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

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

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

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

Juravit Dominus

Soprano I, bar 22: the first note is F natural in Legge/Chrysander, A♭ in Carus. (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. (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/Chrysander than in Carus. (Carus is following the Violin 2 part.)

Dominus a dextris tuis

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

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

Judicabit

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

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

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

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

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

Conquassabit

Soprano I, bar 45 in Legge, 254 in Carus: the last 5 notes are one third higher in Legge than in Carus/Chrysander.

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, while Legge/Chrysander has all F.

Alto, bar 32 in Legge, 241 in Carus: the third note is F# in Legge, F natural in Carus. (The third note is G, the fourth is F# in Chrysander - is this the right bar? I haven't checked any of the last movement.)

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

Gloria Patri

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

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

Soprano II, bar 84: the fifth note is A in Legge, B♭ in Carus.

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

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

Alto, bar 84: the last note is E♭ in Legge, E natural in Carus.

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

Alto, bar 165: the second note is F in Legge, F# in Carus.

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

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

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

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

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

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

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