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Review
Bartlett's line on performance practice is sensible and non-didactic . . . The result is an edition that's clean and unfussy, refreshingly uncluttered by superfluous grace-notes or odd-looking demi-semiquaver ornaments . . . Bartlett's edition, however, makes it perfectly possible to reconstruct the 1742 Dublin, 1743 London, or 1750 revised Messiah, according to taste, which should afford music directors hours of innocent fun. (The Singer December 98)
The players loved the parts - clear and clean, and I loved the edition; almost everyone in the Hall (the sell-out audience of 1200+ and all the performers) had a marvellous evening . . . I know Clifford and like his work very much indeed - please convey my congratulations to him and the setters and printers, and yourselves, of course, as publishers, for doing everyone such a great favour in producing this wonderful new edition - it's the one for me!! (Colin Touchin, Director of Music, University of Warwick)
The stated purpose of the edition is to present a score in modern notation that represents what Handel wrote, doing so with the minimum of editorial interference in order to allow performers to make thier own decisions about how to interpret it . . . The result of this editorial restraint is a refreshingly uncluttererd score which can be used by experts and non-specialists alike . . . The music is clearly drawn and printed on good quality paper with no perceptible show-through. Where movements occupy more than a single page the title and number is shown in small print on each page, and the initial page number for each item in the vocal score is printed in the full score for ease of cross-referencing. (Choir & Organ Jan 99)
Such simple practical aids will save much rehearsal time: one hopes that other publishers of choral works will follow suit . . . The text is an eminently practical one, not least in the keyboard reduction which lies easily under the fingers. Rapid semiquaver runs in thirds and sixths are avoided wherever possible, yet the essentials of the orchestral texture are always present in an effective transcription for piano or organ which can be used both for rehearsals and for performances without orchestra. (Choir & Organ Jan 99)
In the succinct comentary to the full score, there is a useful guidance over rhythmic conventions and a heartening open-mindedness about the validity of a wide variety of interpretations . . . The printing and layout are examplary, and the vocal score is very competitive in price. The full score is exceptional value and is extremely practical. (Martin Neary, Early Music Review Dec 98)
Indeed the OUP version is notable for its economy. It is clear, uncluttered and as near as possible to what Handel wrote . . . All users will find the Introduction to the vocal score interesting. The choral conductor will find additional information and helpful, practical guidance in the full score . . . Mention of orchestral parts brings me to an important characteristic of the whole of this edition - clarity, and a felling of spaciousness. Players welcome this, and for the orchestral librarian of the Northern Sinfonia, the orchestra in the Huddersfield launch the parts are the clearest he has worked with in 35 years experience. . . . This is undoubtedly a quality production. If a choir is contemplating a new set of Messiah (and the scores and parts are readily compatiible with other editions) this one must be at the top of the shortlist. (Howard Layfield, Mastersinger Spring 99)
What is impressive is the breadth of information that is presented in user-friendly terms . . . This is certainly an extremely helpful and practical edition which will serve as a very useful resource for performer and scholar alike. (Early Music May 99)
. . . provides the musician with a reliable, well-edited score of a performing version, I cannot imagine this could be bettered . . . Not before have all the rich additional material and revisions been included so accessibly in a single edition . . . They also have some hugely useful suggestions for performance and information about conventions and textual history from the editor
. . . For organists/pianists who have for many years done battle with various versions of the accompaniment to Messiah . . . Timothy Morris's piano reduction will be eagerly scrutinized. This is clearly not a 'made easy' version, not a simple reduction to a skeleton of Handel's lively orchestral textures, but it is a lot more playable than commercially available adaptations hitherto . . . Publishing standards are high, clarity ideal, cost (of the vocal score at least) extremely good. In short, this is an excellent new performing score of a key choral work, edited in the light of modern performance practice influenced but not overwhelmed by the authenticity movement. A most finished piece of Musick indeed. (Organists Review May 99)
[Clifford Barlett's] new edition of Handel's Messiah. . . scores high marks for the care taken to present what Bartlett describes as a 'standard version of the work . . . The practical advantages of the full score derive mainly from the clarity of its typography, the economy of sides occupied by what elsewhere often involves a succession of irritating page turns, and a sense that the whole enterprise has been coaxed through the press with maximum care. Likewise, the vocal score is uncluttered and easy to use. (Early Music Today Aug 99)
The players loved the parts - clear and clean, and I loved the edition; almost everyone in the Hall (the sell-out audience of 1200+ and all the performers) had a marvellous evening . . . I know Clifford and like his work very much indeed - please convey my congratulations to him and the setters and printers, and yourselves, of course, as publishers, for doing everyone such a great favour in producing this wonderful new edition - it's the one for me!! (Colin Touchin, Director of Music, University of Warwick)
The stated purpose of the edition is to present a score in modern notation that represents what Handel wrote, doing so with the minimum of editorial interference in order to allow performers to make thier own decisions about how to interpret it . . . The result of this editorial restraint is a refreshingly uncluttererd score which can be used by experts and non-specialists alike . . . The music is clearly drawn and printed on good quality paper with no perceptible show-through. Where movements occupy more than a single page the title and number is shown in small print on each page, and the initial page number for each item in the vocal score is printed in the full score for ease of cross-referencing. (Choir & Organ Jan 99)
Such simple practical aids will save much rehearsal time: one hopes that other publishers of choral works will follow suit . . . The text is an eminently practical one, not least in the keyboard reduction which lies easily under the fingers. Rapid semiquaver runs in thirds and sixths are avoided wherever possible, yet the essentials of the orchestral texture are always present in an effective transcription for piano or organ which can be used both for rehearsals and for performances without orchestra. (Choir & Organ Jan 99)
In the succinct comentary to the full score, there is a useful guidance over rhythmic conventions and a heartening open-mindedness about the validity of a wide variety of interpretations . . . The printing and layout are examplary, and the vocal score is very competitive in price. The full score is exceptional value and is extremely practical. (Martin Neary, Early Music Review Dec 98)
Indeed the OUP version is notable for its economy. It is clear, uncluttered and as near as possible to what Handel wrote . . . All users will find the Introduction to the vocal score interesting. The choral conductor will find additional information and helpful, practical guidance in the full score . . . Mention of orchestral parts brings me to an important characteristic of the whole of this edition - clarity, and a felling of spaciousness. Players welcome this, and for the orchestral librarian of the Northern Sinfonia, the orchestra in the Huddersfield launch the parts are the clearest he has worked with in 35 years experience. . . . This is undoubtedly a quality production. If a choir is contemplating a new set of Messiah (and the scores and parts are readily compatiible with other editions) this one must be at the top of the shortlist. (Howard Layfield, Mastersinger Spring 99)
What is impressive is the breadth of information that is presented in user-friendly terms . . . This is certainly an extremely helpful and practical edition which will serve as a very useful resource for performer and scholar alike. (Early Music May 99)
. . . provides the musician with a reliable, well-edited score of a performing version, I cannot imagine this could be bettered . . . Not before have all the rich additional material and revisions been included so accessibly in a single edition . . . They also have some hugely useful suggestions for performance and information about conventions and textual history from the editor
. . . For organists/pianists who have for many years done battle with various versions of the accompaniment to Messiah . . . Timothy Morris's piano reduction will be eagerly scrutinized. This is clearly not a 'made easy' version, not a simple reduction to a skeleton of Handel's lively orchestral textures, but it is a lot more playable than commercially available adaptations hitherto . . . Publishing standards are high, clarity ideal, cost (of the vocal score at least) extremely good. In short, this is an excellent new performing score of a key choral work, edited in the light of modern performance practice influenced but not overwhelmed by the authenticity movement. A most finished piece of Musick indeed. (Organists Review May 99)
[Clifford Barlett's] new edition of Handel's Messiah. . . scores high marks for the care taken to present what Bartlett describes as a 'standard version of the work . . . The practical advantages of the full score derive mainly from the clarity of its typography, the economy of sides occupied by what elsewhere often involves a succession of irritating page turns, and a sense that the whole enterprise has been coaxed through the press with maximum care. Likewise, the vocal score is uncluttered and easy to use. (Early Music Today Aug 99)
Review:
4.9 out of 5
98.46% of customers are satisfied
5.0 out of 5 stars Vocal Score of Handel's Messaih
Whenever I listen to my CD of The Messiah by The Royal Philharmonic Orchestra with the Royal Choral Society conducted by Sir Malcolm Sargent (the best recording of the Messiah in my opinion), I invariably open this vocal score to follow the various parts sung by the sopranos, altos, tenors, baritones and soloists. It helps me to follow everything being sung. In addition this score indicates every Biblical passage from which the score is taken. I find it is helpful, from time to time, to read the context of these passages of scripture.
5.0 out of 5 stars Excellent, clear Messiah score
I bought this score in order to participate in a 'come and sing' Messiah. Much clearer layout and print quality than most versions, which is why I bought it. Using it for the first time in December 2014, I was very pleased with my choiuce.
5.0 out of 5 stars Hallelujah!
An excellent libretto with an appendix detailing other versions of parts of the Messiah that Handel penned over the years. Produced in paperback form, so not too heavy to take to a performance.
5.0 out of 5 stars Fantastic edition!
Fantastic edition!! Like it more than the main competitor edition. Clear and easy to read and without a German text on top of the English one.
4.0 out of 5 stars A good product promptly delivered.
It was very ideal for my needs to use to learn Messiah and then sing with a choir, the only criticism is the lack in “bar” numbers.
5.0 out of 5 stars It would be hard to find better value
I needed to study the score of the Messiah, and I wanted an 'authentic' version, i.e., not one that had been 'improved' by 19th Century editors. This one fits the bill. Although I chose a cut-price copy, the one I received was brand new. And it was delivered within 48 hours. Impressive.
5.0 out of 5 stars Handel made clear
This edition of the score is clear and well set out. It helped my interpretation and singing with the choir, enormously.
5.0 out of 5 stars Great score
I can let out my inner soprano now I have the score. Hours of fun to be had.
Messiah
Mozart thought that the music was genius. I think that Mozart is a better critic than I am.
Correcto
Llega en buen estado, lo he forrado con film adhesivo transparente por que va dando tumbos todo el año. Parece estar bien cosido para aguantar en condiciones. De momento correcto. La portada con diseño más o menos actual, nada de colores viejunos. Poco espacio para escribir bajo el texto en inglés, al cantar en valenciano voy a ir pasando la letra pero he visto otras versiones más espaciosas.
Large Size, High Quality Score
As a collaborative pianist, I really appreciate having a larger score. The pages are laid out spaciously and beautifully. I've been looking for a score like this for years. I can't wait to play from it this holiday season! It's also high quality.
Excellent purchase
Piano accompaniment a far better and more playable reduction than others scores I've seen. Vocal score size somewhat larger than typical making for much easier reading of vocal lines. Excellent purchase.
Five Stars
The score was very readable and complete adding a great deal to our enjoyment of a recent Messiah concert.
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Messiah: Classic Choral Works
BHD7508
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Product origin: United Kingdom
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