act 1, scene 6), was apparently only a temporary change made by Handel for the December 1725 revival of the opera.
Are oboe parts then included in this edition for the sake of completeness, or because Jennens, the owner of F, and his scribe had particular access to Handel and could perhaps--albeit at a much later date--discuss intention with him?
This is certainly a useful scholarly resource for those who do not have access to the Garland facsimile edition of the complete Handel opera librettos (The Librettos of Handel's Operas: A Collection of Seventy Librettos Documenting Handel's Operatic Career, ed.
In a number of movements in Aci, Galatea e Polifemo, Handel gives the oboe a separate line independent of the violins, as in the aria "Sforzano a piangere" and the trio "Provera lo sdegno mio" (facsimile, p.
The same may even be the case at the beginning of "S'agita in mezzo all'onde," where there are five unmarked systems, which in the B section Handel (re)designates flauto, violino I pizzicati, violino II pizzicati, [Galatea], and [continuo].
Indeed, when Handel adapted Polifemo's "Sibilar l'angui d'Aletto," which is not as extreme in range as his "Fra l'ombre e gl'orrori," for Boschi in the role of Argante in Rinaldo (1711), he excised all but one low [A.
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The volume contains thirty-four essays, mostly by German, British, and North American scholars; the first group predominates, and it includes appropriately eleven authors from Halle, the birthplace that Baselt shared with Handel.
In addition the editors have grouped certain related essays together: the volume opens with three essays on oratorios and one on the Funeral Anthem; these are followed by three on the operas; a further group covers aspects of the Handel tradition in the nineteenth century; and there are three essays on Telemann.
Merrill Knapp [Oxford: Clarendon Press, 1987], Philip Gossett commented on the abundance of source information given there: "In some cases fifty percent or more of a chapter could be described charitably as a critical commentary to a nonexistent edition" ("Let Handel
," The New York Review of Books 35, no.
This preface begins, rather casually, by explaining that advances in Handel scholarship since the first volume was completed in 1989 have resulted in the need to revise some passages in the first two volumes, which the reader will find listed in the ensuing report.
The prefatory remarks also include the only explanation that the report uses the watermark sigla devised by Keiichiro Watanabe ("The Music-Paper Used by Handel and his Copyists in Italy, 1706-1710," in Handel Collections and their History, ed.