Talk:Dixit Dominus, HWV 232 (George Frideric Handel): Difference between revisions

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A comparison was made between this CPDL edition by Philip Legge (great work, Philip, thank you very much) and a commercial vocal score (Carus Verlag CV 55.232/05). The comparison was limited to the choral parts, without considering the lyrics. The following differences were identified (most of them, or even all, may be editorial).
A comparison was made between this CPDL edition by Philip Legge (great work, Philip, thank you very much) and a commercial vocal score (Carus Verlag CV 55.232/05). The comparison was limited to the choral parts, without considering the lyrics. The following differences were identified (most of them, or even all, may be editorial).


:My score is based on Chrysander's edition, so I will note where there are discrepancies.


'''Dixit Dominus'''
I have made another comparison with the Bärenreiter Choral Score (BA 4002) --[[User:Rote|Rote]] 21:54, 30 June 2010 (UTC)


Bass, bar 21: the first note is D in Legge, B(b) in Carus.
'''1. Dixit Dominus'''


Bass, bar 91: the last note is D in Legge, A in Carus.
Bass, bar 21: the first note is D in Legge, B{{flat}} in Carus/Bärenreiter. (Chrysander has B{{flat}}, so I will correct this.)


Bass, bar 91: the last note is D in Legge/Chrysander/Bärenreiter, A in Carus.


'''Juravit Dominus'''


Soprano I, bar 22: the first note is F natural in Legge, Ab in Carus.
'''4. Juravit Dominus'''


Soprano I and Soprano II, bar 45 – 46: the last note of bar 45 is tied to the first note of bar 46 in Carus, while it is not in Legge.
Soprano I, bar 22: the first note is F natural in Legge/Chrysander, A{{flat}} in Carus/Bärenreiter. (Carus seems to be following the Violin 1 part verbatim.)


Tenor, bar 35: the last note is C in Legge, D in Carus.
Soprano I and Soprano II, bar 45 – 46: ties across barline missing in Legge.


Tenor, bar 35: the last note is C in Legge, D in Carus/Bärenreiter. (Chrysander definitely has C, but perhaps should have D as in Viola 2 part.)


'''Tu es sacerdos'''


Soprano II, bar 22: all notes are one third higher in Legge than in Carus.
'''5. Tu es sacerdos'''


Soprano II, bar 22: all notes are one third higher in Legge/Chrysander (starting in A) than in Carus/Bärenreiter (starting in F). (Carus is following the Violin 2 part.)


'''Dominus a dextris tuis'''


Tenor, bar 93: the last note is B(b) in Legge, F in Carus.
'''6. Dominus a dextris tuis'''


Tenor, bar 124: the last note is E in Legge, A in Carus.
Tenor, bar 93: the last note is B{{flat}} in Legge, F in Carus/Chrysander/Bärenreiter.


Tenor, bar 124: the last note is E in Legge/Chrysander, A in Carus/Bärenreiter.


'''Judicabit'''


Soprano I, bar 57 in Legge, 205 in Carus: the second note is C in Legge, B natural in Carus.
'''7. (6.) Judicabit'''


Soprano II, bar 31 in Legge, 179 in Carus: the second and the third notes are E and C# in Legge, respectively, while they are C# and B natural in Carus.
Soprano I, bar 57 in Legge, 205 in Carus: the second note is C in Legge/Chrysander, B natural in Carus/Bärenreiter.


Alto, bar 27 in Legge, 175 in Carus: the first two notes are G in Legge, E in Carus.
Soprano II, bar 31 in Legge, 179 in Carus: the second and the third notes are E and C# in Legge/Chrysander, respectively, while they are C# and B natural in Carus/Bärenreiter.


Tenor, bar 32 in Legge, 180 in Carus: the eight note is E in Legge, D in Carus.
Alto, bar 27 in Legge, 175 in Carus: the first two notes are G in Legge/Chrysander, E in Carus/Bärenreiter.


Tenor, bar 41 in Legge, 189 in Carus: the second note is F in Legge, C in Carus.
Tenor, bar 32 in Legge, 180 in Carus: the eighth note is E in Legge, D in Carus/Chrysander/Bärenreiter.


Tenor, bar 53 in Legge, 201 in Carus: the last note is F in Legge, A in Carus.
Tenor, bar 41 in Legge, 189 in Carus: the second note is F in Legge/Chrysander, C in Carus/Bärenreiter.


Tenor, bar 53 in Legge, 201 in Carus: the last note is F in Legge/Chrysander, A in Carus/Bärenreiter.


'''Conquassabit'''


Soprano I, bar 45 in Legge, 254 in Carus: the last 5 notes are one third higher in Legge than in Carus.
'''8. (6.) Conquassabit'''


Alto, bar 7 – 8 in Legge, 216 – 217 in Carus: the sequence of notes (all crotchets) is F, D, B(b) (bar 7, 216) and again F, D, B(b) (bar 8, 217) in Carus, while Legge has all F.
Soprano I, bar 45 in Legge, 254 in Carus: the last 5 notes are one third higher in Legge (ending in G) than in Carus/Chrysander/Bärenreiter (ending in E).


Alto, bar 32 in Legge, 241 in Carus: the third note is F# in Legge, F natural in Carus.
Alto, bar 7 – 8 in Legge, 216 – 217 in Carus: the sequence of notes (all crotchets) is F, D, B{{flat}} (bar 7, 216) and again F, D, B{{flat}} (bar 8, 217) in Carus/Bärenreiter, while Legge/Chrysander has all F.


Tenor, bar 9 in Legge, 218 in Carus: the last note is A in Legge, F in Carus.
Alto, bar 32 in Legge, 241 in Carus: the fourth note is F# in Legge/Chrysander, F natural in Carus/Bärenreiter.


Tenor, bar 9 in Legge, 218 in Carus: the last note is A in Legge/Chrysander, F in Carus/Bärenreiter.


'''Gloria Patri'''


Soprano I, bar 164: the fourth note is F in Legge, F# in Carus.
'''10. (8.) Gloria Patri'''


Soprano II, bar 31: the tenth note is D in Legge, B(b) in Carus.


Soprano II, bar 84: the fifth note is A in Legge, B(b) in Carus.
Soprano I, bar 164: the fourth note is F in Legge, F# in Carus/Bärenreiter.


Alto, bar 26: the last note is A in Legge, D in Carus.
Soprano II, bar 31: the tenth note is D in Legge, B{{flat}} in Carus/Bärenreiter.


Alto, bar 37: the last six notes are G in Legge, B(b) in Carus.
:Note: in the following entry, the note mentioned in the remark was a third off the score (as if read in bass-clef instead of treble clef). I have changed it --[[User:Rote|Rote]] 21:54, 30 June 2010 (UTC)


Alto, bar 84: the last note is Eb in Legge, E natural in Carus.
Soprano II, bar 84: the fifth note is A in Legge, G in Carus/Bärenreiter.


Alto, bar 109: the first note is B(b) in Legge, A in Carus.
Alto, bar 26: the last note is A in Legge/Bärenreiter, D in Carus.


Alto, bar 165: the second note is F in Legge, F# in Carus.
Alto, bar 37: the last six notes are G in Legge/Bärenreiter, B{{flat}} in Carus.


Tenor, bar 97: the last two notes (Eb) are crotchets in Legge, quavers in Carus. A quarter rest completes the bar in Carus.
Alto, bar 84: the last note is E{{flat}} in Legge (as in the viola-2 voice), E natural in Carus/Bärenreiter.


Tenor, bar 119: the second note (C, dotted crotchet) in Legge is divided into a crotchet plus a quaver in Carus.
Alto, bar 109: the first note is B{{flat}} in Legge, A in Carus/Bärenreiter.


Tenor, bar 127 - 128: the last note of bar 127 and the first note of bar 128 (both Bb, crotchets) are tied in Carus, while they are not in Legge.
Alto, bar 165: the second note is F in Legge, F# in Carus, F with a small # (apparently to show that it is not originally in the score) in Bärenreiter.


Tenor, bar 135: the last note is B(b) in Legge, D in Carus.
Tenor, bar 97: the last two notes (E{{flat}}) are crotchets in Legge/Bärenreiter, quavers in Carus. A quarter rest completes the bar in Carus.


Bass, bar 170: the sixth and the seventh note are C in Legge, D in Carus.
:Note: in the following two entries, the notes mentioned in the remarks were a third off the score (as if read in bass-clef instead of treble clef). I have changed them --[[User:Rote|Rote]] 21:54, 30 June 2010 (UTC)


Bass, bar 171: the second and the third note are B(b) in Legge, D in Carus. The fifth note is B(b) in Legge, A in Carus.
Tenor, bar 119: the second note (A, dotted crotchet) in Legge is divided into a crotchet plus a quaver in Carus/Bärenreiter.
 
Tenor, bar 127 - 128: the last note of bar 127 and the first note of bar 128 (both D, crotchets) are tied in Carus, while they are not in Legge/Bärenreiter.
 
Tenor, bar 135: the last note is B{{flat}} in Legge/Bärenreiter, D in Carus.
 
Bass, bar 170: the sixth and the seventh note are C in Legge, D in Carus/Bärenreiter.
 
Bass, bar 171: the second and the third note are B{{flat}} in Legge, D in Carus/Bärenreiter. The fifth note is B{{flat}} in Legge, A in Carus/Bärenreiter.




:Comparison made by Max a.k.a. --[[User:Choralia|Choralia]] 18:20, 28 November 2009 (UTC)
:Comparison made by Max a.k.a. --[[User:Choralia|Choralia]] 18:20, 28 November 2009 (UTC)

Latest revision as of 21:54, 30 June 2010

A comparison was made between this CPDL edition by Philip Legge (great work, Philip, thank you very much) and a commercial vocal score (Carus Verlag CV 55.232/05). The comparison was limited to the choral parts, without considering the lyrics. The following differences were identified (most of them, or even all, may be editorial).

My score is based on Chrysander's edition, so I will note where there are discrepancies.

I have made another comparison with the Bärenreiter Choral Score (BA 4002) --Rote 21:54, 30 June 2010 (UTC)

1. Dixit Dominus

Bass, bar 21: the first note is D in Legge, B♭ in Carus/Bärenreiter. (Chrysander has B♭, so I will correct this.)

Bass, bar 91: the last note is D in Legge/Chrysander/Bärenreiter, A in Carus.


4. Juravit Dominus

Soprano I, bar 22: the first note is F natural in Legge/Chrysander, A♭ in Carus/Bärenreiter. (Carus seems to be following the Violin 1 part verbatim.)

Soprano I and Soprano II, bar 45 – 46: ties across barline missing in Legge.

Tenor, bar 35: the last note is C in Legge, D in Carus/Bärenreiter. (Chrysander definitely has C, but perhaps should have D as in Viola 2 part.)


5. Tu es sacerdos

Soprano II, bar 22: all notes are one third higher in Legge/Chrysander (starting in A) than in Carus/Bärenreiter (starting in F). (Carus is following the Violin 2 part.)


6. Dominus a dextris tuis

Tenor, bar 93: the last note is B♭ in Legge, F in Carus/Chrysander/Bärenreiter.

Tenor, bar 124: the last note is E in Legge/Chrysander, A in Carus/Bärenreiter.


7. (6.) Judicabit

Soprano I, bar 57 in Legge, 205 in Carus: the second note is C in Legge/Chrysander, B natural in Carus/Bärenreiter.

Soprano II, bar 31 in Legge, 179 in Carus: the second and the third notes are E and C# in Legge/Chrysander, respectively, while they are C# and B natural in Carus/Bärenreiter.

Alto, bar 27 in Legge, 175 in Carus: the first two notes are G in Legge/Chrysander, E in Carus/Bärenreiter.

Tenor, bar 32 in Legge, 180 in Carus: the eighth note is E in Legge, D in Carus/Chrysander/Bärenreiter.

Tenor, bar 41 in Legge, 189 in Carus: the second note is F in Legge/Chrysander, C in Carus/Bärenreiter.

Tenor, bar 53 in Legge, 201 in Carus: the last note is F in Legge/Chrysander, A in Carus/Bärenreiter.


8. (6.) Conquassabit

Soprano I, bar 45 in Legge, 254 in Carus: the last 5 notes are one third higher in Legge (ending in G) than in Carus/Chrysander/Bärenreiter (ending in E).

Alto, bar 7 – 8 in Legge, 216 – 217 in Carus: the sequence of notes (all crotchets) is F, D, B♭ (bar 7, 216) and again F, D, B♭ (bar 8, 217) in Carus/Bärenreiter, while Legge/Chrysander has all F.

Alto, bar 32 in Legge, 241 in Carus: the fourth note is F# in Legge/Chrysander, F natural in Carus/Bärenreiter.

Tenor, bar 9 in Legge, 218 in Carus: the last note is A in Legge/Chrysander, F in Carus/Bärenreiter.


10. (8.) Gloria Patri


Soprano I, bar 164: the fourth note is F in Legge, F# in Carus/Bärenreiter.

Soprano II, bar 31: the tenth note is D in Legge, B♭ in Carus/Bärenreiter.

Note: in the following entry, the note mentioned in the remark was a third off the score (as if read in bass-clef instead of treble clef). I have changed it --Rote 21:54, 30 June 2010 (UTC)

Soprano II, bar 84: the fifth note is A in Legge, G in Carus/Bärenreiter.

Alto, bar 26: the last note is A in Legge/Bärenreiter, D in Carus.

Alto, bar 37: the last six notes are G in Legge/Bärenreiter, B♭ in Carus.

Alto, bar 84: the last note is E♭ in Legge (as in the viola-2 voice), E natural in Carus/Bärenreiter.

Alto, bar 109: the first note is B♭ in Legge, A in Carus/Bärenreiter.

Alto, bar 165: the second note is F in Legge, F# in Carus, F with a small # (apparently to show that it is not originally in the score) in Bärenreiter.

Tenor, bar 97: the last two notes (E♭) are crotchets in Legge/Bärenreiter, quavers in Carus. A quarter rest completes the bar in Carus.

Note: in the following two entries, the notes mentioned in the remarks were a third off the score (as if read in bass-clef instead of treble clef). I have changed them --Rote 21:54, 30 June 2010 (UTC)

Tenor, bar 119: the second note (A, dotted crotchet) in Legge is divided into a crotchet plus a quaver in Carus/Bärenreiter.

Tenor, bar 127 - 128: the last note of bar 127 and the first note of bar 128 (both D, crotchets) are tied in Carus, while they are not in Legge/Bärenreiter.

Tenor, bar 135: the last note is B♭ in Legge/Bärenreiter, D in Carus.

Bass, bar 170: the sixth and the seventh note are C in Legge, D in Carus/Bärenreiter.

Bass, bar 171: the second and the third note are B♭ in Legge, D in Carus/Bärenreiter. The fifth note is B♭ in Legge, A in Carus/Bärenreiter.


Comparison made by Max a.k.a. --Choralia 18:20, 28 November 2009 (UTC)
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