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FACSIMILES<br />
George Frideric Handel<br />
Messiah HWV 56<br />
Buxtehude, Dietrich<br />
(<strong>16</strong>37–1707)<br />
Herr, ich lasse dich nicht<br />
BuxWV 36<br />
Facsimile of the autograph<br />
set of parts in the Uppsala<br />
University Library including<br />
a new full score critical edition.<br />
Edited by P. Wollny with a<br />
foreword (Ger/Eng).<br />
Documenta Musicologica II/37<br />
ISBN 978-3-7618-1958-6<br />
Our facsimile edition, in<br />
four-color reproduction,<br />
is preceded by a brief<br />
commentary in German and<br />
English in which Peter Wollny<br />
discusses notation, textual<br />
transmission and performance<br />
practice.<br />
Please see<br />
the website<br />
www.baerenreiter.com<br />
for more detailed<br />
information on<br />
individual editions.<br />
Messiah HWV 56<br />
Facsimile of the autograph score<br />
in the British Library, London.<br />
Edited by Donald Burrows.<br />
284 pages of facsimile and<br />
a 56 page introduction<br />
(Eng/Ger/Jap); half-linen<br />
Documenta Musicologica II/40<br />
BÄRENREITER FACSIMILE<br />
ISBN 978-3-7618-2109-1<br />
No distribution rights<br />
for the UK<br />
The first performance of<br />
George Frideric Handel’s<br />
oratorio Messiah on 13 April<br />
1742 in Dublin aroused<br />
unqualified rapture. A<br />
newspaper report a few days<br />
later declared that it combined<br />
“the Sublime, the Grand, and<br />
the Tender”. Its success has<br />
remained undiminished ever<br />
since, and the Messiah has<br />
taken its place in musical life.<br />
In 2009, to mark the 250 th<br />
anniversary of Handel’s<br />
death, the British Library and<br />
Bärenreiter joined forces and<br />
made the autograph score of<br />
the Messiah available to the<br />
public in a meticulously<br />
reproduced, lavishly published<br />
facsimile.<br />
The renowned Handel scholar<br />
Donald Burrows introduces<br />
the characteristics of Handel’s<br />
manuscript, describes<br />
the history of the work’s<br />
composition, and explains<br />
the differences between later<br />
versions of the Messiah, as<br />
reflected in the conducting<br />
scores. A two-page sketch<br />
from the Fitzwilliam Museum<br />
Cambridge completes the<br />
publication.<br />
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