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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 />

46

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