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Source: The Musical Times and Singing Class Circular, Vol. 43, No. 713 (Jul. 1, 1902), pp. 457460
Published by: Musical Times Publications Ltd.
Stable URL: http://www.jstor.org/stable/3369667
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THE
MUSICAL TIMES.-JuLY
I,
1902.
457
458
THE
MUSICAL
TIMES.-JULY
' I would that had been the worst: for I was compelled
to discouer mine own ignorance, and confesse that I
. 'Supper being ended,
knewe nothing at all in it.' ..
and Musicke bookes, according to the custome being
brought to the table: the mistresse of the house presented
mee with a part (i.e., a separate voice-part) earnestly
requesting mee to sing. But when after manie excuses,
I protested unfeignedly that I could not:, euerie one
began to wonder. Yea, some whispered to others,
demaunding how I was brought vp: so that vpon shame
of my ignorance I go nowe to seeke out mine old friend
master Gnorimus, to make myselfe his scholler.'
This passage is a valuable allusion to homemusic of the sixteenth century. We pride ourselves in this Victorian era as being very musical,
but we clearly are still far behind our ancestors
of the Elizabethan period. It would be interesting to note, if single voice-parts of madrigals, the
music without bars, and without cues, were
handed round after a dinner-party, how many
of the guests would be compelled to 'protest
unfeignedly' that they 'could not'!
[The' Scale of Musicke which wee terme the
Gam,' as presented to Philomathes to learn at
his first lesson, and various puzzling passages in
Morley, were then explained by the Professor,
who remarks: ' No wonder that Philomathes at
last gets confused and forgets something, and
apologises to his master:--" 0 I crye you mercie,
I was like a potte with a wide mouth, that
receiueth quickly, and letteth out as quickly."']
Philomathes, having counted up the number
of notes in the scale of Hexachords, asks (very
naturally), 'Why then was your scale devised of
XX. notes and no more?' Morley evidently
does not quite know how to answer this question;
he did not dare suggest that the Guidonian
system was insufficient or inadequate, and yet he
knew quite well that all vocal composers of his
I, 1902.
proceede, A, b, c, d, e, f, g, h, i, j, k, 1, m, n, o, p,
+Ir~:
i7i-~
I, 1902.
459
460
I, 1902.
PROFESSOR
PROUT.
III.
I have now to speak in detail of the results of
the collation of the text of the oratorio, and also
of the modifications of Mozart's score which
have appeared either necessary or advisable.
The most convenient plan will be to take the
work number by number; but it will be first
needful to give the sources on which the text of
the present edition is based.
The most important of these is the photolithographed facsimile of Handel's autograph, the
original of which is in the King's Music Library
at Buckingham Palace. Of this there are two
editions: the earlier was published in 1868 by
the Sacred Harmonic Society, and the later in
1892 by the late Dr. Chrysander, as one of the
supplemental volumes issued by the German
It is the latter that I have
Handel Society.
collated for the present edition.
Next in importance and value to Handel's
own manuscript are the copies made by his
amanuensis, Christopher Smith. Foremost in
interest among these is the copy known as the
' Dublin score,' because it was that from which
Handel conducted the first performance of the
oratorio in Dublin. This copy formerly belonged
to the late Rev. Sir Frederick Ouseley, who
bequeathed it, together with the rest of his
valuable musical library, to St. Michael's College,
Tenbury. Though the greater part of this score
is in Smith's handwriting, it contains three
complete numbers in the composer's autograph;
and in most of the movements there are notes,
sometimes of great importance, added by Handel
The indications senza Ripieni and
himself.
con Ripieni, which are not found in the autograph, and which have been already spoken of,
are all taken from this score. I have to express
my best thanks to the Rev. John Hampton, the
present Warden of St. Michael's College, for the
generous manner in which he has placed this
priceless manuscript at my disposal for the
purpose of this edition.
Another valuable and most interesting MS.
score, also in the handwriting of Smith, is that
belonging to Mr. Otto Goldschmidt, who has
most kindly allowed me to collate it. This copy,