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| Hallische Händel-Ausgabe | |
|---|---|
| Name | Hallische Händel-Ausgabe |
| Native name | Hallische Händel-Ausgabe |
| Country | Germany |
| City | Halle |
| Discipline | Musicology |
| Established | 1955 |
| Language | German, English |
| Publisher | Händel-Gesellschaft, Georg Olms Verlag, Breitkopf & Härtel |
Hallische Händel-Ausgabe is a comprehensive critical edition of the works of George Frideric Handel prepared in Halle and issued to provide authoritative texts for scholarship and performance. The project links archival research in Halle (Saale), editorial practice in Leipzig, and international collaboration among institutions such as the British Library, the Bibliothèque nationale de France, the Staatsbibliothek zu Berlin, the Royal College of Music, and the Biblioteca Nazionale Centrale di Firenze. It aims to reconcile sources from repositories including the Manuscript tradition in Hamburg, the Royal Academy of Music (1719) materials in London, and collections associated with patrons like George II of Great Britain and Augusta of Saxe-Gotha.
The edition originated in post-war East Germany initiatives linking the Georg Friedrich Händel Gesellschaft in Halle (Saale) with musicologists from Leipzig Conservatory, the Martin Luther University of Halle-Wittenberg, and contributors from the Institute for Musicology, University of Leipzig. Early editorial leadership involved figures drawn from networks including Wiener Akademie scholars, editors associated with Georg Olms Verlag, and correspondents in the British Museum and the Royal Danish Library. Over decades the governance evolved to include advisory boards with representatives from the Society for Musicology in Ireland, the American Musicological Society, the International Association of Music Libraries, and conservatories such as the Conservatoire de Paris and the Moscow Conservatory. Funding and publishing partnerships connected the edition to Breitkopf & Härtel, Oxford University Press (music), and regional cultural ministries in Saxony-Anhalt.
Editors follow philological methods long established in projects like the Neue Bach-Ausgabe and the Complete Works of Mozart, employing source-critical collation of autograph manuscripts, copyists' parts, and first editions held at the British Library, the Herzog August Bibliothek, the Staatsbibliothek zu Berlin, the Huntington Library, and the Bibliothèque nationale de France. The editorial rubric engages conventions exemplified by the Riemann Musiklexikon and standards promulgated by the International Musicological Society, privileging documentary evidence from correspondence with figures such as Franz Liszt, archival inventories related to Hanoverian court archives, and provenance records tied to collectors like Samuel Arnold. Critical reports annotate variants, conjectures, and performance markings paralleling practices in the Neue Mozart-Ausgabe and the editorial apparatus used by the Bärenreiter series.
The corpus encompasses vocal, instrumental, and theatrical works, modeled on comprehensive projects like the Grove Dictionary of Music and Musicians and the Collected Works of Brahms. Volumes include operas linked to librettists such as Nicola Francesco Haym and Giovanni Bononcini, oratorios like Messiah and Israel in Egypt, concerti grossi akin to those published by Arcangelo Corelli, keyboard suites comparable to the oeuvre of Domenico Scarlatti, and chamber pieces associated with patrons including Charles Jennens and ensembles resembling those of the Academy of Ancient Music. Each volume provides critical commentary comparable to editions issued by Schirmer and thematic catalogs referencing systems used by scholars of Johann Sebastian Bach and Ludwig van Beethoven.
Separate strands produce strictly critical scholarly volumes and practical performance editions intended for ensembles such as the Academy of St Martin in the Fields, the English Concert, the Orchestra of the Age of Enlightenment, and baroque specialists like Nikolaus Harnoncourt and John Eliot Gardiner. Editors reconcile the demands of historically informed performance favored by conductors associated with Christopher Hogwood and William Christie with conservative continuity for orchestras such as the Gewandhausorchester and opera houses like the Royal Opera House. Emendations and editorial decisions are documented in critical reports echoing methodologies from the Neue Händel-Ausgabe approach and the Critical Edition standards of the International Association of Music Libraries.
The edition influenced research in baroque studies alongside publications from the Handel Prize committee, dissertations defended at the University of Oxford, the Humboldt University of Berlin, and the University of Cambridge, and articles in journals such as Early Music, The Musical Quarterly, and Oxford Music Online. It shaped performance practice debates involving scholars like Winton Dean and practitioners including Marin Alsop and contributed to cataloging efforts comparable to the Händel-Werke-Verzeichnis and thematic indices used by the RISM database. Critics and historians cited the edition in monographs on Baroque opera, Handel biographies, and comparative studies that reference the editorial work of the Neue Bach-Ausgabe and projects at the Royal College of Music.
Printed volumes and critical reports have been issued by publishers including Georg Olms Verlag, Breitkopf & Härtel, and regional academic presses affiliated with the Martin Luther University of Halle-Wittenberg. Distribution networks reach libraries like the Library of Congress, the Bibliothèque nationale de France, the National Library of Australia, and conservatory collections at the Royal Conservatory of The Hague and the Juilliard School. Digital dissemination aligns with repositories such as RILM, the Hathitrust Digital Library, and institutional digitization projects sponsored by the European Union and national cultural agencies in Germany.
Performances and recordings using the edition informed releases by ensembles including the English Concert under Trevor Pinnock, the Academy of Ancient Music under Christopher Hogwood, productions at the Glyndebourne Festival Opera, the Salzburg Festival, and broadcast presentations on BBC Radio 3 and Deutschlandfunk. Recordings cited the edition in liner notes alongside issues by labels like Decca, Harmonia Mundi, Philips Classics, and Teldec, and informed performances by soloists such as Kathleen Battle, Dietrich Fischer-Dieskau, and Dorothea Röschmann as well as modern stagings at institutions including the Metropolitan Opera and the Semperoper Dresden.
Category:Critical editions Category:George Frideric Handel