Beruflich Dokumente
Kultur Dokumente
Selected Baroque
Choral-Orchestral Works
A Conductor’s Guide to
Selected Baroque
Choral-Orchestral Works
Jonathan D. Green
Life: Böhm is now best known as a probable teacher and certain influ-
encer of J. S. Bach. He was an innovative keyboard composer who
had an affinity for variations and chorale partite. He is considered
an important developer of the latter. Böhm’s first teacher was his
father, a local schoolmaster and organist. He continued his studies
at the Latin School on Goldbach and the Gymnasium in Gotha.
Both communities had musical leaders trained by members of the
elder Bach family. He attended the University of Jena and then
moved to Hamburg. Böhm became organist of the Johanneskirche
in Lüneburg in 1697 remaining there until his death, 36 years later.
Text: The text was adapted from the Gospel of John by Christian Hein-
rich Postel (1656-1705).
1
Baselt, Bernd: “Händel und Bach: Zur Frage der Passionen,” Bericht über das
wissenschaftliche Kolloquium der 24. Handelfestspeile der DDR, 58-66. Halle:
1976.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 3
Selected Bibliography
2
Kupferberg, Herbert: Basically Bach, 37. London: Robson, 1986.
6 The Works
Principal Works: 114 sacred and 10 secular vocal works; 90 solo or-
gan compositions; 18 keyboard suites; assorted chamber music.
Notes: Kerala Snyder indicates that there is some doubt that this is the
work of Buxtehude.3
3
Kerala J. Snyder: Dieterich Buxtehude: Organist in Lübeck, 402. New York:
Schirmer Books, 1987.
8 The Works
Selected Bibliography
Text: The text is taken from “Helft mir Gottes Güte preisen” by Paul
Eber. It appeared in Geistliche Lieder Dr. Martin Luther und an-
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 9
Editions: All solch dein Güt’ wir preisen is published in a critical edi-
tion edited by Bruno Grusnick. Kassel: Bärenreiter (3197). It is al-
so available from Edition Merseburger (EM 956), edited by
Dietrich Kilian.
Notes: This work was composed for the celebration of the New Year.
Buxtehude uses a hymn tune from Michael Praetorius’s Musae
Sionae VIII, which was first published in Wolfenbüttel in 1610. It
is not the same tune as the choral at the end of Bach’s, BWV 16,
which uses the same text.
Selected Bibliography
Text: The text is Colossians 3:17, Psalm 37:4, and strophes 6 and 7
from “Aus meines Herzengrunde” by Georg Niege. The poet of the
text for the aria has not been established.
Editions: Alles, was ihr tut mit Worten oder mit Worden is published in
the critical editions, Abendmusiken und Kirchenkantaten, volume
14 of Denkmäler deutscher Tonkunst, edited by Max Seiffert, page
39. Leipzig: Breitkopf und Härtel, 1903; revised in 1957 by Hans
J. Moser. Wiesbaden: Breitkopf und Härtel, 1957. It appears in the
subsequent critical edition, Dietrich Buxtehude: The Collected
Works, edited by Kerala J. Snyder, volume 9, page 3, published by
Broude. It is also available for purchase in editions from: Kalmus
(edited by Klauss) and Carus Verlag (edited by Derek McCulloch).
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 11
Selected Bibliography
Pirro, André: Dietrich Buxtehude, 285, 353, 429, 484. Paris: Fisch-
bacher, 1913.
Kilian, Dietrich: Das Vokalwerk Dietrich Buxtehudes: Quellenstudien
zu seiner Überlieferüng und Verwendung, 17, 48, 53, 57, 59, 63, 7,
70, 75, 98, 104, 128, 143, 194, 198, 222. Free University of Berlin:
dissertation, 1956.
4
Snyder, Kerala J.: Dieterich Buxtehude: Organist in Lübeck, 205. New York:
Schirmer Books, 1987.
12 The Works
Selected Bibliography
Selected Bibliography
5
Snyder, Kerala J.: Dieterich Buxtehude: Organist in Lübeck, 334-335. New
York: Schirmer Books, 1987.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 15
Selected Bibliography
Text: The text is the sixth and seventh strophes of a poem by Erasmus
Alberus, which was published in 1556.
Notes: This work is a concertato setting of the hymn tune, Christ, der
du bist der helle Tag, a setting of the sacred poem of Erasmus Al-
berus by Cyriacus Spangenberg, which first appeared in print in
1568. The subtitle of the score suggests two violins on a part,
which is supported by the manuscript performance materials.
Selected Bibliography
Selected Bibliography
Notes: This work is composed for the services celebrating the New
Year. The subtitle of the score suggests two violins on a part,
which is supported by the manuscript performance materials.
Selected Bibliography
Text: The text is by Johann Rist (1607-1667) from Der zu seinem al-
lerheiligsten Leiden und Sterben hingeführter und an das Kreuz
gehefteter Christus Jesus, which was published in Hamburg in
1648.
Editions: Dein edles Herz, der Liebe Thron was edited by Dietrich
Kilian as part of Veröffentlichungen des Instituts für Musik-
forschung Berlin, series I, volume 37, Kantaten von Dietrich Bux-
tehude (EM 960). Berlin: Merseburg, 1959. Bruno Grusnick
produced an edition for Bärenreiter (3364). It is also published in
22 The Works
Selected Bibliography
6
Snyder, Kerala J.: Dieterich Buxtehude: Organist in Lübeck, 365. New York:
Schirmer Books, 1987.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 23
Editions: Der Herr ist mit mir is published in a critical edition, Die-
trich Buxtehude: Werke, edited by Dietrich Killian, volume 8, page
85.
Selected Bibliography
Selected Bibliography
Text: The text is the first three strophes of a poem by Jacob Ebert
(1601).
7
In the score, the vocal parts are labeled Canto 1 and 2 and Basso. Canto 2 is
consistent with a typical alto choral range.
26 The Works
Notes: Buxtehude also set this text as BuxWV 20. This cantata is based
upon the chorale tune of the same name composed by Barthol-
omäus Gesius (c. 1555-1613).
Selected Bibliography
Text: The text is by Johann Rist from Himmlische Lieder, which was
published in Lüneburg in 1642.
Performing Forces: voices: soprano, alto, tenor, and bass soloists, and
SATB choir; orchestra: 2 violins, 2 violas, violone (double bass),
and continuo.
Selected Bibliography
8
In the works list in Dieterich Buxtehude: Organist in Lübeck, page 404, Kera-
la Snyder does not list viola. A minimal part appears in the score of the Gurlitt
edition.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 29
Selected Bibliography
Editions: Eins bitte ich vom Herrn is published in the critical editions,
Abendmusiken und Kirchenkantaten, volume 14, page 15 of
Denkmäler deutscher Tonkunst, edited by Max Seiffert. Leipzig:
Breitkopf und Härtel, 1903; revised in 1957 by Hans J. Moser. An-
other critical edition has been produced by Søren Sørenson with
German and Danish text underlays. It is published by Wilhelm
Hansen.
Selected Bibliography
Notes: This cantata incorporates the anonymous hymn tune Erhalt uns,
Herr, bei deinem Wort (1543). This tune and text also serve as the
foundation for J. S. Bach’s cantata of the same name, BWV 126.
Selected Bibliography
9
Both of these parts are navigable on viola.
34 The Works
Selected Bibliography
Text: The text is Psalm 47:6-7. Johann Rist is the author of poem in the
aria. It is from Himmlische Lieder published in Lüneburg in 1642.
Notes: This work incorporates the anonymous hymn tune, Nun freut
euch lieben Christen g’mein (1535). Buxtehude also used this tune
in BuxWV 32, 210, and 211. J. S. Bach used this same hymn tune
in BWV 70 and 248.
Selected Bibliography
Text: The text includes Psalm 69:2-3, Isaiah 43:1-3, Psalm 130:7-8, the
chorale “Wer hofft in Gott” by Lazarus Spengler from 1524. The
authors of the two additional texts, “Ach ja mein Gott” and the
fifth strophe of “Durch Adams Fall,” are not known.
Notes: This cantata incorporates the hymn tune, Durch Adams Fall ist
ganz verderbt, which Buxtehude uses as the basis of his organ
work of that name, BuxWV 183. The tune had been a secular song
about the battle of Pavia and was soon adapted to sacred use, ap-
pearing in Klug’s Geistliches Lieder in 1529. J. S. Bach used this
tune in BWV 18 and 109.
Selected Bibliography
Stahl, Wilhelm: Dietrich Buxtehude, second edition, 45, 47, 49, 51.
Kassel: Bärenreiter, 1952.
Kilian, Dietrich: Das Vokalwerk Dietrich Buxtehudes: Quellenstudien
zu seiner Überlieferüng und Verwendung, 190, 222. Free Universi-
ty of Berlin: dissertation, 1956.
Sørenson, Søren: Diderich Buxtehudes vokale kirkenmusik: Studier til
den evangeliske kirkekantates udviklingshistorie, 34, 83, 86, 91,
172, 180, 187, 313. Copenhagen: Ejnar Munksgaard, 1958.
Geck, Martin: Die Vokalmusik Dietrich Buxtehudes und der frühe Pie-
tismus, 31, 45, 52, 57, 191. Kassel: Bärenreiter, 1965.
Karstädt, Georg: Thematisch-systematisches Verzeichnis der musikali-
schen Werke von Dietrich Buxtehude: Buxtehude-Werke-Ver-
zeichnis, 32-34. Wiesbaden: Breitkopf und Härtel, 1974.
Snyder, Kerala J.: Dieterich Buxtehude: Organist in Lübeck, 139, 141,
143, 201-202, 364, 383. New York: Schirmer Books, 1987.
38 The Works
Text: The text is taken from Then Swenska Psalm Boken, which was
published in Stockholm in 1697.
Notes: Buxtehude incorporates the hymn tune, Ach Herr, wie lang
willst du jetzt.
Selected Bibliography
Notes: This verse cantata uses the anonymous hymn tune, Herzlich
lieb, hab ich dich o Herr, which is attributed to Bernard Schmid
and appears in Orgeltablatur-Buch, Stassburg (1577). The tune re-
ceives a different treatment in each verse, demonstrating Buxtehu-
de’s inventive talents to great effect. J. S. Bach used this tune in
BWV 19, 149, 174, and 245.
40 The Works
Selected Bibliography
Text: The text is Philippians 1:23 and “Spann aus, ach frommer Gott,”
by Michael Walther from Neu-erfundene Geistliche Wasser-
Quelle, published in Franfurt in 1658.
Notes: BuxWV 46 and 47 are two versions of the same work of which
the former is the more elaborate.
Selected Bibliography
Editions: Ihr lieben Christen freut euch nun is published in the critical
editions, Abendmusiken und Kirchenkantaten, volume 14, page
104, of Denkmäler deutscher Tonkunst, edited by Max Seiffert.
Leipzig: Breitkopf und Härtel, 1903; revised in 1957 by Hans J.
Moser. Wiesbaden: Breitkopf und Härtel, 1957. It appears in a
subsequent scholarly edition prepared by Bruno and Barbara
Grusnick published in Neuhausen-Stuttgart by Hännsler, 1979. It is
also available for purchase in editions from: Kalmus and Carus.
Notes: This work utilizes the hymn tune Nun laßt uns den Leib begra-
ben, which was composed by George Rhau (1488-1548) and was
first published in 1544. It is the basis of Bach’s chorale prelude for
organ, BWV 1111.
10
These are labeled “Zinken,” which is the German name for the cornetto. It is
a short, wide-bored instrument often made of wood or ivory that has finger
holes and a cup-shaped mouthpiece. It has a bright, trumpet like quality. Carse,
Adam: Musical Wind Instruments, 44. New York: Da Capo Press, 1965.
44 The Works
Selected Bibliography
Text: The text is a traditional Christmas song from the late Middle Ag-
es.
Selected Bibliography
Text: The text is Gospel of St. Matthew 22:17 and 21 and a poem,
“Meister, ist es recht,” by an unidentified author.
Notes: The score is organized into three movements, which are labeled
for choir in movements I and III and trio in Movement II. The writ-
ing in the middle movement is stylistically consistent with the cho-
ruses and would be entirely appropriate as an ATB choral passage,
or it could be done by a semi-choir or soloists. The parts are vocal-
ly easy and well within the abilities of choristers.
Selected Bibliography
Text: The text is Ecclesiasticus 3:20 and the poem “Liebstes Kind,”
which is by an unknown author.
Selected Bibliography
Notes: Buxtehude also set this text for two sopranos using different
melodic material, BuxWV 56. The piece is a very attractive single-
movement chaconne on a three-bar ground bass.
50 The Works
Selected Bibliography
Selected Bibliography
hymn tune. The string and bassoon parts include some florid pas-
sagework and could effectively be all solo players. The ensemble
vocal sections are most effectively choral passages given the cho-
ral nature of the vocal writing. Soloists: soprano I - range: d’-g’’,
tessitura: e’-e’’, this is a brief solo with florid melismas; soprano II
- range: d#’-g’’, tessitura: e’-e’’, this is a lyric solo with some flor-
id writing; bass - range: D-d’, tessitura: E-g, this is a declamatory
solo with wide melodic leaps for a true bass; Choir: easy; Orches-
tra: easy.
Selected Bibliography
Performing Forces: voices: bass soloists and SAT choir or trio; or-
chestra: strings and continuo.
Notes: This work was composed as a memorial for the wife of Mauri-
tius Rachelius (author of the poem), a minister whose son had lived
with Buxtehude at one time, perhaps as a student. It is one of the
few compositions of Buxtehude to be published during his lifetime.
The form is a strophic dialog between the soul (trio) and Christ
(bass soloist). 11
11
Sørenson, Søren: “Foreward” to Jesu meines Lebens Leben, 5. Copenhagen:
Wilhelm Hansen, 1977.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 55
Selected Bibliography
Text: The text is strophe 1-4 and 8 by Ernst Christian Homburg from
Geistlicher Lieder erste Theile, which was published in Jena in
1659 with a melody for two voices by Wernero Fabricio.
Selected Bibliography
Selected Bibliography
Selected Bibliography
Notes: The text is presented in five strophes that include varied musical
material that is bound together by an instrumental ritornello.
Selected Bibliography
Selected Bibliography
Notes: The text refers to various musical instruments, and the accom-
panying instruments change to reflect the textual references.
Therefore the winds appear in only nine consecutive measures
when the text states “Dulcians [baroque bassoons] and Flutes
sound,” and the brass appear in six measures when the text states
“Trombones and Trumpets echo.” The remainder of the work is
accompanied by strings.
Performance Issues: There are connecting passages for one voice part
that appear intended for soloists. The cantata is in one movement
with changes in orchestration by section of the work. The density
of orchestration throughout suggests the use of choir for all three-
part vocal sections, and a good argument could be made for the use
of sections for some of the “solo” passages as well. Soloists: so-
prano - range: g’-g’’, tessitura: g’-e’’, this is a simple declamatory
64 The Works
solo; alto - range: g-a’, tessitura: b-g’, this is a lyrical solo with ex-
tended melismas; bass - range: B-c’, tessitura: c-c’, this is a lyrical
part with extended melismas; Choir: medium easy; Orchestra:
medium easy.
Selected Bibliography
Selected Bibliography
Text: The text, Salve mundi salutare, is also called the Rhythmica ora-
tio of St. Bernard. It is believed to be the work of Arnulf de Leu-
ven, but has also been attributed to Bernard de Clairvaux, but he
died two centuries before the earliest surviving copies were pro-
duced. The text is divided into seven parts, each addressed to a dif-
ferent part of Christ’s crucified body: feet, knees, hands, side,
chest, heart, and head. In Buxtehude’s setting each canto of the po-
em is interpolated with a passage of scripture as follows:
Unlike the other sections, Canto six is scored for 2 sopranos and bass, 5
“violas,” which can be realized by 3 violas (or 1 violin and 2 vio-
las) and 2 violas da gamba, and continuo.
12
The score includes a “complemento” part that completes the harmony and
could be played by violin or viola.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 67
Selected Bibliography
Text: The text is Romans 8:9 and the poem, “Wie sollte wohl heißen
das zeitliche Leiden” the authorship of which is undetermined.
13
The score labels the part as “bassetto,” or little bass. This implies a baritone.
The range A-f’.
70 The Works
Selected Bibliography
Notes: This work incorporates the anonymous hymn tune Vater unser
im Himmelreich, which Martin Luther adapted as a setting of the
Lord’s Prayer (1539). Buxtehude also used this tune in the organ
14
These parts correspond to modern viola.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 71
work Nimm von uns, Herr, BuxWV 207. J. S. Bach used this tune
in BWV 243 and 248.
Selected Bibliography
Text: The text is by Ludwig Helmhold (1575). The work also has a
Swedish text underlay as “Nu låt oss Gudh wår Herra tacka.”
Editions: Nun laßt uns Gott dem Herren is published in a critical edi-
tion, Dietrich Buxtehude: Werke, edited by Dietrich Killian, vol-
ume 8, page 9. It is also available from Edition Merseburger,
edited by Dietrich Kilian.
Notes: This work uses the hymn tune, Nun laßt uns Gott dem Herren
(1587) by Niklaus Selnecker (1532-1592). J. S. Bach used this
hymn tune in BWV 79, 165, and 194.
Selected Bibliography
First Performance: This work may have been composed for the entry
of the newly married King Charles of Sweden and Ulika Eleanor,
Princess of Denmark, into Stockholm in November 1680; or it may
have been intended for Easter of that year, 11 April.16
15
Playable on modern viola.
16
“Editorial Commentary,” Dietrich Buxtehude: The Collected Works, edited
by Kerala J. Snyder, volume 9, page 289. New York: Broude, 1987.
74 The Works
Notes: Buxtehude also set this text for solo soprano using different
melodic material in BuxWV 84.
Selected Bibliography
Text: The chorale text by Nikolaus Boie17 (1541). The aria, “Gottes
reiche Segenwolke” is anonymous.
Notes: The chorale tune O Gott, wir danken deiner Güt’ first appears in
Gesangbüchlein, which was published in Augsburg in 1557. The
work provides an ideal opportunity for an inexperienced church
choir to present a multi-sectioned work with instruments. It is or-
ganized as follows:
1. Sinfonia
2. Chorus (concerted)
17
Spelled Nicholas Boye in some sources.
18
The Sørenson edition has cello, but violone appears in some references. Al-
though the addition of the lower octave would be welcome in the continuo
group, it is clear that the part is intended at pitch in the Sinfonia.
76 The Works
Selected Bibliography
Performance Issues: The score was probably intended for four solo-
ists, but the writing invites a choral treatment with some extended
passages for alto soloist, described below. The choral writing al-
ternates passages that are homophonic and in close imitation.
There are some florid melismatic passages and a brief fughetta in
the final verse for the singers that are not directly supported by the
accompaniment. The violone part doubles the continuo part when
it plays, but this is intermittently, presumably indicating the com-
poser’s wish to add the lower octave when it is present. Use of an
8’ instrument for the continuo part will guarantee this distinction.
Soloist: alto - range: g-c’’, tessitura: b-b’, this is a lyric solo with
some florid passagework; Choir: medium difficult; Orchestra:
medium easy.
19
Jeffers, Ron: Translations and Annotations of Choral Repertoire, Volume I:
Sacred Latin Texts, 213-214. Corvallis, OR: Earthsongs, 1988.
20
Labeled as violetta.
78 The Works
Selected Bibliography
Selected Bibliography
Selected Bibliography
21
Snyder, Kerala J.: Dieterich Buxtehude: Organist in Lübeck, 205. New York:
Schirmer Books, 1987.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 81
Performance Issues: This work is suitable for solo trio or choir. Only
the bass part has any extended solo passages. These are really
voiced for tenor. The tutti material includes a B in the bass part,
but the range and tessitura throughout correspond to modern tenor
parts. The choral material is contrapuntally varied and rhythmical-
ly independent. The string writing is contrapuntally independent,
but idiomatic. Soloist: bass - range: d-g’, tessitura: f-f’, this is a
tenor part with some florid coloratura; Choir: medium easy; Or-
chestra: medium easy.
Selected Bibliography
Geck, Martin: Die Vokalmusik Dietrich Buxtehudes und der frühe Pie-
tismus, 25, 53, 57, 199. Kassel: Bärenreiter, 1965.
Karstädt, Georg: Thematisch-systematisches Verzeichnis der musikali-
schen Werke von Dietrich Buxtehude: Buxtehude-Werke-Ver-
zeichnis, 94-95. Wiesbaden: Breitkopf und Härtel, 1974.
Snyder, Kerala J.: Dieterich Buxtehude: Organist in Lübeck, 142, 148,
177, 182, 333, 335, 357. New York: Schirmer Books, 1987.
Editions: Wachet auf, ruft uns die Stimme is published in a critical edi-
tion, Dietrich Buxtehude: Werke, edited by Wilibald Gurlitt, vol-
ume 6, page 60. It is also available from Kalmus, edited by
Traugott Fedtke; Concordia, with the English text, “Wake, Awake,
for night is flying,” edited by Thomas; Hännsler and Carus also
publish editions of this work.
Notes: This work uses the hymn tune Wachet auf, ruft uns die Stimme
(1599) by Philipp Nicolai. Buxtehude also set this text for alto,
tenor, and bass using different melodic material in BuxWV 101.
This tune is also used in J. S. Bach’s cantata of the same name,
BWV 140.
22
Violin 4 is scored for viola or violin.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 83
Selected Bibliography
Editions: Wachet auf, ruft uns die Stimme is published in a critical edi-
tion, Dietrich Buxtehude: Werke, edited by Hilmar Trede, volume
7, page 100. It is also found in Abendmusiken und Kirchenkan-
taten, volume 14, of Denkmäler deutscher Tonkunst, edited by
Max Seiffert. Leipzig: Breitkopf und Härtel, 1903; revised by Hans
J. Moser. Wiesbaden: Breitkopf und Härtel, 1957. Another edition,
edited by Fedtke is published by Bärenreiter (1734).
84 The Works
Notes: Buxtehude set this hymn text to original music in this cantata.
He also set this text for 2 sopranos and bass using Nicolai’s hymn
tune in BuxWV 100.
Performance Issues: This work is well suited for use with a solo vocal
trio, or alternation between choral and solo singing. The vocal
parts are sometimes directly doubled by the accompaniment and at
other times melodically independent, although there is always clear
harmonic support for the voices. The entire work is sung by choir,
but the section beginning “Zion hört die wächter singen” lends it-
self particularly well to an alto-tenor duet followed by a bass solo
with the choir reëntering with the “Gloria.” The following solo
ranges are addressing this section only. The instrumental parts are
idiomatic and well within the abilities of most amateur players. So-
loists: alto - range: b-b’, tessitura: c’-g’, this is a simple melismatic
solo appropriate for a chorister; tenor - range: g-f#’, tessitura: g-d’,
this is a simple melismatic solo appropriate for a chorister; bass -
range: G-d’, tessitura: c-c’, this is a simple melismatic solo appro-
priate for a chorister; Choir: medium easy; Orchestra: easy.
Selected Bibliography
Editions: Wär Gott nicht mit uns diese Zeit is published in a critical
edition, Dietrich Buxtehude: Werke, edited by Dietrich Killian,
volume 8, page 22. It is also available from Edition Merseburger,
edited by Dietrich Kilian.
Notes: This work incorporates the hymn tune Wär Gott nicht mit uns
diese Zeit, which may be by Johann Walter (1496-1570). It first
appears in Gesangbuch, Wittenberg (1537). This tune was used by
J. S. Bach in BWV 14.
Selected Bibliography
Selected Bibliography
Text: The text is by Balthasar Kindermann from Das Buch der Red-
lichen, which was published in Küstrin in 1664.
Editions: Was frag’ ich nach der Welt is published in a critical edition,
Dietrich Buxtehude: Werke, edited by Wilibald Gurlitt, volume 7,
page 29. It is also available from Hännsler, edited by Trubel; and
Concordia, edited by Wunderlich.
88 The Works
Selected Bibliography
Selected Bibliography
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Notes: This work uses the anonymous hymn tune, Auf meinen lieben
Gott (1609), which Buxtehude also utilized as the foundation for
94 The Works
the organ work of that title, BuxWV 179. The tune is based upon a
secular song that is found in Kurtzweilige Teutsche Lieder, Nürn-
berg, 1576. It also uses the hymn tune, Herr Jesu Christ, du höch-
stes Gut (1588), by Bartholomäus Ringwaldt (c. 1532-1599),
which Buxtehude uses in the organ work of that title, BuxWV193.
J. S. Bach incorporates that tune into his cantata, Aus Tiefen rufe
ich, zu dir, BWV 131.
Selected Bibliography
Geck, Martin: Die Vokalmusik Dietrich Buxtehudes und der frühe Pie-
tismus, 21, 30, 32, 45, 58, 138, 207. Kassel: Bärenreiter, 1965.
Karstädt, Georg: Der Lübecker Kantatenband Dietrich Buxtehudes: Ein
Studie über die Tablatur Mus. A 373; 17, 20, 23, 26, 48, 77, and
79. Lübeck: Max Schmidt-Römhild, 1971.
__________: Thematisch-systematisches Verzeichnis der musikali-
schen Werke von Dietrich Buxtehude: Buxtehude-Werke-Ver-
zeichnis, 107-108. Wiesbaden: Breitkopf und Härtel, 1974.
Snyder, Kerala J.: “Critical Apparatus,” for Dietrich Buxtehude: The
Collected Works, volume 9, 293-297. New York: Broude, 1987.
__________: Dieterich Buxtehude: Organist in Lübeck, 147, 196, 198,
201, 304, 323-324, 339, 365. New York: Schirmer Books, 1987.
First Performance: This work was composed for the second day of
Christmas (26 December) 1683.
23
The modern equivalent is bassoon.
96 The Works
Notes: This work has a brief introductory sonata for the instrumental
groups followed by a multi-sectioned concerted choral portion. It is
an orchestrational tour de force that is very effective as a celebrato-
ry work.
Selected Bibliography
Notes: This work was written for the wedding of Henricus Kirchrink
and Agneta von Stiten.
Selected Bibliography
teachers — Unknown
students — Vincenzo Albrici, Antonio Cesti, Marc-Antoine Char-
pentier, Giuseppe Corso, Johann Kaspar Kerll, Giovanni Battista
Mocchi
Editions: There are two scholarly editions of Jephte: one from Novel-
lo, edited by Janet Beat, 1974; and another from Ricordi, edited by
Adelchi Amisano, Milan, 1977.
Notes: This work was praised by the theorist Athanasius Kircher in his
Musurgia universalis in 1650.
Selected Bibliography
Notes: There are movements in which the soloists are assigned a char-
acter’s name, but they may appear at other times without the same
attribution.
Selected Bibliography
Text: The text is the Latin ordinary of the Roman Catholic Mass.
104 The Works
Performance Issues: There are passages labeled seul (solo) and tous
(tutti) for all of the voice and string parts. The score indicates 2 dif-
ferent solo quintets, but the work can be performed with a single
quintet and choir. The review treats these parts as a single quintet.
The vocal writing combines pervasive imitation with homophonic
passages. All of the choral material is directly doubled by the in-
struments and is not vocally demanding. The instrumental writing
is not technically challenging and can be performed by intermedi-
ate-level players. Soloists: dessus I (soprano) - range: a’-a’’, tessi-
tura: b’-g’’, this is a simple lyric solo appropriate for a chorister;
dessus II (soprano) - range: a’-a’’, tessitura: b’-g’’, this is a simple
lyric solo appropriate for a chorister; haute-contre (alto) - range: a-
a’, tessitura: d’-a’’, this is a simple declamatory solo appropriate
for a chorister; taille (tenor) - range: a-g’, tessitura: a-d’, this is a
simple declamatory solo appropriate for a chorister; bass - range:
A-d’, tessitura: d-d’, this is a simple declamatory solo appropriate
for a chorister; Choir: medium easy; Orchestra: medium easy.
24
Montaignier, Jean-Paul: “Preface” Charpentier: Messe de Minuit à 4 voix
flutes et violon pour Noël. London: Ernst Eulenberg, 1996.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 105
Selected Bibliography
Text: The text is from the Roman Catholic Liturgy of the Mass for the
Dead.
Performance Issues: The score includes solo and tutti passages for all
voices and strings. The choral writing includes significant perva-
sive imitation, but all of the material is vocally conservative, and
there is colla parte doubling of all of the choral material by the in-
106 The Works
Selected Bibliography
25
Jeffers, Ron: Translations and Annotations of Choral Repertoire, Volume I:
Sacred Latin Texts, 218. Corvallis, OR: Earthsongs, 1988.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 107
Performance Issues: The voices and strings have indications for solo
and tutti playing throughout the work. The choirs divide with the
orchestras, and the ensembles should be arranged to take advantage
of this musical separation. Much of the choral material is doubled
by the instruments, but there are passages assigned either to the
complement of soloists or choir I that are quite florid and only
supported by continuo. Likewise, the solo material, which is at
times quite florid, is often presented with sustained chordal ac-
companiment à la recitative. The instrumental writing is practical
and idiomatic throughout. The instrumental material is accessible
to most intermediate-level players. The two oboe parts may present
some endurance challenges in a few movements. Soloists: soprano
I - range: f#’-a’’, tessitura: a’-g’’, this is a sustained, lyric solo with
some florid melismatic passagework; soprano II - range: d’-g’’,
tessitura: a’-g’’, this is a lyric solo with some florid melismatic
passagework; alto I - range: g-bb’, tessitura: a-g’, this is a sus-
tained solo with some melismatic writing; alto II - range: c’-a’, tes-
situra: c’-g’, this is a sustained solo with some melismatic writing;
tenor I - range: f#-g’, tessitura: g-d’, this is a lyric solo with some
florid melismatic passagework; tenor II - range: f-g’, tessitura: g-
d’, this is a lyric solo with some florid melismatic passagework;
bass I - range: G-d’, tessitura: c-c’, this is a lyric solo; bass II -
26
Some references include trumpet and timpani, probably conflating the infor-
mation with H. 146.
108 The Works
range: A-d’, tessitura: c-c’, this is a sustained solo with some mel-
ismatic writing; Choir: medium easy; Orchestra: medium easy.
Selected Bibliography
27
Jeffers, Ron: Translations and Annotations of Choral Repertoire, Volume I:
Sacred Latin Texts, 218. Corvallis, OR: Earthsongs, 1988.
28
The score includes the label, “Timbales et Basse de Trompette.” This is only
a timpani part. The composer is indicating the role of the timpani as the bass
companion to the trumpet parts.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 109
Performance Issues: There are passages labeled solo and tutti for all
voices and strings. The choral material is well doubled by the in-
struments. It is vocally conservative, leaving the more challenging
vocal material for the soloists, but this is also not technically de-
manding. The instrumental writing is practical and within the abili-
ties of most payers. The trumpet part is unison throughout.
Charpentier may have wanted the sonority of two players, but it is
also likely that he recognized the need for the part to be shared be-
tween two players. The tessitura is high, and the part is quite per-
sistent. It requires a player with significant stamina. Soloists:
dessus (soprano) I - range: f#’-a’’, tessitura: a’-d’’, this is a simple
solo; dessus (soprano) II - range: e’-d’’, tessitura: a’-d’’, this is a
simple solo; haute-contre (alto) I - range: b-a’, tessitura: d’-a’, this
is a simple lyric solo; haute-contre (alto) II - range: b-b’, tessitura:
d’-a’, this is a lyric solo with some florid ornaments; taille (tenor) I
- range: f#-e’, tessitura: a-d’, this is a simple lyric solo; taille (ten-
or) II - range: g-f#’, tessitura: a-f#’, this is a lyric solo with some
florid ornaments; bass I - range: B-e’, tessitura: d-d’, this is a sim-
ple declamatory solo; bass II - range: G-d’, tessitura: d-d’, this is a
lyric baritone solo; Choir: medium easy; Orchestra: medium easy
(except for trumpet).
Selected Bibliography
29
Cessac, Catherine: Marc-Antoine Charpentier. Paris: Librairie Artème Fay-
ard, 1988. Translated into English by C. Thomas Glasow, 246. Portland, OR:
Amadeus Press, 1995.
30
Montaignier, Jean-Paul: “Preface” to Charpentier: Te Deum. London: Ernst
Eulenberg, 1996.
110 The Works
Text: The text is drawn from the Bible, particularly, I Kings 3:1-28;
and Psalm 117.
Notes: This work was composed to serve as a motet for the “Red
Mass,” an event celebrating the convening of the French Parlia-
ment during the reign of Louis XIV. The soloists include two nar-
rators, Solomon, and the true and false mothers who each claim a
baby as her own.
Selected Bibliography
ment that appear incongruous with other movements for the same
solo role. On occasion, modern conductors must reconcile these
incongruities when assigning solos.
Performing Forces:
HWV 46a voices: 2 soprano, alto, and tenor soloists; SATB choir;
orchestra: 2 oboes, 2 trumpets, solo organ, strings, and continuo.
HWV 46b voices: 2 soprano, alto, and tenor soloists; SATB choir;
orchestra: 2 oboes, 2 trumpets, solo organ, strings, and continuo.
Selected Bibliography
Text: The text is the story of the Passion of Christ written for Lutheran
use by Barthold Heinrich Brockes and first published in 1712.
31
David Daniels states that by combining roles this work can be performed
with SATTBB soloists, in Orchestral Music: A Handbook, fourth edition, 162.
Lanham, MD: Scarecrow Press, 2005.
32
Bernd Baselt indicates 3 April 1719 in the Domkirche in Hamburg in Ver-
zeichnis der Werke Georg Friedrich Händels: Kleine Ausgabe, 74. Leipzig:
VEB Deutscher Verlag für Musik, 1986. Anthony Hicks indicates the possibil-
ity of a 1716 performance in his “Works List” in the New Grove.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 119
Notes: This work was originally entitled, Der für die Sünde der Welt
gemartete und sterbende Jesus. It provides a fascinating opportuni-
ty to hear Handel’s German Lutheran musical heritage that was
quickly eclipsed by the cosmopolitan style he developed through
his work with Italian opera. Telemann also produced a setting of
this text, and J. S. Bach incorporated some passages from Brocke’s
text in his St. John Passion, BWV 245.
Selected Bibliography
Text: The text was composed by John Gay and others based upon Ov-
id’s Metamorphoses, XIII.
33
Sopranino recorder.
34
Handel incorporated some music from his earlier Italian setting of the story
Aci, Galatea e Polifemo, Serenata a Tre, HWV 72 in his setting of the Dryden
text in 1718. That composition of 1708 is scored for three soloists and an or-
chestra. This earlier serenade should not be confused with the three-act Italian
adaptation of the 1718 composition using text by Nicola Giuvo and cataloged
as HWV 49b.
122 The Works
Performance Issues: The tessitura of the first tenor part is very high.
The choral parts are well supported by the accompaniment. There
are solo passages within the choir, and the choral writing is vocally
demanding. The score can easily be realized with single instru-
ments and solo singers on the choral parts. The preface to the Hal-
lische Händel-Ausgabe suggests that this was apparently the
practice of the first performance. The editor also recommends the
use of piccolo/sopranino recorder in place of the flute in movement
12. There are extended florid passages for the violins in unison.
This also occurs with the oboes, which requires consistently strong
players to maintain good ensemble. There are alternate orchestra-
tions of 9.a., which includes a carillon and viola. If this version
were to be used, the use of solo parts within the choral and orches-
tral ensemble would be less effective. Soloists: Galatea (soprano)-
range: d’-g’’, tessitura: f’-f’’, this is a lyric role with a fair amount
of coloratura passagework; Acis (tenor) - range: d-a’, tessitura: g-
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 123
g’, this is a lyric role with coloratura writing and long sustained
passages; Damon (tenor) - range: f-a’, tessitura: g-g’, this is a lyric
role that is less demanding than Acis; Polypheme (bass) - range: F-
f’, tessitura: Bb-d’, this is a powerful coloratura bass role portray-
ing a giant; Choir: difficult; Orchestra: medium difficult.
Selected Bibliography
Text: The text was written by Alexander Pope and John Arbuthnot
based upon Thomas Brereton’s translation of Racine’s Esther of
1689. Additional text was provided by Samuel Humphreys for the
1732 revision.
35
Baselt, Bernd: Verzeichnis der Werke Georg Friedrich Händels: Kleine Aus-
gabe, 76. Leipzig: VEB Deutscher Verlag für Musik, 1986.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 125
Notes: Nine numbers from the first version of Esther were borrowed
from Handel’s Brockes Passion (qv). It is believed to have been
composed for James Brydges, Duke of Chandos, but clear docu-
mentation has not been found to confirm this.
or) - range: f-a’, tessitura: g-g’, this is a lyric role with sustained
singing at the top of the indicated range; 2nd Israelite (tenor) -
range: f-a’, tessitura: a-f’, this is a lyric and sustained role; Habdo-
nah (tenor) - range: bb-f’, tessitura: bb-f’, this is a very brief and
simple part best assigned to a chorister; Officer (tenor) - range: c’-
g’, tessitura: c’-g’, this is a very brief and simple part best assigned
to a chorister; Haman (bass)- range: Ab-e’, tessitura: c-c’, this is a
declamatory role for a powerful voice; Choir: medium difficult;
Orchestra: medium difficult.
Selected Bibliography
36
This is listed as 86 minutes in some sources, which is incorrect.
37
The use of a lute in the continuo group is advised if possible.
128 The Works
38
The score indicates that this role may be sung by an alto or tenor. An alto was
used in the premiere.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 129
Selected Bibliography
The title character, Athalia, is the Queen of Judah, who upon the
death of her son the king, Ahaziah, slaughters the remaining royal
family to remain in power; Joas, Ahaziah’s son survives, hidden
from his grandmother by his aunt, Josabeth; Joad is a high priest
and husband of Josabeth; Mathan, a former Jewish priest is now a
priest of Baal; and Abner is captain of the Jewish forces. Joad or-
der has Joas declared King and has Athalia slain. Mathan is also
slain before the altars as the Jewish soldiers destroy the altars of
Baal and reclaim the temple.
Selected Bibliography
39
In the alternate version only.
132 The Works
40
The Witch of Endor is listed as a tenor role, but appears in soprano range in
the score.
41
This was a keyboard instrument for which a chime stop on the organ or ce-
leste may be used. The size of the orchestra may make a celeste difficult to
balance. The range goes beyond typical glockenspiels. In the right setting a
handbell choir could be effectively added to the score.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 133
Notes: This is the first of Handel’s four collaborations with the libret-
tist Charles Jennens: Saul; L’Allegro, HWV 55; Messiah, HWV
56; and Belshazzar’s, HWV 61. It is noteworthy that only 4 of the
30 arias are in da capo form. This is one of the largest orchestra-
tions of the era.
ate for a chorister; High Priest (tenor) - range: d-g’, tessitura: f-e’,
this is a simple declamatory role; Saul (bass) - range: Bb-e’, tessitu-
ra: d-d’, this is a powerful and declamatory role with some colora-
tura writing; Doeg (bass) - range: f-d’, tessitura: f-d’, this is a brief
and simple solo appropriate for a chorister; Apparition of Samuel
(bass) - range: Bb-d’, tessitura: d-d’, this is a simple solo appropri-
ate for a chorister; Abiathar (bass) - range: Bb-eb’, tessitura: eb-eb’,
this character appears in the personnel list, but is not specifically
identified in the score, there is a trio in the first scene for which
this part must be the bass, it is a simple lyric part; Choir: difficult;
Orchestra: difficult.
Selected Bibliography
Text: The text is taken from the Book of Exodus, chapter 15 from the
Old Testament and the Psalter in the Book of Common Prayer.
42
David Daniels indicates that the Bärenreiter edition includes 2 flute in Or-
chestral Music: A Handbook, fourth edition, 161. Lanham, MD: Scarecrow
Press, 2005.
136 The Works
Selected Bibliography
Jennens provided original text for part III, “Il Moderato,” which
was omitted in later performances.
43
The Oxford Companion to English Literature, fifth edition, edited by Marga-
ret Drabble, 492 and 544. Oxford: Oxford University Press, 1985.
138 The Works
44
There are 3 violin parts and 2 viola parts; likewise, the critical edition allows
for the use of 2 obbligato bassoons or cellos in certain movements. There is an
independent bassoon part in some movements, which is not indicated in the
instrumentation list of the score.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 139
Selected Bibliography
Text: The text was compiled from the Bible and the Psalter in the Book
of Common Prayer by Charles Jennens.
45
This version was premiered in Vienna in March 1789. It is catalogued as K.
572 and can be found in the Neue Mozart Ausgabe, series 10, work group 28,
part 1, volume 2. Mozart used the music of Handel’s fugal chorus, “And with
his stripes,” as the first theme of the double-fugue opening movement of the
Requiem.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 141
work, the role seems best suited for a bass baritone with the excep-
tion of “Behold, I tell you a mystery” and “The trumpet shall
sound,” which are ideal for a lyric baritone; Choir: medium diffi-
cult; Orchestra: medium difficult.
Selected Bibliography
46
Recordings range from 159 to 215 minutes.
47
A number of the solo roles are not listed in many sources, but those reviewed
have independent arias.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 145
Notes: The score was composed in September and October of 1741 and
revised in 1742. A new aria was added in 1745 and another, from
the Occasional Oratorio, in 1754. The score identifies choruses of
Philistines and Israelites. These designations are made in the libret-
to, but not the score. If two ensembles are used they should be
physically divided.
Selected Bibliography
Smith, William C.: “Samson: The Earliest Editions and Handel’s Use
of the Dead March, Musical Times (August 1938), 581-584.
Myers, Robert Manson: Handel, Dryden, and Milton. London: Bowes
and Bowes, 1956.
Dean, Winton: Handel’s Dramatic Oratorios and Masques, 326-364.
London: Oxford University Press, 1959.
Young, Percy M.: The Oratorios of Handel, 117-128. London: Dennis
Dobson, 1959.
Stahura, Mark: “The Publishing Copy Text of Handel’s Samson,”
Journal of Musicology, volume 4 (1985-1986), 207-216.
Burrows, Donald: “Handel and English Recitative,” Symposien-Bericht
Karlsruhe (1998-2000), 209-229.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 147
Text: The text is by William Congreve’s libretto for the opera by John
Eccles based upon Ovid’s Metamorphoses, book III, which was
completed in 1707, but never produced.48 To adapt the text for an
oratorio, Handel used additional passages from Alexander Pope’s
“Summer: The Second Pastorale.”
Notes: This work was composed between 3 June and 4 July 1743. Six
arias, some in Italian, were added for a second set of performances
given in December 1744.
48
Lincoln, Stoddard: “The First Setting of Congreve’s Semele,” Music and
Letters, volume 44, number 2 (April 1963), 104.
148 The Works
more difficult for the choir than it actually is. Much of the choral
material is homophonic and syllabic. A larger choir is appropriate
to balance the declamatory choral passages with a fairly thick or-
chestration. The orchestral writing is quite virtuosic, with consid-
erable rapid passagework for all winds and strings. There are some
exposed cello solos. The violin parts in particular will require
strong players to maintain tempi. This is a work that features the
soloists with the choir providing dramatic effect. A number of the
soloists must be technically gifted, especially Athamus, Juno, Ino,
and Jupiter, but this is truly a showcase for the title character. This
work should only be programmed with this soloist as the lynchpin.
Soloists: Iris (soprano) - range: f’-bb’’, tessitura: g’-f’’, this is a
lyric solo with rapid coloratura; Semele (soprano) - range: c’-a’’,
tessitura: g’-g’’, this is a virtuosic lyric role with considerable col-
oratura; Athamas (alto) - range: a-bb’, tessitura: c’-a’, this is a lyric
role with some ornamental passagework ideally a countertenor; Ju-
no (alto) - range: a-eb’’ (f’’), tessitura: d’-d’’, this is a dramatic de-
clamatory mezzosoprano role; Ino (alto) - range: bb-eb’’, tessitura:
d’-bb’, this is a simple, although considerable, lyric role; Jupiter
(tenor) - range: e-a’, tessitura: f#-f#’, this is a lyric role with ex-
tended melismatic passages; Apollo (tenor) - range: f-f#’, tessitura:
f-e’, this is a brief simple recitative appropriate for a chorister;
Cadmus (bass) - range: c-d’, tessitura: c-d’, this is a simple part;
Somnus (bass) - range: A-d’, tessitura: d-c’, this is a lyric solo with
some melismatic passagework; Priest (bass) - range: Bb-eb’, tessitu-
ra: c-c’, this is a simple brief solo appropriate for a strong chorister
– it is the first vocal entry of the oratorio; Choir: medium easy;
Orchestra: difficult.
Selected Bibliography
Text: The text was compiled by James Miller from the Book of Gene-
sis, chapter 41-44, and Apostolo Zeno’s Giuseppe.
Notes: This work is referred to by two titles: Joseph is the name of the
oratorio, but the libretto used the name, Joseph and His Brethren.
The final chorus is from the Dettingen Anthem, HWV 265.
Selected Bibliography
49
Within the Chrysander edition, Phanor is labeled as both an alto and soprano
in different movements. A high mezzo soprano is ideal for navigating passages
that appear to have been conceived for different soloists.
152 The Works
Selected Bibliography
Text: The text was produced by Charles Jennens based upon History I
of Herodotus, Xenophon’s Cyropaedia, and the Bible (Daniel,
chapter 5; Jeremiah, chapter 25; and Isaiah, chapter 13).
Selected Bibliography
50
The Hallische edition lists 2 sopranos and an alto among the soloists in the
frontismaterial, but there are no parts for soprano II or alto.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 157
Notes: The title of the work is because it was composed and performed
by contemporaneous circumstances. It was written to boost the mo-
rale of the loyalists in the midst of the Scottish Rebellion The bass
aria, “The sword that’s drawn in virtue’s cause” is the only work
known to have been performed outside of Europe during the com-
poser’s lifetime: 18 March 1756, New York City Hall. Handel re-
used earlier material, especially from Athalia, HWV 52 and Israel
in Egypt, HWV 54. It was in turn cannibalized to provide material
for Judas Maccabaeus, HWV 63; Joshua, HWV 64; and revisions
of Samson, HWV 57. 52
51
David Daniels notes that the performing materials include trombone parts in
some of the movements that were adapted from Israel in Egypt. There is no
evidence that Handel intended there to be trombones in these movements in this
later incarnation. In Orchestral Music: A Handbook, fourth edition, 161. Lan-
ham, MD: Scarecrow Press, 2005.
52
Dean, Winton: Handel’s Dramatic Oratorios and Masques, 460-461. Lon-
don: Oxford University Press, 1959.
158 The Works
use of a large choir. The choral parts are vocally demanding with
some high tessituri for the sopranos. The choruses are mostly
scored for SATB. The 8-part passages are syllabic and homophon-
ic, but there are also sections where two SATB choirs are used.
These are more contrapuntally complex, but the choirs sing in al-
ternation. Physical separation of these groups would be advanta-
geous. Act III begins with two orchestral movements that have
concertino and ripieno string parts. There are a number of exposed
oboe solos. All of the instrumental parts are challenging. The
trumpets have a significant presence in this work, which will pre-
sent some endurance challenges. This is a very demanding compo-
sition for all participants. It is a particular tour de force for the
soloists. The clumsiness of the libretto and the saber-rattling nature
of the text has diminished the exposure of this work, which despite
its derivative generation is a dramatically effective and musically
inspiring composition. Soloists: soprano I - range: b-a’’, tessitura:
e’-e’’, this is a demanding solo with rapid coloratura and complex
rhythms; tenor - range: B(d)-a’, tessitura: e-e’, this is a declamato-
ry solo with some broad melodic leaps and long phrases, move-
ment 20 introduces the low B and has a lower tessitura than the
other movements, it could be assigned to a baritone; bass - range:
G-e’, tessitura: d-d’, this is a dramatic role with some extended
coloratura passagework; Choir: difficult; Orchestra: difficult.
Selected Bibliography
Text: The text is by Thomas Morell, based upon I Maccabees from the
Old Testament and Flavius Josephus’s Antiquities, XII. A Hebrew
singing translation was prepared by Aharon Ashman for the Mac-
cabiah Games in 1932. Levin Kipnis has created an original He-
brew text to be used with Handel’s score that is specifically
conceived for Hanukkah.
53
Some parts are labeled traverse and other flute. One should determine if re-
corders are preferred in the former instances.
160 The Works
Notes: The score was written between 8 July and 11 August 1746. Ad-
ditional material was added during the first performance run and in
subsequent performances.
54
This part is labeled for soprano in the score and for mezzosoprano or alto in
the preface.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 161
Selected Bibliography
55
Bernd Baselt indicates that it may be the work of Thomas Morell. Verzeich-
nis der Werke Georg Friedrich Händels: Kleine Ausgabe, 86. Leipzig: VEB
Deutscher Verlag für Musik, 1986.
162 The Works
Notes: The score was composed between 19 July and 19 August 1747.
Five numbers were added in 1754.
Selected Bibliography
Notes: The score was composed between 1 June and 4 July 1747. It
was revised in 1754, incorporating some material from the masque,
Alceste, HWV 45. The choir is identified as “Chorus of Israelites”
and “Chorus of Asiates” in alternating movements, but there are no
passages for two choirs. There are three brief recitative passages
for choristers: a messenger (soprano), another messenger (bass),
and a sycophant (bass).
mented passages for the violins in unison that will present chal-
lenges to successful ensemble. The remaining orchestra parts are
quite practical. The harp and mandolin appear in only one move-
ment where they represent a lyre. This is an ideal oratorio for a
less-experienced choir with access to strong players and expert so-
loists. Soloists: Cleopatra (soprano) - range: e’-g’’, tessitura: g’-
g’’, this is a dramatic solo with some ornate figures; Aspasia (so-
prano) - range: d’-a’’, tessitura: e’-f#’’, this is a lyric role with
some rapid figurations; Alexander Balus (alto) - range: a-f#’’, tes-
situra: d’-c’, this is a sustained and declamatory solo; Jonathan
(tenor) - range: d-a’, tessitura: f-e’, this is a challenging dramatic
solo with long phrases and extended coloratura passagework;
Ptolomee (bass) - range: G-f’, tessitura: Bb-eb’, this is a dramatic
solo with some rapid coloratura and broad melodic leaps; Choir:
medium easy; Orchestra: medium difficult.
Selected Bibliography
Text: The text is the story of “Susanna and the Elders” from the Apoc-
rypha. The identity of the adapting author is unknown.
Notes: The score was composed between 11 July and 24 August 1748.
The work was abbreviated with an interpolation from Semele,
HWV 58 in 1759.
56
Some period performances also utilize harpsichord, organ, and theorbo in
the continuo group with great effect.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 167
Selected Bibliography
57
The score includes 2 organ parts that each include some composed passages.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 169
Notes: This score was composed between 5 May and 13 June 1748. It
was revised with 5 additional arias in 1759. The opening of Act III
has become known as “The Arrival of the Queen of Sheba,” which
is frequently excerpted for orchestra concerts.
Selected Bibliography
Text: The text is by Thomas Morell, based upon Robert Boyle’s The
Martyrdom of Theodora and of Didymus, which was first pub-
lished in 1687.
Notes: This work was composed between 28 June and 31 July 1749.58
58
The cover of the Kalmus reprint displays 1730, but the correct dates are in-
cluded in the preface.
172 The Works
Selected Bibliography
Notes: This work was composed between 28 June and 5 July 1750 in-
corporating significant material from the masque, Alceste, HWV
45. During Handel’s lifetime, it was performed between the acts of
his Alexander’s Feast, in place of the original concerto, which
served the same interludial purpose.
Performance Issues: There are occasions where Handel uses the con-
vention of dotted-eighth sixteenth note to serve as a tripletized
quarter and eighth. The choral movements are assigned to allegori-
cal groups: Chorus of the Attendants of Pleasure (movements 5
and 9) and the Chorus of the Attendants of Virtue (movements 8,
15, and 17). The choral material is contrapuntally varied and well
doubled by the orchestra. The choral parts are vocally challenging
requiring a choir of experienced singers. The orchestral writing is
idiomatic and scored to accommodate a full choir. This is a rhyth-
mically articulate score that will present some demands in estab-
lishing clean ensemble between the orchestra and choir. Soloists:
Pleasure (soprano) - range: d’-g’’, tessitura: f’-f’’, this is a lyric
and sustained role with some long phrases; Virtue (soprano) -
range: a-f#’’, tessitura: c’-c’’, this is a lyrical role, which Handel
has labeled for soprano; however, it seems better suited to a mez-
zosoprano; Hercules (mezzo-soprano/countertenor) - range: b-d’’,
tessitura: c’-c’’, this is a sustained and declamatory role; An At-
tendant on Pleasure (tenor59) - range: e-a’, tessitura: f#-f#’, this is a
florid role with extended melismatic passagework; Choir: diffi-
cult; Orchestra: medium difficult.
59
The role is identified as tenor; however, in the Hallische edition, the part is
written in treble clef an octave higher than the range given here.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 175
Selected Bibliography
Text: The text is by Thomas Morell, based upon Judges, chapter 9, and
George Buchanan’s Jephthes sive Votum (1554).
60
The score indicates flutes, but they are in unison.
176 The Works
61
There are alternate versions of the arias assigned to Storgé for a soprano up a
perfect fifth.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 177
Selected Bibliography
Selected Bibliography
Selected Bibliography
Text: The text is John Dryden’s Ode for St. Cecilia’s Day (1697) with
additional passages from Newburgh Hamilton’s The Power of Mu-
sic.
Notes: The score is dated 17 January 1736. Additions were made for a
performance in 1742 including a solo for which only the continuo
part survives and a new duet that was revised in 1751.
62
The bassoon III part appears only in movement 21 and is labeled “ripieno.” It
is entirely practical to use only 2 bassoons throughout.
182 The Works
Selected Bibliography
63
Some sources list lute, but it does not appear in the score.
184 The Works
Selected Bibliography
Selected Bibliography
Text: The text is taken from A New Version of the Psalms Fitted to the
Tunes Used in Churches (1696) by Nahum Tate and Nicholas
Brady. It uses Psalms 9:9; 11:1-2, 6-7; 12:5; and 13:6.
Selected Bibliography
Performance Issues: The choral parts are well supported by the or-
chestra. The tenor and bass choral parts have some sustained high
singing. The soprano part is more conservative in pitch, but all of
the choral parts have some very demanding coloratura passages re-
quiring advanced choristers. There are passages in which the con-
tinuo part is separated for bassoon, cello, and bass. The
instrumental parts are idiomatic and generally conservatively writ-
ten. There are a few passages that are highly ornamented in one
aria (no. 7) for which single players may be used. Soloists: sopra-
no - range: d’-g’’, tessitura: f’-d’’, this is a sustained lyric solo;
tenor - range: d-g’, tessitura: f-d’, this is a lyric and tender role;
Choir: medium difficult; Orchestra: medium easy.
Selected Bibliography
Performing Forces: voices: tenor and bass soloists; SATB choir; or-
chestra: flute, 2 oboes, 2 trumpets, strings, and continuo.
Editions: O Sing unto the Lord is available from Kalmus, Novello, and
Novato. It is also found in two scholarly editions — G. F. Händels
Werke: Ausgabe der Deutschen Händelgesellschaft, volume: 36,
page: 219, edited by Friedrich W. Chrysander, Leipzig and
Bergedorf bei Hamburg: 1858-1894, reprinted in 1965; and Hal-
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 191
Notes: This version was written to take advantage of two specific solo-
ists: Mr. Eilfort, tenor, and Mr. Baker, bass.
Selected Bibliography
Text: The text from is Psalms 93:4; 96:1, 3-4, 9, 11, and 13.
Selected Bibliography
Selected Bibliography
Text: The text is from Psalms 89:14; 96:6, 9, 10; 145:1 and 21.
Performing Forces: voices: alto, tenor, and bass soloists; SATB choir;
orchestra: oboe, strings, and continuo.
Selected Bibliography
Text: The text is Psalm 42:1 and 3-7, as it appears in Divine Harmony:
Or a New Collection of Select Anthems Used in Her Majesty’s
Chappels Royal, Westminster Abbey, St. Paul’s Cathedral, Wind-
sor, both Universities, Eaton, and Most Cathedrals in her Majes-
ty’s Dominion, edited by J. Church. London, 1712.
64
The Sinfonia includes two continuo lines from which Hendrie has determined
the intention to use two keyboards, which his edition wisely suggests through-
out the anthem.
196 The Works
Selected Bibliography
See also the collective bibliography for the Chandos Anthems, above.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 197
Text: The text is Psalm 89:1, 5-10, 12, 15-16, and 18.
phrases that appears in duet with the alto; Choir: medium difficult;
Orchestra: medium easy.
Selected Bibliography
Text: The text is from Psalms 95:1-3, 6-7; 96:6, 10; 97:10-12; 99:9;
and 103:11.
Editions: O come let us sing unto the Lord is available from Novello. It
is also found in two scholarly editions — G. F. Händels Werke:
Ausgabe der Deutschen Händelgesellschaft, volume: 35, page: 41,
edited by Friedrich W. Chrysander, Leipzig and Bergedorf bei
Hamburg: 1858-1894, reprinted in 1965; and Hallische Händel-
Ausgabe im Auftrage der Georg Friedrich Händel-Gesellschaft,
series: 3, volume: 5, page: 141, edited by Gerald Hendrie, Kassel:
Bärenreiter, 1987.
65
The third movement is scored for flauto dolce I and II, violin I and II, tenor
solo, and continuo. The instrument list in the Hallische Händel-Ausgabe edition
has left out the 2 flauti, which should be recorders if possible.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 199
Selected Bibliography
Text: The text is taken from A New Version of the Psalms Fitted to the
Tunes Used in Churches (1696) by Nahum Tate and Nicholas
Brady. It uses Psalms 117:1-2; 135:1-3, 5; and 148:1-2.
200 The Works
Editions: O praise the Lord with one consent is available from Novel-
lo, Kalmus, and Serenissima. It is also found in two scholarly edi-
tions — G. F. Händels Werke: Ausgabe der Deutschen
Händelgesellschaft, volume: 35, page: 98, edited by Friedrich W.
Chrysander, Leipzig and Bergedorf bei Hamburg: 1858-1894, re-
printed in 1965; and Hallische Händel-Ausgabe im Auftrage der
Georg Friedrich Händel-Gesellschaft, series: 3, volume: 6, page:
3, edited by Gerald Hendrie, Kassel: Bärenreiter, 1991.
Notes: This work is the only entry among the eleven Chandos Anthems
that does not have a Sinfonia. The opening chorus is based upon
the hymn tune St. Anne, which is generally attributed to William
Croft (1678-1727). It first appeared in the 1708 Supplement to
New Version of the Psalms as a setting of Psalm 42, “As pants the
hart for cooling stream,” the text Handel uses in Chandos Anthem
6, HWV 251.
Selected Bibliography
Text: The text is from Psalms 18:7, 14, 31; 27:1, 3, 4, 7; 28:8; 29:4, 9;
30:4; and 34:3.
Notes: The opening chorus was originally scored STTTB, but modern
editions are often assigned SATTB because of the generally high
tessitura of the tenor I part. This results in a low alto part best suit-
ed to countertenors.
Selected Bibliography
Text: The text is from Psalms 68:1-4, 19, 35; and 76:6.
Editions: Let God arise, HWV 256a is available from Novello, Kal-
mus, and Bärenreiter. It is also found in two scholarly editions —
G. F. Händels Werke: Ausgabe der Deutschen Händelgesellschaft,
volume: 35, page: 211, edited by Friedrich W. Chrysander, Leipzig
and Bergedorf bei Hamburg: 1858-1894, reprinted in 1965; and
Hallische Händel-Ausgabe im Auftrage der Georg Friedrich Hän-
del-Gesellschaft, series: 3, volume: 6, page: 163, edited by Gerald
Hendrie, Kassel: Bärenreiter, 1991.
Notes: Handel reused the Sinfonia as the first two movements of his
Sonata, op. 5, no. 7 (HWV 402).
Selected Bibliography
Performing Forces: voices: alto and bass soloists; SATB choir; or-
chestra: oboe, bassoon, strings, and continuo.
Performance Issues: The soloists appear with the choir in the principal
choruses, sometimes doubling the choral parts and occasionally
adding flourishes not assigned to the choir. Soloists capable of car-
rying against the full ensemble are recommended. The choral writ-
ing is much less demanding than in HWV 256a. The choral parts
are clearly support by the orchestra throughout the work and pre-
sent fewer vocal demands. Soloists: alto - range: a-d’’, tessitura:
c’-c’’, this is a lyric solo with some rapid passagework; bass -
range: c-f’, tessitura: f-f’, this is a powerful, high baritone solo
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 205
Selected Bibliography
Notes: The text for Zadok the Priest was first used for the coronation of
King Edgar in 973. This text has been part of every successive
English coronation since then, and Handel’s setting has been per-
formed as part of all British coronations since its premiere.
Selected Bibliography
fewer choral parts. The choral material is well supported by the in-
struments, There is denser polyphonic variety in this work than in
the rest of the set that will demand attention to harmonic nuance
and clarity of articulation throughout the work. The middle section
in particular has much to offer the thoughtful performer. The in-
strumental parts are very practically written. Careful bowing will
guarantee clear articulations. Choir: medium difficult; Orchestra:
medium easy.
Selected Bibliography
Editions: The king shall rejoice is available from Dover, Novato, No-
vello, Kalmus, G. Schirmer, and Eulenberg. It is also found in the
scholarly edition — G. F. Händels Werke: Ausgabe der Deutschen
Händelgesellschaft, volume: 14, edited by Friedrich W. Chrysan-
der, Leipzig and Bergedorf bei Hamburg: 1858-1894, reprinted in
1965, it is the basis of the Kalmus edition, which includes a reali-
210 The Works
Selected Bibliography
Selected Bibliography
Text: The text is was compiled by Edward Willes from the Bible —
Psalms 103:17; 112:6; Lamentations of Jeremiah 1:1, 4, 11; 2:10;
Samuel II 1:19; Job 29:11, 12, 14; Ecclesiasticus 36:25; 44:13-15;
Daniel 12:3; Philippians 4:8; and Wisdom 5:16-17.
Notes: This work was composed for the funeral of Queen Caroline. It
was completed on 12 December 1737. The music was reused in
part I of Israel in Egypt, HWV 54.
Selected Bibliography
Performing Forces: voices: alto and bass soloists; SSATB choir; or-
chestra: 2 oboes, bassoon, 3 trumpets, timpani, strings, and con-
tinuo.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 215
Selected Bibliography
66
Jeffers, Ron: Translations and Annotations of Choral Repertoire, Volume I:
Sacred Latin Texts, 218. Corvallis, OR: Earthsongs, 1988.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 217
Notes: This work, Te Deum zur Feier des Friedens von Utrecht, along
with the “Utrecht” Jubilate, was composed to celebrate the Peace
of Utrecht.
Selected Bibliography
Notes: This work, Jubilate zur Feier des Friedens von Utrecht, along
with the “Utrecht” Jubilate, was composed to celebrate the Peace
of Utrecht.
Selected Bibliography
67
Jeffers, Ron: Translations and Annotations of Choral Repertoire, Volume I:
Sacred Latin Texts, 218. Corvallis, OR: Earthsongs, 1988.
220 The Works
Notes: A revision was produced between 1722 and 1726 that includes a
new setting of the passage “ Vouchsafe, O Lord.”
68
The New Grove works list suggests that later performances probably includ-
ed 2 oboes.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 221
Selected Discography: Mieke van der Sluis, Harry van Berne, Harry
van der Kamp; Alsfelder Vokalensemble, Barockorchester Bre-
men; conducted by Wolfgang Helbich. Recorded in August 1993
in St. Hedwig Kirche, Berlin. CPO: 999244.
Selected Bibliography
69
Jeffers, Ron: Translations and Annotations of Choral Repertoire, Volume I:
Sacred Latin Texts, 218. Corvallis, OR: Earthsongs, 1988.
222 The Works
Selected Bibliography
70
Jeffers, Ron: Translations and Annotations of Choral Repertoire, Volume I:
Sacred Latin Texts, 218. Corvallis, OR: Earthsongs, 1988.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 223
Notes: This work is based upon the “Chandos” Te Deum, HWV 281.
Performance Issues: The score allows for an alto or high tenor solo
and alto or tenor choristers on two of the seven lines. In the tutti
passages there are lines assigned to soloists some of whom have
independent interjections, but others serve to enrich the harmony.
The vocal material is all well supported by the orchestra. This is a
shorter work than its progenitor and it is a more favorable key for
less-experienced string players. Soloists: alto - range: b-c’’, tessi-
tura: b-b’, this is a lilting lyric solo and the largest; tenor - range:
d’-g#’, tessitura: d’-g’, this is a brief sustained solo; bass I - range:
d-f#’, tessitura: e-e’, this is a brief high baritone solo with some
rapid passagework; Choir: medium easy; Orchestra: medium
easy.
71
The score identifies 2 bass soloists, but the second part always appears with-
in tutti passages as an additional choral line.
224 The Works
Selected Bibliography
72
Jeffers, Ron: Translations and Annotations of Choral Repertoire, Volume I:
Sacred Latin Texts, 218. Corvallis, OR: Earthsongs, 1988.
73
David Daniels notes that the Kalmus edition appears to be a reprint of an old
Bärenreiter edition with many added interpretive markings, in Orchestral Mu-
sic: A Handbook, fourth edition, 161. Lanham, MD: Scarecrow Press, 2005.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 225
Selected Bibliography
74
Claudio Monteverdi: Vespro della Beata Vergine (1610), edited by Jeffrey E.
Kurtzman, vii. Oxford: University Press, 1999.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 229
Vespers were sung on this occasion, but clear evidence that Mon-
teverdi’s work was used is supposition.75
75
Iain Fenlon: “The Monteverdi Vespers: Suggested Answers to Some Fun-
damental Questions,” Early Music, volume 5, number 3 (1977), 383.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 231
Selected Bibliography
Kurtzman, Jeffrey G.: The Monteverdi Vespers of 1610 and their Rela-
tionship with Italian Sacred Music of the Early Seventeenth Centu-
ry. University of Illinois: dissertation, 1970.
Jeppesen, Knud: The Monteverdi Vespers of 1610 and Their Relation-
ship With Italian Sacred Music of the Early Seventeenth Century.
University of Illinois: dissertation, 1972.
__________: “Some Historical Perspectives on the Monteverdi Ves-
pers,” Analecta musicological, volume 15 (1975), 29-86.
Fenlon, Iain: “The Monteverdi Vespers: Suggested Answers to Some
Fundamental Questions,” Early Music, volume 5, number 3
(1977), 380-387.
Jeppesen, Knud: Essays on the Monteverdi Mass and Vespers of 1610,
Rice University Studies, volume 64, number 4. Houston: Rice
University, 1978.
Arnold, Denis: Monteverdi Church Music, BBC Music Guides. Lon-
don: BBC, 1982.
Parrott, Andrew: “Transposition in Monteverdi’s Vespers of 1610: An
‘Aberration’ Defended,” Early Music, volume 12 (1984), 490-516.
Whenham, John: Monteverdi: Vespers (1610). Cambridge, Cambridge
University Press: 1997.
Kurtzman, Jeffrey G.: The Monteverdi Vespers of 1610: Music, Con-
text, Performance. Oxford: Oxford University Press, 1999.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 233
Notes: This work was composed for Confraternità dei Cavalieri di San
Luigi di Palazzo during the final weeks of the composer’s life as he
was dying of tuberculosis.
Performance Issues: This work is written for two solo singers and
chamber orchestra; however, it has become a staple of the concert-
ed repertoire for women’s choirs. When presented as a choral work
the arias are presented as solos, and a number of scenarios alternat-
ing soloists and choir have been employed. There are textural
changes in a number of movements that provide logical contrasts
for solo and tutti singing. There are significant discrepancies be-
tween various editions in movement 8, “Fac ut ardeat cor meum,”
and the final measures of the concluding “Amen.” These include
different barring in 4/2 and 2/2, and some rhythmic discrepancies
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 235
Selected Bibliography
Life: Vivaldi’s father was a violinist in the orchestra of St. Mark’s Ca-
thedral in Venice and was Antonio’s violin teacher. Vivaldi was
ordained as a priest in 1703. During that year, he began teaching
violin at the Ospedale della Pietà, an orphanage in Venice. He per-
formed as a concert soloist and conductor, and he was known
throughout Europe for his compositions. Bach transcribed 10 of his
string concerti as keyboard concerti and solos. From 1718-1722, he
was maestro di cappella for Prince Philipp of Hessen-Darmstadt in
Mantua. He composed operas for Mantua, Venice, Milan, and
Rome. The papacy forbade a performance of one of his operas in
Ferrara because he was a priest who did not say Mass and was re-
puted to be romantically involved with a woman — actually wom-
en — the singer Anna Giraud and her sister, Paolina. Vivaldi
denied these claims, but maintained the sisters’ company. He was
named maestro di cappella to the Duke of Lorraine in 1735.
Throughout his concert and opera career, Vivaldi continued to
teach at the Ospedale and to compose music for chapel services
there. Vivaldi left Venice in 1741 and died that year in Vienna and
was buried there in a pauper’s grave in the Spettaler Gottesacher.
In his 500+ concerti, he did much to establish the form and to
promote a number of instruments in solo roles including the cello
and mandolin. Vivaldi claimed to have composed 94 operas of
which only 21 survive.
76
This includes Le quattro stagione (the Four Seasons).
238 The Works
Text: The Latin text is taken from Psalm 112 (Vulgate 111).
77
The cover and title page of the score list 2 sopranos, alto, tenor, and bass
soloists; however, what is listed here matches the score itself.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 239
Selected Bibliography
Text: The Latin text is taken from Psalm 112 (Vulgate 111).
Selected Bibliography
Text: The Latin text is taken from Psalm 112 (Vulgate 111).
First Performance: It is likely that this work was written for Easter
Sunday, 29 March 1739, at the Ospedale della Pietà in Venice.
Performance Issues: There are divisi for the choral sopranos and altos.
The choral writing includes some vocally demanding melismatic
passagework in the final movement, but the rest of the choral mate-
rial is simple sustained chordal singing. The vocal material is well
supported by the orchestra. There is a violin solo in one movement
that is ornate and exposed. The string writing is idiomatic, but in-
cludes some challenging passagework that requires experienced
242 The Works
Selected Bibliography
Text: The Latin text is taken from Psalm 116 (Vulgate 115).
Notes: This work may have been intended for the festival of St. Lo-
renzo in Damaso (10 August) for the eponymous church in Rome
or for the church of St. Lorenzo in Venice.
Selected Bibliography
Text: The Latin text is one section of the ordinary of the Roman Catho-
lic communion liturgy.
Selected Bibliography
First Performance: unknown; this work may have been intended for
the festival of St. Lorenzo in Damaso (10 August) for the epony-
mous church in Rome or for the church of St. Lorenzo in Venice.79
78
The cover and title page omit mention of an alto solo, but movement IV is a
contralto aria.
79
Talbot, Michael: “Critical Notes” for Dixit Dominus, RV 594, 154. Milan:
Ricordi, 2002.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 245
Notes: This work effectively reprises the musical material of the open-
ing movement in the final movement.
Selected Bibliography
80
Talbot, Michael: “Critical Notes” for Dixit Dominus, RV 595, 172. Milan:
Ricordi, 1993.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 247
Selected Bibliography
Selected Bibliography
Stockigt, Janice, and Michael Talbot: “Two More New Vivaldi Finds in
Dresden,” Eighteenth-Century Music, volume 3, number 1 (2006).
Talbot, Michael: “Critical Notes” for Dixit Dominus, RV 807, 162-171.
Milan: Ricordi, 2006.
Text: This Latin text is taken from Psalm 69:2 with the Gloria Patri.
Selected Bibliography
Text: The Latin text is one section of the ordinary of the Roman Catho-
lic communion liturgy.
Notes: This work can pair with Jubilate, o amoeni chori, RV 639/639a,
which is an introduction and interpolation of a set of arias for alto
intended to expand this work. The alternate version is an adapta-
tion for soprano soloist, which is moderately revised.
Performance Issues: There are two soprano arias. The second aria
matches the tessitura of the soprano II part of the duet, and the first
aria is a better match for the soprano I. The choral material is pri-
marily in pervasive imitation. The vocal parts are well supported
by the instruments, and the choral parts are not technically de-
manding. This is a work that would be well suited to an intermedi-
ate-level choir with professional soloists. The oboe I has an
exposed solo with some rapid passagework. The orchestral writing
includes two independent viola parts and some rich textures, but
the string writing is within the abilities of most amateur groups.
Soloists: soprano I - range: c’-a’’, tessitura: a’-f#’’, this is a lyric
solo in duet with the other soprano and a coloratura aria; soprano II
- range: d’-f#’’, tessitura: d’-d’’, this is a lyric solo in duet with the
other soprano and a coloratura aria; alto81 - range: d’-f’’ (d’-g” in
RV 639a), tessitura: e’-e’’, this is a significant lyric solo with long
phrases and rapid passagework; tenor - range: f#-f#’, tessitura: f#-
f#’, this is a declamatory solo; Choir: medium easy; Orchestra:
medium easy.
Selected Bibliography
81
Based upon the use of Jubilate, o amoeni chori, RV 639/639a.
252 The Works
Text: The Latin text is one section of the ordinary of the Roman Catho-
lic communion liturgy.
Selected Bibliography
Text: The Latin text is taken from Psalm 114 (Vulgate 113).
First Performance: It is likely that this work was written for Easter
Sunday, 29 March 1739, at the Ospedale della Pietà in Venice.
Notes: It is likely that Vivaldi composed this worked with Beatus vir,
RV 597a and Confitebor tibi, Domine, RV 789, all for the Easter
celebration of 1739. This setting, while effective for liturgical use,
is less well suited for a concert environment.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 255
Selected Bibliography
Selected Bibliography
Text: The libretto is by Jacopo Cassetti and is loosely based upon the
Book of Judith from the Apocrypha of the Bible.
Notes: This is the only extant oratorio of the four Vivaldi is known to
have composed. It was reintroduced to the public after it was ac-
quired for the Biblioteca Nazionale Universitaria in Turin in 1926.
The first modern performance took place in Siena in 1941.
Selected Bibliography
Text: The Latin text is one section of the ordinary of the Roman Catho-
lic communion liturgy.
Notes: This work is organized into three sections with the full choirs
presenting the Kyrie text in sections I and III and two SA pairs
presenting the Christe. This middle section of the work could be
for soloists, semi choirs, or the entire sections.
Selected Bibliography
Everett, Paul: “Critical Notes” for Kyrie, RV 587, 63-69. Milan: Ri-
cordi, 2002.
Notes: This setting, while effective for liturgical use, is less well suited
for a concert environment.
Selected Bibliography
Selected Bibliography
Notes: There are two settings of this text by Vivaldi: RV 606 in D mi-
nor, and RV 614 in F major. The authenticity of the latter is in
question, and it is not reviewed here. This setting, while effective
for liturgical use, is less well suited for a concert environment.
Selected Bibliography
Notes: There are five compositions of this title in the current catalogue
of Vivaldi’s works: RV 600 in C minor for soprano, strings, and
continuo; RV601 in G major for soprano, flute, 2 oboes, strings,
and continuo; and three works with choir. RV 602 in A major for 2
soprano soloists, SATB choir, oboe, 2 string orchestras, and con-
tinuo was composed around 1717; it was reworked in the 1720s as
RV 602a with 2 soprano soloists, 2 SATB choirs, and flute rather
than oboe; and it was completely revised as RV 603 [qv] in the
1730s for 1 soprano soloist, 2 choirs, flute, and two string orches-
tras.
Performance Issues: This work treats the two string choirs and the
soloists antiphonally. The groups and soloists should be well
matched and placed in the performance to best exploit the dialogue
effect. The choir has only brief passages within the work, which is
a feature for the soloists. The choral writing is homophonic and
clearly doubled by the instruments. The oboe solo in movement
VII A and the alternate flute solo in VII B are exposed and florid,
requiring adept players in either iteration. The string writing is idi-
omatic and sensitively balanced with the vocal parts. The string
parts are similar to those in most of Vivaldi’s concerto accompa-
niments and will require experienced players throughout. The con-
tinuo parts were probably intended for organ. Having one of these
parts realized on organ and the other on harpsichord may provide
additional separation between the ensembles. Soloists: soprano I -
range: e’-g#’’, tessitura: g#’-f#’’, this is a challenging lyric solo
with significant coloratura writing; soprano II - range: d’-g#’’, tes-
situra: g#’-f#’’, this is a challenging lyric solo with significant col-
oratura writing; Choir: easy; Orchestra: medium difficult.
264 The Works
Selected Bibliography
Performing Forces:
82
Daniels, David: Orchestral Music: A Handbook, fourth edition, 410. Lan-
ham, MD: Scarecrow Press, 2005.
83
If the RV 611 version is performed, the oboes are not required.
A Conductor’s Guide to Selected Baroque Choral-Orchestral Works 265
Selected Bibliography