Händel, Georg Friedrich: Messiah
Oratorio in 3 parts
vocal/choral score
Passion, cantata, opera, instrumental music - that is, all the important musical genres of the time - these formed the basis of Handel's new art-form, which developed with ever increasing impetus from the end of 1738 onwards and found a particularly complex realization in 'Messiah'.
It is often been said that Handel composed 'Messiah' for his visit in Ireland, wither he had been onvited by the Lord Lieutenant, William Cavendish, Duke of Devonshire, to perform his music for the benefit of charity. The first performance took place on 13 April 1742 in Neale's Music Hall, Dublin. After Handel's return from Ireland 'Messiah' received fifty-six performances in England during his lifetime.
What makes the revised vocal score so special?
- The vocal scor e has been newly engraved with a generous layout.
- The pagination has been adopted from the previous edition. This means that you can rehearse and perform this work with some singers using this new edition and some the old Barenreiter edition.
- This new vocal score includes a revised piano reduction: The old Schneider piano reduction has been maintained, but corrected and uncluttered, on the whole the new piano reduction is easier to read and to play.
- The vocal score is fully compatible with all existing performance material (BA04012).
- The text appears in a slightly larger type size.
- Apart from corrections the musical text remains unchanged.
In the autumn of 1923, a young man produced the first music editions of his newly founded publishing house in his parents’ living room. He named his company Bärenreiter. In the spring of 1924 when Karl Vötterle came of age, he was able to register it with the German Publishers and Booksellers Association. At first, he mainly put out folk song collections, church as well as organ music including early music by Leonhard Lechner and Heinrich Schütz, at the time primarily known in specialist circles.
During the last months of the Second World War, the publishing house in Kassel was destroyed and once more a fresh beginning had to be made. With the start of the extensive German music encyclopaedia MGG – "Musik in Geschichte und Gegenwart" – as well as numerous series of scholarly-critical complete editions such as the “New Mozart Edition” and the “New Bach Edition”, the visionary founder of the publisher created the basis for the further development of Bärenreiter. The musicological editions increasingly aroused interest abroad, and Bärenreiter found itself on an expansion course.
When Karl Votterle died in 1975, his daughter Barbara took over the helm, supported by her husband Leonhard Scheuch. Under their leadership, the catalogue grew significantly and the brand BÄRENREITER URTEXT was established. Finally, in 2003, their son Clemens Scheuch joined the publisher which today he is managing together with his parents. Thus Bärenreiter has remained a family business to this day and has become a company of international standing in the world of classical music.
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