MUSIC.
Anthems for the Coronation of King George IL, composed in the year 1727, by GEORGE FREDERIC HANDEL.
THIS first publication of the Handel Society, produced under the im- mediate superintendence of Dr. CROTCH, will be hailed with delight by every unsophisticated musician and cordial friend of the art. As a specimen of the style in which the Society design to carry out their gi- gantic undertaking, it is most satisfactory : it will give increased con- fidence to the actual subscribers, and add numbers to their ranks ; and should the work be completed in the spirit that it is begun, it will be one of the most striking monuments of the enthusiasm and taste of the present century.
There is a manifest want of such an edition of the works of HANDEL as shall at once grace a library by the elegance of its form and the cor- rectness of its text, and be equally serviceable to the musician and ama- teur. The existing publications of the master's works are either frag- mentary, like the excellent new edition of the Messiah with MOZART'S accompaniments published by GOULDING, or they are under some aspect or other deficient in completeness. The old scores, besides the vexa- tious incorrectness of some of the editions, have no arrangement or adaptation to fit them for amateur performance. CLARKE'S Handel, though we believe it has been a useful medium in popularizing its author, is displeasing to musicians, from the want of the proper clefs is the vocal score, as well as from the absence of instruments. It is scarcely necessary to allude to the Exeter Hall edition, arranged evi- dently from the bran new scores, with additional orchestral accompani- ments, by Mr. PERRY. What we have long wished to see is that we have now before us—HANDEL rescued from all shopping and pecuniary -speculation, and appearing in an edition stamped by the authority of the most classical musicians of the day, and embellished by their vene- ration and care. A great master whose effects are left to tradition is exposed to so many alterations in the original design and meaning of his works from a variety of causes, as to have a natural claim on the protection of his successors. It is an act of piety and fidelity which cannot be withheld ; and, when once thoroughly and satisfactorily per- formed, is the best means of preserving his works from the corrupt and foolish tamperings with which an over-anxiety to be popular and effec- tive has not scrupled to treat the illustrious dead—whether poet or musician—whether SIIAKSPERE, Or HANDEL, or PURCELL.
But it is necessary to give some account of the exterior and plan of the present work. A vignette of HANDEL in full court costume meets the eye on the exterior of this handsome volume ; we have then the Society's titlepage, followed by the original titlepage in its quaint old- fashioned letter. The next circumstance that claims attention before we arrive at the music, is Dr. CROTCH'S brief and modest preface, sur- mounted by a fac-simile of the autograph of HANDEL. There is a tinge of antiquarian feeling in this, which is graceful, and a becoming tribute to the age in which the music was produced. And now for the manner in which Dr. CROTCH approaches " the greatest of all com- posers." How instructive is the lesson to be derived from witnessing the homage which is the result of true intelligence and feeling I Dr. CROTCH'S sole aim has been to let IIANDEL appear alone : he uses even an apologetic tone for seeming to participate or assume in any way in the present work, and withdraws as soon as possible into the crowd of distant but fervent admirers. A brief quotation will illustrate what we have here alluded to. " The editor has suggested many of the more modern refinements of notation not invented in Handel's time, such RS dotted rests, notes with double dots, and many of the pianos, fortes, mezzo-fortes, crescendos and diminuendos ; it being the custom for the composer to teach these particulars at the numerous rehearsals, instead of depending on the notation. The time he has marked accord- ing to the suggestions of the late Dr. Randall of Cambridge, Mr. Lindley (Linley) senior of Bath, Dr. Burney, and others who remem- bered Handel. In marking the notes according to Maelzel's metro- nome, he merely meant to show the velocity, without any reference to the manner in which the time should be marked or reckoned by a con- ductor," &c. &c. In conformity with this unassuming spirit, the edi- tor has placed his iffinbforte adaptation—a plan, by the way, intended to recommend the work to general domestic use—within brackets, as an entirely separate and distinct thing. He also formally takes upon him the responsibility of the figuring, the accompaniment, the marks of ex- pression, &c. The whole design has evidently been to place HANDEL on a pedestal, and to merge all consideration of accidental favour or popularity that may result from that act ; a great thing to record in these days of mercantile enthusiasm for art.
A different collocation is given to the Anthems from that observed in former editions ; precedence being here given according to the order in which they were originally performed. " The King shall rejoice " opens the volume ; then follows " Zadok the Priest," &c., in a most beautifully eograved score, and thorougly complete in every department. In dismissing this work with a strong recommendation to the general patronage of the musical public, the writer of the present notice is not
unaware of a discouraging announcement of the project of the Handel Society which appeared in the Spectator in December 1842. The ground of objection, in the main, was the superfluousness of the object : Remo= was in the market—his works in no danger of perishing. All which is true, bat the writer probably did not contemplate so complete and creditable a style of publication as the specimen before us: he seems- to have overlooked the advantages of an edition of HANDEL produced ou the responsibility of a council of musicians, of the cheapness contin- gent on a good subscription, and the adaptability to all classes, besides the stimulus given to the circulation of good music in the very novelty of the undertaking. The exertions of isolated music-publishers can scarcely counterbalance such recommendations ; in which, we sincerely hope for the benefit of good music, it will be again found that " union is strength."
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