. Händels Werke: Aus-
gabe der Deutschen Händelgesellschaft, volume: 35, page: 263,
series: 3, volume: 9, page: 187, edited by Gerald Hendrie, Kassel:
Bärenreiter, 1992.

Bentley, England; the Central Public Library, Manchester; and
Rutgers University.
Notes: This is believed to be the last anthem Handel composed for

George I. He reused some material in the Chandos Anthem imme-
diately above (HWV 256a). This work is briefer and presents few-
er challenges to the choir.
Performance Issues: The soloists appear with the choir in the principal
choruses, sometimes doubling the choral parts and occasionally
adding flourishes not assigned to the choir. Soloists capable of car-
rying against the full ensemble are recommended. The choral writ-
ing is much less demanding than in HWV 256a. The choral parts
are clearly support by the orchestra throughout the work and pre-
sent fewer vocal demands. Soloists: alto - range: a-d’’, tessitura:
c’-c’’, this is a lyric solo with some rapid passagework; bass -
range: c-f’, tessitura: f-f’, this is a powerful, high baritone solo
with significant coloratura; Choir: medium difficult; Orchestra:

medium difficult.
Selected Discography: James Bowman, Andrew Ashwin, Maciek

O’Shea; Choir of the Chapel Royal; Musicians Extra-ordinary;
conducted by Andrew Gant. Recorded 18-20 July 2005, Chapel
Royal, St. James’s Place, London. Naxos: 8.557935.

206 The Works
CORONATION ANTHEMS (1727)

Handel was naturalized as a British citizen by George I, who then
commissioned these anthems for the coronation of his son, George
II and Queen Caroline. For their performance, Handel had at his
disposal the choir of the Chapel Royal with additional singers and
orchestra in excess of 150 players.
Ideal performing forces would include harpsichord, organ, and the-

orbo among the continuo group along with bassoon, cello, and
double bass. The scores indicate when organ is to be added.
Collective Selected Bibliography

Chandos. London: C. Whittingham 1916.
Burrows, Donald: “Handel and the 1727 Coronation,” Musical Times,
volume 118 (1977), 469.
Bense, Liselotte: “Die Ausprägung der Anthem-Form bei Händel unter
besonderer Berücksichtigung seiner ‘Coronation Anthems,’” Kon-
ferenzbericht Halle (1981), 47-57.
Jordan, James: “Handel’s Coronation Anthems,” American Choral Re-
view, volume 30, number 3 (Summer 1988), 3-8.
Bense, Liselotte: “Händels Anthems für die Krönung Georgs II. Und
seiner Gemahlin Königin Caroline in der Westminster-Abtei am
11. Oktober 1727,” Händel-Jahrbuch, volume 49 (2003), 307-326.
Henze-Döhring, Sabine: “Händels Coronation Anthems,” Händel-
Jahrbuch, volume 49 (2003), 105-113.
1 — Zadok the priest, HWV 258

Text: The text is Kings 1:38-40.
Performing Forces: voices: SSAATBB choir; orchestra: 2 oboes, 2

bassoons, 3 trumpets, timpani, strings (with 3 violin sections), and
continuo.
First Performance: 11 October 1727; Westminster Abbey, London;

Editions: Zadok the Priest is available from G. Schirmer, Dover, Eu-

lenberg, Arista, Novello, Schott, Belwin, Kalmus, and Novato. It is
also found in the scholarly edition — G. F. Händels Werke: Aus-
gabe der Deutschen Händelgesellschaft, volume: 14, edited by
1858-1894, reprinted in 1965, it is the basis of the Kalmus edition
which includes a realization, some performance annotations, and
corrected score and parts, prepared by Clark McAlister in 1986.
del-Gesellschaft, series: 3, volume: 10, is planned.

London; the Central Public Library, Manchester; the Hereford Ca-
thedral Library; the Music Collection of the Staats- und Universi-
Notes: The text for Zadok the Priest was first used for the coronation of
King Edgar in 973. This text has been part of every successive
English coronation since then, and Handel’s setting has been per-
formed as part of all British coronations since its premiere.
Performance Issues: The scoring of this work suggests the use of a

large choir and an ample string section. The choral writing is pri-
marily homophonic and syllabic with a few articulated melismatic
passages in the concluding section. All of the vocal material is well
supported by the instruments. The orchestral writing is idiomatic
and well within the abilities of intermediate players with the excep-
tion of the trumpet I part, which has a high tessitura, but adequate
breaks. Choir: medium easy; Orchestra: medium easy.
Selected Discography: Choir of King’s College, Cambridge; conduct-

ed by David Willcocks. Recorded: King’s College Chapel, 1963.
London: 455041.
Choir of King’s College, Cambridge, Academy of Ancient Music; con-
ducted by Stephen Cleobury. Recorded: King’s College Chapel,
2001. EMI: B00005N6UE.
208 The Works
The Sixteen; conducted by Harry Christophers. Recorded: St. Paul’s

Church, Deptford, London, 2008. Coro 16066.
See the collective bibliography for the Coronation Anthems, above.
2 — Let thy hand be strengthened, HWV 259

Performing Forces: voices: SAATB choir; orchestra: 2 oboes, bas-

soon (optional), strings, and continuo.

Editions: Let thy hand be strengthened is available from Dover, Eu-

lenberg, G. Schirmer, Kalmus, and Novello. It is also found in the
scholarly edition — G. F. Händels Werke: Ausgabe der Deutschen
Händelgesellschaft, volume: 14, edited by Friedrich W. Chrysan-
der, Leipzig and Bergedorf bei Hamburg: 1858-1894, reprinted in
1965, it is the basis of the Kalmus edition, which includes a reali-
zation, some performance annotations, and corrected score and
parts, prepared by Clark McAlister in 1986. Hallische Händel-
series: 3, volume: 10, is planned.

Notes: In the Kalmus edition, this is listed as Coronation Anthem IV.
Performance Issues: This anthem requires the smallest group of per-

formers of the set using a traditional string allotment, no brass, and
fewer choral parts. The choral material is well supported by the in-
struments, There is denser polyphonic variety in this work than in
the rest of the set that will demand attention to harmonic nuance
and clarity of articulation throughout the work. The middle section
in particular has much to offer the thoughtful performer. The in-
strumental parts are very practically written. Careful bowing will
guarantee clear articulations. Choir: medium difficult; Orchestra:
medium easy.

London: 455041.
2001. EMI: B00005N6UE.
3 — The king shall rejoice, HWV 260

Text: The text is Psalm 21:1, 3, and 5.
Performing Forces: voices: SAATBB choir; orchestra: 2 oboes, bas-

soon, 3 trumpets, timpani, strings (with 3 violin sections), and con-
tinuo.

Editions: The king shall rejoice is available from Dover, Novato, No-
vello, Kalmus, G. Schirmer, and Eulenberg. It is also found in the
210 The Works


Notes: In the Kalmus edition, this is listed as Coronation Anthem II.

The closing movement of this anthem was to commence at the
moment the king was crowned.
Performance Issues: There are numerous melismatic passages for in-

ner voices. Decisions regarding over dotting should be made in ad-
vance and marked in the parts. Those in the Kalmus edition are
consistent and clear, although some additional cadential ornaments
may still warrant addition. All of the vocal material is well sup-
ported by the instruments, and the instrumental writing is practical-
ly conceived. Some of the tempo changes and rapid figurations in
new tempi will require careful preparation. The first trumpet has a
high tessitura, and in the final movement it is very sustained. Han-
del uses repeated pitches in the same syllable for reärticulation, the
brief silence required for this effect will need to be conveyed to the
corresponding instruments. Choir: medium difficult; Orchestra:
medium difficult.

London: 455041.
2001. EMI: B00005N6UE.
Church, Deptford, London in 2008. Coro 16066.
4 — My heart is inditing, HWV 261

Text: The text is Psalm 45:1, 9, 11; and Isaiah 49:23.
Performing Forces: voices: SAATBB choir; orchestra: 2 oboes, bas-

soon (optional), 3 trumpets, timpani, strings (with 3 violin sec-
tions), and continuo.

Editions: My heart is inditing is available from Dover, Novato, Novel-

lo, Kalmus, G. Schirmer, and Eulenberg. It is also found in the

Notes: In the Kalmus edition, this is listed as Coronation Anthem III.

This text was also set by Henry Purcell for the coronation of James
II and VI in 1685.
Performance Issues: The orchestral writing contains more harmonic

filigree than the other anthems in this set. The string writing is the
212 The Works
most difficult. Careful thought should be given to bowings in these

sections to meld ease of playing and textural clarity. There are pas-
sages within the vocal material that are labeled solo, soli, and tutti.
Attention should be paid to these changes so that the accompani-
ment does not overpower reductions in vocal forces. All of the vo-
cal material is well supported harmonically by the instruments, and
there is considerable colla parte doubling. Choir: medium diffi-

London: 455041.
2001. EMI: B00005N6UE.
The ways of Zion do mourn, “Funeral An-

them,” HWV 264 (1737)
Text: The text is was compiled by Edward Willes from the Bible —
Psalms 103:17; 112:6; Lamentations of Jeremiah 1:1, 4, 11; 2:10;
Samuel II 1:19; Job 29:11, 12, 14; Ecclesiasticus 36:25; 44:13-15;
Daniel 12:3; Philippians 4:8; and Wisdom 5:16-17.
Performing Forces: voices: SSATB choir; orchestra: 2 oboes, bas-

soon, strings, and continuo (bassoon, cello, bass, harpsichord, and
organ).
First Performance: 17 December 1737; Westminster Abbey, London;

Editions: The ways of Zion do mourn is found in two scholarly editions

schaft, volume: 11, edited by Friedrich W. Chrysander, Leipzig
del-Gesellschaft, series: 3, volume: 12, edited by Annette Land-
graf.

Manchester; and the Durham Cathedral Library.
Notes: This work was composed for the funeral of Queen Caroline. It
was completed on 12 December 1737. The music was reused in
part I of Israel in Egypt, HWV 54.
Wilhelmine Karoline was the daughter of the Margrave, Johann

Friedrich von Brandenberg-Ansbach. She married her cousin, who
became King George II of Great Britain. Caroline was very popu-
lar with her British subjects. In his funeral work, Handel drew up-
on German models and incorporated a number of German hymn
tunes, including the anonymous Herr Jesu Christ, du höchstes Gut
(1593) and Du Friedefürst, Herr Jesu Christ (1601) by Barthol-
omäus Gesius.
Performance Issues: The score combines imitative and homophonic

textures. Nearly all of the vocal material is clearly supported by the
accompaniment. There are a number of passages that are notated as
double-dotted figures with an inserted rest. These may require at-
tention for accurate ensemble. There are no extended coloratura
passages, and although some of the harmonic tensions will require
sensitive treatment, the work is not overly challenging for the
choir. The instrumental parts are idiomatic and within the ability of
good amateur players. Choir: medium easy; Orchestra: medium
easy.
Selected Discography: Norma Burrowes, Charles Brett, Martin Hill,

Stephen Varcoe; Monteverdi Choir and Orchestra; conducted by
John Eliot Gardiner. Erato: 4697006.
214 The Works
Reich, Herbert: “Händels Chorbearbeitung einer Orgelfuge von J. Phil.

Krieger,” Musik und Kirche, volume 36 (1966), 172-177.
__________: “Händels Trauer-Hymne und die Musikalische Exequien
von Schütz,” Musik und Kirche, volume 36 (1966), 74-78.
Werner, Edwin: Georg Friedrich Händels “Trauer-Anthem” HWV
264: Eine Studie mit Kritischer Ausgabe der Partitur im Rahmen
der Hällischen Händel-Ausgabe. Ph.D. dissertation: Martin-Luther
Universität, 1981.
Decker, Harold A.: “Handel’s Funeral Anthem for Queen Caroline: A
Neglected Masterpiece,” Five Centuries of Choral Music: Essays
in Honor of Howard Swan, edited by Gordon Paine, 255-279.
Stuyvesant, NY: Pendragon Press, 1988.
Cowles, Robert: Funeral Anthem for Queen Caroline by George
Frideric Handel: A History and Analysis. D. M. dissertation: Indi-
ana University, 1990.
Werner, Edwin: “Händels Funeral Anthem — eine englische Musik aus
mitteldeutschen Tradition,” Georg Friedrich Händel: ein Lebens-
inhalt. Gedenkschrift für Bernd Baselt (1934-1993), edited by
Klaus Hortansky and Kostanze Musketa, 59-76. Kassel: Bären-
reiter, 1995.
Landgraf, Annette: “Die Begräbniszeremonie für Queen Caroline,”
Händel-Jahrbuch, volume 49 (2003), 115-125.
__________: “Preface” to The ways of Zion do mourn; Hallische Hän-
del-Ausgabe im Auftrage der Georg Friedrich Händel-
Gesellschaft, series: 3, volume: 12, xiv-xix. Kassel: Bärenreiter,
2004.
The king shall rejoice, “Dettingen Anthem,”

HWV 265 (1743)
Text: The text is Psalms 20:5 and 21:1 and 5-7.
Performing Forces: voices: alto and bass soloists; SSATB choir; or-
chestra: 2 oboes, bassoon, 3 trumpets, timpani, strings, and con-
tinuo.
First Performance: 27 November 1743; Chapel Royal.
Editions: The “Dettingen Anthem” is available in reprint from Kalmus.

Ausgabe der Deutschen Händelgesellschaft, volume: 36, page:
111, edited by Friedrich W. Chrysander, Leipzig and Bergedorf bei

Gerald Coke Collection in Bentley, England; the Durham Cathe-
dral Library; the Central Public Library, Manchester; the Music
etzky, Hamburg; Nanki Ongaku Bunko (Nanki Music Library),
Tokyo; and Rutgers University.
Notes: This score was composed to celebrate the victory at Dettingen.

It was completed 3 August 1743.
Performance Issues: The vocal writing is vocally challenging for the

choir, but all of the choral material is well supported by the ac-
companiment. The soprano I part has a high tessitura that requires
light, sustained singing at the top of the staff. There is a diversity
of homophonic and imitative textures for the singers, and all parts
have some rapid melismatic passagework. The trumpet I part has a
predictably high tessitura. Soloists: alto - range: a-b’, tessitura: c’-
a’, this is a lilting and sustained solo; bass - range: B-e’, tessitura:
d-d’, this is a lilting and lyric solo; Choir: medium difficult; Or-
Selected Discography: Christopher Tipping, Michael Pearce; Choir of

Westminster Abbey, English Concert; conducted by Simon Pres-
ton. Recorded in 1983 in Henry Wood Hall, London. Arkiv:
410647-1.
216 The Works

193.
Te Deum in D, “Utrecht,” HWV 278 (1713)


was baptized.66
Performing Forces: voices: 2 soprano, 2 alto, tenor and bass soloists;

SSAATTB choir; orchestra: flute, 2 oboes, bassoon, 2 trumpets,
strings (violin I, II, and III, and viola), and continuo (bassoon, cel-
lo, bass, and organ).
First Performance: 7 July 1713; St. Paul’s Cathedral, London.
Editions: The Utrecht Te Deum is available from Bärenreiter, Kalmus,

Luck’s, Novello, and G. Schirmer. It is also found in two scholarly
editions — G. F. Händels Werke: Ausgabe der Deutschen Hän-
delgesellschaft, volume: 31, page: 2, edited by Friedrich W. Chry-
sander, Leipzig and Bergedorf bei Hamburg: 1858-1894, reprinted
in 1965; and Hallische Händel-Ausgabe im Auftrage der Georg
Friedrich Händel-Gesellschaft, series: 3, volume: 3, page 3, edited
by Gerald Hendrie, Kassel: Bärenreiter, 1985.

Gerald Coke Collection in Bentley, England; the Fitzwilliam Mu-
seum, Cambridge; the Durham Cathedral Library; and the Central
Public Library, Manchester.
66
Notes: This work, Te Deum zur Feier des Friedens von Utrecht, along
with the “Utrecht” Jubilate, was composed to celebrate the Peace
of Utrecht.
Performance Issues: The choral writing combines homophonic and

imitative textures. Much of the choral material is clearly doubled
by the instruments. There are vocally demanding passages for all
sections of the choir. There are some unusually low passages for
the tenors, but these are doubled by the basses. Most of the choral
dispositions are SATB or SSATB, but movement 7 treats the en-
semble as two choirs: SST and AATB. The orchestral writing is
dramatic and varied with challenging portions for all players.
There is an exposed oboe solo in movement 5 and another for flute
in movement 6. An independent bassoon part only occurs in
movement 7, but there it can be effectively employed in the con-
tinuo group throughout the work. The trumpet parts are typically
high and demanding, but there are adequate breaks between
movements in which they appear. Some recordings include timpa-
ni, but no part appears in the critical score. Soloists: soprano I -
range: f#’-g’’, tessitura: a’-f#’’, this is a lyric role with some florid
passagework; soprano II - range: d’-e’’, tessitura: e’-e’’, this is a
lyric role with some florid passagework; alto I - range: e-c’’, tessi-
tura: c’-c’’, this is a sustained lyric solo best suited for a counter-
tenor; alto II - range: f#-a’, tessitura: g’-g’’, this is a sustained lyric
solo best suited for a countertenor; tenor - range: e-g’, tessitura: g-
e’’, this is a lyric role with some florid passagework; bass - range:
A-d’, tessitura: c-c’, this is a lyric role with some florid passage-
work; Choir: medium difficult; Orchestra: medium difficult.
Selected Discography: Emma Kirkby, Judith Nelson, Charles Brett,

Roger Covey-Crump, Paul Elliott, David Thomas; Choir of Christ
Church Cathedral, Oxford; Academy of Ancient Music; conducted
by Simon Preston. Recorded: St. Jude’s, Hampstead, England,
1979. London: 455041.
Lincoln, Stoddard: “Handel’s Music for Queen Anne,” Musical Quar-

terly, volume 45 (1959), 191-207.
Burrows, Donald: “Handel’s Peace Anthem,” Musical Times, volume
118 (1973), 1230-1232.
218 The Works
__________: “Handel in England: Sacred Music,” Kongreßbericht

Stuttgart (1985), volume 1, 213-217.
Jubilate in D, “Utrecht,” HWV 279 (1713)

Text: The text is Psalm 100:1-4 and the Doxology.
Performing Forces: voices: 2 alto and bass soloists; SSAATTBB

choir; orchestra: 2 oboes, 2 trumpets, strings (violin I, II, and III,
and viola), and continuo (bassoon, cello, bass, and organ).
First Performance: 7 July 1713; St. Paul’s Cathedral, London.
Editions: The Utrecht Jubilate is available from Kalmus. It is also

der Deutschen Händelgesellschaft, volume: 31, page: 46, edited by
ume: 4, edited by Gerald Hendrie, Kassel: Bärenreiter, 1985.

Gerald Coke Collection in Bentley, England; the Fitzwilliam Mu-
seum, Cambridge; the Durham Cathedral Library; and the Central
Public Library, Manchester.
Notes: This work, Jubilate zur Feier des Friedens von Utrecht, along
with the “Utrecht” Jubilate, was composed to celebrate the Peace
of Utrecht.
Performance Issues: The choral writing combines pervasive imitation

and homophonic textures. Most of the choral material is clearly
doubled by the orchestra, but there are passages where the singers
are not directly doubled by the instruments. There are vocally de-
manding passages for all of the choral parts. Most of the choral
writing is SATB or SSATB. The only eight-part material is in sim-
ple, sustained block chords. The orchestral writing is idiomatic and
less challenging overall than the companion Te Deum. Attention
may need to be paid to harmonic nuances, but the string writing is

within the ability of most amateur players. The oboes generally re-
inforce other parts. The trumpet parts are characteristically high,
but ample breaks are provided. Some recordings employ timpani,
but there is no part in the critical edition. Soloists: alto I - range: a-
d’’, tessitura: d’-c’’, this is a lyric solo with considerable coloratura
passagework; alto II - range: g-g’, tessitura: g-g’, this is a declama-
tory solo that appears in trio only; bass - range: B-e’, tessitura: d-
d’, this is a lyric baritone solo with some rapid ornamental figures;
Selected Discography: Emma Kirkby, Judith Nelson, Charles Brett,

Roger Covey-Crump, Paul Elliott, David Thomas; Choir of Christ
Church Cathedral, Oxford; Academy of Ancient Music; conducted
by Simon Preston. Recorded: St. Jude’s, Hampstead, England,
1979. London: 455041.
Barber, Elinore: “Early Handel Prints and a Handel Manuscript in the

Bach Institute’s Vault Collection,” Bach: The Quarterly Journal of
the Riemenschneider Bach Institute, volume 16, number 2 (1985),
6-17.
Also see Utrecht Te Deum above.
Te Deum in D, “Caroline,” HWV 280 (1714)


was baptized.67
67
220 The Works
Performing Forces: voices: 2 alto, tenor, and bass soloists; SAATB

choir; orchestra: flute, 2 trumpets, and strings.68
First Performance: The premiere may have been a performance given

in the Chapel Royal, 26 September 1714.
Editions: Te Deum in D, “Caroline,” HWV 280 is available in reprint

miniature score from Kalmus. It is also found in the scholarly edi-
tion — G. F. Händels Werke: Ausgabe der Deutschen Händelge-
sellschaft, volume: 37, page: 1, edited by Friedrich W. Chrysander,
Leipzig and Bergedorf bei Hamburg: 1858-1894, reprinted in
1965.

manuscript materials in other hands are in the British Library; the
Bodleian Library, Oxford; and the Central Public Library, Man-
chester.
Notes: A revision was produced between 1722 and 1726 that includes a
new setting of the passage “ Vouchsafe, O Lord.”
Performance Issues: The choral writing is vocally conservative and

generally syllabic. The continuo provides harmonic support at all
times, but some of the choir’s passages are not directly supported
by the other instruments. The instrumental writing is idiomatic and
mostly within the abilities of typical amateur players, although
some of the rhythmic material will require attention for good clari-
ty. The trumpet I part has a high tessitura and is present much of
the time. The two alto soloists are listed as alto/tenor parts. These
are true mezzo ranges and may be effectively assigned to counter-
tenors. Soloists: alto I - range: a-b’, tessitura: c’-a’’, with some
florid coloratura; alto II - range: bb-d’’, tessitura: c’-a’, this is a lilt-
ing lyric solo; tenor - range: a-g’, tessitura: a-g’, this is a simple
declamatory solo suited to a chorister; bass - range: G-e’, tessitura:
c-c’, this is a dramatic solo with some rapid passagework; Choir:
68
The New Grove works list suggests that later performances probably includ-
ed 2 oboes.
Selected Discography: Mieke van der Sluis, Harry van Berne, Harry
van der Kamp; Alsfelder Vokalensemble, Barockorchester Bre-
men; conducted by Wolfgang Helbich. Recorded in August 1993
in St. Hedwig Kirche, Berlin. CPO: 999244.
Burrows, Donald: “Handel’s Last English Church Music,” American

Choral Review, volume 27, numbers 2-3 (1985), 45-54.
Te Deum in Bb, “Chandos,” HWV 281 (c. 1718)


was baptized.69
Performing Forces: voices: soprano, 2 tenor, and bass soloists;

STTTB choir; orchestra: flute, oboe, bassoon, strings, and contin-
uo.
Editions: Te Deum in Bb, “Chandos,” HWV 281 is available in reprint

miniature score from Kalmus. It is also found in the scholarly edi-
tion — G. F. Händels Werke: Ausgabe der Deutschen Händelge-
sellschaft, volume: 37, page: 25, edited by Friedrich W.
printed in 1965.

Manchester; the Music Collection of the Staats- und Universitäts-
bibliothek Carl von Ossietzky, Hamburg; and Rutgers University.
69
222 The Works
Performance Issues: The choral writing is practical and well support-

ed by the orchestra. There are numerous passages for a single cho-
ral section that may be effectively assigned to soloists. The
instrumental writing is idiomatic and within the abilities of most
amateur players. Soloists: soprano - range: f’-f’’, tessitura: f’-f’’,
this is a lilting lyric solo; tenor I - range: f#-a’, tessitura: g-f’, this
is a lyric solo with some extended melismatic passages; tenor II -
range: g-a’, tessitura: d’-a’, this is a lyric role with some melis-
matic passagework, in ensembles it is higher than tenor I; bass -
range: A-a, tessitura: A-a, this is a minimal solo that appears in
quintet; Choir: medium easy; Orchestra: medium easy.
Selected Discography: Vocalsoloisten Frankfurt, Drottningsholms

Baroque Ensemble; conducted by Gerhard Jenemann. Arte Nova
Classics: 88697303862-31.

Chandos. London: C. Whittingham, 1916.
Beeks, Graydon: The Chandos Anthems and Te Deum of George
Grideric Handel (1685-1759). Ph.D. dissertation: University of
California, Berkeley, 1981.
__________: “Zur Chronologie von Händels Chandos Anthems und Te
Deum B-Dur,” Händel-Jahrbuch, volume 27 (1981), 89-105.
Te Deum in A, HWV 282 (c. 1722-1726)


was baptized.70
70
Performing Forces: voices: alto, tenor, and bass soloists;71 SAATBB

or STTTBBB choir; orchestra: flute, oboe, bassoon, strings, and
continuo.
Editions: Te Deum in A, HWV 282 is available in reprint miniature

score from Kalmus. It is also found in the scholarly edition — G.
F. Händels Werke: Ausgabe der Deutschen Händelgesellschaft,
volume: 37, page: 109, edited by Friedrich W. Chrysander, Leipzig
and Bergedorf bei Hamburg: 1858-1894, reprinted in 1965.

Gerald Coke Collection in Bentley, England; the Royal College of
Music, London; the Central Public Library, Manchester; and Rut-
gers University.
Notes: This work is based upon the “Chandos” Te Deum, HWV 281.
Performance Issues: The score allows for an alto or high tenor solo
and alto or tenor choristers on two of the seven lines. In the tutti
passages there are lines assigned to soloists some of whom have
independent interjections, but others serve to enrich the harmony.
The vocal material is all well supported by the orchestra. This is a
shorter work than its progenitor and it is a more favorable key for
less-experienced string players. Soloists: alto - range: b-c’’, tessi-
tura: b-b’, this is a lilting lyric solo and the largest; tenor - range:
d’-g#’, tessitura: d’-g’, this is a brief sustained solo; bass I - range:
d-f#’, tessitura: e-e’, this is a brief high baritone solo with some
rapid passagework; Choir: medium easy; Orchestra: medium
easy.
Selected Discography: Dorothee Mields, Ulrike Andersen, Mark

Wilde, Chris Dixon; Alsfelder Vocal Ensemble, Concerto Polacco;
conducted by Wolfgang Helbich. Naxos: 8554753.
71
The score identifies 2 bass soloists, but the second part always appears with-
in tutti passages as an additional choral line.
224 The Works
Burrows, Donald: “Sir John Dolben’s Music Collection,” Musical

Times, volume 120 (1979), 149-151.
Te Deum in D, “Dettingen,” HWV 283 (1743)


was baptized.72

SSATB choir; orchestra: 2 oboes, bassoon, 3 trumpets, timpani,
strings, and continuo.
First Performance: 27 November 1743; Chapel Royal; conducted by

the composer.
Editions: “Dettingen Te Deum” is available from Bärenreiter, Kal-

mus,73 Luck’s, Eulenberg, and C. F. Peters. It is also found in two
scholarly editions — G. F. Händels Werke: Ausgabe der
Georg Friedrich Händel-Gesellschaft, series: 3, volume: 13, is
planned.

Gerald Coke Collection in Bentley, England; the Durham Cathe-
dral Library; the Central Public Library, Manchester; St. Paul’s
72
73
David Daniels notes that the Kalmus edition appears to be a reprint of an old
Bärenreiter edition with many added interpretive markings, in Orchestral Mu-
sic: A Handbook, fourth edition, 161. Lanham, MD: Scarecrow Press, 2005.
Cathedral, London; Westminster Abbey Library; and the Harvard

University Library.
Notes: The work was composed to celebrate the victory at Dettingen.

The score was begun 17 July 1743.
Performance Issues: The choral material is primarily homophonic

with some coloratura figuration in each choral part. The choral
parts are vocally challenging, and the scoring benefits from a large
choral ensemble. The choral material is well supported by the or-
chestra. There is an ATB trio, three bass ariosi, and the remaining
solo passages are brief solo interjections. The trumpet parts are ex-
posed, but adequate time is provided for recovery. The orchestra
parts are idiomatically written for advanced players. This is a dra-
matic and powerful work that shows off the breadth of a good
symphonic choir. Soloists: soprano I - range: a’-e’’ tessitura: a’-
e’’, this is a simple sustained solo; soprano II - range: a’-e’’, tessi-
tura: a’-e’’, this is a simple sustained solo; alto - range: bb-bb’, tes-
situra: d’-bb’, this is a sustained lyric solo; tenor - range: f-g’,
tessitura: f-f’, this is a sustained lyric solo; bass - range: A-e’, tes-
situra: d-d’, this is a lyric solo with some rapid ornamental figura-
tion, it is the largest role; Choir: medium difficult; Orchestra:
medium difficult.
Selected Discography: Dorothee Fries, Raimund Nolte, Thomas Coo-

ley; Collegium vocale des Bach-Chores Siegen, Trompeten-
Consort “Friedemann Immer,” Hannoversche Hofkapelle; con-
ducted by Ulrich Stötzel. Recorded in May 2001 in Martinikirche,
Siegen, Germany. Haenssler: 98365.
Dorothee Mields, Ulrike Andersen, Mark Wilde, Chris Dixon; Alsfeld-
er Vocal Ensemble, Concerto Polacco; conducted by Wolfgang
Helbich. Naxos: 8554753.
Upton, George: The Standard Oratorios, 155-158. Chicago: A. C.

McClurg and Company, 1893.
Pahlen, Kurt: The World of the Oratorio, translated by Judith Schaefer
with additional English-language material by Thurston Dox, 151.
Portland, OR: Amadeus Press, 1990.
226 The Works
Monteverdi, Claudio (b. Cremona [baptized], 15 May 1567 –

d. Venice, 29 November 1643)
Life: One of the most transformative composers in Western history,

Monteverdi was a chorister in the Cathedral in Cremona where he
studied with Ingegneri. In 1583, entered the service of the Duke of
Mantua as a singer and viol player. His travels with the Duke al-
lowed him to hear the first operas produced by the Florentine
Camera, and in 1607 he produced La favola d’Orfeo, which was
the first opera accompanied by full orchestra. That same year, his
wife died. In 1613, Monteverdi was appointed maestro di cappella
at St. Mark’s in Venice. There he produced extraordinary sacred
works and in later years more operas. His music became wide-
spread throughout Europe, and he was visited by numerous com-
posers, including Heinrich Schütz. Many of Monteverdi’s works
were lost as the region was swept by battles and the plague. In
1632, he took holy orders. His nine books of madrigals, which
span more than 40 years, demonstrate a remarkable transition from
the imitative a cappella works of the late renaissance to concerted
dramatic works. His harmonic developments, transformation of
early opera into a form recognizable today, innovations in accom-
paniment, and structural unity set the stage for the baroque era.
teachers — Marc Antonio Ingegneri

students — Giulio Cesare Bianchi
Principal Works: opera — La favola d’Orfeo (1607), Il Ritorno

d’Ulisse in patria (1641), L’incoronazione di Poppea (1642); vo-
cal — 4 masses, Madrigali: book I (1587), book II (1590), book III
(1592), book IV (1603), book V (1605), book VI (1614), book VII
(1619), book VIII (1638), book IX (posthumous, 1651).
Redlich, Hans: Claudio Monteverdi: Leben und Werk (1949), translated

by Kathleen Dale. London: Oxford University Press, 1952.
Paoli, Domenico de’: Monteverdi. Milan: Ruscone, 1979.
Arnold, Denis: “Claudio Monteverdi,” with works list by Elsie M. Ar-
nold, in The New Grove Italian Baroque Masters. New York: W.
W. Norton, 1984.
Fabbri, Paolo: Monteverdi. Turin: E.D.T. Edizione di Torino, 1985.
228 The Works
Adams, K. Gary, and Dyke Kiel: Claudio Monteverdi: A Guide to Re-

search. New York: Garland, 1989.
The Letters of Claudio Monteverdi, translated and introduced by Denis
Stevens. Oxford: Clarendon Press, 1995.
The Cambridge Companion to Monteverdi, edited by John Whenham
and Richard Wistreich. Cambridge: Cambridge University Press,
2007.
Vespro della beata vergine, SV 206 (1610)

Text: Roman Catholic liturgy and the Psalms.
Performing Forces: voices: 2 soprano, 4 tenor, and 2 bass soloists;

two SSATB choirs; orchestra: 2 flutes, 2 recorders, 3 cornettos, 1
large cornetto, 3 trombones, bass trombone, 2 violins, 2 violas, and
continuo (lute, harpsichord, organ, cello, and double bass).
Monteverdi’s original publication does not clearly label which in-

struments are used to double vocal parts within specific move-
ments. There were generally accepted practices, and some clues
are provided in the continuo volume and others from the fully con-
certed movements, but performers would have been had significant
liberty to make a variety of decisions in some portion of the work.
Jeffrey Kurtzman’s edition provides well-conceived assignments,
which correspond to the accompanying set of parts. Likewise, the
parts include period instruments and contemporary substitutions as
follows:74
Monteverdi’s orchestra Modern equivalent

Fifare Transverse flutes
Flauti Recorders
Cornettos Trumpets in D
Large cornetto Trumpet in Bb
Tenor trombones Tenor trombones
Trombone doppio Bass trombone
Violini da brazzo Violins
74
Claudio Monteverdi: Vespro della Beata Vergine (1610), edited by Jeffrey E.
Kurtzman, vii. Oxford: University Press, 1999.
Viuola da brazzo Viola and Cello

Bass viuola da brazzo Cello
Contrabasso da gamba Double bass
First Performance: There is much supposition regarding possible first

performances of this work; however, these is no concrete evidence
supporting the work having been performed during the composer’s
lifetime.
Editions: Vespro della beata vergine is available in three editions from

Universal Editions: the first executed by Hans Redlich in 1949 and
revised in 1952; the second edited by Walter Goehr in 1956; and
the third by Jürgen Jürgens in 1977. The last is listed as a “practi-
cal urtext” edition. Other editions include one edited by Gottfried
Wolters, published by Möseler Verlag in 1966; and another edited
by Clifford Bartlett, published by King’s Music in 1986. The best
scholarly edition is that prepared by Jeffrey E. Kurtzman, which
was published by Oxford University Press in 1999 as Claudio
Monteverdi: Vespro della Beata Vergine (1610).
Autograph: A manuscript copy of the Mass, in the hand of a copyist,

is in the Biblioteca Apostolica Vaticana, Cappella Sistina MS 107.
The most useful primary source remains the printed seven part
books and the bassus generalis volume published by the composer
in Venice in 1610.
Notes: Monteverdi published Vespro della Beata Vergine da concerto

in 1610. The volume is dedicated to Pope Paul V. It contains a va-
riety of sacred works including multiple settings of texts used at
Vespers, a setting of the Mass, and a number of motets. The origi-
nal use of these works is unknown. There is speculation that the
volume may have served as a demonstration of Monteverdi’s mas-
tery of a number of liturgical music styles as he anticipated pursu-
ing new employment. The actual Vespers music may have been
written for the inauguration of a new order of knighthood in honor
of Christ the Redeemer. This chivalric order was created by Mon-
teverdi’s employer, Vincenzo Gonzaga. On 25 May 1608, Gon-
zaga made his son Francesco, recently wed to Margherita of
Savoy, the first member of the Mantuan Order of the Redentore.
230 The Works
Vespers were sung on this occasion, but clear evidence that Mon-
teverdi’s work was used is supposition.75
The amalgamated work is published as follows:
Missa in illo tempore SSATTB and continuo

Domine ad adiuvandum concerted SSATTB
Dixit Dominus SSATTB and continuo
Nigra sum Tenor solo and continuo
Laudate pueri Dominum SSAATTBB and continuo
Pulchra es 2 Sopranos and continuo
Laetatus sum SSATTB and continuo
Duo Seraphim 3 Sopranos and continuo
Nisi Dominus 2 SATTB choirs and continuo
Audi Coelum SSATTB and continuo
Lauda Jerusalem SSSATBB and continuo
Sonata sopra Sancta Maria Instruments
with vocal incipits
Ave Maris Stella 2 SATB choirs and continuo
5-part instrumental ritornelli
Magnificat Concerted SSATTBB
Magnificat Concerted SSATTB
Performance Issues: The fully concerted movements are a tour de

force combining sustained homophonic choral singing with rapid
figurations for all of the voices and instruments. The remarkable
variety of vocal and instrumental combinations is an important fea-
ture of this work, which has come to be performed in its entirety
over selected movements. If one is to program it as a liturgical en-
terprise, there are inherent challenges regarding the choice of anti-
phons and pitch-center connections between them and the
movements. There are passages of harmonic chant and significant
contrapuntal variety within the imitative passages. All vocal parts
are demanding, as are the instrumental parts. The cornetto and con-
tinuo parts present the greatest technical challenges for the players.
All of the vocal solos include some rapid melismatic writing and
potentially a wide range of articulations. Some ensemble move-
ments are labeled for solo voices, and those passages are included
75
Iain Fenlon: “The Monteverdi Vespers: Suggested Answers to Some Fun-
damental Questions,” Early Music, volume 5, number 3 (1977), 383.
in the following ranges for soloists. Singular passages of extreme

range in ensemble sections are shown in square brackets []. The
Kurtzmann edition includes alternate transpositions of some
movements. All ranges are based upon original keys. Soloists: so-
prano (cantus) - range: b-a’’, tessitura: g’-e’’, this is a lyric solo
with some long phrases; soprano (sextus) - range: c’-a’’, tessitura:
e’-d’’, this is a lyric part with some long phrases; tenor (altus) -
range: c-g’, tessitura: a-g’, this is a sustained part with some very
high passages; tenor (tenor) - range: [A] c-g’, tessitura: g-e’, this is
a very expressive role with some rapid passagework; tenor (quin-
tus) - range: [A] c-a’, tessitura: g-e’, this is a sustained and lyric
solo; tenor (septimus) - range: g-a’, tessitura: g-g’, this is a part
that provides harmonic enhancement in ensemble movements; bass
(bassus) - range: E-d’, tessitura: A-a, this is a sustained role with
long phrases; bass (octavus) - range: G-d’, tessitura: A-a, this is a
part that provides harmonic enhancement in ensemble movements;
Choir: difficult; Orchestra: difficult.
Selected Discography: Taverner Consort; conducted by Andrew Par-

rott. Recorded December 1982 in Temple Church, London, and
August 1983 and March 1984 in All Saint’s, Tooting, London.
Angel: 886396.
Apollo’s Fire; conducted by Jeanette Sorrell. Recorded November 1998
in St. Paul’s Episcopal Church, Cleveland Heights, OH. Avie:
2206.
The King’s Consort; conducted by Robert King. Hyperion: 67531.
La Petite Bande; conducted by Sigiswald Kuijken. Recorded November
2007 in Predikherenkirk, Leuven, Belgium. Challenge Classics:
72311.
Choir of New College Oxford, Charivari Agréable (Kah-Ming Ng, di-
rector); conducted by Edward Higginbottom. Recorded July 2009
in St. Michael’s Church, Summerton, Oxford. Novum: 1382.
Stevens, Denis: “Where Are the Vespers of Yesteryear?” Musical

Quarterly, volume 47 (1961), 315-330.
Bonta, Stephen: “Liturgical Problems in Monteverdi’s Marian Ves-
pers,” Journal of the American Musicological Society, volume 20
(1967), 87-106.
232 The Works
Kurtzman, Jeffrey G.: The Monteverdi Vespers of 1610 and their Rela-
tionship with Italian Sacred Music of the Early Seventeenth Centu-
ry. University of Illinois: dissertation, 1970.
Jeppesen, Knud: The Monteverdi Vespers of 1610 and Their Relation-
ship With Italian Sacred Music of the Early Seventeenth Century.
University of Illinois: dissertation, 1972.
__________: “Some Historical Perspectives on the Monteverdi Ves-
pers,” Analecta musicological, volume 15 (1975), 29-86.
Fenlon, Iain: “The Monteverdi Vespers: Suggested Answers to Some
Fundamental Questions,” Early Music, volume 5, number 3
(1977), 380-387.
Jeppesen, Knud: Essays on the Monteverdi Mass and Vespers of 1610,
Rice University Studies, volume 64, number 4. Houston: Rice
University, 1978.
Arnold, Denis: Monteverdi Church Music, BBC Music Guides. Lon-
don: BBC, 1982.
Parrott, Andrew: “Transposition in Monteverdi’s Vespers of 1610: An
‘Aberration’ Defended,” Early Music, volume 12 (1984), 490-516.
Whenham, John: Monteverdi: Vespers (1610). Cambridge, Cambridge
University Press: 1997.
Kurtzman, Jeffrey G.: The Monteverdi Vespers of 1610: Music, Con-
text, Performance. Oxford: Oxford University Press, 1999.
Pergolesi, Giovanni Battista (b. Iesi, Italy, 4 January 1710 — d.

Pozzuoli, Italy, 16 March 1736)
Life: Pergolesi is believed to have suffered from ill health throughout

his childhood. He entered the Conservatorio dei Poveri di Gésu
Cristo in Naples where he studied violin with Domenico de Matteis
and composition with Durante, Greco, and Vinci. In 1732, he be-
came maestro di cappella to Prince Fernando Colonna Stigliano,
and 2 years later, he was named deputy maestro di cappella of Na-
ples, and then entered the service of the Duke of Maddaloni. He
produced a number of operas during his brief career, which was cut
short by tuberculosis. He is widely remembered for the Stabat Ma-
ter and the intermezzo opera buffa La Serva padrona, which was
initially interpolated with his opera seria, Il prigioneri superbo.
Based upon these two works alone, it is evident that Pergolesi pos-
sessed a remarkable melodic gift and sense of dramatic timing.
teachers — Francesco Durante, Gaetano Greco, Francesco Santi,

Leonardo Vinci
Principal Works: operas: Salustia (1732), Lo frate ‘nnamorato (1732),

Il prigionero superbo (1733), La serva padrona (1733),
L’Olimpiade (1735), Il Flaminio (1735); choir: Mass in F (1732),
Dixit Dominus (1732), Salve Regina (1736), Stabat Mater (1736).
Paymer, Marvin E.: Giovanni Battista Pergolesi, 1710-1736: A The-

matic Catalogue of the Opera Omnia. New York: Pendragon
Press, 1977.
Studi Pergolesiani, edited by Francesco Degrada. Florence: La Nuova
Editrice, Sandicci, 1986. Published in the United States as Pergo-
lesi Studies from Pendragon Press.
Studi Pergolesiani 2, edited by Francesco Degrada. Florence: La Nuova
Editrice, Sandicci, 1988.
Paymer, Marvin E. and Hermine W. Williams: Giovanni Battista Per-
golesi: A Guide to Research. New York: Garland, 1989.
Stabat Mater (1736)

234 The Works
Text: The text, attributed to a Franciscan friar, Jacopone da Todi, is a

thirteenth-century sacred poem describing the suffering of the Vir-
gin Mary at the crucifixion of her son.
Performing Forces: voices: soprano and alto soloists; SA choir possi-

ble (see “performance issues” below); orchestra: strings and con-
tinuo.
First Performance: It was probably first performed on Good Friday,

30 March 1736; Confraternità dei Cavalieri di San Luigi di
Palazzo.
Editions: Opera Omnia di Giovanni Battista Pergolesi, 1710-1736,

volume 26, page 1, edited by Filippo Caffarelli. Rome: Gli Amici
della Musica da Camera, 1941. This keyboard reduction includes
small facsimile plates of the complete full score. It is also pub-
lished by Eulenberg (edited by Alfred Einstein and available in re-
print from Dover), and Ricordi (as Antologia Classica Musicale,
Anno IX, 1858, no. 1). Vocal scores are available from G. Schirm-
er, Novello, and Kalmus. Orchestral parts are available for pur-
chase from Luck’s Music. There is also a curious arrangement for
SATB choir published by Belwin.
Autograph: The composer’s manuscript is in the library of the Naples

Conservatory.
Notes: This work was composed for Confraternità dei Cavalieri di San
Luigi di Palazzo during the final weeks of the composer’s life as he
was dying of tuberculosis.
Performance Issues: This work is written for two solo singers and
chamber orchestra; however, it has become a staple of the concert-
ed repertoire for women’s choirs. When presented as a choral work
the arias are presented as solos, and a number of scenarios alternat-
ing soloists and choir have been employed. There are textural
changes in a number of movements that provide logical contrasts
for solo and tutti singing. There are significant discrepancies be-
tween various editions in movement 8, “Fac ut ardeat cor meum,”
and the final measures of the concluding “Amen.” These include
different barring in 4/2 and 2/2, and some rhythmic discrepancies
that result in “missing measures” in some editions, which may be

vestiges of a number of adaptations made by other composers dur-
ing the eighteenth century. If the orchestral materials are from a
different edition than the vocal scores, these differences must be
reconciled prior to rehearsal. There is a preponderance of suspen-
sions and retardations that will benefit from careful attention. The
ranges provided below represent the entirety of the work for each
part. The work can be effectively performed using solo strings. The
vocal parts are well supported by the accompaniment throughout,
and all vocal and instrumental parts are well conceived. Soloists:
soprano - range: eb’-bb’’, tessitura: g’-g’’, this is a lyric role with
some rapid figurations and long phrases; alto - range: bb’-f’’, tessi-
tura: c’-c’’, this is a very sustained lyric role; Choir: easy; Or-
Selected Discography: Eva Mei, Sylvia McNair, Marjana Liposek,

Elisabeth von Magnus; Arnold Schoenberg Choir, Concentus Mu-
sicus Wien; conducted by Nikolaus Harnoncourt. Teldec Das Alte
Werk: 76989.
Emma Kirkby, James Bowman; The Academy of Ancient Music; con-
ducted by Christopher Hogwood. Decca: 425-692-2.
Concerto Vocale; conducted by René Jacons. Harmonia Mundi:
1951119.
Barbara Bonney, Andreas Scholl; Les Talens Lyriques; conducted by
Christope Rousset. Recorded in L’Église de Notre Dame du Liban,
Paris on 24-26 February 1999. Decca: 466134.
Elin Manahan Thomas, Robin Blaze; Florilegium Musicum. Recorded
in St. John the Evangelist Church, Upper Norwood, England on
23-25 September 2009. Channel Classics: 29810.
Williams, Hermine H., “The Stabat Mater Dolorosa: A Comparison of

Settings byAlessandro Scarlatti and Giovanni Battista Pergolesi,”
Studi Pergolesiani, 2, 144-154, edited by Francesco Degrada. Flor-
ence: Vuova Italia, 1988.
Degrada, Francesco: “Lo Stabat Mater di Pergolesi e la parafrasi Tilge
Höchster meine Sünden di Johann Sebastian Bach,” Studi Pergole-
siani, 2, 174, edited by Degrada. Florence: Vuova Italia, 1988.
Will, Richard: “Pergolesi’s Stabat Mater and the Politics of Feminine
Virtue,” Musical Quarterly (2005), volume 87, 570-614.
236 The Works
Vivaldi, Antonio (Venice, 4 March 1678 – Venice, 27 or 28 July

1741)
Life: Vivaldi’s father was a violinist in the orchestra of St. Mark’s Ca-
thedral in Venice and was Antonio’s violin teacher. Vivaldi was
ordained as a priest in 1703. During that year, he began teaching
violin at the Ospedale della Pietà, an orphanage in Venice. He per-
formed as a concert soloist and conductor, and he was known
throughout Europe for his compositions. Bach transcribed 10 of his
string concerti as keyboard concerti and solos. From 1718-1722, he
was maestro di cappella for Prince Philipp of Hessen-Darmstadt in
Mantua. He composed operas for Mantua, Venice, Milan, and
Rome. The papacy forbade a performance of one of his operas in
Ferrara because he was a priest who did not say Mass and was re-
puted to be romantically involved with a woman — actually wom-
en — the singer Anna Giraud and her sister, Paolina. Vivaldi
denied these claims, but maintained the sisters’ company. He was
named maestro di cappella to the Duke of Lorraine in 1735.
Throughout his concert and opera career, Vivaldi continued to
teach at the Ospedale and to compose music for chapel services
there. Vivaldi left Venice in 1741 and died that year in Vienna and
was buried there in a pauper’s grave in the Spettaler Gottesacher.
In his 500+ concerti, he did much to establish the form and to
promote a number of instruments in solo roles including the cello
and mandolin. Vivaldi claimed to have composed 94 operas of
which only 21 survive.
teachers — Arcangelo Corelli

students — Johann Georg Pisendel
Principal Works: opera — Orlando furioso (1727), La fida ninfa

(1732), l’Olimpiade (1734); orchestral — L’estro armonico, op. 3
(1711); La stravaganza, op. 4 (c. 1714); Il cimento dell’ar-
monico,76 op. 8 (1725).
Kolneder, Walter: Antonio Vivaldi: His Life and Work, translated by

Bill Hopkins. Berkeley: University of California Press, 1970.
76
This includes Le quattro stagione (the Four Seasons).
238 The Works
Ryom, Peter: Table de concordances des oeuvres. Copenhagen: Eng-

strøm and Sødring, 1973.
__________: Répertoire des oeuvres d’Antonio Vivaldi: Les composi-
tions instrumentales. Copenhagen: Engstrøm and Sødring, 1986.
Talbot, Michael: “Antonio Vivaldi,” with works list and bibliography
by Peter Ryom, in The New Grove Italian Baroque Masters. New
York: W. W. Norton, 1984.
__________: Antonio Vivaldi: A Guide to Research. New York: Gar-
land, 1988.
Beatus vir, RV 597 (late 1720s – early 1730s)
Text: The Latin text is taken from Psalm 112 (Vulgate 111).
Performing Forces: voices: 2 soprano, tenor, and 2 bass soloists;77 2

SATB choir; orchestra I: 2 oboes, strings, organ, and continuo;
orchestra II: 2 oboes, strings, and continuo.
First Performance: unknown, but probably in the Ospedale dela Pietà

in Venice.
Editions: Beatus vir, RV 597 appears in the critical score Nuova

edizione critica delle opere di Antonio Vivaldi, edited by Michael
Talbot under the auspices of the Instituto Italiano Antonio Vivaldi
and published by Ricordi. It is also published in an edition by Re-
nato Fasano by Universal (906).
Autograph: The composer’s manuscript is in the Biblioteca Nazionale

Universitaria in Turin, Italy.
Notes: This work uses a sustained eleven-measure chorus as a ritornel-

lo between a series of solos, duets, and choruses.
Performance Issues: The choral writing is quite texturally varied with

sustained chordal material and fugal writing with rapid melismatic
passages. The choral material is vocally challenging, but well sup-
77
The cover and title page of the score list 2 sopranos, alto, tenor, and bass
soloists; however, what is listed here matches the score itself.
ported by the orchestra. It requires mature and experienced singers.

Movement VII is an exquisite sustained ATB chorus that will re-
quire more attention to detail than may be initially evident. The or-
chestral writing is well conceived for the instruments, but it
includes some challenging passagework and rapid unison orna-
ments that will require solid, experienced players. There are some
very high passages for oboe I that are in unison with the violins.
Soloists: soprano I - range: e’-f’’, tessitura: e’-f’’, this is a lyric so-
lo with substantial coloratura paired with the other soprano solo in
antiphonal duet and in solo with obbligato organ; soprano II -
range: e’-f’’, tessitura: e’-f’’, this is a lyric solo with substantial
coloratura paired with the other soprano solo in antiphonal duet;
tenor - range: c-f’, tessitura: e-e’, this is a lyric solo with florid
coloratura, this role would be best suited to a lyric baritone; bass I -
range: F-e’, tessitura: A-a, this is a declamatory role with wide me-
lodic leaps and long phrases that appears in unison and imitation
with the bass II; bass II - range: F-d’, tessitura: A-a, this is a de-
clamatory role with wide melodic leaps and long phrases that ap-
pears in unison and imitation with the bass I; Choir: medium
difficult; Orchestra: medium difficult.
Selected Discography: Helen Groves, Paul Agnew; Ex Cathedra; con-

ducted by Jeffrey Skidmore. Recorded in 1991 in the Oratory,
Birmingham, England. Alto: 1176.
Susan Gritton, Catrin Wyn-Davies, Neal Davies, Michael George;
King’s Consort; conducted by Robert King. Hyperion: CDA66789.
Talbot, Michael: “Critical Notes” for Beatus vir, RV 597, 133-142.

Milan: Ricordi, 2003.
Beatus vir, RV 598 (c. 1715)

Performing Forces: voices: 2 soprano and alto soloists; SATB choir;

orchestra: strings and continuo.
240 The Works
First Performance: unknown, but probably in the Ospedale della Pietà

in Venice.

edizione critica delle opere di Antonio Vivaldi, edited by Michael Tal-
bot under the auspices of the Instituto Italiano Antonio Vivaldi and
published by Ricordi. It is also published by Universal, edited by Karl
Heinz Füssl, and in the critical edition, Le opere di Antonio Vivaldi,
edited by G. F. Malipiero, et al.

Notes: This setting is in one movement. Michael Talbot notes that it is

by far the longest single movement Vivaldi composed. The result-
ing ritornello structure provides opportunities for varying the con-
stituency of the continuo group by section.
Performance Issues: The choral writing is mostly syllabic and often

homophonic. All of the choral material is clearly doubled by the
strings. This majority of this work is assigned to the soloists. The
string writing is generally easy, although there are passages in oc-
taves that present intonation challenges. Soloists: soprano I -
range: f#’-g’’, tessitura: a’-g’’, this is a lyric solo in duet with so-
prano II; soprano II - range: f’-f’’, tessitura: g’-eb’’, this is a lyric
solo in duet with soprano I; alto - range: c#’-f’’, tessitura: d’-d’’,
this is the largest solo, it is a lyric role for mezzo-soprano; Choir:
Selected Discography: Susan Gritton, Catrin Wyn-Davies, Catherine

Denley; King’s Consort; conducted by Robert King. Hyperion:
CDA66789.
Fort, Robert E.: An Analysis of Thirteen Vesper Psalms of Antonio Vi-

valdi Contained in the Foà-Giordano Collection with Appendix
containing Photocopies of the Manuscripts. Union Theological
Seminary: dissertation, 1971.
Whittemore, Joan M.: Revision of Music Performed at the Venetian

Ospedali in the Eighteenth Century. University of Illinois: disserta-
tion, 1986.
Talbot, Michael: “Critical Notes” for Beatus vir, RV 598, 79-83. Milan:
Ricordi, 2003.
Beatus vir, RV 795 (1739)

Performing Forces: voices: soprano and 3 alto soloists; SATB choir;

orchestra: strings and continuo.
First Performance: It is likely that this work was written for Easter
Sunday, 29 March 1739, at the Ospedale della Pietà in Venice.

and published by Ricordi.
Autograph: There are fragments of the composer’s manuscript in the

Fondo Esposti at the Conservatorio di Musica, “Benedetto Marcel-
lo,” in Venice. A complete score in the hand of a copyist and listed
as a work of Baldassare Galuppi is in the Sächsische Landesbiblio-
thek in Dresden. The fragments in Venice were rediscovered by
Michael Talbot in 1982, and the complete score in the hand of a
copyist was found by Peter Ryom in 1992.
Notes: This composition is a reworking of the Beatus vir, RV 597 for

single choir and orchestra and a different disposition of soloists.
Performance Issues: There are divisi for the choral sopranos and altos.
The choral writing includes some vocally demanding melismatic
passagework in the final movement, but the rest of the choral mate-
rial is simple sustained chordal singing. The vocal material is well
supported by the orchestra. There is a violin solo in one movement
that is ornate and exposed. The string writing is idiomatic, but in-
cludes some challenging passagework that requires experienced
242 The Works
players. Soloists: soprano - range: c’-f’’, tessitura: e’-e’’, this is a

lyric solo with considerable coloratura passagework; alto I - range:
c’-c’’, tessitura: c’-c’’, this is a lyric solo with rapid coloratura pas-
sagework; alto II - range: c’-d’’, tessitura: c’-c’’, this is a lyric solo
with some florid passagework; alto III - range: f-c’’, tessitura: g-g’,
this is a lyric solo with rapid coloratura passagework; Choir: me-
dium easy; Orchestra: medium difficult.
Selected Discography: The King’s Consort; conducted by Robert

King. Hyperion: CDA66809.
Talbot, Michael: “Critical Notes” for Beatus vir, RV 795, 129-139.

Credidi propter quod locutus sum, RV 605

Performing Forces: voices: SATTB choir; orchestra: strings and con-

tinuo.
Editions: Credidi propter quod locutus sum, RV 605 appears in the

critical score Nuova edizione critica delle opere di Antonio Vivaldi,
edited by Michael Talbot under the auspices of the Instituto Ital-
iano Antonio Vivaldi and published by Ricordi.

Notes: This work may have been intended for the festival of St. Lo-
renzo in Damaso (10 August) for the eponymous church in Rome
or for the church of St. Lorenzo in Venice.
Performance Issues: The choral writing is a combination of pervasive

imitation and homophony. The vocal parts are doubled by the in-
struments throughout the work. This composition is heavily influ-

enced by earlier polyphonic styles, and attention will need to be
paid to nuances of dissonance and release. Choir: medium easy;
Orchestra: easy.
Selected Discography: King’s Consort; conducted by Robert King.

Hyperion: CDA66789.
Talbot, Michael: “Critical Notes” for Credidi propter quod locutus

sum, RV 605, 67-72. Milan: Ricordi, 1994.
Credo, RV 591 (mid-1710s)

Text: The Latin text is one section of the ordinary of the Roman Catho-
lic communion liturgy.
Performing Forces: voices: SATB choir; orchestra: continuo and

strings.

in Venice.
Editions: Credo, RV 591 appears in the critical score Nuova edizione

critica delle opere di Antonio Vivaldi, edited by Michael Talbot
under the auspices of the Instituto Italiano Antonio Vivaldi and
published by Ricordi. It is also published by Universal, edited by
Renato Fasano, and by Kalmus, edited by Clayton Westermann,
and it appears in the critical edition Le opere di Antonio Vivaldi,
edited by G. F. Malipiero, et al.

Notes: This work provides an ideal companion for either of Vivaldi’s

settings of the Gloria, RV 588 and RV 589 [qv]. These works are
also for a single four-part choir and orchestra.
244 The Works
Performance Issues: This work is well conceived for a less-

experienced choir that has access to quality string players. The vo-
cal material is mostly homophonic, and even in the imitative
movements, it is primarily syllabic. The choral lines are clearly
supported by the accompaniment throughout. The string writing is
very practically written and sounds more difficult than it is. Choir:
Selected Discography: Ernst Senff Chor; Berlin Philharmonic Orches-

tra; conducted by Carlo Naria Giulini. Sony.
King’s Consort; conducted by Robert King. Hyperion: CDA66769.
Casella, Alfredo: “Le composizioni sacre e vocali di Antonio Vivaldi,”

Antonio Vivaldi: Note e documenti sulla vita e sulle opere, 15-22.
Siena: Accademia Musicale Chigiana, 1939.
Talbot, Michael: “Critical Notes” for Credo, RV 591, 80-85. Milan:
Ricordi, 2003.
Dixit Dominus, RV 594 (probably late 1720s or early

1730s)
Text: This Latin text is from Psalm 110 (Vulgate 109).
Performing Forces: voices: 2 soprano, alto,78 tenor, and bass soloists;

2 SATB choirs; orchestra I: 2 oboes, 2 trumpets, strings, and con-
tinuo; orchestra II: strings and continuo.
First Performance: unknown; this work may have been intended for
the festival of St. Lorenzo in Damaso (10 August) for the epony-
mous church in Rome or for the church of St. Lorenzo in Venice.79
78
The cover and title page omit mention of an alto solo, but movement IV is a
contralto aria.
79
Talbot, Michael: “Critical Notes” for Dixit Dominus, RV 594, 154. Milan:
Ricordi, 2002.
Editions: Dixit Dominus, RV 594 appears in the critical score Nuova


Notes: This work effectively reprises the musical material of the open-
ing movement in the final movement.
Performance Issues: The choirs are aligned with the 2 orchestras, as

are the soprano soloists. Placement of the singers to accentuate the
antiphonal effects of the score will be important. The choral mate-
rial is well supported by the instruments. There are vocally chal-
lenging passages for all singers requiring choirs with secure vocal
technique and flexibility. The instrumental writing is idiomatic, but
technically challenging, requiring the use of experienced players.
Soloists: soprano I - range: d’-g’’, tessitura: f#’-f#’’, this is a lyric
solo with significant coloratura, in parallel passages in duet with
soprano II, it is the higher part; soprano II - range: d’-f#’’, tessitu-
ra: e’-e’’, this is a lyric solo with significant coloratura, in parallel
passages in duet with soprano I, it is the lower part; alto - range: b-
c’’, tessitura: b-b’, this is a sustained lyric solo with some rapid
passagework; tenor - range: c-e’, tessitura: e-c’, this is a lyric solo
with rapid coloratura that appears in duet with the bass; bass -
range: G-c’, tessitura: B-b, this is a lyric solo with rapid coloratura
that appears in duet with the tenor; Choir: medium difficult; Or-
Selected Discography: Emanuela Galli, Monique Zanetti, Ian Honey-

man, Mario Cecchetti; Ensemble Pian&Forte; Ensemble Vocale il
canto di Orfeo; conducted by Francesco Fanna. Recorded in the
Chiesa di San Carlo a Vigevano, Pavia, Italy, May 2006. Stradivar-
ius: 33812.
Susan Gritton, Lisa Milne, Catherine Denley, Lynton Atkinson, David
Wilson-Johnson; King’s Consort; conducted by Robert King. Hy-
perion: CDA66769.
246 The Works
Talbot, Michael: “Critical Notes” for Dixit Dominus, RV 594, 154-163.

Dixit Dominus, RV 595


SSATB choir; orchestra: 2 oboes, trumpet, strings, and continuo.

in Venice.

Autograph: A collection of manuscript parts in various hands (none by

the composer) is in the music archive of the Czech Museum of
Music in the Narodní Museum in Prague.
Notes: This is one of three known settings of this text by Vivaldi. In

this work, Vivaldi borrows elements from other works, including
an anonymous Dixit Dominus in his library as well as a work from
Antonio Lotti.80
Performance Issues: Much of the choral writing is homophonic, but

there are extended passages of choral coloratura. Movement VII
features the choir singing rapid melismatic passages in full unison,
as a result the choir must be technically strong and capable of clear
rapid unison singing. All of the instrumental parts include techni-
cally demanding passages. There are exposed solos for the trumpet
that extend over a wide range. Overall, the choral and orchestral
80
Talbot, Michael: “Critical Notes” for Dixit Dominus, RV 595, 172. Milan:
Ricordi, 1993.
writing is consistent and flattering to the ensemble, but it will ex-

pose technical deficiencies in less-polished groups. Soloists: so-
prano I - range: c’-a’’, tessitura: e’-e’’, this is a lyric solo that ap-
appears above soprano II in duets, it includes significant coloratura
passages; soprano II - range: e’-f’’, tessitura: g’-e’’, this is a lyric
solo that appears below soprano I in duets; alto - range: b-f#’’, tes-
situra: e’-e’’, this is a lyric solo with some highly ornamented fig-
ures; tenor - range: a-f#’, tessitura: a-e’, this is a simple lyric solo
that appears only in duet and trio; bass - range: A-d’, tessitura: B-b,
this is a simple lyric solo that appears only in duet and trio; Choir:
medium difficult; Orchestra: medium difficult.
Selected Discography: Carmella Apollonio, Elisabetta Andreani, Ol-

drich Vlcek; Prague Chamber Choir, Virtuosi di Praga; conducted
by Francesco Fanna. Koch Discover International.
Michele Deboer, Jane Archibald, Anita Krause, Peter Mahon, Giles
Tomkins, Nils Brown; Aradia Ensemble; conducted by Kevin Mal-
lon. Recorded in Grace Church on the Hill, Toronto, September
2003. Naxos: 8557445.
Emanuela Galli, Monique Zanetti, Furio Zanasi, Ian Honeyman, Mario
Cecchetti; Ensemble Pian&Forte; Ensemble Vocale il canto di
Orfeo; conducted by Francesco Fanna. Recorded in the Chiesa di
San Carlo a Vigevano, Pavia, Italy, May 2006. Stradivarius:
33812.
Susan Gritton, Catrin Wyn-Davies, Catherine Denley, Charles Daniels,
Michael George; King’s Consort; conducted by Robert King. Hy-
perion: CDA66789.

Dixit Dominus, RV 807

Performing Forces: voices: 2 soprano, alto, and 2 tenor soloists;

SATB choir; orchestra: 2 oboes, trumpet, strings, and continuo.
248 The Works

in Venice.

Autograph: A manuscript is in the Sächsische Landesbibliothek —

Staats- und Universitätsbibliothek Dresden.
Notes: This composition was identified as a work of Vivaldi in 2005 by

Australian scholar, Janice Stockigt. It was found with a handful of
other previously unknown works by Vivaldi in a collection of
manuscripts from the copyist Giuseppe Baldan that he had sent to
the Saxon Hofkapelle attributed to Baldassare Galuppi.
Performance Issues: The choral writing is well support by the orches-

tra. There is a significant variety of contrapuntal textures given to
the choir including homophonic writing and rich fugal passages.
There are numerous melismatic passages for the choir, which are
not doubled by the strings. There is a number of brief solos within
the choral numbers that could be assigned to choristers. Some of
the choral tenor material is surprisingly low. The string writing is
idiomatic, but technically sophisticated, requiring seasoned play-
ers. This work requires an experienced choir and very strong solo-
ists. Soloists: soprano I - range: d’-a’’, tessitura: e’-f#’’, this is a
lyric solo with substantial coloratura passagework; soprano II -
range: e’-e’’, tessitura: e’-e’’, this is a lyric solo that appears in du-
ets with soprano I; alto - range: b-d’’, tessitura: c-c’, this is a rich
solo with significant coloratura and long phrases; tenor I - range: c-
g’, tessitura: g-e’, this is a lyric solo with rapid melismatic pas-
sagework in duet with the other tenor, it is the higher part; tenor II-
range: f#-g’, tessitura: g-e’, this is a lyric solo with rapid melis-
matic passagework in duet with the other tenor, it is the lower part;
Choir: medium difficult; Orchestra: medium difficult.
Selected Discography: Alessandra Gardidi, Cristina Paolucci, Gloria

Banditelli, Mario Cecchetti, Paolo Macedonio; Coro Canticum
Novum, Accademia Barocca Hermans; conducted by Fabio
Ciofini. Recorded in Chiesa di Sant’Agostino, July 2007. La Bot-

tega Discantica: 169.
Stockigt, Janice, and Michael Talbot: “Two More New Vivaldi Finds in
Dresden,” Eighteenth-Century Music, volume 3, number 1 (2006).
Domine ad adjuvandum me festina, RV 593

Text: This Latin text is taken from Psalm 69:2 with the Gloria Patri.
Performing Forces: voices: soprano soloist; 2 SATB choirs; orches-

tra I: 2 oboes, strings, and continuo; orchestra II: strings and
continuo.

in Venice.
Editions: RV 593 appears in the critical edition Nuova edizione critica

delle opere di Antonio Vivaldi, edited by Instituto Italiano Antonio
Vivaldi.

Notes: This work is divided into three movements as follows:
1. Domine ad adjuvandum me festina choirs

2. Gloria Patri soprano solo
3. Sicut erat in principio choirs
Performance Issues: In the opening movement, the choral writing is

primarily homophonic and declamatory with the vocal material
well supported by the instruments, but not directly doubled in all
parts. In that movement the choirs pass musical material back and
forth, for which a physical division of the choirs and orchestras
250 The Works
would be beneficial to a successful antiphonal effect. In the final

movement the choirs and orchestras are unified, but with fugal ma-
terial. All of the choral parts include rapid declamation of text and
florid melismas. The orchestral writing is idiomatic, but requires
technically secure players. The oboe parts double the two violin
parts of orchestra I, but do not appear in the middle movement. So-
loist: soprano - range: c’-f#’’, tessitura: e’-e’’, this is a lyrical and
sustained solo with some florid ornaments; Choir: medium diffi-
Selected Discography: Tunde Frankó Budapest Madrigal Choir; Hun-

garian State Orchestra; conducted by Ferenc Szekeres. Recorded in
March 2003 in the Hungaroton Studios. Hungaroton: 32182.
Susan Gritton; King’s Consort; conducted by Robert King. Hyperion:
CDA66789.
Fort, Robert Edwin: An Analysis of Thirteen Vesper Psalms of Antonio

Vivaldi Contained in the Foà-Giordano Manuscripts. Union Theo-
logical Seminary: dissertation, 1971.
Gloria, RV 588 (after 1715)

Duration: ca. 35 minutes when paired with RV 639
Performing Forces: voices: 2 soprano, alto, and tenor soloists; SATB

choir; orchestra: 2 oboes, trumpet, strings, and continuo.

in Venice.
Editions: Jubilate, o amoeni chori, RV 639/639a and Gloria, RV 588

appear in the critical score Nuova edizione critica delle opere di
Antonio Vivaldi, edited by Michael Talbot under the auspices of
the Instituto Italiano Antonio Vivaldi and published by Ricordi. It
is published as Introduction and Gloria, edited by Clayton
Westermann, by Kalmus.

Notes: This work can pair with Jubilate, o amoeni chori, RV 639/639a,
which is an introduction and interpolation of a set of arias for alto
intended to expand this work. The alternate version is an adapta-
tion for soprano soloist, which is moderately revised.
Performance Issues: There are two soprano arias. The second aria
matches the tessitura of the soprano II part of the duet, and the first
aria is a better match for the soprano I. The choral material is pri-
marily in pervasive imitation. The vocal parts are well supported
by the instruments, and the choral parts are not technically de-
manding. This is a work that would be well suited to an intermedi-
ate-level choir with professional soloists. The oboe I has an
exposed solo with some rapid passagework. The orchestral writing
includes two independent viola parts and some rich textures, but
the string writing is within the abilities of most amateur groups.
Soloists: soprano I - range: c’-a’’, tessitura: a’-f#’’, this is a lyric
solo in duet with the other soprano and a coloratura aria; soprano II
- range: d’-f#’’, tessitura: d’-d’’, this is a lyric solo in duet with the
other soprano and a coloratura aria; alto81 - range: d’-f’’ (d’-g” in
RV 639a), tessitura: e’-e’’, this is a significant lyric solo with long
phrases and rapid passagework; tenor - range: f#-f#’, tessitura: f#-
f#’, this is a declamatory solo; Choir: medium easy; Orchestra:
medium easy.
Talbot, Michael: “Critical Notes” for Jubilate, o amoeni chori, RV

639/639a and Gloria, RV 588, 160-170. Milan: Ricordi, 1990.
81
Based upon the use of Jubilate, o amoeni chori, RV 639/639a.
252 The Works
Gloria, RV 589 (c. 1715)

Performing Forces: voices: 2 soprano and alto soloists; SATB choir;

orchestra: oboe, trumpet, continuo, and strings.
First Performance: unknown, but probably in 1715 in the Ospedale

della Pietà in Venice.
Editions: Gloria is available in an edition prepared by Elmer Thomas

from Roger Dean Publishing (piano-vocal score: CC96, full score:
PP129, parts: PP128, and a continuo realization: PP127; this edi-
tion also includes an optional “accompaniment” cassette, as well as
an organ transcription of the accompaniment PP135; all are availa-
ble for purchase); an edition prepared by Clayton Westermann is
published by Kalmus (piano-vocal score, full score, and parts), all
available for purchase; Walton publishes an edition by Mason
Martens; and Ricordi publishes an edition made by Gian Francesco
Malipiero and a subsequent arrangement by Alfredo Casella.
N.B. The Ricordi/Casella edition does not correspond with any

other edition, so it is impractical to use it with materials from other
publishers. The score contains no explanations as to why some
measures have been removed. There are also some minor errors in
the Kalmus edition, particularly in the continuo realization.

Universitaria in Turin, Italy – Tome 1, ff. 90v-129r.
Notes: The work is organized into twelve movements as follows:
1. Gloria in Excelsis choir

2. Et in Terra Pax choir
3. Laudamus Te soprano duet
4. Gratias Agimus Tibi choir
5. Propter Magnam Gloriam choir
6. Domine Deus soprano aria
7. Domine Fili Unigenite choir

8. Domine Deus, Agnus Dei alto solo and choir
9. Qui Tollis choir
10. Qui Sedes ad Dexteram alto solo
11. Quoniam tu Solus Sanctus choir
12. Cum Santo Spiritu choir
Performance Issues: The choral writing is very practical and accessi-

ble to young choirs. Often the vocal lines are directly doubled by
the instruments, although often in inversions. At all times, the
harmonies of the choral parts are clearly supported by the accom-
paniment. The instrumental parts are idiomatic and will play well
with amateur ensembles. The trumpet part has a high tessitura re-
quiring a solid player, but it appears in only movements 1, 11, and
12, so there is adequate recovery time. The oboe appears only in
those three movements and movement 6 throughout which it has
an exposed solo. Soloist: soprano I - range: f’-f#’’, tessitura: g’-
e’’, this is a lyric solo accessible to intermediate-level singers; so-
prano II - range: e’-f’’, tessitura: f#’-d’’, this is a lyric solo that ap-
pears only in the duet, often in thirds below the other soprano; alto
- range: bb-b’, tessitura: d’-a’, this is a simple declamatory solo ap-
propriate for a chorister; Choir: medium easy; Orchestra: medi-
um easy.
Selected Discography: Deborah Norman, Sarah Fox, Michael Chance;

Choir of King’s College, Cambridge; Academy of Ancient Music;
conducted by Stephen Cleobury. Recorded in King’s College
Chapel, 2001. EMI: 57265.
Nancy Argenta, Ingrid Attrot, Catherine Denley; The English Consort;
conducted by Trevor Pinnock. Archiv: 1078865. Recorded in St.
John’s, Smith Square London, February 1987.
Eva Mei, Sylvia McNair, Marjana Liposek, Elisabeth von Magnus;
Arnold Schoenberg Choir, Concentus Musicus Wien; conducted by
Nikolaus Harnoncourt. Teldec Das Alte Werk: 76989.
Teresa Berganza, Valentini Terrani; New Philharmonia Chorus and
Orchestra; conducted by Riccardo Muti. Recorded 1976-1977.
EMI: 18755.
Alessandra Gardidi, Cristina Paolucci, Gloria Banditelli, Mario Cec-
chetti, Paolo Macedonio; Coro Canticum Novum, Accademia Ba-
rocca Hermans; conducted by Fabio Ciofini. Recorded in Chiesa di
Sant’Agostino, July 2007. La Bottega Discantica: 169.
254 The Works
Emily Van Evera, Nancy Argenta, Alison Place, Catherinne King,

Margaret Cable; Taverner Choir and Taverner Players; conducted
by Andrew Parrott. This recording utilizes women on the men’s
parts in an attempt to duplicate the ensemble Vivaldi had at his
disposal. Virgin: 3647992.
Casella, Alfredo: “Le composizioni sacre e vocali di Antonio Vivaldi,”

Antonio Vivaldi: Note e documenti sulla vita e sulle opere, 15-22.
Siena: Accademia Musicale Chigiana, 1939.
Moses, Don V: Face-to-Face with an Orchestra: A Handbook for Cho-
ral Conductors Performing Handel’s Messiah, Bach’s Magnificat,
Vivaldi’s Gloria, and Other Works. Princeton, NJ: Prestige Publi-
cations, 1987.
In exitu Israel, RV 604 (c. 1739)


tinuo.
First Performance: It is likely that this work was written for Easter
Sunday, 29 March 1739, at the Ospedale della Pietà in Venice.
Editions: In exitu Israel, RV 604 appears in the critical score Nuova

Autograph: The composer’s manuscripts are in the Biblioteca Na-

zionale Universitaria in Turin, Italy, and the library of the Con-
servatorio di Musica Benedetto Marcello in Venice.
Notes: It is likely that Vivaldi composed this worked with Beatus vir,
RV 597a and Confitebor tibi, Domine, RV 789, all for the Easter
celebration of 1739. This setting, while effective for liturgical use,
is less well suited for a concert environment.
Performance Issues: The choir is set in block-chords with a rapid dec-

lamation of the psalm text. It is musically very easy for the singers.
The only challenge is the speed of text declamation. The string
writing is equally practical. Choir: easy; Orchestra: easy.
Selected Discography: Taverner Choir and Taverner Players; conduct-

ed by Andrew Parrott. Virgin: 2320162.
Taverner Choir and Taverner Players; conducted by Andrew Parrott.
This recording utilizes women on the men’s parts in an attempt to
duplicate the ensemble Vivaldi had at his disposal. Virgin:
3647992.
The King’s Consort; conducted by Robert King. Hyperion: CDA66809.
Talbot, Michael: “Critical Notes” for In exitu Israel, RV 604, 51-54.

Jubilate, o amoeni chori, RV 639/639a (after 1715)

Duration: ca. 35 minutes when paired with RV 588
Text: The author is anonymous.
Performing Forces: voices: alto soloist; orchestra: strings and con-

tinuo.
Editions: Jubilate, o amoeni chori, RV 639/639a and Gloria, RV 588

appear in the critical score Nuova edizione critica delle opere di
is published as Introduction and Gloria, edited by Clayton
Westermann, by Kalmus.

Notes: This work was written as an introduction to RV 588 [qv]. It in-

cludes a set of interpolated solos with the Gloria as well as the in-
256 The Works
troductory aria. There is an arrangement, RV 639a, that substitutes

a soprano for the alto soloist.
Performance Issues: See Gloria, RV 588 above for ensemble infor-

mation. Soloist: alto - range: d’-f’’ (d’-g” in RV 639a), tessitura:
e’-e’’, this is a significant lyric solo with long phrases and rapid
passagework.
Talbot, Michael: “Critical Notes” for Jubilate, o amoeni chori, RV

639/639a and Gloria, RV 588, 160-170. Milan: Ricordi, 1990.
Juditha triumphans devicta Holofernis barba-

rie, RV 644 (1716)
Text: The libretto is by Jacopo Cassetti and is loosely based upon the
Book of Judith from the Apocrypha of the Bible.
Performing Forces: voices: soprano and 4 alto soloists; SATB choir;

orchestra: 2 treble recorders in F, 2 oboes, 2 clarinets in Bb, so-
prano chalumeau in Bb, 2 trumpets in D, timpani, viola d’amore, 5
violas da gamba (2 soprano, 2 tenor, 1 bass), mandolin, 4 theorbos,
organ, and strings.
First Performance: November 1716, Venice.
Editions: Juditha triumphans devicta Holofernes barbarie, RV 644

appears in the critical score Nuova edizione critica delle opere di
was also published in 1971 in an edition prepared by Alberto Zed-
da. A facsimile of the score was published in Siena in 1948.

Notes: This is the only extant oratorio of the four Vivaldi is known to
have composed. It was reintroduced to the public after it was ac-
quired for the Biblioteca Nazionale Universitaria in Turin in 1926.
The first modern performance took place in Siena in 1941.
Performance Issues: The choral writing is primarily syllabic, although

there are some very rapid melismas in the opening chorus. The
choir appears in only a few movements and is always well sup-
ported by the instruments. The vast majority of the score is for the
soloists and strings. The wide array of other instruments is used in-
termittently for distinctive color. The clarinet parts are written in
C, and the choir of violas da gamba appears as a group in two con-
secutive movements where it is referred to as a choir of English vi-
ols. The trumpet parts are challenging, but appear in only a few
movements. This is a spectacular work that requires very experi-
enced instrumentalists and skilled soloists, but for which many
amateur choirs are adequate. Soloists: Vagaus (soprano) - range:
c’-g’’, tessitura: f’-f’’, this is a substantial lyric role with consider-
able coloratura passagework; Judith (alto) - range: c’-eb’’, tessitura:
d’-d’’, this is a substantial lyric role with considerable coloratura
passagework; Holofernes (alto) - range: c’-e’’, tessitura: d’-d’’, this
is a substantial lyric role with considerable coloratura passage-
work; Abra (alto) - range: d’-e’’, tessitura: d’-d’’, this is a lyric role
with some florid passagework; Ozias (alto) - range: c’-d’’, tessitu-
ra: d’-d’’, this is a lyric role with some florid passagework; Choir:
medium easy; Orchestra: difficult.
Selected Discography: Maria Jose Trullu, Tiziana Carraro, Magdalena

Kozena; Academia Montis Regalis; conducted by Alessandro de
Marchi. Recorded at the Instituto di Musica Antica Academia
Monti in October 2000. Opus 111: 30314.
Sarah Connolly, Ann Murray, Jean Rigby, Susan Bickley, Maria Cris-
tina Kiehr; The King’s Consort; conducted by Robert King. Hype-
rion: CDA67281.
Talbot, Michael: “Introduction” and “Critical Notes” for Juditha trium-

phans devicta Holofernes barbarie, RV 644, xvii-xl and 299-314.
258 The Works
Kyrie, RV 587 (late 1720s—early 1730s)

Performing Forces: voices: 2 soprano and 2 alto soloists (all option-

al); 2 SATB choirs; orchestra: 2 string orchestras, each with con-
tinuo.
Editions: Kyrie, RV 587 appears in the critical score Nuova edizione

critica delle opere di Antonio Vivaldi, edited by Paul Everett under
the auspices of the Instituto Italiano Antonio Vivaldi and published
by Ricordi. It is also published by Carus, edited by Walter
Kolneder; Eulenberg, edited by Jürgen Braun; Kalmus, edited by
Clayton Westermann; and Universal, edited by Karl Heinz Füssl;
and appears in the critical edition Le opere di Antonio Vivaldi, ed-
ited by G. F. Malipiero, et al.

Notes: This work is organized into three sections with the full choirs
presenting the Kyrie text in sections I and III and two SA pairs
presenting the Christe. This middle section of the work could be
for soloists, semi choirs, or the entire sections.
Performance Issues: The choral writing includes some exquisite and

striking dissonances that are exposed at times. Most of the choral
material is doubled by the orchestra, but there are passages where-
in the choir is independent of the accompaniment. The choirs and
orchestras are treated antiphonally at times, and should be physi-
cally separated to clarify this effect. The string writing is practical
and within the ability of most amateurs. Soloists: soprano I -
range: f’-f’’, tessitura: f’-f’’, this is a lyric solo with some florid
melismatic passagework; soprano II - range: e’-f’’, tessitura: f’-f’’,
this is a lyric solo with some florid melismatic passagework; alto I
- range: b-d’’, tessitura: d’-c’’, this is a lyric solo with some florid
melismatic passagework; alto II - range: c’-d’’, tessitura: d’-c’’,

this is a lyric solo with some florid melismatic passagework;
Selected Discography: King’s Consort; conducted by Robert King.

Hyperion: CDA66769.
Everett, Paul: “Critical Notes” for Kyrie, RV 587, 63-69. Milan: Ri-
cordi, 2002.
Laetatus sum, RV 607 (possibly 1717)

Text: The Latin text is a setting of Psalm 122 (Vulgate 121).

tinuo.
First Performance: unknown, but probably around 1717 in the

Ospedale della Pietà in Venice.
Editions: Laetatus sum, RV 607 appears in the critical score Nuova

It is also published by Carus-Verlag (40.013/01), edited by Wolf-

gang Horn.

Notes: This setting, while effective for liturgical use, is less well suited
for a concert environment.

lamation of the psalm text. It is musically very easy for the singers
with some simple slow melismas. The violins play an obbligato
260 The Works
melody in unison on top of the rest of the ensemble that is fairly

rapid, but idiomatic. A solo violinist could be used effectively with
a smaller choir. Choir: very easy; Orchestra: easy.
Selected Discography: Emily Van Evera, Nancy Argenta, Alison

Place, Catherinne King, Margaret Cable; Taverner Choir and Tav-
erner Players; conducted by Andrew Parrott. This recording utiliz-
es women on the men’s parts in an attempt to duplicate the
ensemble Vivaldi had at his disposal. Virgin: 3647992.
Talbot, Michael: “Critical Notes” for Laudate Dominum omnes gentes,

RV 606, 42-43. Milan: Ricordi, 1991.
Lauda Jerusalem, RV 609 (1739)

Text: The Latin text is from Psalm 147.
Performing Forces: voices: 2 soprano soloists; 2 SATB choirs; or-

chestra: 2 string orchestras, each with continuo.
First Performance: The Feast of the Visitation of the Blessed Virgin

Mary, 2 July 1739, in the Ospedale della Pietà in Venice.
Editions: Lauda Jerusalem, RV 609 appears in the critical score Nuova

It is also published by Eulenberg, edited by Jürgen Braun, and Ri-

cordi, edited by Francesco Degrada, the latter appearing in the crit-
ical edition Le opere di Antonio Vivaldi, edited by G. F. Malipiero,
et al.

Notes: The manuscript indicates the names of soloists: Margarita and

Giulietta for soprano I and Fortunata and Chiaretta for soprano II.
The score is marked “à 2” indicating that these were to be sung by
two soloists in unison, which explains why some sources list four
soprano soloists.
Performance Issues: The choirs, soloists, and orchestras are often in

imitation by the measure or entire passage. The groups should be
physically separated to accommodate this affect. The choral parts
include some pervasive imitation. They are primarily syllabic and
well doubled by the strings throughout. The string wiring is direct
and primarily colla parte with the choirs. All of the orchestra parts
are accessible to most amateur players. Soloists: soprano I - range:
e’-a’’, tessitura: g’-g’’, this is a significant lyric solo; soprano II -
range: e’-a’’, tessitura: g’-g’’, this is a significant lyric solo;
Choir: medium easy; Orchestra: easy.
Selected Discography: Susan Gritton, Lisa Milne; King’s Consort;

conducted by Robert King. Hyperion: CDA66769.
Talbot, Michael: “Critical Notes” for Lauda Jerusalem, RV 609, 60-68.

Laudate Dominum omnes gentes, RV 606 (possibly

1717)
Text: The Latin text is Psalm 117 (Vulgate 116).

tinuo.
First Performance: unknown, but probably around 1717 in the

Editions: Laudate Dominum omnes gentes, RV 606 appears in the crit-

ical score Nuova edizione critica delle opere di Antonio Vivaldi,
262 The Works
edited by Michael Talbot under the auspices of the Instituto Ital-

iano Antonio Vivaldi and published by Ricordi.

Notes: There are two settings of this text by Vivaldi: RV 606 in D mi-
nor, and RV 614 in F major. The authenticity of the latter is in
question, and it is not reviewed here. This setting, while effective
for liturgical use, is less well suited for a concert environment.

lamation of the psalm text. It is musically very easy for the singers
with some simple slow melismas. The violins play an obbligato
melody in unison on top of the rest of the ensemble. A solo violin-
ist could be used effectively with a smaller choir. Choir: easy; Or-
chestra: easy.
Selected Discography: Emily Van Evera, Nancy Argenta, Alison

Place, Catherinne King, Margaret Cable; Taverner Choir and Tav-
erner Players; conducted by Andrew Parrott. This recording utiliz-
es women on the men’s parts in an attempt to duplicate the
ensemble Vivaldi had at his disposal. Virgin: 3647992.
The King’s Consort; conducted by Robert King. Hyperion: CDA66809.
Talbot, Michael: “Critical Notes” for Laudate Dominum omnes gentes,

RV 606, 26-27. Milan: Ricordi, 1990.
Laudate pueri Dominum, RV 602/602a (c. 1717)
Text: The Latin text is from Psalm 113 (Vulgate 112).
Performing Forces: voices: 2 soprano soloist; SATB choir; orches-

tra: oboe (or flute), two string orchestras each with continuo.

in Venice.
Editions: Laudate pueri Dominum, RV 602/602a appears in the critical

score Nuova edizione critica delle opere di Antonio Vivaldi, edited
by Michael Talbot under the auspices of the Instituto Italiano An-
tonio Vivaldi and published by Ricordi.

Notes: There are five compositions of this title in the current catalogue
of Vivaldi’s works: RV 600 in C minor for soprano, strings, and
continuo; RV601 in G major for soprano, flute, 2 oboes, strings,
and continuo; and three works with choir. RV 602 in A major for 2
soprano soloists, SATB choir, oboe, 2 string orchestras, and con-
tinuo was composed around 1717; it was reworked in the 1720s as
RV 602a with 2 soprano soloists, 2 SATB choirs, and flute rather
than oboe; and it was completely revised as RV 603 [qv] in the
1730s for 1 soprano soloist, 2 choirs, flute, and two string orches-
tras.
Performance Issues: This work treats the two string choirs and the
soloists antiphonally. The groups and soloists should be well
matched and placed in the performance to best exploit the dialogue
effect. The choir has only brief passages within the work, which is
a feature for the soloists. The choral writing is homophonic and
clearly doubled by the instruments. The oboe solo in movement
VII A and the alternate flute solo in VII B are exposed and florid,
requiring adept players in either iteration. The string writing is idi-
omatic and sensitively balanced with the vocal parts. The string
parts are similar to those in most of Vivaldi’s concerto accompa-
niments and will require experienced players throughout. The con-
tinuo parts were probably intended for organ. Having one of these
parts realized on organ and the other on harpsichord may provide
additional separation between the ensembles. Soloists: soprano I -
range: e’-g#’’, tessitura: g#’-f#’’, this is a challenging lyric solo
with significant coloratura writing; soprano II - range: d’-g#’’, tes-
situra: g#’-f#’’, this is a challenging lyric solo with significant col-
oratura writing; Choir: easy; Orchestra: medium difficult.
264 The Works
Talbot, Michael: “Critical Notes” for Laudate pueri Dominum RV

602/602a, 126-135. Milan: Ricordi, 1995.
Magnificat, RV 610/611 (c. late 1720s)

The original work is RV 610, which has two versions. RV 610a has
some passages for double choir; RV 610b can be performed with
SATB choir throughout and does not require oboes, but can utilize 2
trumpets. Later, Vivaldi composed five arias to display the talents of
specific singers, which resulted in RV 611. Three of these arias serve as
substitutes to existing movements, and two are additions.82
Duration: RV 610 is ca. 15 minutes

RV 611 is ca. 22 minutes
Text: The Latin text is from the Bible: Luke, chapter 1.
Performing Forces:
(Graulich edition, RV 610 and RV 611) voices: 2 soprano, alto, and

tenor soloists; SATB choir; orchestra: 2 oboes, continuo, and
strings.
(Landon edition, RV 610 only) voices: 2 soprano, alto, tenor, and bass
soloists; SATB choir; orchestra: 2 oboes, 2 bassoons, cornetto, 3
trombones, continuo, and strings.
(Malipiero edition, RV 610 and RV 611) voices: 2 soprano, alto, tenor,
and bass soloists; SATB choir; orchestra: 2 oboes, continuo, and
strings.83
(Westermann edition, RV 610 and RV 611) voices: 2 soprano, alto,
tenor, and bass soloists; SATB choir; orchestra: 2 oboes, contin-
uo, and strings.
First Performance: unknown, but probably in the late 1720s in the

82
Daniels, David: Orchestral Music: A Handbook, fourth edition, 410. Lan-
ham, MD: Scarecrow Press, 2005.
83
If the RV 611 version is performed, the oboes are not required.
Editions: Magnificat, RV 610/611 appears in the critical score Nuova

It is also published by Carus, edited by Günter Graulich; Kalmus,

edited by Clayton Westermann; Ricordi, edited by Gian Francesco
Malipiero; and Universal, edited by H. C. Robbins Landon.
Both versions appear in the critical edition Le opere di Antonio Vi-

valdi, edited by G. F. Malipiero, et al., and Nuova edizione critica
delle opere di Antonio Vivaldi, edited by Instituto Italiano Antonio
Vivaldi.
Autograph: The composer’s manuscripts of both versions are in the

Biblioteca Nazionale Universitaria in Turin, Italy – Tome V. ff 89-
113. Additional manuscript materials are in the library of the Con-
servatorio di Musica Benedetto Marcello in Venice, and the Music
Archives in Prague Castle.
Notes: The work is organized into nine movements as follows:

1. Magnificat choir
2. Et Exultavit soprano, alto, tenor, and choir
3. Et Misericordia choir
4. Fecit Potentiam choir
5. Deposuit Potentes choir
6. Esurientes soprano duet
7. Suscepit Israel choir
8. Sicut Locutus soprano, alto, and bass
9. Gloria choir
The Westermann edition includes the following variants with the

intended soloists:
2a. Et Exultavit soprano (Apollonia)

2b. Quia Respexit soprano (La Bolognesa)
2c. Quia Fecit alto (Chiaretta)
6. Esurientes alto (Ambrosina)
7. Sicut Locutus alto (Albetta)
266 The Works
Performance Issues: The choral writing is accessible to amateur en-

sembles and is well reinforced by the accompaniment. The score
indicates primo and secondo choro for two continuo groups. When
possible, alternating between organ and harpsichord and cello and
bassoon is recommended. The two oboes appear only in movement
8. There are numerous tutti passages for the violins. Solo players
are viable throughout the score. Soloists: soprano I - range: f’-g’’,
tessitura: f’-f’’, this is a simple lyric solo with some long phrases;
soprano II - range: e’-f’’, tessitura: f’-d’’, this is a simple solo that
appears only in a duet primarily in thirds with soprano I; alto -
range: c’-d’’, tessitura: d’-bb’, this is a simple sustained solo; tenor
- range: f-g’, tessitura: f-f’; bass - range: Bb-d’, tessitura: c-c’, this
is a simple declamatory solo. The alternate solo movements are
much more florid and vocally challenging than those in RV 610 for
which choristers are ideal nominees; Choir: easy; Orchestra: me-
dium easy.
Selected Discography RV 610: Helen Groves, Paul Agnew; Ex Ca-

thedra; conducted by Jeffrey Skidmore. Recorded in 1991 in the
Oratory, Birmingham, England. Alto: 1176.
Deborah Norman, Sarah Fox, Michael Chance, Jonathan Lemalu; Choir
of King’s College, Cambridge; Academy of Ancient Music; con-
ducted by Stephen Cleobury. Recorded in King’s College Chapel,
2001. EMI: 57265.
Selected Discography RV 610a: Susan Gritton, Lisa Milne, Catherine

Denley, Lynton Atkinson; King’s Consort; conducted by Robert
King. Hyperion: CDA66769.
Selected Discography RV 611: Teresa Berganza, Valentini Terrani;

New Philharmonia Chorus and Orchestra; conducted by Riccardo
Muti. Recorded 1976-1977. EMI: 18755.
Emily Van Evera, Nancy Argenta, Alison Place, Catherinne King,
Margaret Cable; Taverner Choir and Taverner Players; conducted
by Andrew Parrott. This recording utilizes women on the men’s
parts in an attempt to duplicate the ensemble Vivaldi had at his
disposal. Virgin: 3647992.
Whittemore, Joan M.: Revision of Music Performed at the Venetian

Ospedali in the Eighteenth Century. University of Illinois: disserta-
tion, 1986.
Talbot, Michael: “Critical Notes” for Magnificat, RV 610/611, 115-130.
About the Author
Composer and conductor Jonathan D. Green is provost and dean of
the faculty at Illinois Wesleyan University.
As a composer, he has received awards from ASCAP, the North

Carolina Arts Council, and the Virginia Center for the Creative Arts.
His works include numerous songs, choral works, three piano
concertos, and seven symphonies.
Dr. Green is the author of six other music-reference books: A

Conductor’s Guide to Choral-Orchestral Works: The Twentieth
Century, parts I and II; A Bio-Bibliography of Carl Ruggles; A
Conductor’s Guide to the Choral-Orchestral Works of J. S. Bach; A
Conductor’s Guide to the Choral-Orchestral Works of the Classical
Period, Part I: Mozart and Haydn; and A Conductor’s Guide to the
Choral-Orchestral Works of the Nineteenth Century.
He is a member of ASCAP, the Conductors Guild, and Phi Mu Alpha

Sinfonia. He presently resides in Normal, IL, with his wife, Lynn Buck.

A Conductor's Guide To Selected Baroque Choral-Orchestral

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A Conductor’s Guide to

ROWMAN & LITTLEFIELD

10 Thornbury Road, Plymouth PL6 7PP, United Kingdom

Copyright © 2014 by Rowman & Littlefield

All rights reserved. No part of this book may be reproduced in

British Library Cataloguing in Publication Information

Library of Congress Cataloging-in-Publication Data

Green, Jonathan D., 1964- author.

The paper used in this publication meets the minimum

Printed in the United States of America

Böhm, Georg (b. Hohenkirchen, Thuringia, Germany; 2 Sep-

teachers — his father, Johann Heinrich Hildebrand (?)

Principal Works: The attribution of a number of the surviving works

Selected Composer Bibliography

Wolgast, Johannes: Georg Böhm: Ein Meister der Übergangszeit vom

Passion nach dem Evangelisten Johannes

Duration: ca. 58 minutes

Performing Forces: voices: 2 soprano, 3 alto, 3 tenor, and 2 bass solo-

Autograph: A copyist’s manuscript, which was used in the preparation

Notes: This composition is no longer attributed to Handel although it is

Performance Issues: The choral writing is primarily homophonic and

some long phrases and coloratura passagework; soprano II - range:

Editions: Passion nach dem Evangelisten Johannes is available from

Selected Discography: Maria Zadori, Ibolya Verebics, Judith Nemeth,

Pahlen, Kurt: The World of the Oratorio, translated by Judith Schaefer

Buxtehude, Dietrich (b. Helsingborg, Denmark, c. 1637; d.

Life: Buxtehude was a remarkably influential composer and organist.

teachers — Johannes Buxtehude (his father)

Selected Composer Bibliography

Pirro, André: Dietrich Buxtehude. Paris: Fischbacher, 1913.

zeichnis. Wiesbaden: Breitkopf und Härtel, 1974; second edition:

Accedite gentes, accurite populi, BuxWV 1

Text: The text is an adaptation of Psalm 86:9-10 and Psalm 103:8.

Performing Forces: voices: SSATB choir; orchestra: 2 violins, and

First Performance: unknown

Editions: Accedite gentes, accurite populi is published in the critical

Autograph: Manuscript materials may be found in the Uppsala Uni-

Performance Issues: This brief Latin cantata alternates between hom-

monically supported by the continuo. The two violin parts occa-

Selected Discography: Theatre of Voices; conducted by Paul Hillier.

Sørenson, Søren: Diderich Buxtehudes vokale kirkenmusik: Studier til

All solch dein Güt’ wir preisen, BuxWV 3

derer frommen Christen, which was published in Frankfurt in

Performing Forces: voices: SSATB choir; orchestra: 2 violins, 2

First Performance: unknown

Autograph: Manuscript materials may be found in the Uppsala Uni-

Performance Issues: The score indicates the use of ripieni, confirming

Selected Discography: Amsterdam Baroque Orchestra and Soloists;

Kilian, Dietrich: Das Vokalwerk Dietrich Buxtehudes: Quellenstudien

Alles was ihr tut mit Worten oder mit Worden,

Performing Forces: voices: soprano and bass soloists; SATB choir;

First Performance: unknown

Autograph: Manuscript materials may be found in the Uppsala Uni-

Notes: Buxtehude incorporates a cantus firmus based upon an anony-

Performance Issues: The choral writing is generally homophonic, and

Selected Discography: Friedrich Melzer, Bruce Abel; Stuttgart Motet

Sørenson, Søren: Diderich Buxtehudes vokale kirkenmusik: Studier til

An filius non est Dei, BuxWV 6

Text: The author of the text has not been determined.

Performing Forces: voices: alto, tenor, and bass; orchestra: 3 violas d

First Performance: unknown

Editions: An filius non est Dei is published in a critical edition, Die-

Autograph: Manuscript materials may be found in the Uppsala Uni-