Elf Sonaten für Flöte und Basso continuo, HWV 379, 359b, 360, 362, 363b, 365, 367b, 369, 374, 375, 376by Georg Friedrich Händel; Hans-Peter Schmitz; Max Schneider; Terence Best

Elf Sonaten für Flöte und Basso continuo, HWV 379, 359b, 360, 362, 363b, 365, 367b, 369, 374,375, 376 by Georg Friedrich Händel; Hans-Peter Schmitz; Max Schneider; Terence BestReview by: Mary OleskiewiczNotes, Second Series, Vol. 56, No. 4 (Jun., 2000), pp. 1028-1032Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/899878 .

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NOTES, June 2000 NOTES, June 2000

Cambridge Companions to Music [Cam- bridge: Cambridge University Press, 1997], 47).

The Utrecht Te Deum and Utrecht Jubilate, like most of Handel's sacred works, were composed for the Chapel Royal, an institution that consisted at full strength of about twenty-six gentlemen (ten of whom were priests), ten boys, two composers, two or- ganists, a viol player, and a lutenist. As this was a service of national rejoicing, the full complement of the Chapel Royal would have been augmented, as Graydon Beeks points out, by string players from the Royal Musicians, woodwind players from the opera or theater orchestras, and trumpeters from the Royal Trumpeters ("Han- del's Sacred Music," in The Cambridge Com- panion to Handel, 167-68). Although the Thanksgiving service did not take place until 7 July 1713, Handel's Te Deum and Jubilate were heard and praised at the several public rehearsals that were reported in the press the preceding March.

Prior to Handel's setting of the Te Deum and Jubilate, there were two other settings with orchestral accompaniment by English composers: one by William Croft written for a Thanksgiving service in 1709 and one by Henry Purcell composed for St. Cecilia's Day, 1694. Handel is clearly indebted to these models, maintaining a similar division of the 1662 Prayer Book text into movements and using a five-part choral texture of divided soprano parts, alto, tenor, and bass. Handel, however, aug- ments the instrumental forces adopted by Croft and Purcell by adding flute and oboe parts and includes a greater number of choral movements. Interestingly Croft, then the principal composer for the Chapel Royal, provided the anthem for the 1713 Thanksgiving Service.

The Utrecht Te Deum and Utrecht Jubilate were to remain popular for many years to come, thanks in no small part to the chari- table organizations that made these works part of their annual festivities, foremost among them being Mercer's Hospital in

Cambridge Companions to Music [Cam- bridge: Cambridge University Press, 1997], 47).

The Utrecht Te Deum and Utrecht Jubilate, like most of Handel's sacred works, were composed for the Chapel Royal, an institution that consisted at full strength of about twenty-six gentlemen (ten of whom were priests), ten boys, two composers, two or- ganists, a viol player, and a lutenist. As this was a service of national rejoicing, the full complement of the Chapel Royal would have been augmented, as Graydon Beeks points out, by string players from the Royal Musicians, woodwind players from the opera or theater orchestras, and trumpeters from the Royal Trumpeters ("Han- del's Sacred Music," in The Cambridge Com- panion to Handel, 167-68). Although the Thanksgiving service did not take place until 7 July 1713, Handel's Te Deum and Jubilate were heard and praised at the several public rehearsals that were reported in the press the preceding March.

Prior to Handel's setting of the Te Deum and Jubilate, there were two other settings with orchestral accompaniment by English composers: one by William Croft written for a Thanksgiving service in 1709 and one by Henry Purcell composed for St. Cecilia's Day, 1694. Handel is clearly indebted to these models, maintaining a similar division of the 1662 Prayer Book text into movements and using a five-part choral texture of divided soprano parts, alto, tenor, and bass. Handel, however, aug- ments the instrumental forces adopted by Croft and Purcell by adding flute and oboe parts and includes a greater number of choral movements. Interestingly Croft, then the principal composer for the Chapel Royal, provided the anthem for the 1713 Thanksgiving Service.

The Utrecht Te Deum and Utrecht Jubilate were to remain popular for many years to come, thanks in no small part to the chari- table organizations that made these works part of their annual festivities, foremost among them being Mercer's Hospital in

Dublin, and the "Sons of the Clergy," an "old institution for the education of the sons of needy ministers" (Otto Eric Deutsch, Handel: A Documentary Biography [New York: W. W. Norton, 1955; reprint, New York: Da Capo Press, 1974], 270), for whose annual meeting it was regularly performed.

Gerald Hendrie is no stranger to Handel scholars, nor to the editorial process. Since 1985, he has edited, in addition to the volume under consideration, three volumes of Handel's Cannons anthems and a volume of anthems for the Chapel Royal, all for the Hallische Hdndel-Ausgabe (series 3, vols. 4-6 and 9). Indeed, several of the anthems Handel wrote for the chapel of James Brydges at Cannons are based on movements of the Utrecht Te Deum, as are some of those written for the Chapel Royal, and Hendrie clearly indicates these in his preface, wisely suggesting that some of the cor- relations may more correctly be termed "family resemblances" than true borrow- ings. Handel's practice of borrowing both from himself and from other composers no

longer proves the problem for scholars that it has done in the past, especially afterJohn T. Winemiller's excellent discussion of the subject in his dissertation "Handel's Bor-

rowing and Swift's Bee: Handel's 'Curious Practice' and the Theory of Transformative Imitation" (University of Chicago, 1994).

Unlike Esther, there was only one perfor- mance of the Utrecht Te Deum and Utrecht

Jubilate under the composer's direction (not counting the several public rehearsals) and that was at the Thanksgiving service. The autograph survives almost in its entirety (except for twenty-three mea- sures of the Utrecht Jubilate), along with two reliable scores made by copyists closely as- sociated with Handel's scriptorium (Linike and RM4). Hendrie bases his edition on these three scores, while making detailed reference to other sources in the critical notes.

ALISON P. DEADMAN East Tennessee State University

Dublin, and the "Sons of the Clergy," an "old institution for the education of the sons of needy ministers" (Otto Eric Deutsch, Handel: A Documentary Biography [New York: W. W. Norton, 1955; reprint, New York: Da Capo Press, 1974], 270), for whose annual meeting it was regularly performed.

Gerald Hendrie is no stranger to Handel scholars, nor to the editorial process. Since 1985, he has edited, in addition to the volume under consideration, three volumes of Handel's Cannons anthems and a volume of anthems for the Chapel Royal, all for the Hallische Hdndel-Ausgabe (series 3, vols. 4-6 and 9). Indeed, several of the anthems Handel wrote for the chapel of James Brydges at Cannons are based on movements of the Utrecht Te Deum, as are some of those written for the Chapel Royal, and Hendrie clearly indicates these in his preface, wisely suggesting that some of the cor- relations may more correctly be termed "family resemblances" than true borrow- ings. Handel's practice of borrowing both from himself and from other composers no

longer proves the problem for scholars that it has done in the past, especially afterJohn T. Winemiller's excellent discussion of the subject in his dissertation "Handel's Bor-

rowing and Swift's Bee: Handel's 'Curious Practice' and the Theory of Transformative Imitation" (University of Chicago, 1994).

Unlike Esther, there was only one perfor- mance of the Utrecht Te Deum and Utrecht

Jubilate under the composer's direction (not counting the several public rehearsals) and that was at the Thanksgiving service. The autograph survives almost in its entirety (except for twenty-three mea- sures of the Utrecht Jubilate), along with two reliable scores made by copyists closely as- sociated with Handel's scriptorium (Linike and RM4). Hendrie bases his edition on these three scores, while making detailed reference to other sources in the critical notes.

ALISON P. DEADMAN East Tennessee State University

Georg Friedrich Handel. Elf Sonaten ffir Flote und Basso continuo, HWV 379, 359b, 360, 362, 363b, 365, 367b, 369, 374, 375, 376. Hrsg. von Hans-Peter Schmitz; Continuo-Aussetzung von Max Schneider;

Neuausgabe von Terence Best. (Hallische Handel-Ausgabe, Ser. IV:

Georg Friedrich Handel. Elf Sonaten ffir Flote und Basso continuo, HWV 379, 359b, 360, 362, 363b, 365, 367b, 369, 374, 375, 376. Hrsg. von Hans-Peter Schmitz; Continuo-Aussetzung von Max Schneider;

Neuausgabe von Terence Best. (Hallische Handel-Ausgabe, Ser. IV:

1028 1028



Music Reviews 1029

Instrumentalmusik, Bd. 3.) Kassel: Barenreiter, 1995. [Editorial policy, pref. in Ger., Eng., p. vi-xvi; facsims., p. xvii-xx; score, 73 p.; crit. report, p. 75-88 and part. Cloth. ISMN M-006-49575-7; BA 4057. DM 230.]

This revised volume of the Hallische Hdndel-Ausgabe (the collected critical edition of George Frideric Handel's works, hereafter HHA) is meant to supplant the edition by Hans-Peter Schmitz of works for flute and recorder with continuo originally issued as series 4, volume 3 in 1955. The new volume, edited by Terence Best, incor- porates authoritative and insightful prefatory material and a meticulous critical report far superior to those of the earlier volume. Otherwise it duplicates the contents of its predecessor: (1) the three sonatas for flute HWV 359b, 363b, and 367b and the four for recorder HWV 360, 362, 365, and 369, all of which were published under Handel's name during his lifetime; (2) the flute sonata HWV 379, which Friedrich Chrysander first published in Leipzig in 1879 (G. F. Hdndel's Werke: Ausgabe der Deutschen Htndelgesellschaft [hereafter HG], vol. 27); and (3) the three flute sonatas HWV 374-76, first published by Chrysander in the HG, vol. 48 (Leipzig, 1879). Of the last three sonatas, still considered to be authentic early works in the old HHA edition, HWV 375 is now dubbed spu- rious and together with HWV 374 and 376 relegated to an Anhang. No new works are added to the volume: A recently identified early sonata in D major for transverse flute (HWV 378), which logically belongs here, is inconveniently placed in a separate volume (ser. 4, vol. 18) of the HHA (Neun Sonaten fiir ein Soloinstrument und Basso continuo, ed. Terence Best, 1982), as are two further sonatas "probably intended for recorder," HWV 367a and 377 (HHA IV/3, p. xii). Hence, those expecting to find in this new edition a volume of Handel's complete works for flute and recorder will be disappointed.

Like the old HHA volume, the new one presents each work in a score that includes an editorial realization of the figured bass. A separate volume provides the two original parts in score without the realization; the note-heads here are large enough to be read by the soloist, who will find the bass line indispensable for devising ornamenta- tion. Because of the unsatisfactory realiza-

tion in the main volume, this separate volume will also be preferred by keyboard players who read figured bass.

The sonatas included in this volume are of considerable interest to performers and scholars alike. Their sources are numerous and their relationships complex, especially in the case of those preserved in early prints. In the preface, given both in English and in German translation, Best lucidly summarizes the history of the sources and their relationships to one another. He also provides handy lists of concordances and of works incorporating borrowed material. Most of the prefatory material is based on Best's past publications about the sources, in particular his articles "Handel's Chamber Music" (Early Music 13 [1985]: 476-99, which draws upon Donald Bur- rows's research on source dating); "Handels Solosonaten" (Hdndel-Jahrbuch 23 [1977]: 21-43) and "Nachtrag zu dem Artikel 'Handels Solosonaten-Addenda zu einem Aufsatz von Terence Best'" (Hdndel- Jahrbuch 26 [1980]: 115-19); and "Further Studies on Handel's Solo Sonatas" (Hdndel- Jahrbuch 30 [1984]: 75--79).

Unfortunately, the new edition is difficult to use, since it updates only certain ele- ments within the basic content and format of the old version. Presumably this decision was not Best's alone, for his task would have been simpler had he been able to re- structure the present volume to incorpo- rate all closely related works and versions within one cover. As it now stands, Best's prefatory remarks to series 4, volumes 3 and 18 of the HHA overlap, so that the full discussion of the Walsh prints, for example, is presented in two slightly different texts in both volumes. Yet other discussions just as essential to the scores in volume 3 are present only in volume 18. And since a number of works with related sources are divided between the two volumes, a re- searcher or performer simply cannot use one volume without the other. For example, at m. 34 of the second movement of HWV 359b (p. 13), an editorial octave transposition is suggested; the accompanying footnote provides only a meaningless



NOTES, June 2000

reference to the volume's critical report when in fact we must consult volume 18 (pp. ix-x and 54-55) in order to under- stand that the editorial marking reflects the work's direct relationship to HWV 359a. Another case in point is the sonata HWV 367a and HWV 367b, versions of the same work in two different keys whose sources and variant readings are inextricably related. In this case, the separation of the two versions reinforces questionable assertions about their instrumentation.

This problem notwithstanding, Best's preface brilliantly sorts out the complicated history of three eighteenth-century prints containing flute and recorder works attrib- uted to and contemporary with Handel; this is a most welcome contribution. As Best demonstrates, the first two prints, which in- clude the works listed under (1) above, were published by John Walsh of London. The first, which appeared about 1730-31, bore a fake title page identifying the publisher as Jeanne Roger of Amsterdam, probably because the volume infringed Handel's 1720 privilege. The second print appeared between 1731 and 1732 and bore Walsh's own imprint under the title Solos for a German Flute a Hoboy or Violin with a Thorough Bass for the Harpsicord [sic] or Bass Violin Compos'd by Mr. Handel; the addi- tional "Note: This is more Corect [sic] than the former Edition" evidently refers to a number of revisions to the text. These revisions included "additions to the bass figuring, the restoration of missing and misplaced movements, and other minor corrections" (HHA IV/3, p. xiv). In 1734, Walsh reissued the revised volume as "Opera prima," a designation taken over in subsequent editions of these works, in-

cluding those in the HG and the HHA. A long-standing point of contention in these prints is the authenticity of the three flute sonatas, which appear in other keys and without instrumental designations in Handel's autographs. The fact that Walsh retained all three flute sonatas may lend credence to the authenticity of the works included in the present volume, especially if, as Best suggests, in the interim Handel had established a relationship with Walsh.

The only source for the three doubtful sonatas HWV 374-76 is a third print by Walsh and Joseph Hare from ca. 1730. Chrysander ascribed these sonatas to

Handel's youthful Halle period, and the original volume of the HHA gave them under Chrysander's questionable appella- tion as "Hallenser Sonaten." Best demonstrates the impossibility of Handel's author- ship in the case of HWV 375 and casts serious doubt on the other two, sensibly placing all three sonatas in the Anhang.

Most of the flute and recorder works also exist in Handel's autographs and in contemporary manuscript copies. As noted above, some of these sources present certain works in keys other than the printed versions, and many do not specify instrumentation. A previously troublesome issue, happily rectified in the new volume, con- cerns the two "versions" of the sonata in E minor for transverse flute, HWV 379 and 359b, presented in the old HHA as "Opus la and lb." The two sonatas are in fact different works that share only their first and fourth movements. Only HWV 359b was ever published during Handel's lifetime; it is a transposition from HWV 359a, which occurs in Handel's autograph in D minor without instrumentation and is believed to be for violin due to its key and range. HWV 379, a compilation of movements from other works transposed and arranged for flute by Handel, remained unpublished during the composer's lifetime. Chrvsander misleadingly dubbed it opus la in the HG, a label retained in subsequent editions, in-

cluding the old HHA volume. The question of instrumentation is espe-

cially critical with regard to the sonatas that Walsh published for transverse flute: HWV 359b in E minor, HWV 363b in G major, and HWV 367b in B minor. As Best notes, "in each case an original in a 'flat' key has been transposed into a 'sharp' key more suited to that instrument [i.e., the transverse flute]" (HHA IV/3, p. xiii), and he as-

signs the manuscript versions to violin, oboe, and recorder, respectively. In this, Best follows previous scholars such as Thurston Dart, whose assignment of HWV 367a to recorder (as the third of three so- called Fitzwilliam-Sonaten [Mainz: Schott, 1950]) "seems logical" (HHA IV/18, p. x), and Donald Burrows, who considers that work practical for violin or recorder (HHA IV/3, p. xii n. 1).

But in fact the original keys would not have precluded the baroque transverse flute, for which these solo sonatas, in their

1030



Music Reviews

original flat keys, might have been re- garded as equally idiomatic when played by professionals such as Johann Joachim Quantz, who visited Handel in 1727 and who composed hundreds of flute works in keys with multiple flats. We may never be certain for what instruments Handel intended these sonatas-if he even had a

preference. But although music published for the flute in the early eighteenth century does tend to employ keys with signatures of one to three sharps, the mostly unpublished literature played by the professionals ranged widely in tonality. Indeed, we can hear today's best baroque flute players performing and recording Handel's "recorder" sonatas quite convincingly. Hence, Walsh's transpositions undoubtedly reflected his desire to make the works eas- ier and thus more marketable to amateur flute players. He must have transposed the trio sonata HWV 386a, preserved as a work in C minor for transverse flute, violin, and continuo in two eighteenth-century Dres- den manuscripts, to B minor for publication as Handel's op. 2, no. 1 (HWV 386b) for the same reason.

Two manuscript sources overlooked in both versions of the present volume bear importantly on the issues of instrumentation and transmission. Their omission in Best's critical editions is perplexing, since both are listed in volume 3 of the Hindel- Handbuch: Thematisch-systematisches Verzeich- nis: Instrumentalmusik, Pasticci und Fragnmnte (ed. Bernd Baselt [Kassel: Barenreiter, 1986]). Dresden, Sachsische Landes- bibliothek, Mus. ms. 2410-S-6, a copy from ca. 1725-30 by a professional Dresden court scribe (scribe A), transmits HWV 367a-the D-minor version of the flute sonata published by Walsh in B minor-as a work for flauto. Although the latter term often indicates the recorder (as in the autograph manuscripts of Johann Sebastian Bach), at Dresden it appears to have usually applied to the transverse flute (see Mary Oleskiewicz, "Quantz and the Flute at Dresden: His Instruments, His Repertory, and Their Significance for the Versuch and the Bach Circle" [Ph.D. diss., Duke Uni- versity, 1998], 56-59, 213). In addition, this copy presents the work as a five-movement sonata, in contrast to the seven movements found in the autograph of ca. 1725 and in the B-minor version published by Walsh. It

thus confirms Best's postulation (HHA IV/18, p. 54, and IV/3, p. 84) that the sonata originated, or at least circulated, as a five-movement work, and that the final two movements in the autograph are later additions.

At about the same time, the same scribe also made a copy of the sonata in A minor HWV 362 (Mus. ms. 2410-S-5), published by Walsh as a recorder sonata but again at Dresden designated as a work for flauto- that is, presumably transverse flute. Variant readings in this copy make it clear that this source descends not from the Walsh prints but from the lost autograph composing scores, whose existence is postulated in the critical commentaries of volumes 3 and 18 of the HHA. Clearly, both Dresden copies will need to be taken into consideration in future critical editions of these works.

A problematical feature of this volume, given the stated aim of the HHA "to serve both scholarly and practical needs" (p. xii), is the retention from the previous version of Max Schneider's old-fashioned and unstylish realization of the figured bass. Al- though possibly state-of-the-art in 1955, this realization has become hopelessly obsolete, especially the overly contrapuntal four-part texture that lends otherwise airy and lyrical movements a heavy, academic character; occasionally, too, Schneider's realization is simply incorrect. I wonder why the EIHA has invested so much effort into updating the critical apparatus while leaving this realization virtually untouched. Best has "made some adjustments" to the continuo to accommodate his textual revisions and has gone beyond this in a few places to im- prove the realization of the harmony- without, however, making the part more idiomatic.

Within the volume's first work, HWV 379, for instance, there is needlessly busy and somewhat clumsy counterpoint (mvt. 2, m. 5ff.), sometimes above the solo part (mvt. 5, mm. 13-14); chords where none are needed (mvt. 3, m. 2, last three notes); unison doublings in the upper voice of leading tones in the solo part (mvt. 1, mm. 4, 19-20); and unprepared dissonances (mvt. 2, m. 19; m. 4, m. 57). Elsewhere occur parallel octaves (HWV 359b, mvt. 1, m. 16) and fifths (HWV 359b, mvt. 2, mm. 40-41). Moreover, the realization fre- quently doubles the melodic line of the

1031



NOTES, June 2000 NOTES, June 2000

soloist (HWV 379, mvt. 1, especially mm. 7-8, 14-16, 20-21) or ascends above it; both practices were considered unstylish by Quantz, among others (Versuch einer Anwei- sung, die Flote traversiere zu spielen [Berlin: Johann Friedrich Voss, 1752], chap. 17, sec. 6, par. 18-21). Although perhaps idiomatic for a pianist accompanying a silver flute at the slow tempos customary in the 1950s, the realization is laborious and difficult to play on a harpsichord, and it makes it nearly impossible for a historical wind player to sound in tune. (Quantz warns ac- companists not to double notes such as D# that tend to sound lower on the flute than on the tempered keyboard.)

The point of a revised volume should be to present a fresh, up-to-date rendering of the repertory. Still needed is a truly new critical edition that presents all of Handel's

soloist (HWV 379, mvt. 1, especially mm. 7-8, 14-16, 20-21) or ascends above it; both practices were considered unstylish by Quantz, among others (Versuch einer Anwei- sung, die Flote traversiere zu spielen [Berlin: Johann Friedrich Voss, 1752], chap. 17, sec. 6, par. 18-21). Although perhaps idiomatic for a pianist accompanying a silver flute at the slow tempos customary in the 1950s, the realization is laborious and difficult to play on a harpsichord, and it makes it nearly impossible for a historical wind player to sound in tune. (Quantz warns ac- companists not to double notes such as D# that tend to sound lower on the flute than on the tempered keyboard.)

The point of a revised volume should be to present a fresh, up-to-date rendering of the repertory. Still needed is a truly new critical edition that presents all of Handel's

flute and recorder works (or better yet, all of the solo sonatas with continuo) in one volume, without questionable instrumental assignments or unstylish realizations of the figured bass. If two volumes are necessary to accommodate such an edition, a single preface and combined critical report would still be preferable to the present situation, in which one simply cannot use the new volume without having volume 18 close at hand. Moreover, when there is doubt as to instrumentation, as there will continue to be, it would be refreshing to see an ap- proach whereby all possible performing so- lutions are rethought and clearly presented.

MARY OLESKIEWICZ America's Shrine to Music Museum

University of South Dakota

flute and recorder works (or better yet, all of the solo sonatas with continuo) in one volume, without questionable instrumental assignments or unstylish realizations of the figured bass. If two volumes are necessary to accommodate such an edition, a single preface and combined critical report would still be preferable to the present situation, in which one simply cannot use the new volume without having volume 18 close at hand. Moreover, when there is doubt as to instrumentation, as there will continue to be, it would be refreshing to see an ap- proach whereby all possible performing so- lutions are rethought and clearly presented.

MARY OLESKIEWICZ America's Shrine to Music Museum

University of South Dakota

Hector Berlioz. Benvenuto Cellini. Edited by Hugh Macdonald. (New Edition of the Complete Works, la-c.) Kassel: Birenreiter, c1994-96. [Vol. la (1994): Acte I-Premier Tableau. Index to the New Berlioz Edition, p. viii-ix; gen. pref., foreword, acknowledgments, directions for using the edition in Eng., Fr., Ger., p. x-li; score, 338 p. Vol. lb (1994): Acte I-Deuxieme Tableau. Score, p. 339-727. Vol. Ic (1996): Acte II- Troisieme Tableau, Quatrieme Tableau. Score, p. 729-1201. Cloth. Barenreiter 5441a-c. DM 940 (v. la+b); DM 560 (v. lc). Critical notes and commentary (vol. ld, Barenreiter 5441d) due for publication in 2000-2001.]

Hector Berlioz. Benvenuto Cellini. Vocal score based on the urtext of the New Berlioz Edition by Eike Wernhard and Martin Schelhaas. Kassel: Birenreiter, c1999. [Guide for using the edition in Eng., Ger., Fr., p. iii-v; table of contents (Paris and Weimar versions), p. vii-ix; ensemble, p. x-xii, vocal score, 564 p. with Eng. and Ger. libretto in pocket (92 p.). Cloth. ISMN M-006-50491-6; BA 5441a. DM 128.]

Hector Berlioz. Benvenuto Cellini. Edited by Hugh Macdonald. (New Edition of the Complete Works, la-c.) Kassel: Birenreiter, c1994-96. [Vol. la (1994): Acte I-Premier Tableau. Index to the New Berlioz Edition, p. viii-ix; gen. pref., foreword, acknowledgments, directions for using the edition in Eng., Fr., Ger., p. x-li; score, 338 p. Vol. lb (1994): Acte I-Deuxieme Tableau. Score, p. 339-727. Vol. Ic (1996): Acte II- Troisieme Tableau, Quatrieme Tableau. Score, p. 729-1201. Cloth. Barenreiter 5441a-c. DM 940 (v. la+b); DM 560 (v. lc). Critical notes and commentary (vol. ld, Barenreiter 5441d) due for publication in 2000-2001.]

Hector Berlioz. Benvenuto Cellini. Vocal score based on the urtext of the New Berlioz Edition by Eike Wernhard and Martin Schelhaas. Kassel: Birenreiter, c1999. [Guide for using the edition in Eng., Ger., Fr., p. iii-v; table of contents (Paris and Weimar versions), p. vii-ix; ensemble, p. x-xii, vocal score, 564 p. with Eng. and Ger. libretto in pocket (92 p.). Cloth. ISMN M-006-50491-6; BA 5441a. DM 128.]

Hector Berlioz's rarely performed Ben- venuto Cellini is one of the most daring and forward-looking operas of its time. The ap- pearance of the full score in the New Edition of the Complete Works (known as the New Berlioz Edition, or NBE) rounds out the publication of the composer's three operas (the two others being Les Troyens [vols. 2a-2c] and Beatrice et Benedict [vol. 3]). The edition of Benvenuto Cellini comprises four volumes, three presenting the music and a fourth (still to appear) comprising refer-

Hector Berlioz's rarely performed Ben- venuto Cellini is one of the most daring and forward-looking operas of its time. The ap- pearance of the full score in the New Edition of the Complete Works (known as the New Berlioz Edition, or NBE) rounds out the publication of the composer's three operas (the two others being Les Troyens [vols. 2a-2c] and Beatrice et Benedict [vol. 3]). The edition of Benvenuto Cellini comprises four volumes, three presenting the music and a fourth (still to appear) comprising refer-

ences to source materials, critical notes on the edition, a list of readings, dialogues proposed in 1856 for an opera comique version, and other material. Barenreiter's one-volume corresponding vocal score of Benvenuto Cellini appeared in 1999, with the English and German translations of the libretto in a separate laid-in booklet.

The division of the opera into acts, tableaux, scenes, and numbers is confusing: Berlioz composed Benvenuto Cellini in two acts (each subdivided into two tableaux),

ences to source materials, critical notes on the edition, a list of readings, dialogues proposed in 1856 for an opera comique version, and other material. Barenreiter's one-volume corresponding vocal score of Benvenuto Cellini appeared in 1999, with the English and German translations of the libretto in a separate laid-in booklet.

The division of the opera into acts, tableaux, scenes, and numbers is confusing: Berlioz composed Benvenuto Cellini in two acts (each subdivided into two tableaux),

1032 1032



Documents

Elf Sonaten für Flöte und Basso continuo, HWV 379, 359b, 360, 362, 363b, 365, 367b, 369, 374, 375, 376by Georg Friedrich Händel; Hans-Peter Schmitz; Max Schneider; Terence Best