# A Dictionary of Music and Musicians/Händel-Gesellschaft

From volume 1 of the work.
​HÄNDEL-GESELLSCHAFT. A society for the publication of a critical and uniform edition of the whole of Handel's works in full score, with pianoforte arrangement and German ​translation of the text. The Prospectus is dated 15 Aug. 1856, and has 35 names appended to it, including those of Chrysander, Dehn, Franz, Gervinus, Hauptmann, Hiller, Jahn, Liszt, Meyerbeer, Moscheles, Neukomm, Rietz. A second Prospectus announcing the first year's issue is dated Leipzig, 1 June 1859, and signed by the Directorium, viz. Rietz, Hauptmann, Chrysander, Gervinus, Breitkopf & Härtel. For the editing—which is of the most thorough character, and based in every possible case on the autograph MSS.—Dr. Chrysander is understood to be responsible; and the execution is all that might be expected from the well-known efficience and taste of the firm of Breitkopf & Härtel, by whom the volumes are issued. The annual subscription is 10 thalers, or 30s.
The following works have been published, and it is intended to complete the whole by 1885, the second centenary of Handel's birth. (Those marked with a * are published for the first time.)
| 1. | 1858. | 1. Susannah. 2. Harpsichord works, 3 Suites de Pieces etc. 3. Acis. |
| 2. | 1859. | 4. Hercules. 5. Athaliah. 6. Allegro, Penseroso. and Moderato. |
| 3. | 1860. | 7. Semele. 8. Theodora. 9. * Passion (St. John). |
| 4. | 1861. | 10. Samson. 11. Funeral Anthem. 12. Alexander's Feast. |
| 5. | 1862. | 13. Saul. 14. Coronation Anthems. 15. * Passion (Brockes). |
| 6. | 1863. | 16. Israel. 17. Joshua. 18. Choice of Hercules. |
| 7. | 1864. | 19. Belshazzar. 20. Time and Truth, 21. Oboe Concertos, Concertante, etc. |
| 8. | 1865. | 22. Judas. 21 Ode for S. Cecilia's Day. 24. * Il Trionfo del Tempo. 25. Dettingen Te Deum. |
| 9. | 1866. | 26. Solomon. 27. Alclna. 28. 12 Organ Concertos. |
| 10. | 1867. | 29. Deborah. 30. 12 Grand Concertos. 31. Utrecht Te Deum and Jubilate. |
| 11. | 1868. | 32. Chamber Duets. 33. Alexander Balus. 34. Chandos Anthems. |
| 12. | 1869. | 35. Chandos Anthems. 36. 2 Wedding Anthems, Dettingen do., etc. |
| 13. | 1870. | 37. Chandos Te Deum. and 2 short do. 38. * Latin Psalms and Motets. 55. * Almira. 56. * Rodrigo. Appendix to Time and Truth, and to Deborah. |
| 14. | 1871. | 57. Agrippina. 58. * Rinaldo. 60. Teseo. 62. * Amadigi. 64. *Muzio Scevola. |
| 15. | 1872. | 61. * Silla. 63. * Radamisto. 67. * Flavio. 68. Giulio Cesare. |
| 16. | 1873. | 65. * Floridante. 70. * Rodelinda. 59. * Pastor Fido. 69. * Tamerlano. |
| 17. | 1874. | 71. * Scipione. 72. * Alessandro. 73. * Admeto. 74. * Riccardo. |
| 18. | 1875. | 39. * Resurrezione. 54. * Parnasso in festa. 75. * Siroe. 76. * Tolomeo. |
[ G. ]
[App. pp.665–6 "HÄNDEL-GESELLSCHAFT. The edition of Handel's entire works in score, for which this society was formed in 1856, is now approaching completion, so that a full list of its contents can be given, which is at the same time the most complete list of the composer's works. Dr. Friedrich Chrysander has been sole active editor from the commencement, having for some few years at the beginning had the little more than nominal cooperation from Rietz, Hauptmann, and Gervinus. The editor has paid frequent visits to England to consult Handel's original manuscripts, upon which the edition is based throughout; and has acquired the scores written for the purpose of conducting by Handel's secretary J. C. Smith, which previously belonged to M. Schoelcher. Vols. 1–18 of this edition were issued by Breitkopf & Härtel of Leipzig; but in the year 1864 the editor terminated this arrangement, and engaged engravers and printers to work under his immediate control on his own premises at Bergedorf near Hamburg. All the volumes from vol. 19 have been thus produced; and with vol. 20 an important improvement was made in the use of zinc (as a harder metal) instead of pewter for the engraved plates.
In the following list, vols. 45, 48–53, 84, 95, 96, and 98–100, are not yet published. An asterisk is prefixed to those works which are now published for the first time, at all events in complete score. Vol. 97, in a different form (the oblong shape of Handel's manuscript), contains a facsimile of 'Jephtha,' which is of especial interest as showing the composer's style of writing when blindness was rapidly coming on, and making evident the order in which he wrote—the parts of the score first written exhibiting his ordinary hand, while those which were written in later, when he was struggling with dimness of sight, can be readily distinguished by their blotched and blurred appearance.
The English Oratorios, Anthems, and other vocal works, are provided with a German version, executed by Professor Gervinus, and after his death by the editor; and the few German vocal works have an English translation added. The Italian Operas and other vocal works, and the Latin Church Music, have no translation. The Oratorios, Odes, Te Deums, 'Acis and Galatea,' 'Parnasso in festa,' Italian duets and terzets, and Anthems, have a PF. accompaniment added to the original score; but not the Italian Operas, nor vols. 24, 38, 39. These accompaniments are partly by the editor, partly by Im. Faisst, J. Rietz, E. F. Richter, M. A. von Dommer and E. Prout.
Dr. Chrysander has also published the following articles on certain works of Handel's, which should be combined with the information contained in the prefaces to make the edition complete: on vol. 13 ('Saul'), in Jahrbücher für musikalische Wissenschaft, vol. 1; on vol. 16 ('Israel in Egypt'), ibid. vol. 2; on vol. 47 (Instrumental Music), in Vierteljahrsschrift für Musikwissenschaft for 1887. The promised article on 'Belshazzar' has not yet been published.
The account of this edition would not be complete without mention of the munificence of the late King of Hanover, who guaranteed its success by promising to provide funds to meet any deficiency in those received from subscribers; as well as of the liberality of the Prussian government, which took the same liability after the absorption of the territory of Hanover.
Vol.
* Oratorio: Susanna, 1748.
* Pièces pour le clavecin. (1. Eight suites. 1720. 2. Nine suites, first published 1733. 3. Twelve pieces, some hitherto unpublished. 4. Six fugues, about 1720.)
* Masque: Acis and Galatea, about 1720.
* Oratorio: Hercules, 1744.
* Do. Athalia, 1733.
* Do. L'Allegro, il Pensieroso, ed il Moderato, 1740.
* Do. Semele, 1743.
* Do. Theodora, 1749.
* * Do. Passion according to St. John (German), 1704.
* Do. Samson. 1741.
* Funeral Anthem for Queen Caroline, 1737.
* Ode: Alexander's Feast, 1736.
* Oratorio: Saul, 1738.
* Coronation Anthems (Zadok the Priest; The king shall rejoice; My heart is inditing; Let thy hand be strengthened), 1727.
* * Oratorio: Passion, by Brockes (German), 1716.
* Do. Israel in Egypt, 1738.
* Do. Joshua, 1747.
* Musical Interlude: Choice of Hercules, 1750.
* Oratorio: Belshazzar, 1744.
* Do. Triumph of Time and Truth, 1757.
* Concertos (6 'Hautbois Concertos'; Concerto grosso in C, 1736; 4 Concertos, early works; *Sonata in B♭. about 1710).
* Oratorio: Judas Maccabeus, 1746.
* Ode for St. Cecilia's Day, 1739.
* * Oratorio: Il Trionfo del Tempo e della Verità (Italian), 1708, 1737.
* Dettingen Te Deum, 1743.
* Oratorio: Solomon, 1748.
* Sonate da camera (15 solo sonatas, first published about 1724; 6 sonatas for 2 oboes and bass, earliest compositions, 1696; 9 sonatas for 2 violins etc. and bass; 6 sonatas for 2 violins etc. and bass, 1738).
* Twelve Organ Concertos, 1738, etc.
* Oratorio: Deborah, 1733.
* Twelve Grand Concertos, 1739.
* Utrecht Te Deum and Jubilate, 1713.
* Duetti e Terzetti (22 Italian vocal duets and 2 trios, 1707–8, 1741–5, six never before printed).
* Oratorio: Alexander Balus, 1747.
* Anthems, vol. 1. ('Chandos' with 3 voice-parts, with some now first published). 1716–18.
* Do. vol. 2. ('Chandos' with 4 voice-parts.)
* Do. vol. 3. ('O praise the Lord'; *Wedding Anthems, 1734; Wedding Anthem, 1736; *Dettingen Anthem, 1743; *Foundling Hospital Anthem. 1749.)
* Three Te Deums (in D, about 1714; in B♭, about 1718–20; in A. perhaps 1727).
* Latin Church Music, about 1702, 1707, 1718, 1735–45.
* Oratorio: Resurrezione (Italian), 1708.
* Do. Esther, 1st version ('Haman and Mordecai,' a masque), about 1720.
* Do. Esther. 2nd version, 1732.
* Do. Joseph, 1743.
* Do. Occasional, 1746.
* Do. Jephtha, 1751.
* Do. Messiah, 1741.
* Birthday Ode and Alceste.
* Instrumental Music for full orchestra (*Concerto in F. about 1715; Water Music, 1715; *Concertos in F and D; Firework Music, 1749; Double Concerto in B♭, 1740–50 (?); *Double Concerto in F, 1740–50 (?)).
* Organ and miscellaneous instrumental music.
* German, Italian, and English songs and airs.
* Italian Cantatas, with bass, vol. 1.
* Do. vol. 2.
* Italian Cantatas, with instruments, vol. 1. 63.
* Do. vol. 2.
* Serenata: Il Parnasso in festa. 1734.
* * Opera: Almira (German), 1704.
* * Do. Rodrigo, 1707.
* Do. Agrippina, 1709.
* * Do. Rinaldo, 1711.
* * Do. II Pastor FIdo. 1712.
* Do. Teseo, 1712.
* * Do. Silla, 1714.
* * Do. Amadigi, 1715.
* * Do. Radamisto, 1720.
* * Do. Muzio Scevola, Act 3, 1721.
* * Do. Floridante, 1721.
* * Do. Ottone, 1722.
* * Do. Flavio, 1723.
* Do. Giulio Cesare, 1723.
* * Do. Tamerlano, 1724.
* * Do. Rodelinda, 1725.
* * Do. Scipione, 1726.
* * Do. Alessandro, 1726.
* * Do. Admeto, 1726.
* * Do. Riccardo, 1727.
* * Do. Siroe, 1728.
* * Do. Tolomeo, 1728.
* * Do. Lotario, 1729.
* * Do. Partenope, 1730.
* * Do. Poro, 1731.
* * Do. Ezio. 1732.
* Do. Sosarme, 1732.
* * Do. Orlando, 1732.
* * Do. Arianna, 1733.
* Do. Terpsichore and second Pastor Fido, 1734.
* * Do. Ariodante, 1734.
* * Do. Alcina, 1735.
* * Do. Atalanta, 1736.
* * Do. Giustino, 1736.
* * Do. Arminio, 1736.
* * Do. Berenice, 1737.
* * Do. Faramondo, 1737.
* * Do. Serse, 1738.
* * Do. Imeneo, 1738–40.
* Do. Deidamia, 1740.
* Aci e Galatea (Italian), 1708 and 1732.
* Miscellaneous Vocal pieces.
* Oratorio: Jephtha, facsimile of Handel's MS. score.
* and 99. Facsimiles of Handel's autographs.
100. Thematic Catalogue of Handel's works.
[ R. M. ]