MuseData is a dynamic environment for music encoding, printing, and archiving. It was conceived and has been developed since 1984 by Walter B. Hewlett. MuseData seeks to support the creation, editing, and use of full scores and their by-products (scores, short-scores, parts; datasets for music analysis; and linkage with sound output). Its focus, originally limited to conventional music notation (CMN, 1600–1860), has been extended selectively to support projects involving mensural and other early notations.

==The MuseData dynamic score-generation system==

MuseData is a dynamic system. Its implementation is the work of Craig Sapp. In traditional print-oriented scenarios, musical scores can be updated only with difficulty. The data ifself can be modified to capture new information, changing interpretations, and new arrangements. MuseData has maintained backward compatibility since its inception. This combination sets its overall operation apart from situations in which continuous software development orphans much data encoded in the past.

The score-generation site [https://www.musedata.org musedata.org] supports virtual online editing. It is largely used to make PDFs that identify editors and date of printing in the footer. Users wishing to alter that data for personal use should consult the full [[MuseData: file format|MuseData]] specification. ZZZ

==MuseData Encoded Repertories==

The Center for Computer Assisted Research in the Humanities ([[About CCARH|CCARH]]), currently hosted by the Packard Humanities Institute and physically based at Stanford University, has used MuseData extensively in the encoding of classical repertories. The production of performing materials is undertaken selectively (see below). Currently, more than 1,100 works have been encoded to a common, documented format.

===Repertory by Composer===

* [[Johann_Sebastian_Bach | Bach (J. S.)]]
* [[Ludwig_van_Beethoven | Beethoven]]
* [[Arcangelo_Corelli | Corelli]]
* [[Handel]]
* [[Franz_Joseph_Haydn | Haydn]]
* [[Legrenzi]]
* [[Benedetto_Marcello_(1686-1739) | Marcello (Benedetto)]]
* [[Mendelssohn]]
* [[Mozart]]
* [[Rovetta]]
* [[Telemann]]
* [[Vivaldi]]

===Repertory by Genre===

* cantatas (sacred)
* cantatas (secular)
* concertos (piano)
* divertimenti
* masses
* operas
* oratorios
* psalms
* quartets (string)
* trios (string)
* symphonies

Scores from earlier versions of the typesetting system can be found on http://scores.ccarh.org

2025-04-13T13:43:27Z

Craig: /* Collaborations */

The Center for Computer Assisted Research in the Humanities (CCARH) was founded in the 1984 by Walter Hewlett. It is engaged in the development of large databases of musical and textual materials for applications in research, teaching, and performance. It pursued the goals of (1) synchronous software for encoding, archiving, printing, and analysis of musical repertories; (2) promotion of similar capabilities in academic and non-profit communities; (3) development of instructional material for university-level courses; and (4) sharing of knowledge in the development of collective tools for management, interchange, and source verification in digital initiatives involving music.

==History==
CCARH operated independently as the Center for Computer-Assisted Research in the Humanities, with premises in Menlo Park, CA, until 1996, when it moved into the Braun Music Center on the Stanford University campus. CCARH is located in the Braun Music Center. It has operated under the auspices of the Packard Humanities Institute since 2011.

==Teaching==
Its graduate courses, which were first offered in 1994, serve an interdisciplinary population of students and visiting researchers in various branches of music, computer science, and related disciplines.

* [[Music 252]]: Practical course for learning how to use music notaiton editors.
* [[Music 253]]: Survey of symbolic music representation systems.
* [[Music 254]]: Project-based class using symbolic data for music analysis and generation.

== Collaborations ==

CCARH has played an active role in many collaborative research projects.

* [https://verovio.org Verovio] in collaboration with the RISM Digital Center, Bern, Switzerland.
* [https://chopinscores.org Chopin Scores] in collaboration with the [https://nifc.pl/en Chopin Institute], encoding the music of Fryderyk Chopin.
* [https://polishscores.org Polish Scores] in collaboration with the [https://nifc.pl/en Chopin Institute], encoding music from archives in Poland.
* [https://josquin.stanford.edu Josquin Research Project] in collaboration with Jesse Rodin, Stanford University.
* [https://tassomusic.org Tasso in Music Project] in collaboration with Emiliano Ricciardi, University of Massachusetts, Amherst.
* [https://polyrhythm.humdrum.org Polyrhythm Project] in collaboration with Ève Poudrier, University of British Columbia.

About CCARH

2025-04-13T13:31:05Z

Craig: /* Teaching */

About CCARH

2025-04-13T13:30:46Z

Craig: /* Teaching */

MuseData

2025-04-13T13:26:58Z

Craig: /* MuseData Encoded Repertories */

MediaWiki:Sidebar

2025-04-13T13:25:23Z

Craig:

MediaWiki:Sidebar

2025-04-13T13:24:10Z

Craig:

MuseData

2025-04-13T13:22:52Z

2025-04-13T13:16:56Z

Craig: /* Repertory by Composer */

MuseData is a dynamic environment for music encoding, printing, and archiving. It was conceived and has been developed since 1984 by Walter B. Hewlett. MuseData seeks to support the creation, editing, and use of full scores and their by-products (scores, short-scores, parts; datasets for music analysis; and linkage with sound output). Its focus, originally limited to conventional music notation (CMN, 1600-1860), has been extended selectively to support projects involving mensural and other early notations.

==The MuseData dynamic score-generation system==

MuseData is a dynamic system. Its implementation is the work of Craig Sapp. In traditional print-oriented scenarios, musical scores can be updated only with difficulty. The data ifself can be modified to capture new information, changing interpretations, and new arrangements. MuseData has maintained backward compatibility since its inception. This combination sets its overall operation apart from situations in which continuous software development orphans much data encoded in the past.

The score-generation site [https://www.musedata.org musedata.org] supports virtual online editing. It is largely used to make PDFs that identify editors and date of printing in the footer. Users wishing to alter that data for personal use should consult the full [[MuseData: file format]] specification.

==MuseData Encoded Repertories==

The Center for Computer Assisted Research in the Humanities ([https://www.ccarh.org CCARH]), currently hosted by the Packard Humanities Institute and physically based at Stanford University, has used MuseData extensively in the encoding of classical repertories. The production of performing materials is undertaken selectively (see below). Currently, more than 1,100 works have been encoded to a common, documented format.

===Repertory by Composer===

* [[Johann_Sebastian_Bach | Bach (J. S.)]]
* [[Ludwig_van_Beethoven | Beethoven]]
* [[Arcangelo_Corelli | Corelli]]
* [[Handel]]
* [[Franz_Joseph_Haydn | Haydn]]
* [[Legrenzi]]
* [[Benedetto_Marcello_(1686-1739) | Marcello (Benedetto)]]
* [[Mendelssohn]]
* [[Mozart]]
* [[Rovetta]]
* [[Telemann]]
* [[Vivaldi]]

===Repertory by Genre===

* cantatas (sacred)
* cantatas (secular)
* concertos (piano)
* divertimenti
* masses
* operas
* oratorios
* psalms
* quartets (string)
* trios (string)
* symphonies

Scores from earlier versions of the typesetting system can be found on http://scores.ccarh.org

Giovanni Rovetta

2025-04-13T13:15:28Z

Craig: Created page with " * Missa Brevis for Holy Thursday ** [http://scores.ccarh.org/rovetta/missabreviswithpreface_pdf5.pdf PDF] of preface and music."

* Missa Brevis for Holy Thursday
** [http://scores.ccarh.org/rovetta/missabreviswithpreface_pdf5.pdf PDF] of preface and music.

MuseData Repertories

2025-04-13T13:14:26Z

Craig:

The CCARH MuseData collection has been developed with the goal of providing a secure foundation for research, performance, pedagogy, and virtual editions. All of these needs require a "core work" but each may additionally require data nuances that may not be found in these encodings. Musical data for computational analysis purposes is available in the MusicData repository: http://musedata.org . Printable scores are more readily found on the pages listed below.

By composer, our encoding efforts have thus far been focused on music composed in Europe roughly between 1700 and 1825. Sources are easily available for this period. Notational conventions are well understood. Interest on the part of performers, teachers, scholars, and listeners is well established.

* [[Johann Sebastian Bach]]
* [[Ludwig van Beethoven]]
* [[Arcangelo Corelli]]
* [[George Frideric Handel]]
* [[Franz Josef Haydn]]
* [[Wolfgang Amadeus Mozart]]
* [[Giovanni Rovetta]]
* [[Georg Philipp Telemann]]
* [[Antonio Vivaldi]]

MuseData Repertories

2025-04-13T13:13:28Z

Craig:

The CCARH MuseData collection has been developed with the goal of providing a secure foundation for research, performance, pedagogy, and virtual editions. All of these needs require a "core work" but each may additionally require data nuances that may not be found in these encodings. Musical data for computational analysis purposes is available in the MusicData repository: http://musedata.org . Printable scores are more readily found on the pages listed below.

By composer, our encoding efforts have thus far been focused on music composed in Europe roughly between 1700 and 1825. Sources are easily available for this period. Notational conventions are well understood. Interest on the part of performers, teachers, scholars, and listeners is well established.

* [[Johann Sebastian Bach]]
* [[Ludwig van Beethoven]]
* [[Arcangelo Corelli]]
* [[George Frederick Handel]]
* [[Franz Josef Haydn]]
* [[Wolfgang Amadeus Mozart]]
* [[Giovanni Rovetta]]
* [[Georg Philipp Telemann]]
* [[Antonio Vivaldi]]

MuseData

2025-04-13T13:08:52Z

Craig: /* Repertory by Composer */

MuseData is a dynamic environment for music encoding, printing, and archiving. It was conceived and has been developed since 1984 by Walter B. Hewlett. MuseData seeks to support the creation, editing, and use of full scores and their by-products (scores, short-scores, parts; datasets for music analysis; and linkage with sound output). Its focus, originally limited to conventional music notation (CMN, 1600-1860), has been extended selectively to support projects involving mensural and other early notations.

==The MuseData dynamic score-generation system==

MuseData is a dynamic system. Its implementation is the work of Craig Sapp. In traditional print-oriented scenarios, musical scores can be updated only with difficulty. The data ifself can be modified to capture new information, changing interpretations, and new arrangements. MuseData has maintained backward compatibility since its inception. This combination sets its overall operation apart from situations in which continuous software development orphans much data encoded in the past.

The score-generation site [https://www.musedata.org musedata.org] supports virtual online editing. It is largely used to make PDFs that identify editors and date of printing in the footer. Users wishing to alter that data for personal use should consult the full [[MuseData: file format]] specification.

==MuseData Encoded Repertories==

The Center for Computer Assisted Research in the Humanities ([https://www.ccarh.org CCARH]), currently hosted by the Packard Humanities Institute and physically based at Stanford University, has used MuseData extensively in the encoding of classical repertories. The production of performing materials is undertaken selectively (see below). Currently, more than 1,100 works have been encoded to a common, documented format.

===Repertory by Composer===

* [[Johann_Sebastian_Bach | Bach (J. S.)]]
* [[Ludwig_van_Beethoven | Beethoven]]
* [[Arcangelo_Corelli | Corelli]]
* [[Handel]]
* [[Franz_Joseph_Haydn | Haydn]]
* Legrenzi
* [[Benedetto_Marcello_(1686-1739) | Marcello (Benedetto)]]
* [[Mendelssohn]]]
* [[Mozart]]
* [[Rovetta]]
* [[Telemann]]
* [[Vivaldi]]

===Repertory by Genre===

* cantatas (sacred)
* cantatas (secular)
* concertos (piano)
* divertimenti
* masses
* operas
* oratorios
* psalms
* quartets (string)
* trios (string)
* symphonies

Scores from earlier versions of the typesetting system can be found on http://scores.ccarh.org

MuseData

2025-04-13T13:06:55Z

Craig: /* Repertory by Composer */

MuseData is a dynamic environment for music encoding, printing, and archiving. It was conceived and has been developed since 1984 by Walter B. Hewlett. MuseData seeks to support the creation, editing, and use of full scores and their by-products (scores, short-scores, parts; datasets for music analysis; and linkage with sound output). Its focus, originally limited to conventional music notation (CMN, 1600-1860), has been extended selectively to support projects involving mensural and other early notations.

==The MuseData dynamic score-generation system==

MuseData is a dynamic system. Its implementation is the work of Craig Sapp. In traditional print-oriented scenarios, musical scores can be updated only with difficulty. The data ifself can be modified to capture new information, changing interpretations, and new arrangements. MuseData has maintained backward compatibility since its inception. This combination sets its overall operation apart from situations in which continuous software development orphans much data encoded in the past.

The score-generation site [https://www.musedata.org musedata.org] supports virtual online editing. It is largely used to make PDFs that identify editors and date of printing in the footer. Users wishing to alter that data for personal use should consult the full [[MuseData: file format]] specification.

==MuseData Encoded Repertories==

The Center for Computer Assisted Research in the Humanities ([https://www.ccarh.org CCARH]), currently hosted by the Packard Humanities Institute and physically based at Stanford University, has used MuseData extensively in the encoding of classical repertories. The production of performing materials is undertaken selectively (see below). Currently, more than 1,100 works have been encoded to a common, documented format.

===Repertory by Composer===

* [[Johann_Sebastian_Bach | Bach (J. S.)]]
* [https://wiki.ccarh.org/wiki/Ludwig_van_Beethoven Beethoven]
* [https://wiki.ccarh.org/wiki/Arcangelo_Corelli Corelli]
* Handel
* [https://wiki.ccarh.org/wiki/Franz_Joseph_Haydn Haydn]
* Legrenzi
* [https://wiki.ccarh.org/wiki/Benedetto_Marcello_(1686-1739) Marcello (Benedetto)]
* [https://wiki.ccarh.org/wiki/Mendelssohn Mendelssohn]
* Mozart
* Rovetta
* Telemann
* Vivaldi

===Repertory by Genre===

* cantatas (sacred)
* cantatas (secular)
* concertos (piano)
* divertimenti
* masses
* operas
* oratorios
* psalms
* quartets (string)
* trios (string)
* symphonies

Scores from earlier versions of the typesetting system can be found on http://scores.ccarh.org

MediaWiki:Sidebar

2025-04-13T13:05:49Z

Craig:

MediaWiki:Sidebar

2025-04-13T13:04:29Z

Craig:

Corelli

2025-04-13T12:58:01Z

Craig: Changed redirect target from MuseData: Arcangelo Corelli to Arcangelo Corelli

#REDIRECT [[Arcangelo Corelli]]

Wolfgang

2025-04-13T12:55:04Z

Craig: Redirected page to Wolfgang Amadeus Mozart

#REDIRECT [[Wolfgang Amadeus Mozart]]

Mozart

2025-04-13T12:54:23Z

Craig: Changed redirect target from MuseData: Wolfgang Amadeus Mozart to Wolfgang Amadeus Mozart

#REDIRECT [[Wolfgang Amadeus Mozart]]

MuseData: Wolfgang Amadeus Mozart

2025-04-13T12:54:00Z

Craig: Redirected page to Wolfgang Amadeus Mozart

#REDIRECT [[Wolfgang Amadeus Mozart]]

Wolfgang Amadeus Mozart

2025-04-13T12:53:02Z

Craig: Created page with " == Symphonies == ===Legitimate symphonies=== Mozart symphonies are revered the world over, but far-reaching investigations of the underlying sources for the published version we know has reduced the number of holdings that properly belong in the the noted Köchel catalogue, which was first compiled in 1862. It continues to serve as living document, though its curation has passed through many hands. Neal Zaslaw's extensive revision has had a overall effect of red..."

== Symphonies ==

===Legitimate symphonies===

Mozart symphonies are revered the world over, but far-reaching investigations of the underlying sources for the published version we know has reduced the number of holdings that properly belong in the the noted Köchel catalogue, which was first compiled in 1862. It continues to serve as living document, though its curation has passed through many hands. Neal Zaslaw's extensive revision has had a overall effect of reducing the number of works that are now considered legitimate.

====Securely attributed symphonies from Mozart's childhood====
Mozart's prodigious musical development in childhood is widely acknowledged, but over centuries it spawned a cult focused more on the child prodigy than on his music. The image of the child prodigy was cultivated by an ambitious father, Leopold Mozart, who took the boy and his elder sister Nannerl on tour in their childhoods. Mozart's exceptionalism (in today's vocabulary) is one factor of several that contributed many works that were not his to Köchel's catalogue. To dampen some of the confusion we have separated legitimate works from those now attributed to others.

{| class="wikitable sortable"
|-
! Sym. Number !! Köchel Cat. (KV) !! Key !! Date !! Notes
|-
| No. 1 || KV 16 || Eb Major || 1764 || Example
|-
| No. 4 || KV 19 || D Major || 1765 || Example
|-
| No. 5 || KV 22 || Bb Major || 1765 || Example
|-
| No. 6 || KV 43 || F Major || 1767 || Example
|-
| No. 7 || KV 45 || D Major || 1768 || Example
|-
| No. 8 || KV 48 || D Major || 1768 || Example
|-
| No. 9 || KV 73/75a || C Major || 1769? || Example
|-
| No. 10 || KV 74 || G Major || 1770 || Example
|-
| No. 11 || KV 84/73q || D Major || 1770 || Example
|-
| No. 12 || KV 110/75b || G Major || 1771 || Example
|-
| No. 13 || KV 112 || F Major || 1771 || Example
|}

====Securely attributed symphonies from Mozart's Salzburg years====

{| class="wikitable sortable"
|-
! Symph. No. !! Köchel Catalog (KV) !! Key !! Date !! Header text
|-
| No. 14 || KV 114 || A Major|| 1771 || Example
|-
| No. 15 || KV 124 || G Major || 1772 || Example
|-
| No. 16 || KV 128 || C Major || 1772 || Example
|-
| No. 17 || KV 129 || G Major || 1772 || Example
|-
| No. 18 || KV 130 || F Major || 1772 || Example
|-
| No. 19 || KV 132 || Eb Major || 1772 || Example
|-
| No. 20 || KV 133 || D Major || 1772 || Example
|-
| No. 21 || KV 134 || A Major || 1772 || Example
|-
| No. 22 || KV 162 || C Major || 1773 || Example
|-
| No. 23 || KV 181/162b || D Major || 1773 || Example
|-
| No. 24 || KV 182/273dA || Bb Major || 1773 || Example
|-
| No. 25 || RV 183/173dB || G Minor || 1773 || Example
|-
| No. 26 || KV 184/161a || Eb Major || 1773 || Example
|-
| No. 27 || KV 199/161b || G Major || 1773 || Example
|-
| No. 28 || KV 200/189k || C Major || 1774 || Example
|-
| No. 29 || KV 201/186a || A Major || 1774 || Example
|-
| No. 30 || KV 202/186b || D Major || 1774 || Example
|}

====Securely attributed symphonies from Mozart's later years====

{| class="wikitable sortable"
|-
! Symphony No. !! Köchel Catalog (KV) !! Key !! Date !! Header text
|-
| No. 31 ("Paris")|| KV 297/300a || D Major || 1778 || Example
|-
| No. 32 || KV 318 || G Major || 1779 || Example
|-
| No. 33 || KV 319 || Bb Major || 1779 || Example
|-
| No. 34 || KV 338 || C Major || 1780 || Example
|-
| No. 35 ("Haffner") || KV 385 || D Major || 1782 || Example
|-
| No. 36 ("Linz") || KV 425 || C Major || 1783 || Example
|-
| No. 38 ("Prague") || KV 504 || D Major || 1786 || Example
|-
| No. 39 || KV 453 || Eb Major || 1788 || Example
|-
| No. 40 || KV 550 || G Minor || 1788 || Example
|-
| No. 41 ("Jupiter") || KV 551 || C Major || 1788 || Example
|}

===Symphonies no longer attributed to W. A. Mozart; Arrangements of non-symphonic works===
{| class="wikitable"
|-
! Genre/No. !! ex-Köchel Catalog (KV) !! Current Catalog (if any) !! Key !! Date !! Composer or Status !! Score
|-
| No. 2 || KV 17 || || Bb Major || c1765 || Leopold Mozart || Example
|-
| No. 3|| KV 18 || || Eb Major || c1767 || Carl Fr. Abel || Example
|-
| No. 11 || KV 84 || 73q || D Major || c1769-70 || Uncertain || Example
|-
| None || KV 75 || Example || F Major || doubtful || 1771 || Example
|-
| None || KV 76 || 42a || F Major || doubtful || 1767 || Example
|-
| None || KV 81 || 731 || D Major || doubtful || 1770 || Example
|-
| None || KV 95 || 73n || D Major || doubtful || 1770 || Example
|-
| None || KV 96 || 111b || C Major || doubtful || 1771 || Example
|-
| None || KV 97 || 73m || D Major || doubtful || 1770 || Example
|-
| None || KV 98 || Ang.C 11.04 || F Major || doubtful || c1771 || Example
|-
| None || KV Anh. 214 || 45b || Bb Major || doubtful || 1768 || Example
|-
| None || KV Ang. 216 || 74g || Bb Major || doubtful || 1771 || Example
|-
| None || KV Anh. 221 ("Old Lambach") || 45a || G Major || doubtful || 1766 || Example
|-
| None || KV Anh. 223 || 19a || F Major || doubtful || 1765 || Example
|-
| None || KV Anh. 220 ("Odense" )|| 19a || A Minor || doubtful || 1765? || Example
|-
| None || KV 111 || 120/111a || D Major || opera-related || 1771 || Example ||
|-
| None || KV 126 || 161/163/141a || D Major || opera-related || 1772 || Example ||
|-
| None || KV 196 || 121/207a || D Major || opera-related || 1774-1775 || Example ||
|-
| None || KV 208 || 102/213c || C Major || opera-related || 1775 || Example ||
|-
| None || KV 135 || 61h || D Major || opera-related || 1772? || Example ||
|-
| None || KV 204 || || D Major || Derived from Serenade No. 5 || 1775 || Example
|-
| None || KV 250 || || D Major || Derived from "Haffner" serenade || 1776 || Example
|-
| None || KV 320 || || D Major || Derived from the "Posthorn" serenade || 1779 || Example
|-
| Symph. No. 37 || KV 444 || Example || G Major || Michael Haydn (Intro. by W.A. Mozart) || 1783 || Example
|-
| Example || Example || Example || Example || Example || Example || Example
|}

===000===

* Symphony No. 38, K 504 ("The Prague")
** [http://scores.ccarh.org/mozart/k504/k504.pdf PDF]

Messiah

2025-04-13T06:05:21Z

Craig: /* Bibliography and Weblinks */

Messiah (HWV 56)
Composed by [[George Frideric Handel]]
 
 
<table bgcolor=#ffffff cellpadding=0 cellspacing=0>
<tr bgcolor=#ffffff valign=top><td bgcolor=#fffff width=30></td><td bgcolor=#ffffff>
[[File:PortraitJF.jpg|400px|thumb|left|Portrait of Handel, holding a score of Messiah, by Thomas Hudson (1748).]]
</td><td bgcolor=#ffffff> __TOC__ </td></tr></table>

==Overview==
Handel's famous oratorio Messiah comes down to us as the best known and most widely performed of his compositions. Its fame rests on many factors including its gestation under favorable social circumstances then and its versatility and easy availability now. Overriding these extraneous factors is the virtue of the music itself: majestic and contrite by turns, carefully balanced throughout, and within the capabilities of diligent amateurs. This website provides copious performing materials for Messiah together with substantial background and editorial information.

==Content==
[[File:ChasJennens.jpg|250px|thumb|right|Portrait of Charles Jennens, who wrote the libretto for Messiah, by Thomas Hudson (c. 1745).]]

Handel's Messiah has always been suspended between the sacred and secular spheres. The title Messiah, used for its first performances in Dublin, suggests a sacred work, although it was initially performed as a concert piece. It was simply called a Sacred Oratorio in the libretto for its London premiere (1743), but objections were consequently raised to its performance in the theater. Not until performances began in the chapel of London's Foundling Hospital (1750) was the ambiguous nature of the work matched by a similar ambiguity of performing space. Eighteenth-century classicism appropriated for the secular world much material from Biblical studies.<ref>Peter Gay's phrase "pagan Christianity" (1966: Vol. 1[http://en.wikipedia.org/wiki/Peter_Gay]).</ref> Messiah's chameleon ability to transcend social and cultural boundaries, which continues to expand up to the present day, was an important instance of this phenomenon.

All of Handel's oratorios reflected to one degree or another his cultural immersion in an Anglo-Protestant society. When Messiah was first performed Dublin, the city had a substantial Anglo-Irish nobility and maintained strong cultural ties to London. Messiah can be differentiated from most earlier oratorios by Handel in the degree to which the ideas of [http://spenserians.cath.vt.edu/BiographyRecord.php?action=GET&bioid=33840 Charles Jennens], Handel's collaborator, drove the work. In fact it was initially regarded as "Jennens's' Messiah," because it is Jennens's theological views that it projects. (Jennens had recently provided texts for his oratorio Saul and the serenata L'Allegro, il Penseroso, ed il Moderato.)

===The Choruses of Messiah===
The oratorio consists of three parts: (1) music narrating highpoints from the prophecy of Isaiah to the early life of Jesus; (2) Jesus's birth, death, and resurrection; and (3) the sins and judgment of mankind. Each of these can be parsed into several scenes. Handel's choruses serve as a good guide to the many segments of the work.

In Part One the choruses are these: 
       1.4     And the glory of the Lord 
       1.7     And He shall purify 
     1.10     O Thou that tellest 
     1.13     For unto us a child is born 
     1.19     Glory to God in the highest 
     1.23     His yoke is easy 

All the choruses are present in the autograph manuscript of 1741. They proved to be the most unvarying components of the work. The choruses, which are scored for sopranos, altos, tenors, and basses, call for string accompaniment. Trumpets are required in "Glory to God in the highest," and oboes were added in later revisions.

The same principles pertain to the remaining choruses of the work (with one exception*): all of them originate in the 1741 autograph. Part Two has the largest number of choruses and culminates with the great "Halleluiah" chorus. Where they overlap with choruses, adjustments to solo parts caused some variability of scoring from version to version.

       2.1     Behold the Lamb of God 
       2.3     Surely, surely; And with his stripes 
       2.4     All we like sheep 
       2.6     He trusted in God 
     2.11     Lift up your heads 
     2.13     Let all the angels of God worship Him 
     2.16*   Their sound is gone out 
     2.18     Let us break their bonds 
     2.21     Halleluiah 

The movement we term 2.16* in our edition is known to have existed in five versions, and the chorus indicated here first occurs as a separate one in 1745. The segmentation of the text and the portions assigned to soloist and chorus vary from case to case, both before and after 1745. (Details are given in the downloadable list of versions from Handel's lifetime.) Oboes are also called for in this later accretion. The "Halleluia" chorus includes parts for trumpets and timpani.

Part Three is much simpler in its structure. Its choruses are these: 
       3.2     Since by man came death (with soloists) 
       3.7     But thanks be to God 
       3.9     Worthy is the Lamb 
      3.10    Amen 

Trumpets and timpani are required in the final chorus and concluding "Amen."

===The "Halleluia" Chorus===
Messiah is especially noted for its choruses. The most famous one is the "Halleluia" chorus that ends Part Two. The choruses are noted for their imitative vocal entries, which contribute to cascades of contrapuntal complexity as various groups of instruments highlight particular passages or counter vocal entries with musically complementary passages.
[[File:messiah_example2.jpg|650px|thumb|center|Beginning of the fugal passage setting the text "And He shall reign for ever and ever," with staggered entries from the bass through the tenor and alto to the soprano. [[File:andheshallreighforeverandever.png]] ]]
Stephen Malinowski's [http://www.musanim.com/ Music Animation Machine] presents a [http://www.youtube.com/watch?annotation_id=annotation_201752&src_vid=a1t61aAbgtE&feature=iv&v=JtoNHnR_WhE visualization] of the "Halleluia" chorus in which these techniques are captured in motion.

===Notable Arias===
Unlike most oratorios, Messiah does not contain assigned roles. Yet Handel personifies beings that are influential in propelling his text forward in his use of arias. While working through a long parade of momentarily important characters, he takes great care to rotate from one voice to another. In Part One, the tenor leads off with "Ev'ry valley shall be exalted." Bass recitatives and arias are used for narration ("Thus saith the Lord"..."But who may abide" in Part One). The Annunciation (announcement of Jesus' forthcoming birth) falls to an alto ("Behold a virgin shall conceive"..."O Thou that tellest"). The soprano is reserved in Part One to recount the appearance of the angel to the shepherds ("There were shepherds in the fields"..."And lo the angel of the Lord").

The large number of choruses in Part Two reduces the role of arias. Handel seems to have great difficulty deciding on voice assignments in this section. Only the tenor contributions to the Crucifixion narrative and the closing portions of the section are unvarying across all early versions. Part Three is much briefer than the other two and contains only two arias—"The trumpet shall sound" (bass) and "If God is for us" (soprano). Duets also occur in Parts One and Three.

===Tonal Features and Instrumental Constraints===
Harmonic structures of the kind used in the nineteenth century did not predominate in Handel's lifetime. In a work as richly orchestrated as Messiah, a central reason for this was the tonal limitation of some brass and woodwind instruments. Brasses usually played in only one key, and in Messiah every piece involving trumpets is in the key of D Major.<ref>The trumpet was a transposing instrument.[http://en.wikipedia.org/wiki/Transposing_instrument].</ref> Oboes had fewer keys then than they do now. Scoring for them favored minor keys involving one or more flats.

For Handel's time, notions of key symbolism are somewhat anachronistic. Yet a few key associations seem to indicate Handel's efforts to color the most important elements—God's overarching power (D Major), the gentleness of Jesus, the "Lamb of God" (Bb Major), and the sorrows of his earthly existence and of His mourners (F, G, and C Minor)—of the story in uniform ways.

==Performance and Reception History==
Our knowledge of the performance history of Messiah between the completion of the composition in September 1741 and Handel’s death in April 1759 is rich and constantly changing. When he composed Messiah, Handel expected it to be performed in London, but in November 1741 he was invited to Dublin for the purpose of offering a subscription series of concerts. This first series was such a success that a second series was launched on February 17, 1742.<ref>Starting with a performance of Alexander's Feast, the new series continued on Wednesdays through April 7, when the featured work was a revised version of Esther.</ref> An open rehearsal of the oratorio took place On April 8. It was a bonus to reward subscribers' loyalty. Messiah was immediately declared "the finest Composition of Musick that ever was heard."

[[File:messiah-sinfonia-opening.jpg|640px|thumb|center|Opening bars of Messiah in Handel's 1741 autograph (British Library).]]

The first official public performance (starting at noon on April 13, 1742) and the final Dublin performance (June 3, 1742) both took place in Neal's [the New] Music Hall on Fishamble St. To its first audience in Dublin Messiah was a resounding success in part because it achieved a great charitable goal: poor debtors were released from prison in proportion to its financial success. (The composer and two singers of the original cohort donated their share of the proceeds to this cause.) The June 3 concert involved some cast changes, and organ concertos were performed with it.

Nine performances in Dublin can be dated between the premiere on April 13, 1742, and an Advent performance on December 16, 1756. All of them seem to have met with the “universal applause” merited by the subject, the setting, and the qualities of the performances. All were benefits, but not all targeted the same beneficiaries. Among the latter were the Dublin music publishers William and Bartholomew Mainwaring and the Charitable Infirmary.<ref>In those days the infirmary focused on separating the sick from the well, rather than on treating the sick.</ref>
[[File:Neal_Music_Hall.jpg|250px|thumb|left|Neal's Music Hall on Fishamble St., Dublin. It was here that Handel's Messiah was first performed.]]

One Dublin performance took place on February 1, 1744. After that Messiah became an Advent work in Dublin, even though in London it became firmly attached to the spring. G. B. Marella was the Dublin conductor in the 1750s. Attendees traveled tens of miles to witness a performance, year in and year out.

===London Performances: Covent Garden===
Messiah's most persistent detractor was Charles Jennens, its librettist. Handel’s original setting was weak and unsatisfactory, according to Jennens. He pressed the composer many times to remedy what Jennens perceived as its perceived defects. In January 1743 Jennens wrote to his friend Edward Holdsworth,

<center><table cellpadding=0 cellspacing=0><tr><td width=100 bgcolor=#ffffff></td><td bgcolor=#FFFFFF>Messiah has disappointed me, being set in great haste, tho’ [Handel] said he would be a year about it, and make it the best of all his Compositions. I shall put no more Sacred Words into his hands, to be thus abus’d.</td><td width=100 bgcolor=#ffffff></td></tr></table></center>

Six weeks later he wrote further on the subject,

<center><table cellpadding=0 cellspacing=0><tr><td bgcolor=#ffffff width=100></td><td bgcolor=#FFFFFF>‘Tis still in his power by retouching the weak parts to make it fit for publick performance; and I have said a great deal to him on the Subject; but he is so lazy and so obstinate, that I much doubt the Effect.</td><td width=100 bgcolor=#ffffff></td></tr></table></center>

Jennens allowed on March 24, 1743 (one day after the London premiere) that “in the main” Messiah was “a fine Composition,” but he continued to pressure Handel to make changes. And Handel did, so much so that the work was never entirely stable until the composer’s death. Some of the changes responded to Jennens’ wishes, but other simply accommodated changes in casting. In August 1745 Jennens reported to Holdsworth

<center><table cellpadding=0 cellspacing=0><tr><td bgcolor=#ffffff width=100></td><td bgcolor=#FFFFFF>I have with great difficulty made him correct some of the grossest faults in the composition, but he retained his Overture obstinately in which there are some passages far unworthy of Handel, but much more unworthy of Messiah. </td><td bgcolor=#ffffff width=100></td></tr></table></center>

The oratorio attracted a growing following in the cathedrals and choral societies of the Western counties and into Wales. In England the choruses of Messiah became especially celebrated. Under the direction of [http://en.wikipedia.org/wiki/William_Boyce_%28composer%29 William Boyce], there was a performance in Hereford Cathedral in September 1750. A month later the work was given in Salisbury Cathedral. Performances in Bristol, Gloucester, and Leicestershire occurred between 1757 and 1759. Many performances of excerpts were given by the Hereford, Gloucester, and Worcester choral societies.

As the oratorio became more widely circulated, its component parts were subject to change, although the choruses were entirely stable. Although Handel continued to experiment with the work, some numbers that had been changed in the 1740s were restored to their original condition in the 1750s. Twelve distinct productions (most consisting of two or three performances) can be counted between 1743 and March 1759.

Initially, Messiah’s main roost in London in the 1740s was the Theatre Royal in [http://en.wikipedia.org/wiki/Covent_Garden_Theatre Covent Garden]. In England the work was considered a Passion oratorio. [Its first performance was marked for neither Advent nor Passion, since it took place almost four weeks after Easter (which fell on March 25 in 1742).] The first performance in London took place on March 23, 1743. The initial reception was more mixed than in Dublin. The cause of charity was absent. Some influential attendees regarded passages of the text setting as insensitive to the meaning of the words.

The Theatre Royal was, of course, an opera house. Protestant England was more lax about opera performances during Lent than were Catholic countries, but oratorios offered a convenient compromise by way of the genre’s ambiguity. Musically, both consisted primarily of an opening sinfonia, arias, and recitatives. In Handel’s case, the differences between opera and oratorio were spelled out by their texts and the portions of it that were strongly emphasized musically. Handel also provided many choruses, which would have been fewer in opera. Jennens had had a strong desire to promote his singular idea of “kingship” in the musical realization of Messiah, and in this regard Handel did not fail him: the “king of kings” theme is put in high relief in the "Halleluia" Chorus, which has always been Messiah’s most highly prized element.

===London Performances: The Foundling Hospital===

[[File:Foundling_Hospital_1809_TRowlandson et al.png|400px|thumb|right|The Foundling Hospital in a tinted illustration by Thomas Rowlandson et al., 1809. Handel was directly involved in many performances here in the 1750s, and Messiah performances were given as benefits for decades after his death.]]
London's Foundling Hospital, established on Bloomsbury Fields in 1739, mirrored in its aims the well established institutions for orphans in Italy and France. The most famous of these was the Ospedale della Pietà in Venice, where all the orphans were female and where a select group reached the stature of musical professionals under the tuition of such maestri as [http://en.wikipedia.org/wiki/Antonio_Vivaldi Antonio Vivaldi] and Giovanni Porta.

Such institutions fostered strong musical allegiances because the noble families who supported them believed that music bettered the soul. They particularly cherished music made well by children. The Foundling Hospital's benefactors include such noted painters as [http://www.nationalgallery.org.uk/artists/sir-joshua-reynolds Sir Joshua Reynolds], [http://www.nationalgallery.org.uk/artists/thomas-gainsborough Thomas Gainsborough], and Handel himself. The composer provided an organ and gave benefit performances at the Hospital. At his death, a valuable set of performance parts became the possession of the institution. Today the park known as [http://www.foundlingmuseum.org.uk/collections/the-foundling-hospital-collection/thomas-coram-and-the-foundling-hospital/ "Coram's Fields"] marks the spot where the original Hospital stood.

Excerpts from Messiah were performed at the [http://www.foundlingmuseum.org.uk/collections/the-foundling-collection/george-frideric-handel/ Foundling Hospital] in May 1749, but the first full performance in its chapel took place a year later. Messiah's annual performance became the main fundraising vehicle for the institution, and the Foundling Hospital concerts were the most celebrated of all Messiah performances given during Handel’s lifetime. The nine documented complete concerts given up to 1759 all enjoyed his direct participation at the organ, for Handel continued to provide an organ concerto even after he was beset by blindness in 1752. The concerts were usually associated with the feast of Ascension (forty days after Easter). John Christopher Smith, who had copied many of Handel's works, conducted from 1754 onward.

===Oxford and Cambridge Performances===
[[File:uk_sheldonian_5.jpg|350px|thumb|left|Sheldonian Theatre, Oxford, completed in 1668 on Christopher Wren's design. Messiah was performed here in 1754 and 1759.]]

Messiah had a slightly different identity in Oxford, where it was performed in April 1749 at the [http://en.wikipedia.org/wiki/Radcliffe_Camera Radcliffe Camera]. It was also given complete performances in the [http://en.wikipedia.org/wiki/Sheldonian_Theatre Sheldonian Theatre] (where Handel's Athalia had had its premiere in 1733) as part of the commemoration festivities of July 1754 and July 1759. Starting in 1755, various parts of Messiah were performed separately for subscription concerts in the [http://www.music.ox.ac.uk/facilities/Holywell-music-room.html Holywell Music Room]. One memorial performance was given at [http://en.wikipedia.org/wiki/Senate_House,_Cambridge Senate House, Cambridge], under John Randall (later a music publisher) in May 1759.

===Performances after Handel's Death===
[[File:Ticket_1773_HF.jpg|250px|thumb|right|A ticket for a Foundling Hospital performance of Messiah in 1773.]]

Performances of Messiah remained popular in England throughout the eighteenth and nineteenth centuries. At Covent Garden, Smith and [http://en.wikipedia.org/wiki/John_Stanley_(composer) John Stanley] continued the oratorio series through the mid 1770s, when the concerts moved to the [http://en.wikipedia.org/wiki/Drury_Lane_theatre Drury Lane] theater. In 1784 a commemorative performance of gigantic proportions was intended to mark the centenary of Handel's birth (erroneously believed to have taken place in 1684 rather than 1685).<ref>The error was based on a failure to reconcile Julian dates falling between January 1 and March 25 with with the Gregorian calendar, which was adopted in England 1752.[http://hcal.ccarh.org] Handel was born on February 23, 1685, and arrived in England in 1711.</ref> More than 500 performers were involved in the [http://www.westminster-abbey.org/our-history/people/george-frederic-handel Westminster Abbey] performance. The audience numbered roughly 4,000. We note from the report in London's Gazetteer and New Daily Advertiser on May 27 that the work's meaning had acquired a new patriotic overlay. It was reported that

<table cellpadding=0 cellspacing=0><tr><td bgcolor=#FFFFFF width=100></td><td bgcolor=#FFFFFF>His is the muse for the English character. He writes to the masculine genius of a free people, and it was only by such an execution that the true majesty of his composition could be demonstrated. It has been attributed to music that enervates the mind....If any thing can arouse the faculties and coagitate the masculine passions of the soul, it is the music of Handel, performed by such a band as are now engaged in his commemoration.<ref>Handel Reference Database, p. 1261[http://ichriss.ccarh.org/WRD/1784.pdf.].</ref></td><td bgcolor=#FFFFFF width=100></td></tr></table>

Messiah eventually attracted a great following in Germany and Austria. [http://en.wikipedia.org/wiki/Christoph_Daniel_Ebeling Christoph Daniel Ebeling] translated Jennens's text into German in c 1782. [http://en.wikipedia.org/wiki/Mozart W. A. Mozart] arranged the work for performance at one of Gottfried [http://en.wikipedia.org/wiki/Gottfried_van_Swieten Baron van Swieten]'s concerts in Vienna, in 1788. [http://en.wikipedia.org/wiki/Carl_Maria_von_Weber Carl Maria von Weber] included Part Three of Messiah in a concert he conducted in Dresden in 1824. [http://en.wikipedia.org/wiki/Felix_Mendelssohn Felix Mendelssohn] was greatly devoted to Handel's oratorios and conducted the full oratorio at least once in Düsseldorf between 1833 and 1835.

==Messiah in Monumental Editions==

Because of the immediate popularity of individual choral and vocal numbers in Messiah, the work was rapidly circulated and adapted to varying circumstances. The rise of choral societies in the third quarter of the century had a symbiotic relationship with Handel's masterpiece. The more the work was performed, the greater the number of groups performing it. Inevitably, each new venue created its own opportunities and limitations. Soloists and sometimes keys of particular pieces could be altered. Orchestration accommodated the resources available. Performance practices evolved in more general ways.

===The Arnold Edition of Handel's Works===
[[File:arnold_s.jpg|100px|thumb|left|Samuel Arnold, whose edition of Messiah was published in 1790.]]

[http://en.wikipedia.org/wiki/Samuel_Arnold_(composer) Samuel Arnold] was the first person to collect all of Handel’s then-known music and publish it. By the time he did, performance practice had evolved in general ways that he applied to his edition.

His edition of Messiah appeared in 1790. It contains much richer figuration of the basso continuo than earlier manuscript versions. This is likely to reflect the reduced training that accompanists were receiving in the “realization” of the sketch of an accompaniment that a continuo player was expected to provide. A more detailed prescription was required. The skills that he brought to the task from long experience as a harpsichordist at Covent Garden suggest that his figuration represented the highest standards of the time.

In 1793 Arnold was appointed organist of Westminster Abbey, where he was buried in 1802. As a composer he is best remembered for his Psalms of David (1791), several oratorios, a few operas, and many hymns.

===The Händel-Gesellschaft (HG) Edition===
[[File:Friedrich_Chrysander.jpg|150px|thumb|right|Friedrich Chrysander, whose edition of Messiah appeared in 1902.]]
In 1858 work was begun on the more extensively “complete” works that were produced by the Händel-Gesellschaft (Georg Friedrich Händels Werke) under the direction of Friedrich Chrysander. By its completion in 1902 it contained 94 volumes (several in two tomes) and five supplements. [Chrysander also edited all the published works of Arcangelo Corelli (now available in PDFs with associated MIDI files at http://corelli.ccarh.org), Bach’s keyboard works, and Palestrina’s motets.]

Chrysander's edition of Messiah appeared as Vol. 45 (1902). It can be downloaded from the website of the Munich Digitalization Center (part of the ViFaMusik project) at
http://daten.digitale-sammlungen.de/~db/0001/bsb00016880/images/index.html.

===The Hallische Händel Ausgabe (HHA)===
The current effort to publish all known music by Handel resides with the edition managed in Halle, Germany. It was initiated in 1952 with the intention of supplementing HG, but discoveries continue to be made, and in 1958 it was launched as a new edition. New editions are organized (mainly by musical genre) into series. Particulars can be found at the edition's website (http://www.haendelgesellschaft.haendelhaus.de/de/hall._haendelausgabe/). The edition is distinguished from others by the abbreviation HHA. For work citations in general HWV ([http://en.wikipedia.org/wiki/H%C3%A4ndel-Werke-Verzeichnis Händel-Werke-Verzeichnis]) indications are now preferred.

==The MuseData Editions of Messiah==
Multitudes of stand-alone editions of Messiah exist. The first MuseData edition, undertaken by the Center for Computer Assisted Research in the Humanities in cooperation with [http://www.philharmonia.org/learn-and-listen/baroque-composers/george-frideric-handel/ Philharmonia Baroque] in 1989, was intended to produce a collection of performing materials that represented all versions of the work known through the time Handel died in 1759.

The second MuseData edition appeared in 2003. It integrates many details (especially enriched figuration for the basso continuo) from the Samuel Arnold edition (1788) and was produced using an upgraded printing system. The scores and parts for both editions appear at the bottom of this page.

===Identifiable Early Versions (1741-1761)===
Eighteen manuscript sources are regarded as pertinent to early performances, but surviving source material and documented performances do not match on a 1:1 basis. Numerous eye-witness accounts of individual performances suggest that we will never know every detail of any one of them. Some known performances are survived by no sources. Multiple performances with differences between them may need to be traced through the complex fabric of a single, many-times-altered source. Otherwise valuable early materials postdate Handel’s death and may reflect the opinions and preferences of the transcriber. A best-guess effort to define Handel's last thoughts on preferred versions of individual pieces within the work was hypothesized by Jens Peter Larsen.

Over time the differences from one version to another can be said most often to reflect changes in voicing or orchestration. A few pieces became shorter with revision. There was a slight increase in the use of choral material, although the choruses were by far the most stable elements of the work. There is no formula by which these tendencies can be broadly applied. Messiah's continuous state of evolution leaves many open questions for today's performers.

[[File:HallelujahChorus_1749print.png|250px|thumb|left|Page from the 1749 libretto for Messiah showing the final numbers in Part Two. The complete libretto can be downloaded from the Händel-Haus Halle[http://www.museum-digital.de/san/pdf/multipleimages.php?imagenr=7181]. ]]

To relate fluctuating source contents to MuseData performing materials please consult Table A (downloadable below). Version Nos. 1,2: Discrepancies are first noted between Handel's autograph (summer 1741) and the libretto for the first public performance (April 1742). Version Nos. 3-6: Librettos map changes from year to year, but the music for all the Covent Garden performances issues largely from one manuscript source. Version No. 7: We know that from 1754 onward Handel participated in performances at the Foundling Hospital. The Hospital's performing parts survive from these years. Version No. 8: Handel's conducting score is a valuable source for mapping changes in his thinking and documenting his own idea of a best version. Version No. 9: The 1761 manuscript by James Matthews is regarded as contemporary with Handel's own versions because Matthews sang in multiple productions of the work.

   1   Handel's autograph manuscript (1741)

   2   Libretto for first public version (Dublin 1742)

   3   Covent Garden libretto for first English version (1743)

   4   Covent Garden libretto (1745)

   5   Covent Garden libretto (1749)

   6   Covent Garden libretto (1750)

   7   Foundling Hospital performances (1754-59), parts (1759)

   8   Handel's conducting score (c. 1758)

   9   Manuscript of John Mathews (chorister) (1761)

[[Media:Handel_Table_A.pdf|Table A. Versions of Messiah reconciled to MuseData Editions.]]

The MuseData editions (1990, 2003) attempt to incorporate as many of the variants as needed to perform one or another historical version with reasonable fidelity to what we know of its probable contents. These variants are explained in Table A. Note that certainty is not always possible, and that in a few cases the content may be certain but the music is lost.

===Principal Manuscript Sources===
The sources consulted are shown in Table 1. The sigla (abbreviations indicating country, city, and library; shown in parentheses) follow the usage of RISM. (See http://rism.ub.uni-frankfurt.de/bibliothekssigel/BIBVERZ_06-06-16.pdf.)
 
<center>

{| class="wikitable" cellpadding="3" cellspacing="0" border="1" style="background-color:white;"
|- {{Style|table header}}
! scope="col" align="left" | Place: Library
! scope="col" align="left" | Shelfmark
! scope="col" align="left" | Date(s)
! scope="col" align="left" | Copyist(s); Notes
|-
|1: London: British Library (GB-Lbl) ||R.M.20.f.2 ||1741 ||Autograph Score by G. F. Handel
|-
|2: Oxford: Bodleian Library (GB-Ob) ||Tenbury MSS 346-7 ||1742, 1743, 1745, 1750 ||Single score, multiple versions
|-
|3: London: Foundling Hospital (GB-Lfm) ||Gerald Coke Collection ||1759 ||Parts
|-
|4: Hamburg: University Library (D-Hu) ||MA/1030 ||1758-1760 ||Conducting score
|-
|5: Dublin: March Library (IRL-Dm) ||Z.i.2.26 ||1761 ||MS of James Matthews (chorister)
|}
</center>

The Dublin libretto (1742) shows minor changes in the first version as it was performed in 1742. The variant of “How beautiful are the feet” that we identity as 2.16E (closely related to 2.16D) may represent a modification prepared for the Chapel Royal in coincidence with the earliest London performances or perhaps the Dublin premier.

===Performance Issues===
Consultation of sources never resolves all performance questions. Like Handel’s oeuvre in general, Messiah raises a host of uncertainties about exactly what the composer might have intended. Some issues are recurrent throughout Handel’s works:

     1   Doubling of voices and instruments: Handel’s particular style of composing music offers economies of paper usage wherever possible. This sometimes makes his intentions unclear. Violins were usually separated into primi and secondi (firsts and seconds). Only documentary evidence gives any indication of how many instruments played to a part.

     2   Bassi and Tutti bassi: In a context of strings only, Handel’s bassi were cellos and double basses. In a string-and-wind context, bassi parts could include bassoons: the cues “with bassoon” and “without bassoon” (con or senza fagotto) are the only clues to shifts in the accompanying instruments. The cue Tutti bassi has the overall intent of requiring all available instruments of the bass register, but its instructional value is relative, not absolute.

     3   Oboe scoring: Oboe parts and cues are absent in the autograph and other manuscripts of the 1740s, but their use is well documented for the Foundling Hospital performance of the 1750s and may have been used prior to written indications. Parts for oboes are preserved in the Coke Collection (at the Foundling House) and in a manuscript at King’s College, Cambridge, dating from the last quarter of the eighteenth century.

     4   Brass and Percussion: Clear evidence of the use of trumpets with timpani becomes firmer in the 1750s.

Overall usage clearly varied from place to place. Oboes, horns, and kettledrums (timpani) were all used at the Foundling Hospital performance of the 1750s. Two oboes and one bassoon, with horns, trumpets, and drums in unspecified numbers, played with a string orchestra of 24 at Salisbury Cathedral in 1752. A Foundling Hospital performance in 1754 involved four oboes, four bassoons, two trumpets, two horns, a pair of kettledrums, and a string section of 24. The Matthews manuscript also provides clear evidence of the use of oboes.

Some individual arias assumed particular identities as they were transmitted from place to place. They often acquired heavy ornamentation in the process. Among the most informative early manuscripts are the Goldschmidt manuscript in the Pierpont Morgan Library, New York, and the Matthews manuscript in the Marsh Library, Dublin.

Some choices are left to the discretion of performers. For example, soprano and tenor are alternatives for a few numbers, but if no change of key, text, or instrumentation is involved and only octave transposition is required we provide only one text.

Variations in content are largely confined to a few numbers in each section of the oratorio. Some were changed over and over. Full details correlating MuseData content with specific versions can be downloaded in Table A (above).

===Listening Materials===
The earliest collective use of the the variant material included in the MuseData score and parts was by Philharmonia Baroque Orchestra (directed by Nicholas McGegan) with the UC Berkeley Chamber Chorus (led by Bruce Lamott). Harmonia Mundi recorded a "main version" and most variants in 1991 (HMU 907050.52). The CD-user could, by following a trail through the bands of the CD set, program any of the versions that have survived from Handel’s lifetime (or shortly thereafter). More recently, these materials have been made available online through multiple vendors, e.g. [http://www.amazon.com/Handel-Messiah/dp/B000QQUX1Y amazon] and [http://itunes.apple.com/us/album/handel-messiah/id82182810 iTunes]. Many other recordings of the work exist, but these are the only cases we know of that make MuseData alternative versions available for comparison.

==Downloadable Scores and Parts ==
We provide two largely overlapping editions of Messiah. The first (1990) attempted to combine all the materials required to recreate a number of the earliest performances. It was largely based on the Chrysander version, with revisions reflecting more recent discoveries by Nicholas McGegan, John Roberts, and Eleanor Selfridge-Field. A few practical changes were suggested by performers. Although a total of eleven versions are partly or wholly discoverable, they are subsumed in a collection of five paths (A, B, C, D, E). (Most numbers remain the same from one version to the next.) The 2003 materials were re-edited by Walter Hewlett and take advantage of improvements in typography and enhanced continuo figuration.
 
 
[[File:Messiah-sinfonia-incipit.jpg|680px||center]]
 
* [http://scores.ccarh.org/handel/messiah/messiah-fullscore.pdf Full Score] (2003 version), 280 pages.
* Parts: [http://scores.ccarh.org/handel/messiah/messiah-violin1.pdf Violin 1], [http://scores.ccarh.org/handel/messiah/messiah-violin2.pdf Violin 2], [http://scores.ccarh.org/handel/messiah/scanned/violin3.pdf Violin 3], [http://scores.ccarh.org/handel/messiah/messiah-viola.pdf Viola], [http://scores.ccarh.org/handel/messiah/messiah-bassocontinuo.pdf Basso continuo], [http://scores.ccarh.org/handel/messiah/scanned/oboes.pdf Oboes 1 & 2], [http://scores.ccarh.org/handel/messiah/scanned/trumpet1.pdf Trumpet 1], [http://scores.ccarh.org/handel/messiah/scanned/trumpet2.pdf Trumpet 2], [http://scores.ccarh.org/handel/messiah/scanned/timpani.pdf Timpani].

* [http://scores.ccarh.org/handel/messiah/messiah-continuo.pdf Continuo part] (2003 version), with figured harmony based on the Samuel Arnold Edition of 1790, 101 pages.
* [http://scores.ccarh.org/handel/messiah/messiah-expanded-continuo.pdf Expanded Continuo part] (2003 version), with figured harmony based on the Samuel Arnold Edition of 1790, 197 pages. Included continuo part plus treble staff with melodies and primary voices.
* [http://scores.ccarh.org/handel/messiah/messiah-choralscore.pdf Choral score] (1990 version). Movements with vocal parts, plus first violin and basso continuo parts.
* [http://scores.ccarh.org/handel/messiah/messiah-fullscore-1990.pdf Full Score] (1990 version), 404 pages.

    [[Media:Handel_Table_B.pdf|Table B. Roadmap to MuseData editions of Messiah.]]
 

Raw data for Messiah in the kern and MuseData formats is available from the [http://www.musedata.org/encodings/handel/chry/messiah/ MuseData website].

==Footnotes==
<references />

==Bibliography and Weblinks==
Baselt, Bernd. Dokumente zu Leben und Schaffen, v. 4 of the Händel-Handbuch Kassel: Bärenreiter, 1985 (a revised and expanded version of Deutsch's Documentary Biography).

Beeks, Graydon. [http://www.americanhandelsociety.org/documents/Summer1991.pdf "Messiah Anniversary"],
Newsletter of the American Handel Society (August 1991), pp. 1-5.

British Library: [http://www.bl.uk/onlinegallery/virtualbooks/detect.html?id=38FD72B2-5B98-4FC2-AAAE-98E717E8D512&accessfolder=handel Autograph Manuscript] (R.M.20.f.2) of Handel’s Messiah (a “virtual book”).

Burrows, Donald. "Handel and the Foundling Hospital," Music & Letters 58/3 (July 1985), 201-219.

Burrows, Donald. Handel: Messiah. Cambridge, UK, 1991.

Burrows, Donald. “'Mr. Harris's score': A new look at the 'Mathews' manuscript of Handel's Messiah,” Music & Letters 86/4 (Nov. 2005), 560-572.

Burrows, Donald. “The autographs and early copies of Messiah: Some further thoughts, Music & Letters, 66/3, (1985), 201-19.

Burrows, Donald (ed). The Cambridge Companion to Handel. New York, 1997.

Deutsch, Otto Erich. Handel: A documentary Biography." New York, 1995.

Larsen, Jens Peter. Handel’s Messiah. New York, 1972.

McGegan, Nicholas. "Which Messiah?," Musical Times, 133 (1797), 577-579.

Marx, Hans Joachim. “Die 'Hamburger' Direktionspartitur von Händels Messiah“ (“The Hamburg Conducting Score of Handel’s Messiah“), Festschrift Klaus Hortschansky zum 60. Geburtstag [Festschrift for Klaus Hortschansky on his 60th birthday]. Tutzing: Hans Schneider, 1995, pp. 131-138. ISBN: 3-7952-0822-X.

Myers, Robert Manson, "Fifth sermons on Handel's Messiah," Harvard Theological Review 39 (1946), 217-241.

Shaw, Watkins. A textual and historical companion to Handel's Messiah, Sevenoaks (UK), 1965. Rev. edn., 1982.

Shaw, Watkins. “Handel's Messiah: Supplementary notes on sources,” Music & Letters 76/3 (August 1995), 356-368.

Smith, Ruth. Handel's Oratorios and Eighteenth-Century Thought. Cambridge University Press, 1995.

Smith, Ruth. "The Achievements of Charles Jennens (1700-1773)," Music & Letters 79/1 (Feb. 1998), 50-71.

Weber, William. "The 1784 Handel Commemoration as Political Ritual," Journal of British Studies 28/1 (Jan. 1989), 43-69.

The complete Händel-Gesellschaft edition is available in PDF format from the Munich Digitization Center’s website:
[http://daten.digitale-sammlungen.de/~db/ausgaben/uni_ausgabe.html?projekt=1193214396&recherche=ja&ordnung=sig Messiah, 1902].

==Link==

Shortcut to this page: https://messiah.ccarh.org

==Credits==
Over the course of 22 years, the MuseData Messiah project has benefitted from the contributions of many people. The original edition was by Nicholas McGegan, John Roberts, and Eleanor Selfridge-Field, with encoding by Frances Bennion and Edmund Correia Jr. The introduction of the Arnold continuo figuration and preparation of the short scores (2003) are the contributions of Walter B. Hewlett, who also developed the software used for preparation and management of the score and parts. This wiki site has been developed by Craig Stuart Sapp and Eleanor Selfridge-Field. Valuable insights and advice have been given in recent years by Don Anthony, Ilias Chrissochoidis, John Phillips, and several others.

Published on December 21, 2011 by the Center for [http://www.ccarh.org Computer Assisted Research in the Humanities] at Stanford University. Comments may be sent to esfield ||at|| stanford.edu.

Muse2ps

2025-04-13T05:58:05Z

Craig: /* Feature requests and bug reports */

__TOC__

== Overview ==

The muse2ps program is a command-line version of the [[autoset]], [[mskpage]] and [[pspage]] programs which are usually run within the [[dmuse]] editor using the built-in [[zbex language]] interpreter. The ''muse2ps'' program reads MuseData [[stage2]] data or [[page file]] data from standard input and converts them into PostScript data representing graphical musical notation which is sent to standard output. The following diagram illustrates the flow of data through ''muse2ps'':

<center>
[[File:muse2ps-dataflow.svg]]
</center>

The ''muse2ps'' program can accept two forms of input. By default, the ''muse2ps'' program will read multi-file [[stage2]] data from standard input. MuseData [[stage2]] files contain primarily symbolic musical data with possibly a little bit of formatting information (such as system and page breaks). The ''muse2ps'' program will format this symbolic music internally into [[page files]] which give explicit information about the placement of notes, slurs, beams, dynamics, lyrics, ''etc.'' on each page of music.

Alternatively, if the <tt>=p</tt> option is given as an [[argument]] to ''muse2ps'', the program can read multi-file [[page files]] directly from standard input. Typically, [[stage2]] files are converted automatically into [[pages files]] and then further processing is done on these [[page files]] in order to produce a final typeset score of the graphical music notation. For example, the [[vskpage]] is used to refine the vertical spacing of staves and systems on a page of music within [[page files]], and [[eskpage]] is used to interactively edit the position of graphical elements within [[page files]].

The only output from ''muse2ps'' (besides error messages) is PostScript data which describes the graphical music notation in a printable score of the music. This data can be further processed, such as sending directly to a PostScript printer, or converting into PDF files for web distrubution of the notated music. The representation of music notation within the PostScript file is in the form of bit-mapped musical fonts. The musical fonts are designed for use with 300 DPI resolution printers when printed at the native resolution (originally these fonts were designed for [http://en.wikipedia.org/wiki/Printer_Command_Language PCL-based printers]). These fonts have the unique feature of [http://en.wikipedia.org/wiki/Dither dithered] edges on sloped beams to minimize the visual effect of pixel stepping at 300 DPI resolution. Minor notation editing can be done on the PostScript/PDF files in programs such as Adobe Illustrator. If you print via PDF files, you may want to uncheck the page-scaling option in the printing program in order to avoid aliasing artifacts in the hard copy due to changing the intended size of the music on the page.

Two other forms of data can be embedded within the PostScript output. If the <tt>=M</tt> option is given as an [[argument]] to the ''muse2ps'' program, then the original [[stage2]] data will be stored within comments in the PostScript data. Likewise, if the <tt>=P</tt> option is given, the [[page file]] data will be included in the PostScript output as comments. The [[page file]] data will either come from automatic generation using [[autoset]]/[[mskpage]], or from standard input if you use the <tt>=p</tt> option.

There are also numerous options which primarily deal with the formatting of [[stage2]] files with the [[autoset]] and [[mskpage]] program components. See the [[#Options| options]] section below for a complete list of the options.

== Download ==

The ''muse2ps'' program executables for various operating systems or the source code can be downloaded from the following table. Instructions for setting up the program for use can be found ''[[Muse2ps_installation_instructions| here]]''.

<center>
{{muse2psdownloadtable}}
</center>

== Online ==

The ''muse2ps'' program can be run online at http://www.musedata.org/mdconverter . If you click on [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icons next to data found on the http://www.musedata.org website, the musical data will be loaded into this online converter from which PostScript, PDF, or PNG images of the music can be generated.

For example, click on the [[File:E-button.png||||||link=http://www.musedata.org/cgi-bin/mdconverter?action=load&composer=bach&edition=bg&genre=chorals&work=0428&movement=01]] icon on the information page for this [http://www.musedata.org/encodings/bach/bg/chorals/0428/ Bach chorale], then click on the {{keypress|Submit}} button on the converter page to generate a PDF file of the chorale with the default settings. Then try setting some options, such as using "<tt>[(.)(.)(.)(.)]</tt>" for the System spine option to prevent barlines from being drawn between staves in the score.

You can create your own MuseData content and print with the online converter as well. Copy and paste the following MuseData content: [[Media:beethoven-kern.md2 | beethoven.md2]] into into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in this graphical music notation:
<center>
[[Image:beethoven-kern.png]]
</center>

== Command-line examples ==

The simplest use of ''muse2ps'' is to send it MuseData [[stage2]] files as standard input, and save standard output from the program into a PostScript file:

cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps > [[Media:bach-wtc1p01.ps|bach-wtc1p01.ps]]

You may need to use "<tt>./muse2ps</tt>" instead of "<tt>muse2ps</tt>" in the above command if the ''muse2ps'' program file is in the current directory, but the current directory is not in your [http://en.wikipedia.org/wiki/PATH_%28variable%29 command search path]. The PostScript output can then be further processed in an external program. Usually it is more convenient to work with the data as a PDF file. The process of converting PostScript to PDF can be done by many methods. For example, Acrobat Distiller or Acrobat Professional will convert PostScript files into PDF files. There are online converters, such as this one: http://www.ps2pdf.com/convert.htm . And on most linux computers you can convert PostScript into PDF files using the [http://pages.cs.wisc.edu/~ghost/doc/gnu/5.50/Ps2pdf.htm ps2pdf] command:
ps2pdf [[Media:Bach-wtc1p01.ps|bach-wtc1p01.ps]]
This will create the file [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]] (replacing the .ps extension with a .pdf extention automatically when saving the PDF file). If you click on the PDF file link in the previous sentence, you should see the musical notation for J.S. Bach's Well-Tempered Clavier, Book I, Prelude 1 in C major.

An alternate method of using ps2pdf to generate a PDF file in a single step in conjunction with ''muse2ps'' would be with this command-line construction:

cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps | ps2pdf - > [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]]

=== Last system justification ===

By default ''muse2ps'' does not right-justify the last system of the music on the last page of the output (as can be seen in [[Media:Bach-wtc1p01.pdf|bach-wtc1p01.pdf]]). If you
want to justify the last system, use the <tt>=j</tt> option as an argument to ''muse2ps'':
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =j | ps2pdf - > [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]
The ''muse2ps'' (or more precisely, the internal [[mskpage]] component) will possibly adjust line breaks on one or more of the previous systems in the score in order to fill enough music onto the last system, and then stretch or contract the music on the last system to fit the width between margins exactly. The <tt>=j</tt> option can potentially take significantly more time to process the input data than when it is omitted. The reason for the increased processing time can be seen by comparing [[Media:bach-wtc1p01.pdf|bach-wtc1p01.pdf]] and [[Media:bach-wtc1p01-j.pdf|bach-wtc1p01-j.pdf]]. In order to right-justify the last system of the music, all systems in the music were recursively re-typeset so that the first system in the music contains only three measures instead of four.

=== Grand-Staff vertical spacing ===

The distance between staves in the grand staff (which is used for instruments such as the piano) can be controlled by the =g option. An integer number follows after the letter "g" in the option which specifies the distance between the two staves in terms of 1/10ths of the distance between staff lines. The default value for this option is =g100 which means that the distance between the top line of each staff is 10 staff lines.

Here is an example of reducing the spacing between the staves to nothing. The =g50 option in this case means that the distance between the top of each staff is 5 staff lines. And since this is the height of a single staff, there will be no space between the two staves:
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =g50 | ps2pdf - > [[Media:bach-wtc1p01-g50.pdf|bach-wtc1p01-g50.pdf]]

=== Single-staff spacing in a system ===

A ''system'' is a collection of staves which represent different instruments playing at the same time. The distance between these staves can be controlled with the =v option. Following =v is a list of comma-separated integers (with no intervening spaces). The unit for these numbers is the same as in the =g option: 1/10th of the distance between successive staff lines.

The default spacing between staves will depend on whether they are supposed to be barred together or not. Here is the default spacing for four staves of a string quartet:
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]

=== Using multiple options ===

In the previous examples, the prelude is printed on two pages, with a single orphan system occurring on the second page. One way to force the music to fit onto a single page is to set the top margin from 120 pixels to 0 pixels with the option <tt>=t0</tt> and the printable length on the page to 3000 pixels (10 inches) with the option <tt>=l3000</tt>. When supplying multiple optional settings to muse2ps, there is only one option string which starts with the equals character (<tt>=</tt>) and is followed by all options with no spaces. Here is an example of using the <tt>=t0</tt>, <tt>=l3000</tt> and <tt>=j</tt> options at the same time, resulting in a single page of music:
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =jt0l3000 | ps2pdf - > [[Media:bach-wtc1p01-jt0l3000.pdf|bach-wtc1p01-jt0l3000.pdf]]
The order of the options in the option string is not important, so for example, "<tt>=l3000t0j</tt>" would yield the same results as "<tt>=jt0l3000</tt>".

Instead of adjusting the vertical margins with the <tt>=t</tt> and <tt>=l</tt> options, you can also decrease the spacing between staves globally on the system. To do this, use the =v option followed by a list of distances between each staff on the system. In this example there are two staves in each system, so one value is expected after "=v". If there were three or more staves, then the vertical spacing values are separated by commas (and no spaces).
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =v160jt300 | ps2pdf - > [[Media:bach-wtc1p01-v160jt300.pdf|bach-wtc1p01-v160jt300.pdf]]

In the above example, "<tt>=v160</tt>" means make the spacing between staves on the system slightly more than 1/2 an inch; "<tt>=j</tt>" means to right-justify the last system of music; and "<tt>t300</tt>" means add an extra inch to the top margin (the default setting is "<tt>=t120</tt>".

=== Music size ===

The ''muse2ps'' program can typeset music in several sizes: 6, 14, 16, 18 and 21. These numbers refer to the pixel count (at 300 DPI) between successive staff lines. For example, here is a zoom-in of music typeset using the size 6 font, where each staff line is one pixel wide, and there are 5 pixels in the gap between lines, making each staff line spaced every 6 pixels and hence the name "size 6":

<center>
[[File:Dmuse-size6.png|411px]]
</center>

The default size that ''muse2ps'' will typeset music in is size 14. To display the music at other sizes, use the <tt>=z</tt> option followed by the size. Here is the example prelude printed in all sizes (with right-justification of the last system using <tt>=j</tt> also added to the option string):

cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z6j  | ps2pdf - > [[Media:bach-wtc1p01-z6j.pdf|bach-wtc1p01-z6j.pdf]]
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z14j | ps2pdf - > [[Media:bach-wtc1p01-z14j.pdf|bach-wtc1p01-z14j.pdf]]
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z16j | ps2pdf - > [[Media:bach-wtc1p01-z16j.pdf|bach-wtc1p01-z16j.pdf]]
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z18j | ps2pdf - > [[Media:bach-wtc1p01-z18j.pdf|bach-wtc1p01-z18j.pdf]]
cat [[Media:bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =z21j | ps2pdf - > [[Media:bach-wtc1p01-z21j.pdf|bach-wtc1p01-z21j.pdf]]

Full-scores are typically printed at size 14 (particularly scores with many parts). Parts for performers are typically printed at sizes 18 or 21. Piano music is typically printed at size 16, and Size 18 has dither on two-pixel wide staff lines. The approximate equivalents to point sizes in regular text (multiplying by the factor 72/300 and then multiplying by 3):

<center>
{| class="wikitable" cellpadding="0" cellspacing="0" border="0"
|- |- {{Style|table header}}
! scope="col" align="left" | MuseData music size
! scope="col" align="left" | Staff height (mm)
! score="col" align="left" | Approximate text font size
! score="col" align="left" | Musical application
|-
| 6 || 2.03 mm || 4 pt || none
|-
| 14 || 4.74 mm || 10 pt || full scores
|-
| 16 || 5.42 mm || 11.5 pt || piano music, vocal scores
|-
| 18 || 6.10 mm || 13 pt || instrumental parts
|-
| 21 || 7.11 mm || 15 pt || large-size instrumental parts
|}
</center>

=== Extracting PAG intermediate data ===

When a MuseData [[stage2]] file is converted into graphical music notation as PostScript output from ''muse2ps'', it will pass through two data transformation steps. The first step is a conversion from [[stage2]] data into non-page-specific [[i-files]] which is accomplished with the [[autoset]] component. Then these "non-page-specific" [[i-files]] are converted into "page-specific" [[page files|i-files]] (or Music Page (MPG) files) which describe the precise position of musical elements on each page of typeset music. This [[music page]] data can be extracted from the program surreptitiously by using the "=P" option. This will cause the [[MPG]] data to be embedded in comments within the PostScript output. Each page of MPG data will be stored in a sequence of comments starting with "<tt>%=BeginMPGData: 1</tt>", where <tt>1</tt> is the data for page one. And each page of MPG data is ended by the comment <tt>"%=EndMPGData: 1"</tt>.

All MuseData/dmuse related comments in the PostScript output start with the comment marker "%=", so the MPG data can easily be separated from the PostScript content and other irrelevant comments in a manner such as this:
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =P | grep "^%=" > [[Media:Mpg-comments.txt|mpg-comments.txt]]
The [[regular expression]] search string "<tt>^%=</tt>" used in the [http://en.wikipedia.org/wiki/Grep grep] command means extract lines from the input which start with the two characters "<tt>%=</tt>".

A PERL utility program, called [[Media:unpackmpg.pl|unpackmpg]], for extracting the MPG data from the comments is included with the source code for ''muse2ps'':
cat [[Media:Bach-wtc1p01.md2|bach-wtc1p01.md2]] | muse2ps =Pg85jt200l3000 | [[Media:unpackmpg.pl|unpackmpg]] > [[Media:Mpg-comments.mpg|mpg-comments.mpg]]
In the above command the options mean:
* <tt>=P</tt>: Output [[music page]] data.
* <tt>=g85</tt>: Set the distance between the staves in the grand staff to 8.5 staff lines (default is 100, or 10 staff lines).
* <tt>=j</tt>: Right-justify the last system of the music.
* <tt>=t200</tt>: Set the top margin to 2/3 of a inch below the base position.
* <tt>=l3000</tt>: Set the vertical printable region to 10 inches.

=== Inputting PAG data (adding a title) ===

The extracted [[music page]] data from the previous section can be edited (such as to add a title) and then can be reprocessed by ''muse2ps'' to generate PostScript output:
cat [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] | muse2ps =p | ps2pdf - > [[Media:Bach-wtc1p01-title.pdf|bach-wtc1p01-title.pdf]]

In this case the file [[Media:Mpg-with-title.txt|mpg-with-title.mpg]] is the equivalent to the MPG data generated by ''muse2ps'' in the previous section: [[Media:Mpg-comments.mpg|mpg-comments.mpg]], but with these three lines added to generate a title for the first page:

<pre>
X 14
X 46 1200C 0 Well-Tempered Clavier, Book I, Prelude 1 in C major
X 37 1200C 50 BWV 846
</pre>

The first line sets the font indexes relative to music size 14. The second line places the line at "1200C 0" which means center the line horizontally at location 1200 (4 inches from the left margin), and position the line vertically at position 0 (0 inches below the top margin).

[[Music page]] data for many of the score on http://www.musedata.org are available as both [[stage2]] files and [[music page]] files. Using the [[music page]] files as input to ''muse2ps'' will generate better graphical notation results, since the automatically typeset data from the [[stage2]] files has been proofread and adjusted by a human.

== Options ==

Below is a list of the options which muse2ps understands. Options are given
as the first (and only) argument to the program, starting with an equals sign (=), then followed by the options in any order, with no spaces between the options. For example, to set the music size to 18 and right-justify the last system on the last page, use the option string =z21j:
cat file.md2 | muse2ps =z21j > file.ps
When using characters which may be parsed by the command-line interpreter, you will have to enclose the option string in single quotes (you can do this all of the time if you are uncertain of the conditions in which they would be required):
cat file.md2 | muse2ps '=z21js^{(..}}^T^title^' | ps2pdf - > file.pdf

In option strings such as "=c<#>", replace <#> with an integer. <tt>[#]</tt> indicates an optional number.

{|class="wikitable" cellpadding="0" cellspacing="0" border="0" style="width:100%"
|- {{Style|table header}}
! scope="col" width="100px" align="center"| muse2ps option index
|-
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3">
* {{nowrap|{{mopt|c}} compression}}
* {{nowrap|{{mopt|C}} composer}}
* {{nowrap|{{mopt|d}} diagnostics}}
* {{nowrap|{{mopt|D}} dash spacing}}
* {{nowrap|{{mopt|E}} eof insertion}}
* {{nowrap|{{mopt|f}} fill by staff}}
* {{nowrap|{{mopt|F}} fill by system}}
* {{nowrap|{{mopt|g}} grand staff spacing}}
* {{nowrap|{{mopt|G}} group selection}}
* {{nowrap|{{mopt|h}} note space}}
* {{nowrap|{{mopt|i}} indentation flag}}
* {{nowrap|{{mopt|I}} indentation amount}}
* {{nowrap|{{mopt|j}} justification}}
* {{nowrap|{{mopt|k}} display options}}
* {{nowrap|{{mopt|l}} page length}}
* {{nowrap|{{mopt|m}} left margin}}
* {{nowrap|{{mopt|M}} embed stage2 data}}
* {{nowrap|{{mopt|n}} number of systems}}
* {{nowrap|{{mopt|p}} page files input}}
* {{nowrap|{{mopt|P}} embed page files}}
* {{nowrap|{{mopt|Q}} minimum distance duration}}
* {{nowrap|{{mopt|s}} system spine}}
* {{nowrap|{{mopt|S}} title/system space}}
* {{nowrap|{{mopt|t}} top margin}}
* {{nowrap|{{mopt|T}} title}}
* {{nowrap|{{mopt|u}} subtitle}}
* {{nowrap|{{mopt|v}} staff spacing}}
* {{nowrap|{{mopt|w}} system width}}
* {{nowrap|{{mopt|W}} thin barlines}}
* {{nowrap|{{mopt|x}} no suggestions}}
* {{nowrap|{{mopt|X}} no last barline}}
* {{nowrap|{{mopt|y}} no line controls}}
* {{nowrap|{{mopt|Y}} no initial time signature}}
* {{nowrap|{{mopt|z}} music size}}
</div>
|}
 

See also the Dmuse text file [[Media:muse2ps-options.dm | options.dm]], or the HTML equivalent [[Media:muse2ps-options.html| options.html]] for a brief description of each option.

{| style="background-color:white" cellpadding="4"
|- valign="top"
| {{anchor|c_option}}=c<#>|| Compression factor: This is measured as a percentage of the default. 100 = no compression (100%). Use smaller values to decrease the spacing between notes (allowing fewer pages in the score). Values larger than 100 will expand the distance between notes (increasing the number of pages in the score). This option is useful to force the last system of music to occur at the bottom of a page.

|- valign="top"
|{{anchor|C_option}}=C^string^ || Display the ''string'' as the composer's name at the top right side of the first page. See =T for the title, and =u for the sub-title. 

|- valign="top"
| {{anchor|d_option}}=d<#> || Diagnostics and Error Messages.
bit 0 of #: ON = print error messages
bit 1 of #: ON = print all diagnostics
bit 2 of #: ON = print diagnostics from autoset
bit 3 of #: ON = print diagnostics from mskpage
bit 4 of #: ON = print diagnostics from pspage
no number = 0x01: print error messages
For example, =d31 turns on all error message toggles. This option is useful if the output PostScript data from muse2ps is empty. The messages go to standard error, while the PostScript data goes to standard output. Therefore, you can print the error messages and still save or pipe the PostScript data without the error messages mixing with the output data.

|- valign="top"
| {{anchor|D_option}}=D || Spacing between dashes. Will override spacing in stage2 files: 0 = use default, >0 = space between dashes (units are dash-length).

|- valign="top"
| {{anchor|E_option}}=E || <tt>/END</tt> = <tt>/eof</tt>. The muse2ps program allows for multiple parts to be entered from standard input in a single stream of data. Normally the data files representing each part are separated from each other by a line containing only "<tt>/eof</tt>" (lowercase; meaning "End of File"). Separate MuseData [[stage2]] files do not typically end in "<tt>/eof</tt>", but rather, they are required to contain the line "<tt>/END</tt>" (uppercase) to indicate the end of the data. After "<tt>/END</tt>", any textual comments are allowed. With the =E option, you do not need to separate files by "<tt>/eof</tt>", and instead, the next file in the sequence will start on the line coming after "<tt>/END</tt>". Note, however, that you cannot use the =E option if there is any commentary after "<tt>/END</tt>" in a file.

|- valign="top"
| {{anchor|f_option}}=f || Fill pages to the bottom by proportionally stretching all spacings. Default is don't change the vertical spacings.

|- valign="top"
| {{anchor|F_option}}=F || Fill pages to the bottom by adding to the intersystem space only. Default is don't change the vertical spacings.

|- valign="top"
| {{anchor|g_option}}=g<#>|| Grand staff intra-space measured in multiples of ledger lines times 10. The default is 100, which is 10 ledger lines. Note that this distance reference is different from the =v values which define the distance from the top of one staff to the top of the next staff. For the =g, option, the distance is from the bottom of the top staff to the top of the bottom staff.

|- valign="top"
| {{anchor|G_option}}=G^group-name^ || Group name to process. The default is "score". Available groups are found on data line 11 at the top of each MuseData [[stage2]] file (excluding any single- or multi-line comments). Other possibilities might be "part" or "data".

|- valign="top"
| {{anchor|h_option}}=h<#> || Alter the minimum allowed space between notes. This is measured as a percentage of the default. 100 = no change (100%).

|- valign="top"
|{{anchor|i_option}}=i<#> || Initial system indentation options flag.
* 0 = use program defaults (set indentation with <tt>=I</tt> option)
* 1 = no indentation of first system of music
* 2 = indent first system, and after every forced system break

|- valign="top"
| {{anchor|I_option}}=I<#> || Specify the indentation amount for the first system in the music. If zero, then default indentation amount will be used. (see the <tt>=i</tt> option for turning off indentation).

|- valign="top"
|{{anchor|j_option}}=j || Right-justify the last system of the music so that it extends all of the way across the page. The default is NOT to right justify. Right-justification is a recursive process where measures from previous systems may be moved ahead in the score to cause all systems to have approximately the same note density.

|- valign="top"
| {{anchor|k_option}}=k^0x<tt>#</tt>^ || Display alternative options. Options are stored in a hexadecimal number prefixed with the string "<tt>0x</tt>" (C program-styled hex number). The default values are the 0 bit settings. The meaning of the bits in the hexadecimal number are (from least significant to most significant bit):

<table cellpadding=0 cellspacing=0>
<tr valign=baseline><th>bit</th><td width=10></td><th>meaning</th></tr>

<tr valign=baseline><td>0</td><td></td><td>
k-option activation flag
* 1: k option is active; read options in more significant bits
* 0: k option is inactive; used to turn off this option as a command-line override
</td></tr>

<tr valign=baseline><td>1</td><td></td><td>
Sforzando/rfz flag
* 0: display sforzando as sf (rf)
* 1: display sforzando as sfz (rfz)
</td></tr>

<tr valign=baseline><td>2</td><td></td><td>
Sub-edit flag
* 0: display editorial markup differently from regular data (such as adding brackets around editorial elements)
* 1: do not display editorial data differently from regular data
</td></tr>

<tr valign=baseline><td>3</td><td></td><td>
No-editorial flag
* 0: display editorial markup data
* 1: do not display editorial markup data
</td></tr>

<tr valign=baseline><td>4</td><td></td><td>
 Editorial markup in Roman font flag
* 0: use cue-size music fonts for editorial marks
* 1: use Times-Roan font for editorial marks: tr, dynamics
</td></tr>

<tr valign=baseline><td>5</td><td></td><td>
Ligature flag
* 0: do not use ligatures in text
* 1: use ligatures for "ffl", "ffi", "ff", "fl", and "fi"
</td></tr>

<tr valign=baseline><td>6</td><td></td><td>
Figured harmony flag
* 0: place figured harmony (figured bass) below the staff
* 1: place figured harmony (figured bass) above the staff
</td></tr>

<tr valign=baseline><td>7</td><td></td><td>
 mheavy4 barline style flag
* 0: mheavy4 barline represented by two heavy lines
* 1: mheavy4 barline represented by one thin, one thick, and then another thin line
</td></tr>

<tr valign=baseline><td>8</td><td></td><td>
Multi-voice augmentation dot option
* 0: allow overstrike of dots in different voices
* 1: do not allow overstrike
</td></tr>

<tr valign=baseline><td>9</td><td></td><td>
New key signatures option
* 0: don't print a new key signature if it is the same as the previous one on the staff
* 1: print a new key signature even if it repeats the previous key signature on the staff
</td></tr>

<tr valign=baseline><td>10</td><td></td><td>
Mixed duration chords
* 0: don't allow a mixture of white and black notes in chords
* 1: allow mixture of white and black notes in chords
</td></tr>

<tr valign=baseline><td>11</td><td></td><td>
Suppress key signature flag 
* 0: display key signatures
* 1: suppress printing of the key signature (such as for timpani parts)
</td></tr>

<tr valign=baseline><td>12</td><td></td><td>
Editorial slurs flag
* 0: all slurs are regular
* 1: <tt>{ }</tt> and <tt>z x</tt> slurs are editorial slurs (dashed slurs)
</td></tr>

<tr valign=baseline><td>13</td><td></td><td>
New clef sign flag 
* 0: large clefs at start of system, cue-size clefs for clef changes
* 1: always use large clefs
</td></tr>

</table>

|- valign="top"
| {{anchor|l_option}}=l<#>|| Length of a page. Distance is measured dots, at 300 dots to the inch. Default is 2740 dots. The default starting height is 120 dots. This will not be lowered, but may be raised to accommodate a longer page.

|- valign="top"
| {{anchor|m_option}}=m<#> || Left margin, measured in at 300 dots/inch. The default is 200 dots.

|- valign="top"
| {{anchor|M_option}}=M || Include the contents of the MuseData source files in the trailer section of the file embedded in PostScript comments (if MuseData [[stage2]] files are used as input.

|- valign="top"
| {{anchor|n_option}}=n<#> || Maximum number of systems on a page. The default is no maximum.

|- valign="top"
| {{anchor|p_option}}=p || The source is a concatenated set of page specific i-files (also called .pag files), not a set of MuseData files.

|- valign="top"
| {{anchor|P_option}}=P || Include listings of the page specific i-files, which are the source of the output PostScript data. Each page is separated.

|- valign="top"
| {{anchor|Q_option}}=Q<#> || Duration which is assigned the minimum distance.
1 = whole notes
... . . .
8 = eighth notes
16 = sixteenth notes, etc.

|- valign="top"
| {{anchor|s_option}}=s^string^ || Custom left-hand spine. If the format is incorrect for any reason, the program will revert to the default. example:
=s^[(....)][(..)](.)[({..}..)]^
Each dot in the system bracketing string represents one part, with the first dot in the string representing the top staff of the system. If a grand staff is used for any part, then use the colon character (:) for that part. Staves which should be bracketed together are enclosed in square brackets: <tt>[]</tt>. Staves which should be braced together are enclosed in curly braces: <tt>{}</tt>. Staves which should be barred together (barlines connecting between staves) are enclosed in parentheses: <tt>()</tt>. The caret character (^) is used to mark the start and top of the option string. Subsequent options occur immediately after the second caret character with no intervening space.

|- valign="top"
| {{anchor|S_option}}=S<#> || Add extra space between the title and the first system of music: 0 = use default, >0 = lower the first system (units are 1/300th of an inch).

|- valign="top"
|{{anchor|t_option}}=t<#> || Top of page. Default is 120 dots.

|- valign="top"
| {{anchor|T_option}}=T^string^ || Display the ''string'' as a title at the top of the (first) page. See =u for sub-title, and =C for composer. 

|- valign="top"
| {{anchor|u_option}}=u^string^ || Display the ''string'' as a sub-title at the top of the (first) page. See =T for the title, and =C for the composer. 

|- valign="top"
| {{anchor|v_option}}=v<#,#,#...#> || Custom spacings. If the format is incorrect for any reason, the program will revert to the default. example:
=v192,192,192,208,192,208,176,176,176,200
The above example setting for the =v option can be used for a system with 8 parts (such as 4 woodwinds, 2 horns, and 4 string instruments). The first seven values describe the spacing between each staff in the system, and the last value is the spacing between systems on the page. The spacing between staves and systems is constant with muse2ps. The spacing values are 1/10th of the distance between two staff lines, and the spacing value is the distance from the top of one staff to the top of the next staff (or the top of the last staff on a system to the top of the staff on the next system for the last value in the list). See the <tt>=g</tt> option for spacing the staves of a grand staff (such as for piano music). When a grand staff is part of a system with more parts, then the distance between the grand staff and the next system is the distance between the top of the bottom staff of the grand-staff pair and the top of the next staff.

|- valign="top"
| {{anchor|w_option}}=w<#> || System width, measured in at 300 dots/inch. The default is 2050 dots.

|- valign="top"
| {{anchor|W_option}}=W[#] || Thin barline flag. 0 = use regular barlines. 1 = use thin barlines. No number after <tt>=W</tt> means the same as <tt>=W0</tt>.

|- valign="top"
| {{anchor|x_option}}=x || Defeat all part inclusion suggestions in the data

|- valign="top"
| {{anchor|X_option}}=X[#] || Leave off the last barline (for short examples). 0 = print last bar, 1 = don't print last bar, <tt>=X</tt> without a number is equivalent to <tt>=X1</tt>. Note: you can add extra staff-line space in the last bar by putting in <tt>irest</tt>s, but you must put <tt>irest</tt>s in all parts, and they must all represent the same note-type (duration). Note also: If the last barline is anything but a regular measure line, it will continue to print.

|- valign="top"
|{{anchor|y_option}}=y || Defeat all line control suggestions in the data.

|- valign="top"
|{{anchor|Y_option}}=Y<#> || Suppress printing first time signature in score. Used for printing small examples which have a time signature in the data, but none desired in graphical notation. You can also use a time signature in the data of "<tt>T:9/0</tt>" to generate a hidden time signature, and not giving a time signature at the start of a file will result in not time signature being printed. 0 = print initial time signatures (used to override options embedded in data). 1 = suppress first time signature (<tt>=Y</tt> is equivalent to <tt>=Y1</tt>).

|- valign="top"
| {{anchor|z_option}}=z<#> || Music size: choices are 6,14,16,18,21. 14 is the default. This value describes the distance between staff lines in units of 300 dots per inch.

|}

== Multi-file input specification ==

Normally individual MuseData [[stage2]] files contain a single part. These part files are concatenated together and sent via standard input into the muse2ps program. In order for the muse2ps program to be able to segment the separate part files from the original stream the marker "<tt>/eof</tt>" is added after the last line in each file, and the marker "<tt>//</tt>" is ''required'' after the end of all datafile input into muse2ps.

Typically the last line of a [[stage2]] MuseData file consists of the string "<tt>/END</tt>" (in uppercase), so add the line "<tt>/eof</tt>" (in lowercase) after it:
/END
/eof

The very last three lines of input to muse2ps should look like this:

/END
/eof
//

If you specify the =E option when running muse2ps, the "<tt>/END</tt>" markers will be used to segment the separate part files internally.

The PERL script [[Media:collatemd2.pl|collatemd2]] (included with the source code to muse2ps) can be used to concatenate multiple [[stage2]] part files into a single input stream for muse2ps. The output of the PERL script can be saved to a file for later processing with muse2ps. In this case the recommended file extension for the multi-file MuseData content is .md2 . Here are example uses of [[Media:collatemd2.pl|collatemd2]]:
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]

You many have to type "<tt>./collatemd2</tt>" instead of "<tt>collatemd2</tt>" if the PERL program is in the current directory and the current directory is not in the command search path. If you download the program from this page, remove the .pl extension when saving (and use a lowercase first letter for the filename). You may have to set the permissions to allow it to be run as a program with the unix command: <tt>chmod 0755 collatemd2</tt>.

Alternatively, you can save the output from [[Media:collatemd2.pl|collatemd2]] into a file for later use with muse2ps:
[[Media:collatemd2.pl|collatemd2]] [[Media:haydn-op54n2-2-01.md2|01]] [[Media:haydn-op54n2-2-02.md2|02]] [[Media:haydn-op54n2-2-03.md2|03]] [[Media:haydn-op54n2-2-04.md2|04]] > [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]]
cat [[Media:haydn-op54n2-2.md2|haydn-op54n2-2.md2]] | muse2ps | ps2pdf - > [[Media:haydn-op54n2-2.pdf|haydn-op54n2-2.pdf]]

When downloading MuseData [[stage2]] files from http://www.musedata.org , the parts are all combined into a single multi-file MuseData file which is the equivalent to the output from [[Media:collatemd2.pl|collatemd2]].

=== Multiple Music Page files ===

When concatenating multiple Music Page (PAG) files, separate each file's content with a line with the single capital letter "P" on it. Example of how to do this on the command line, creating a PDF file:

<source lang="bash">
for i in ??
do
cat $i
echo P
done | muse2ps =p | ps2pdf - - > output.pdf
</source>

N.B.: Two slashes also need to be added at the end of the last page; otherwise, it will not print:

//

== Color highlighting ==

A soon-to-be-released update of muse2ps will allow for coloring of notes in the score. This colorization can be used in conjunction with displaying search results, or highlighting notes in an example.

If you place an "R" character in column 14 for note (or rest) records, That note will be highlighted red. A capital "R" will also highlight the stem of the note, while a lower case "r" will color only the notehead. If multiple colored notes all share a common beam, then that beam is also highlighted.

The letter "B" can be used in column 14 to color notes blue, and the letter "G" can be used to color notes green. The lowercase versions "r" and "g" can be used to color only the noteheads and not the stems.

== Embedded options ==

The muse2ps program can read options sent in the input data stream. Options can be embedded in the input data as single-line comments. In [[stage2]] files, single-line comments start with an at-sign (<tt>@</tt>) in the first column of the line. Following the comment marker comes an option identification string "<tt>muse2psv1</tt>", with "<tt>v1</tt>" being the option version level (currently level 1, and can be used in the future to keep options backwards and forwards compatible. Default options, listed in the previous section describing the options, can be overridden by using the default-option setting method which adds two equal signs in a row, followed by any options. Multiple default-option
comments may occur to prevent the length of the line from getting too long (it is a good idea to limit the length of the line for full backwards compatibility with dmuse and [[stage2]] files, although the current line limit in dmuse/muse2ps is 900 characters).

Option for specific music sizes can be set by placing the size option between the two equals signs in the option comment. Here is an example option comment header:

@muse2psv1==z18
@muse2psv1==T^Bach Chorale^u^bwv-277^C^J.S. Bach (1685-1750)^
@muse2psv1=z14=v200,155,155,155j
@muse2psv1=z18=v240,195,195,195j
@muse2psv1=z21=v300,230,230,230j

The first two lines are default-option settings for all music sizes. The first line sets the default music size to 18 if no size is given on the command line to muse2ps. The second line sets the title, subtitle, and composer fields on the title page. The last three lines set the vertical spacing between staves at various music sizes; the first for size 14, then size 18, and the last line for size 21.

== ps2pdf options ==

The default behavior of the ps2pdf program is to assume that the input data is formatted for A4 paper. The default output size for muse2ps is US letter. In order for ps2pdf to generate output pages with the correct dimensions, add the option <tt>-sPAPERSIZE=letter</tt> as an argument to the program:
ps2pdf -sPAPERSIZE=letter

Another pair of useful options (not needed for output from muse2ps, but useful when adding footers later) embeds the fonts used in the file:
ps2pdf -sPAPERSIZE=letter -dCompatibilityLevel=1.4 -dPDFSETTINGS=/prepress

For example the Symbol font is not present on the Apple iPad PDF viewer. When using the options in this example, the Symbol font (or the portion used) would be embedded in the file and therefore viewable on an iPad.

== Creating images ==

Graphical images can be created in various ways. A good method is to convert PostScript output from muse2ps to a bitmap image with the unix command-line program pstopnm. For smaller examples and converting to other image formats, Imagemagick's convert is another command-line program which is useful. Both pstopnm and convert are often pre-installed on linux computers, and both are available for free on the internet. They should also work with OS X, and can be used in MS Windows using [http://www.cygwin.com cygwin].

To create an image, pipe the output from muse2ps into pstopnm, and convert to a bitmapped image at 300 dots per inch. Next pipe the resulting image to convert for further processing. In the following example, the image is first trimmed from a full page to just the area which contains the printed music, then the image is resized to 33% of the original size for use on the web, and saved into a PNG file.

cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \
convert - -trim -resize '33%' [[Media:scale.png|scale.png]]

=== Transparent background ===

Use the options <tt>-negate -alpha copy -negate</tt> to make the background of the image transparent so that it can be displayed on any background color. Here is the example image which was just created with the above command:

[[Image:scale.png]]

Notice that the background color of the image is white, which becomes noticeable when placing the image on a non-white background color. Now create an image with a transparent background:

cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \
convert - -trim -negate -alpha copy -negate \
-resize '33%' [[Media:scale-transparent.png|scale.png]]
<center>
<table cellspacing=0 cellpadding=3><tr bgcolor=#ffffff><td bgcolor=#4499aa>
[[Image:scale-transparent.png]]
</td><td width=10>
<td bgcolor=#ffaa44>[[Image:scale-transparent.png]]
</td></tr></table></center>

=== Images for printed publications ===

To insert musical examples in a Microsoft or similar word-processing program, do not resize the image, but leave it at the 300 dots per inch size of the original. Then you can rescale the image in the word processor as necessary. This will optimize the quality of the image in the final printout from the word processor.

cat [[Media:scale.md2|scale.md2]] | muse2ps | pstopnm -dpi=300 | \
convert - -trim [[Media:scale-large.png|scale.png]]

== Humdrum interface ==

The muse2ps program can be used in conjunction with the [http://extra.humdrum.org/man/hum2muse hum2muse] program. Here is an example of how to create graphical music notation using the following Humdrum data as an example:

<table cellspacing=0><tr bgcolor=white valign=top><td><htmlet>beethoven-kern</htmlet></td>
<td width=10></td>
<td>
<pre>
hum2muse file.krn | muse2ps \
| ps2pdf - - > file.png
</pre>
[[Image:beethoven-kern.png]]
 
 
 
</td>
</tr>
</table>

Images can be generated from Humdrum data online by pasting/typing data into the [http://kern.humdrum.org/cgi-bin/kern/kseditor Humdrum online editor]. For example, copy and paste the above Humdrum data into the left black box on the Humdrum online editor page, then click on the red "Generate" button to produce an image of the graphical music using the default settings.

Here is the intermediate MuseData which is passed between [http://extra.humdrum.org/man/hum2muse hum2muse] and muse2ps: [[Media:beethoven-kern.md2 | beethoven.md2]]. Try copying / pasting
this data into the [http://www.musedata.org/mdconverter MuseData online converter] to generate graphical music, which should result in the same music notation as seen above.

== Zbex programs ==

In the muse2ps source code directory, the sub-directory <tt>zprogs</tt> contains the [[zbex]] programs used to generate the file zfun32.c. Most necessary files needed to create [http://www.ccarh.org/software/muse2ps/muse2ps/zfun32.c zfun32.c] are in that directory, but perhaps not all of them. These programs are not used directly by muse2ps, but are compiled into zbex executable code within zfun32.c. The muse2ps program is essentially a non-interactive version of [[dmuse]] (see http://dmuse.ccarh.org). The [[dmuse]] program is a text editor which also has a built-in [[zbex]] language interpreter and graphical music display capabilities. The interpreter portion of [[dmuse]] has been extracted for non-interactive use in muse2ps.

== Examples ==

Further examples of MuseData [[stage2]] files converted into graphical music notation with muse2ps can be found on the [[MuseData examples]] page.

== Feature requests and bug reports ==

See the page: [[Muse2ps feature requests and bug reports]].

== Link ==

Shortcut to this page: https://muse2ps.ccarh.org

Dmuse

2025-04-13T05:53:22Z

Craig: /* Other */

__TOC__

Dmuse is an [http://en.wikipedia.org/wiki/Integrated_development_environment Integrated Development Environment] for text editing/processing and graphical music notation rendering of [[MuseData]], with a built-in interpretive programming language called [[zbex]]. Here is a screenshot of dmuse, showing some text typed into the text editor in window 0:

[[File:dmuse-window0.png|500px|thumb|center|dmuse window 0 with some text typed into it.]]

== Download ==

Dmuse and related programs can be [[Dmuse:_Download | downloaded from this page]].

== Dmuse User Guide ==

<div style="column-count:2;-moz-column-count:2;-webkit-column-count:2">
# [[Dmuse: Overview | Overview and history of Dmuse]]
# [[Dmuse: Download | Downloading and installing Dmuse]]
# [[Dmuse: Organization | File organization and init file for Dmuse]]
# [[Dmuse: Getting started | Getting started with Dmuse]]
# [[Dmuse: Editor | Text editing capabilities of Dmuse]]
# [[Dmuse: Zbex | Running zbex programs in Dmuse]]
# [[Dmuse: MuseData organization | MuseData file organization]]
# [[Dmuse: Text printing | How to print text files from within Dmuse]]
# [[Dmuse: Score printing | How to print a score in Dmuse]]
# [[Dmuse: CFT File Creation and Extraction| How to convert between CFT files and page files]]
# [[Dmuse: Parts printing | How to print instrumental parts in Dmuse]]
# [[Dmuse: Score creation | How to create a score in Dmuse]]
# [[Dmuse: Parts creation | How to create instrumental parts in Dmuse]]
# [[Dmuse: MIDI entry | How to enter music with a MIDI keyboard ]]
# [[Dmuse: MIDI files | How to create MIDI files from MuseData]]
</div>

== Dmuse File Formats ==

* [[Dmuse text files]]
* MuseData [[stage1]] files: Preliminary musical data created by MIDI keyboard entry.
* MuseData [[stage2]] files: The primary musical data storage format.
* [[i-files]]: Intermediate graphical notation format, created by [[autoset]] from [[stage2]] files.
* [[page files]]: Page description files for graphical notation, created by [[mskpage]] from [[i-files]].
* [[dmuse fonts]]

== Dmuse Zbex Programs ==

* [[autoset]]: Converts [[stage2]] files into [[i-files]] in preparation for music printing.
* [[mskpage]]: Converts [[i-files]] into [[page files]] for graphical music notation printing.
* [[eskpage]]: On-screen graphical music editor editor that displays and edits [[page files]].
* [[vskpage]]: Further processing of [[page files]] which adjusts the inter-staff and inter-system spacing on pages. Generates a file called [[scform]] which is used to create an [[MuseData edition | edition]] using [[vspace]].
* [[vspace]]: Takes [[scform]] data file [[vskpage]] and processes [[page files]] to generate an [[edition]] which is a set of refined [[page files]].
* [[autoload]]: Downloads fonts to a PCL printer. Must be run before using [[pskpage]].
* [[pskpage]]: Prints [[page files]] to a PCL printer.
* [[dskpage]]: Similar to [[pskpage]], but displays [[page files]] as graphical music notation on the screen rather than printing.
* Some program to generate parts? Or has that merged into mskpage? Mainly has to do with multi-rests.

== Dmuse Reference Manual ==

* [[Dmuse: Key commands | Dmuse Keyboard command list]]
* [[Dmuse: INIT|Dmuse INIT file]]
* [[Dmuse: Menu bar | Dmuse Menu bar]]
* [[Dmuse: File manager | Resident file manager]]
* [[Dmuse: Color and upper-ASCII codes | Color and character byte codes in Dmuse text files]]
* [[Zbex programming language]]

<div style="column-count:2;-moz-column-count:2;-webkit-column-count:2">{{Zbex chapter list}}</div>
* [[CCARH data formats]]: [[MuseData file specification]]

== Dmuse internal documentation ==

* [[Dmuse: Browser display test|Browser display test]]

=== Dmuse help menu documentation ===

Files in dmuse/doc/help:

<div style="column-count:3;-moz-column-count:3;-webkit-column-count:3">
* [[Media:Intro.html | Introduction to Dmuse]]
* [[Media:Using.html | Using the Screen Editor]]
* [[Media:Quick.html | Editor quick reference]]
* [[Media:Manager.html | Resident File Manager ]]
* [[Media:Mpg.html | MPG file format]]
* [[Media:Cft.html | CFT file format]]
* [[Media:Tiff.html | TIFF file format]]
* [[Media:Topics.html | Advanced Topics]] (Wordwrap, INIT, Dictionaries, Zbex)
* [[Media:New.html | New Directions]]
* [[Media:Display.html | Displaying music]]
* [[Media:Print.html | Printing music]]
</div>

=== File format specifications ===

Files in dmuse/doc/specs:

* [[Media:Stage2-specs.html | MuseData Stage2 file specification]]
* [[Media:I-files.html | I-file file specification]] (Intermediate file)
* [[Media:Mpg-specs.html | MPG file specification]] (Music PaGe)
* [[Media:Cft-specs.html |CFT file specification]] (Compressed FormaT)

=== Program documentation ===

Files in dmuse/doc/progdoc:

* [[Media:Read-me-1st.html | Introduction to Music Typsetting]]
* [[Media:Edmake.html | Music Processing, from Stage1 to Final Edition]] 28 April 2009
* [[Media:Mprogs.html | Relationships among music typesetting programs]] 30 Nov 2009
* [[Media:S2ed.html | Documentation for the s2ed program]] 29 April 2009
* [[Media:Run-vspc.html | Instructions for running vspace.z]]
* [[Media:Run-vskp.html | Instructions for running vskpage.z]]
* [[Media:Run-pskp.html | Instructions for running pskpage.z]]
* [[Media:Run-mskp.html | Instructions for running mskpage.z]]
* [[Media:Run-dskp.html | Instructions for running dskpage.z]]
* [[Media:Run-auto.html | Instructions for running autoset.z]]
* [[Media:Eskpage.html | Instructions for the eskpage program]]
* [[Media:Edform.html | Edform]]

== Other ==

* [[Dmuse: feature requests | Dmuse feature requests]]
* [[Dmuse: quirks | Quirky behaviors in Dmuse ]]

== Link ==

Shortcut to this page: https://dmuse.ccarh.org

Zbex programming language

2025-04-13T05:33:32Z

Craig:

Zbex is an interpreted programming language which is built into [[Dmuse]].

{{Zbex chapter list}}

==Link==

Shortcut to this page: https://zbex.ccarh.org

George Frideric Handel

2025-04-13T02:06:31Z

Craig: /* References */

==Life==

==Operas==
===The Royal Academy (1719-28)===

====Radamisto (HWV 12b)====

Radamisto was the first work Handel composed for the Royal Academy. The version we present here is from December 1720 and followed the premier by eight months. (Two further versions followed.) Nicola Francesco Haym's libretto was loosely derived from one by Matteo Noris, set by Gio. Antonio Boretti for the Teatro San Cassiano, Venice, in 1666. The haughty contralto castrato Francesco Bernardi (detto Senesino) made his first London appearance in the title role. His collaboration with Handel was to be a long one. Terence Best devised the edition presented here. It was typeset by Frances Bennion, Edmund Correia, and Steven Rasmussen at the Center for Computer Assisted Research in the Humanities in 1993.

{| class="wikitable"
|-
! Title !! Handel Catalog !! Musical content !! Notes !!
|-
| Radamisto, v. 2 || HWV 12b || Three-act opera || Ed. Terence Best for CCARH (1993) ||
|-
| Radamisto, v. 2 || HWV 12b || [https://esf.ccarh.org/MuseData-Ed-202003/baroque/handel/best/rada/edition/score/ Full score] || ||
|-
| Radamisto, v. 2 || HWV 12b || [https://esf.ccarh.org/MuseData-Ed-202003/baroque/handel/best/rada/edition/parts/ Performing parts] || V1, V2, Va, Vc, Basso, Cem; Tr1, Tr2, Hrn1, Hrn 2; Ob 1, Ob2, Tr Fl, Bn ||
|}

====Ottone, re di Germania (HWV 15)====

Although not performed until January 1723, Handel's opera Ottone, re di Germania was composed in 1719 for the fourth season of the Royal Academy. Its eventual debut took place at the King's Theater in the Haymarket. Ottone had several debts to recent operas in Venice and Dresden. Most immediately the story of this ambitious medieval ruler of Germany, as set by the Venetian composer Antonio Lotti on a text by Stefano Benedetto Pallavicino (Saxon court poet born in Venice), had served in Dresden as a festive wedding opera (Teofane) for the Saxon elector August the Strong (1719). The text was adapted for an English audience by [https://en.wikipedia.org/wiki/Nicola_Francesco_Haym Nicola Francesco Haym]. the typesetting for this CCARH edition was done by Edmund Correia.

{| class="wikitable"
|-
! Title !! Catalog No. !! Content !! Notes
|-
| Ottone, re di Germania || HWV 96 || Full score || Ed. [https://en.wikipedia.org/wiki/Anthony_Hicks Anthony Hicks] from original sources
|-
| Ottone, re di Germania || HWV 96 || Short score || Prepared for [https://en.wikipedia.org/wiki/Philharmonia_Baroque_Orchestra Philharmonia Baroque] (1991)
|-
| Ottone, re di Germania || HWV 96 || Performing parts || V1, V2, Va, Ob1, Ob2, Bn, Basso continuo
|-
|}

===The Royal Academy (1729-34)===
===Covent Garden Theatre (1734-37)===
The royal opera house at Covent Garden opened on December 7, 1732. Spoken plays constituted most of the repertory that the theater initially offered to the public. The theater was built by John Rich, manager of the Duke's Company at Lincoln's Inn Fields. There Rich's singular success rested on his support for John Gay's highly successful Beggar's Opera (1728), a low-life work with simple songs and other incidental music that satirized Italian opera and those who admired it. Its popularity heightened existing tensions with serious opera.

The new theater lay within a district of produce and flower vendors sanctioned a century earlier by royal charter. This conferred on it the designation "royal" and the right (shared only with Drury Lane) to present spoken plays to the public. The idea of interleaving opera performances a few nights week created an opening for Handel. While Ariodante was taking shape, Handel composed ballet music for a revival of Il pastor fido and assembled the pastiche Oreste, both of which were performed at the theater late in 1734.

====Ariodante (HWV 33)====
Handel's Ariodante was composed between August and October 1734. The London Daily Post reported on January 1 (when the work was in rehearsal) that "the Scenes prepar'd for [it] are thought to excell any Thing of the Kind that has yet appear'd." [http://ichriss.ccarh.org/HRD/1735.htm] Opening on 8 January 1735, it was the first new opera entirely by Handel to be performed at the Royal Theatre at Covent Garden. The castrato [https://en.wikipedia.org/wiki/Giovanni_Carestini Giovanni Carestini] sang in the title role, making a turning point for Handel, who had until then had fashioned title roles for Francesco Bernardi ("Il Senesino").

Antonio Salvi's text (then called Ginevra in Scozia) was originally composed in 1708 for a production (with music by Giacomo Perti) at Pratolino (Florence). It became better known through Carlo Francesco Pollarolo's setting (as Ariodante) for San Giovanni Grisostomo, Venice, in November 1716. It was this opera production that launched the stellar career of Faustina Bordoni, whose voice was by now celebrated throughout Europe. The typesetting for the CCARH edition of Ariodante was done by Frances Bennion and Edmund Correia, Jr.

{| class="wikitable"
|-
! Title !! Catalog No. !! Contents !! Notes
|-
| Ariodante || HWV 33 || Opera in three acts || Edited by Mark Stahura (1995)
|-
| Ariodante || HWV 33 || [http://scores.ccarh.org/handel/ariodante/ariodante-score.pdf Full score] ||
|-
| Ariodante || HWV 33 || Short score ||
|-
| Ariodante || HWV 33 || Performing parts || Fl1, Fl2, Ob1, Ob2; Hrn1, Hrn2, Tr1, Tr2; V1, V2, V3, Va, Bassi, Basso continuo
|}

[[Ariodante | Ariodante score and parts]].

====Alcina (HWV 34)====
Alcina opened at [http://en.wikipedia.org/wiki/Covent_Garden Covent Garden] on 16 April 1735. The score, which had been started early in February, was completed only eight days earlier. Anna Maria Strada del Pò took the title role. It was a popular work, enjoying eighteen performances in 1735 and three more in 1737.

[[File:Bird_of_May.png|350px|thumb|right|Beginning of the "Bird of May" (arrangement of the Musette movement) for violin and basso continuo from Handel's Alcina. Glasgow University Library.]]

Rich in the use of "woodland" instruments (flutes, piccolo, and oboes), a few excerpts took on a life of their own in such editions as John Walsh's Alcina for a flute, containing the overture, songs, and symphonys curiously transpos'd and fitted for the flute. John Bland's Bird of May: To a favourite aire in Alcina by Mr. Handel prompted John Simpson to issue Bird of May: To a nightingale....The adieu to the Spring Garden at Vaux Hall, and many further issues, all in 1735 and 1736. The basis for this "favourite aire" was nothing other than the Musette movement of the opera's overture. The rest of the eighteenth century, in which images of natural innocence were highly valued, was filled with musical depictions of nightingales.

The sorceress Alcina had a long history on the opera stage. Antonio Fanzaglia's libretto had been written for Riccardo Broschi's opera L'isola di Alcina, which had been performed in Rome in 1728. It was based on Cantos 6 and 7 of [http://en.wikipedia.org/wiki/Ludovico_Ariosto Ludovico Ariosto]'s [http://en.wikipedia.org/wiki/Orlando_Furioso Orlando furioso]. The role of the knight Ruggiero is retained, but others have been modified. Handel, who had become acquainted with the text during his visit to Italy in 1729, revised the music in 1736 and again in 1737, leading to a production in Brunswick in 1738.

Stage witches were intended to be alluring enchantresses. This set them radically apart from countless alleged witches, who had been burned at the stake in considerable numbers under the edict of [http://en.wikipedia.org/wiki/James_I_of_England James I]. The subject was highly topical when Alcina was performed, because King [http://en.wikipedia.org/wiki/George_II_of_England George II] would very soon modify James's [http://en.wikisource.org/wiki/Witchcraft_Act_1735 Witchcraft Act] (1604) by reducing the sentence to fines and imprisonment, with effect from June 24, 1736.

The 1868 edition of Alcina by the Händel Gesellschaft (the German Handel Society) is available for viewing and download [http://daten.digitale-sammlungen.de/~db/0001/bsb00016931/images/index.html (1868 edition of Handel's Alcina at the Vifamusik website)]

====Atalanta (HWV 35)====

Handel's Atalanta opened at Covent Garden on 12 May 1736. It followed on the heels of a revival the week before of Ariodante in which the Italian castrato Gioacchino Conti (detto Ghiziello) was now featured in the title role. Conti's appearance generated such praise that he was soon ranked as superior to Carlo Broschi (detto Farinelli). Conti's voice was celebrated for its agility and the singer's control over pitch.

The original text of Atalanta, by Belisario Valeriani, was entitled La caccia in Etolia, which was originally set by Fortunato Chelleri (Ferrara, 1715). It formed the basis of revivals and new settings given in Modena (1716), Ravenna (1726), Florence (1727), and Vienna (1733). The music comes from Handel's autograph in the British Library, with some modifications from pertinent materials in the Manchester Public Library.

{| class="wikitable"
|-
! Title !! Catalog No. !! Content !! Notes
|-
| Atalanta || HWV 35 || Three-act pastoral || Edited by Edmund Correia, Jr. (2005)
|-
| Atalanta || HWV 35 || [https://esf.ccarh.org/MuseData-Ed-202003/baroque/handel/chry/opera/atalan/outputs/score18/pages/ Full score] ||
|-
| Atalanta || HWV 35 || [https://esf.ccarh.org/MuseData-Ed-202003/baroque/handel/chry/opera/atalan/outputs/vocal/ Vocal score] ||
|-
| Atalanta || HWV 35 || [https://esf.ccarh.org/MuseData-Ed-202003/baroque/handel/chry/opera/atalan/outputs/parts/ Parts] || V1, V2, Va; Tr1, Tr2, Tr3, Tmp; Ob1, Ob2, Hrn1, Hrn2; Basso continuo
|}

====Arminio (HWV 36)====
Composed in September 1736, Arminio was first performed at Covent Garden on 12 January 1737. Antonio Salvi's text on Arminius (Hermann), the Germanic chief who defeated Roman legions in the first years of the first century, had been written for an earlier setting (Pratolino, 1703) by Alessandro Scarlatti. The subject itself had been treated in Venetian operas of the later seventeenth century.

Arminio was not by any measure one of Handel's more successful operas. After its initial six performances, it had no revivals, nor did it generate any significant number of circulated offshoots. Some cast members were little known to London audiences. In particular, the castrato Domenico Annibali, who sang in the title role, was well known at the Dresden court, his principal place of employment, for his appearances in the operas of Johann Adolf Hasse, but had no particular impact in London.

The German Handel Society edition is available for download from Vifamusik: [http://daten.digitale-sammlungen.de/~db/0001/bsb00016934/images/index.html Arminio (1882 edn.)].

====Giustino (HWV 37)====
Composed during a three-week period starting on August 14, 1736, Giustino had its premier at Covent Garden on February 17, 1737. It was more successful than Arminio in that ten performances were given over a four-month period. The text had been inspired by that of Niccolò Beregan (Venice 1683), for Giovanni Legrenzi's like-named work, and its adaptation by Pietro Pariati (Bologna 1711; Rome 1724).

A flute arrangement of the "overture, songs and symphonys" was published soon after its premier by John Walsh (London, 1737) under the title Justin. Specific items within the work were recycled by Handel in subsequent operas and oratorios. The Händel Gesellschaft edition can be downloaded from Vifamusik: [http://daten.digitale-sammlungen.de/~db/0001/bsb00016933/images/index.html Giustino].

====Berenice (HWV 38)====
Berenice, the final opera in Handel's Covent Garden series, opened on May 18 1737. Handel had composed it from mid-December to late January. Anna Maria Strada del Pò was featured in the title role.

Its libretto, by Antonio Salvi, had been written in 1709 for performance at the Villa of Pratolino (Florence). As a subject for dramatization, Berenice had much older roots in Renaissance commedia. Interest in it had been rekindled in the late seventeenth century by Racine's stage tragedy. It was conveyed to the musical stage by a spectacular setting for the Contarini Villa at Piazzola (near Treviso). The work was recast for Venice (1711) as Le gare di politica e di Amore by Gio. Maria Ruggieri.

The Händel Gesellschaft edition is available for download from Vifamusik: [http://daten.digitale-sammlungen.de/~db/0001/bsb00016935/images/index.html Berenice].

===King's Theatre, Haymarket (1738-39)===

====Faramondo (HWV 39)====

Handel's first opera for the King's Theater opened on January 3, 1738. Faramondo, based on a libretto by [https://en.wikipedia.org/wiki/Apostolo_Zeno Apostolo Zeno], was composed between November 15 and December 24, 1737.

====Serse (HWV 40)====

The music for Serse, based on librettos by [https://en.wikipedia.org/wiki/Nicol%C3%B2_Minato Niccolo Minato] and [https://en.wikipedia.org/wiki/Silvio_Stampiglia Silvio Stampiglia], was composed on the heels of Faramondo, between December 26 (1737) and February 14 (1738). Its first performance took place on April 15.

===Theatre Royal, Lincoln's Inn Fields (1740-1741)===

====Imeneo (HWV 41)====

Handel composed the music for Imeneo in September 1738 and revised it in October 1740. The first performance took place on St. Cecilia's Day (November 22) of that year in the Theatre Royal at Lincoln's Inn Fields. The text was derived from one by Silvio Stampiglia.

====Deidamia (HWV 42)====

Just after completing Imeneo Handel began work on Deidamia. For it he turned to a libretto by [https://en.wikipedia.org/wiki/Paolo_Antonio_Rolli Paolo Antonio Rolli]. His score was completed by November 20. The work had its first performance on January 10, 1741, at the Theatre Royal.

==Incidental Music==

===The Alchemist (HWV 43)===

Handel's incidental music for [https://en.wikipedia.org/wiki/Ben_Jonson Ben Jonson]'s play was scored for a minimal ensemble of string quartet, two oboes, and basso continuo. Elements of it were composed as early as 1710. It was performed on December 20, 1733.

===There is a blissful shade of bow'rs (HWV 44)===

In June 1745 Handel traveled to Exton, the estate of the [https://en.wikipedia.org/wiki/Ben_Jonson Earl of Gainsborogh], where [https://en.wikipedia.org/wiki/John_Milton John Milton]'s Comus was to be performed. He obliged his host by composing this serenata, which consists only of three airs and a later famous chorus, "Happy, happy, happy plains," which is repeated after each air.

===Alceste (HWV 45)===

[https://en.wikipedia.org/wiki/Tobias_Smollett Tobias Smollett]'s play (also known as Alcides) features the muse Calliope, the god Apollo, and Charon, boatman of Hades. Handel composed incidental music for it between December 27, 1749, and January 8, 1750. No performance is documented. It is a substantial work with an overture, a "grand entree," several choruses, and arias for the principal singers. Some numbers soon appeared in Alexander Balus.

==Early Oratorios (1707-1718)==

Handel's early oratorios are largely lost. The first two were composed in Rome. The third may not have been performed at all. The first and fourth same to life after extensive revisions in the 1730s.

===Il trionfo del Tempo e del Disinganno (BWV 46a, 46b)===

The first version of this oratorio was composed in Rome in the spring of 1707. A second version (46b) was assembled, with extensive new music and the addition of bassoon and horns, in the spring of 1737 in London. It was performed at the Theatre Royal, Covent Garden, on March 23, 1737.

===La Resurrezzione di Nostro Signor Gesù Cristo (BWV 47)===

La resurrezione was performed at the Palazzo Bonelli, Rome, on Easter (April 8) 1708. Music not extant. The libretto was by Carlo Sigismondo Capece.

===Der für die Sünde der Welt (Brockes Passion, BWV 48)===

The Brockes Passion was composed in London in 1716/17 but was performed in Hamburg Cathedral on April 3, 1719.

==Masques==

Handel's move to England led him to set English poetry and librettos as circumstances demand. Despite complaints about his poor spoken English, he was a willing learner and an apt pupil.

===Acis and Galatea (HWV 49a, 49b)===

The two versions of Acis and Galatea, a masque in two acts, were based on [https://en.wikipedia.org/wiki/John_Gay John Gay]'s work, which was derived from texts by [https://en.wikipedia.org/wiki/Alexander_Pope Alexander Pope] (1688-1744) and [https://en.wikipedia.org/wiki/John_Hughes_(poet) John Hughes] (1677-1720). They were separated by 14 years. The earlier version features four soloists, a chorus, and a wind-and-string orchestra. It evokes bucolic scenes (as in Galatea's "Ye verdant plains and woody mountains") and abounds in good cheer, into which Polyphemus intrudes. This version was performed at [https://en.wikipedia.org/wiki/John_Hughes_(poet) Cannons], the home of the Duke of Chandos, in the summer of 1718.

The later version (HWV49b) was performed at the King's Theatre, Haymarket, on June 10, 1732. Two vocal roles were added, and the orchestra was more varied. It was now in three parts with substantially revised and expanded music. Handel's autograph manuscript is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.a.2 here].

===Esther (HWV 50a)===

The masque version of Esther (HWV 50a) was composed in 1718. It was dedicated to the Earl of Carnarvon, later the Duke of Chandos, and was performed for the first time at his estate, Cannons, around August 23, 1720.

It had strong synergies with London social and literary circles of the time. Derived from the Old-Testament book of the same name, its text was composed of passages from Alexander Pope [http://en.wikipedia.org/wiki/Alexander_Pope], John Gay [http://en.wikipedia.org/wiki/John_Gay], and the satirist John Arbuthnot [http://en.wikipedia.org/wiki/John_Arbuthnot]. Arbuthnot was a friend of Handel's in the 1710s and played an important role in establishing the Royal Academy of Music in 1719.

The masque (HWV 50a), which was also known under the title Haman and Mordecai, consisted of only six scenes. The text was derived from [https://en.wikipedia.org/wiki/Jean_Racine Jean Racine]'s drama of 1689 by [https://en.wikipedia.org/wiki/Alexander_Pope Alexander Pope] and [https://en.wikipedia.org/wiki/John_Arbuthnot John Arbuthnot] (1667-1735).

==Later Oratorios (1733-1751)==
The revisions to Esther that Handel made in 1732 seemed to revive his interest in the genre. Most of the oratorios he wrote over the next eighteen years enjoyed significant popularity. Their choruses became a stimulus to the formation of choral societies. The choral societies in turn made their own modifications to the works, thus feeding the mill of revised versions. Meanwhile, London publishers undertook to publish both arias from Handel's operas and various pieces from the oratorios. Many oratorios were published in their entirety in the latter half of the century, even though the publication of an entire opera was all but unknown.

===Esther (BWV 50b)===

Esther had perhaps the longest run of any of Handel's oratorios. When Handel revised his earlier masque (HWV 50a) to flesh out Esther (HWV 50b) in 1732, he added substantial material. (Handel's autograph manuscript for Esther is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.e.7 here].) This second version (HWV 50b) is a fully fledged oratorio of three acts requiring a large cast and orchestra. Its first performance was given at the King's Theater, Haymarket, on May 2, 1732.

It was performed, with minor revisions, over and over for the next 25 years. Its success served as a stimulus to many of Handel's later oratorios. Printed versions were offered by William Randall (1776) and H. Wright (c. 1783). Two others close to Handel's works--the editors [https://en.wikipedia.org/wiki/John_Walsh_(printer) John Walsh] and [https://en.wikipedia.org/wiki/Samuel_Arnold_(composer) Samuel Arnold]--were subscribers.

===Deborah (HWV 51)===

Handel included pieces from several earlier works in Deborah, a three-act oratorio based on the text of Samuel Humphreys. He completed the score in February 1733. It was performed at the King's Theater, Haymarket, on March 17 of that year. Deborah had repeated performances through 1756. Together with Esther and Athalia, it was one of his most famous oratorios. A partial autograph is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.h.2 here].

===Athalia (HWV 52)===

The text for the oratorio Athalia was written by Samuel Humphreys, who derived it from [https://en.wikipedia.org/wiki/Jean_Racine Jean-Baptiste Racine] (1691). This oratorio had its premiere in the Sheldonian Theatre, Oxford, on July 10, 1733. It had numerous other performances through 1756. The autograph manuscript is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.h.1 here].

===Saul (HWV 53)===
Composed summer 1738, Saul was first performed in the Haymarket Theatre on January 16, 1739. The libretto, based on the First and Second Books of Samuel, was by Charles Jennens. Like many of Handel's mature oratorios, it had a long afterlife (London performances 1739-1754), followed by a continued presence in print. Saul may represent the pinnacle of Handel's efforts to constantly rethink his material. Some folios are a blizzard of changes, with the underlying music rendered difficult to decipher. The full autograph manuscript is [http://www.bl.uk/manuscripts/Viewer.aspx?ref=r.m.20.g.3_fs001r here].

A London edition (by William Randall) of 1773 may be seen at the Haendel-Haus in Halle, Germany (Handel's birthplace). Consult the "Digitalisate: Musikalien- und Büchersammlung" [Digitized music and books] section of the "Bibliothek" [Library] at this link: [http://www.haendelhaus.de/de/bibliothek/Musikalien_Buecher/].

===Israel in Egypt (HWV 54)===

Israel in Egypt portrays the lamentations of the Israelites for the death of Joseph and narrates their exodus. The manuscript was completed on November 1, 1738. The first performance was given at the King's Theatre on April 4, 1739.
Many of its choruses are well-known and foreshadow those of Messiah. The oratorio was performed through 1758.

===L'Allegro, il Penseroso, ed il Moderato (HWV 55)===

Most of us would not think of this adaptation of John Milton's L'Allegro ed il Penseroso (1632) as having the makings of an oratorio, but with the addition of Charles Jennens' Il Moderato to give it a three-part structure, that is what it became. Its rich orchestration adds trumpet, timpani, and carillon to Handel's more usual wind-and-string core. It had its premiere at the Theatre Royal on February 27, 1740. The role of Moderation is modest, but its inclusion is necessary for the final chorus, "Thy pleasures, Moderation, give, in them alone we truly live." The work quickly found an audience in Dublin and enjoyed considerable popularity through 1755.

===[[Messiah]] (HWV 56)===

====Handel in Dublin====
Handel had been invited by the Duke of Devonshire, who was then Viceroy of Ireland, to go to Dublin in the autumn of 1741. He had many enthusiastic fans in the English community there. A series of subscription concerts that was organized there late in the year was a raging success. Some of his best-loved works were featured. They included the Te Deum and Jubilate (December 10); L'Allegro, il Penseroso, ed il Moderato (December 23), on John Milton's text [http://en.wikipedia.org/wiki/John_Milton]; repeated by command of the Viceroy on January 13, 1742; and a double bill featuring Acis and Galatea with Alexander's Feast on January 20th, with an encore performance a week later. Each concert included concertos in addition to vocal and choral works. The concerts were given in the new Neale's Music Hall on Fishamble St. Handel wrote to Charles Jennens on December 29, 1741, that the most recent subscription concert [December 23] attracted an audience of 600, among which were not only "Ladyes of Distinction" but also "many Bishops, Deans, Heads of the Colledge, [and] the most eminent People in the Law...all of which are very much taken with [Milton's] poetry." [Baselt, IV, 341].

The series continued with other of Handel's best-loved works--Acis and Galatea paired with The Ode for St. Cecilia's Day, based on the text of John Dryden [http://en.wikipedia.org/wiki/John_Dryden], on January 20 and 27, 1742. Jonathan Swift [http://en.wikipedia.org/wiki/Jonathan_Swift], then dean of St. Patrick's Cathedral [http://en.wikipedia.org/wiki/St_Patrick%27s_Cathedral,_Dublin], Dublin, was persuaded by the growing reputation of the performances to permit eight of his singers to join the weekly programs of the Charitable Musical Society (through which all the concerts were benefits).

===Samson (HWV 57)===

Handel's three-act oratorio Samson is based on Newburgh Hamilton's reworking of John Milton's epic poem Samson Agonistes of 1671. It was composed in September and October 1741, revised in 1742, and performed for the first time on February 18, 1743 at the Theatre Royal, Covent Garden. Several revivals followed over the coming years. It remained in the repertory up to Handel's death.

* Autograph score (British Library), preceded by critical notes, is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.f.6 here].

===Semele (HWV 58)===

Handel's oratorio was composed in the early summer of 1743. It was indebted to a 1706 opera of the same name set by [https://en.wikipedia.org/wiki/John_Eccles_(composer) John Eccles] on a text by [https://en.wikipedia.org/wiki/William_Congreve William Congreve], who in turn was inspired by Ovid's Metamorphoses. The premiere took place at the Theatre Royal, Covent Garden the following year. Semele is notable for its numerous choruses, imaginative orchestration, and the punctuation of Jupiter's rage. These traits present a steady crescendo through all of Handel's oratorios of the 1740s, although Semele, which had its premier on 10 February 1744, had few revivals in Handel's lifetime. The Philharmonia Baroque performances, based on this edition by Frances Bennion, Nicholas McGegan, and Eleanor Selfridge-Field, took place in the year 2000.

The performance materials below were produced from the same edition, which is based on these sources: GB-Lbl [British Library] R.M. 20.c.2, R.M. 20.f.7. RM 18.e.4, R.M. 19.d.6, R.M. 19.b.3; the Fitzwilliam Museum, Cambridge, 30 H 9; and the Gerald Coke Papers, A 25.

{| class="wikitable"
|-
! Title !! Catalog No. !! Content !! Notes
|-
| Semele || HWV 58 || Oratorio in three parts || First performed London 1744; CCARH edn. 2000 by Frances Bennion, Nicholas McGegan, and Eleanor Selfridge-Field
|-
| Semele || HWV 58 || Full score ||
|-
| Semele || HWV 58 || Vocal/choral score ||
|-
| Semele || HWV 58 || Parts || V1, V2, Va; Ob1, Ob2; Hrn 1, Hrn2, Tr1, Tr2, Timp; Basso Continuo
|}

* Downloadable [http://scores.ccarh.org/handel/semele/4-9_Semele-combined-score.pdf score]

* Downloadable [http://scores.ccarh.org/handel/semele/4-9_Semele-all-parts.pdf parts]

* Autograph [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.f.7 score] (British Library) with critical notes

===Joseph and his brethren (HWV 59)===

The oratorio Joseph and his brethren is based on a text by James Miller's paraphrase from the Book of Moses. Its premiere was given at the Theatre Royal, Covent Garden, on March 2, 1744. It had revivals in 1745, 1747, and 1751.

* Autograph score (British Library), preceded by critical notes, is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.e.10 here].

===Hercules (HWV 60)===

Hercules, a three-act "musical drama," was fashioned by Thomas Broughton (1704-1744) from material by Sophocles and Ovid. The music was composed in 1744, while the first performance took place at the King's Theatre, Haymarket, on January 5, 1745. The work was revived in 1749 and 1752.

* Autograph score (British Library), preceded by critical notes, is [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.e.8 here].

===Belshazzar (HWV 61)===
Composed autumn 1743. Performed 1745-1758.

===Judas Maccabaeus (HWV 63)===
Composed summer 1746. Revised many times. Performed 1747-1759.

===Joshua (HWV 64)===
Composed summer 1747. Performed 1748-54.

===Alexander Balus (HWV 65)===
Composed summer 1747. Performed 1748, 1754.

===Susanna (HWV 66)===

[[File:Susanna_and_the_Elders_MET_DP855459.jpg|thumb|right|400px|Susanna and the Elders, print by George Pencz (c1500-1550), Elisha Whittelsey Collection, Metropolitan Museum of Art DP855459, CC)]]
Handel's oratorio Susanna, which is based on a story from the Apocrypha here conveyed in an anonymous text, had its first performance in London on February 10, 1749, six months after it was completed. It was shortened ten years later, but Handel did not live to attend the second performance (March 9, 1759). Both performances took place at Covent Garden. Susanna was the first major work by Handel encoded and edited digitally by CCARH (1989) under the supervision of Nicholas McGegan, John Roberts, and Eleanor Selfridge-Field.

{{Template:Handel_Susanna}}

===Solomon (HWV 67)===
Composed spring 1748. Performed 1749, 1759.

===Theodora (HWV 68)===
Composed summer 1749. Performed 1750, 1755.

===Jephtha (HWV 70)===
Composed January-August 1751. Performed 1752-1758.

==Cantatas, Odes, and Serenatas==

===Clori, Tirsi, e Fileno (HWV 96)===
This pastoral cantata for three voices, composed in 1707, was considered lost until recent times. The noted Handel scholar [https://en.wikipedia.org/wiki/Anthony_Hicks Anthony Hicks] edited this version, which had its first modern performances by [https://en.wikipedia.org/wiki/Philharmonia_Baroque_Orchestra Philharmonia Baroque] in San Francisco, Berkeley, and Palo Alto in 1989. [https://en.wikipedia.org/wiki/Lorraine_Hunt_Lieberson Lorraine Hunt Lieberson] portrayed the indecisive shepherdess who could not choose between her suitors. The archlute continuo part included here for Fileno's aria "Come la rondinella" (2.13)--in which Clori's retreat is likened to the Egyptian swallow returning to its nest--was requisitioned by Hicks and the whole performed by Philharmonia Barqoue, under Nicholas McGegan. It was recorded for Harmonia Mundi in 1992. The cantata is also known by the opening text "Cor fedele, in vano speri" ("My faithful heart, you hope in vain").

{| class="wikitable"
|-
! Title !! Catalog No. !! Content !! Notes
|-
| Clori, Tirsi, e Fileno || HWV 96 || Cantata à 3 ||
|-
| Clori, Tirsi, e Fileno || HWV 96 || Score ||
|-
| Clori, Tirsi, e Fileno || HWV 96 || Short score ||
|-
| Clori, Tirsi, e Fileno || HWV 96 || Archlute obbligato for aria 2.13 ||

|}

===Ode for the Birthday of Queen Anne (HWV 74)===
Composed 1713, revised 1714, but not performed.

===Acis and Galatea (HWV 49)===
Serenata composed in 1718, revised in 1732.

===Alexander's Feast (HWV 75)===
Handel composed the music for John Dryden's poem Alexander's Feast, or The Power of Music in 1736. It proved to be one of his best-loved works. Performances continued through 1755.

After his defeat of Darius in ancient Persopolis [http://en.wikipedia.org/wiki/Persepolis] (modern-day Iran) in 330 BCE, Alexander held a lavish feast. The poem Handel set was adapted by Newburgh Hamilton [http://en.wikipedia.org/wiki/Newburgh_Hamilton] from the original work by John Dryden. Published in 1697, three years before Dryden's death, it was subtitled A Song in Honor of St. Cecilia, and was written to celebrate the feast (November 22) of the patroness saint of musicians. Every verse was followed by a chorus.

Hamilton, who was from County Tyrone (then Ireland), also wrote the texts for Handel's Samson (1743) and the Occasional Oratorio (1746).

===Ode for St. Cecilia's Day (HWV 76)===
Composed in 1739 on Dryden's "From harmony, from heav'nly harmony," the Ode for St. Cecilia's Day was first performed at Lincoln's Inn Fields Theater with Alexander's Feast on November 22, 1739. It enjoyed instant popularity. In concerts it was usually paired with other odes and serenatas from this period.

===L'Allegro, Il Penseroso ed il Moderato (HWV 55)===
Composed 1740 on text adapted from Milton by J. Harris and Charles Jennens (part III). Performed through 1755.

=Instrumental Music=

The extensive studies of the late Anthony Hicks on Handel's operas and oratorios persuaded him that Handel's instrumental works were rarely conceived in isolation from his stage works. For many amateur musicians of the early eighteenth century the separate prints of instrumental pieces were nonetheless warmly welcomed, for they enabled players to appeal to prospective audiences without the expense of careful preparation of stage works. It is difficult now to regularly link specific pieces with components of stage performances unless some clue was left by the composer himself. Handel was notorious for recycling musical ideas, but considering the extent of his output, it cannot be said that he compromised either his models or their resemblance in works composed downstream.

==Trio sonatas Op. 2 (1730)==
This set of trio sonatas for two violins (or two flutes or two oboes) with basso continuo had a curious history, for it was not authorized by Handel. A 1730 print ostensibly by the Amsterdam publisher Michel Charles Le Cène was in fact a new opus printed in London. Such subterfuges were not unknown in book or music publishing at the time, and when the creative artist was famous, it was a risky proposition. The actual publisher, John Walsh, regularly "reprinted" volumes brought out by Le Cène, though often with changed orders and selections of works. But for the absence of a true Le Cène model, the sonatas of Op. 2 were such a case. The contents of the Walsh print of 1733 were not entirely the same as those of the 1730 imposter. Handel was paranoid about the theft of intellectual property, which in his case meant the physical trays of set type from which prints were made. Arias from his operas were in especially high demand.

In this case Handel benefitted from the Walsh 1733 print, for it was much discussed on account of its evolving identity and sold well. The optional use of flutes and/or oboes accommodated the (then) current popularity of celebrations of nature. The flute was associated with bird calls, and pamphlets of instruction on how to imitate particular species on the flute were easily available. It is unclear why these works were published at the time other than to accommodate such changes of taste. The dates of composition ranged over two decades, from 1699 onward.

Friedrich Chrysander, who produced editions of nearly all of Handel's music, complicated the Le Cène-Walsh story by adding a further four works (HWV 386a, HWV 392, HWV 393, HWV 394) to the six accepted ones. These added works are generally now considered to be spurious.

{| class="wikitable sortable"
|-
! No. !! Cat. No. !! Genre / Instruments !! Key !! Score
|-
| No. 1 || HWV 386b || Trio sonata / 2V [alt 2Fl or 2Ob], Bc || B Minor ||
|-
| No. 2 || HWV 387 || Trio sonata / 2V [alt 2Fl or 2Ob], Bc || G Minor ||
|-
| No. 3 || HWV 388 || Trio sonata / 2V [alt 2Fl or 2Ob], Bc || B{{music|flat}} Major ||
|-
| No. 4 || HWV 389 || Trio sonata / 2V [alt 2Fl or 2Ob], Bc || F Major ||
|-
| No. 5 || HWV 390 || Trio sonata / 2V [alt 2Fl or 2Ob], Bc || G Minor ||
|-
| No. 6 || HWV 391 || Trio sonata / 2V [alt 2Fl or 2Ob], Bc || G Minor ||
|}

==Concertos for Two Oboes, Two Bassoons, Strings, and Continuo, Op. 3==

As in the later orchestral suites, Op. 6, Handel plays with instrument pairings here. He may assign a common part to oboe/bassoon pairs, to oboe/violin pairs, or to both oboes. Handel's instrumentation is notably fluid in its arrangements. Cello and Basso continuo may have a common part or differentiated parts. The cello may be doubled by a bassoon. Handel is famously diligent about dropping the reinforcing part mid-movement without ever having specified it at the outset. His overall aim of varied approaches is eminently clear.

Music encoded by Steve Rasmussen.

{| class="wikitable sortable"
|-
! Work No. !! Cat. No. !! Genre / Instruments !! Key !! Score
|-
| No. 1 || HWV 312 || Concerto / 2Ob, 2Bn; 2Vn, 2Va, Vc, Bc || B{{music|flat}} Major ||
|-
| No. 2 || HWV 313 || Concerto / 2Ob, 2Bn; 2Vn, 2Va, Vc, Bc || B{{music|flat}} Major ||
|-
| No. 3 || HWV 314 || Concerto / 2Ob, 2Bn; 2Vn, 2Va, Vc, Bc || G Major ||
|-
| No. 4 || HWV 315|| Concerto / 2Ob, 2Bn; 2Vn, 2Va, Vc, Bc || F Major ||
|-
| No. 5 || HWV 316 || Concerto / 2Ob, 2Bn; 2Vn, 2Va, Vc, Bc || F Major ||
|-
| No. 6 || HWV 317 || Concerto / 2Ob, 2Bn; 2Vn, 2Va, Vc, Bc || D Major ||
|}

==Trio sonatas Op. 5 (1739)==
The seven trio sonatas published as Op. 5 give the impression of a miscellany incorporating pieces related to overtures for anthems and dances from various operas. Yet in contrast to the set in Op. 2, this print was authorized. The set was published at a time when Handel's operas were being produced at the King's Theater in the Haymarket.

{| class="wikitable sortable"
|-
! Work No. !! Catalogue No. !! Genre / Intruments !! Key !! Score
|-
| No. 1 || HWV 396 || Trio sonata / 2V, Bc || A Major ||
|-
| No. 2 || HWV 397 || Trio sonata / 2V, Bc || D Major ||
|-
| No. 3 || HWV 398 ||Trio sonata / 2V, Bc || E Minor ||
|-
| No. 4 || HWV 399 || Trio sonata / 2V, Bc || G Major ||
|-
| No. 5 || HWV 400 || Trio sonata / 2V, Bc || G Minor ||
|-
| No. 6 || HWV 401 || Trio sonata / 2V, Bc || F Major ||
|-
| No. 7 || HWV 402 || Trio sonata / 2V, Bc || B{{music|flat}} Major ||
|}

==Orchestral Concerti Op. 6==

The orchestral concertos presented here were first performed between September 29 and October 30, 1739. They were conceived as orchestral pieces, but each one takes a slightly different approach to the concerto idea. Like the concerto grosso, each work has separate parts for principal violins, but the way the parts proceed is unpredictable. In the first two works the principal violins are differentiated by their melodic importance in the slow movements. In many others, the first principal and the first ripieno instruments may be paired against the second principal and second ripienos. In some slow movements there is relatively little independence of parts and a lot of unison scoring. It seems that Handel at this juncture was seeking simplification, and perhaps concentrating on plaintive expression, as in the slow movement of the final piece, No. 12, more than frenzied activity. True virtuosic writing is largely absent, but the scope of elaboration of his melodies is large. Oboe parts (largely duplicating the violins) were later added to Nos. 1, 2, 5, and 6.

{| class="wikitable sortable"
|-
! Work, No. !! Catalogue No. !! Genre / Instruments !! Key !! Score
|-
| Op. 6, No. 1 || HWV 319 || Concerto / V1 V2; V1 V2 Va Vc Bc || G Major ||
|-
| Op. 6, No. 2 || HWV 320 || Concerto / V1 V2; V1 V2 Va Vc Bc || F Major || [http://scores.ccarh.org/handel/op6/02/HandelOp602.pdf Full score]
|-
| Op. 6, No. 3 || HWV 321 || Concerto / V1 V2; V1 V2 Va Vc Bc || E Minor || [http://scores.ccarh.org/handel/op6/03/HandelOp603.pdf Full score]
|-
| Op. 6, No. 4 || HWV 322 || Concerto / V1 V2; V1 V2 Va Vc Bc || A Minor || [http://scores.ccarh.org/handel/op6/04/HandelOp604.pdf Full score]
|-
| Op. 6, No. 5 || HWV 323 || Concerto / V1 V2; V1 V2 Va Vc Bc || D Major || [http://scores.ccarh.org/handel/op6/05/HandelOp605.pdf Full score]
|-
| Op. 6, No. 6 || HWV 324 || Concerto / V1 V2; V1 V2 Va Vc Bc || G Minor || [http://scores.ccarh.org/handel/op6/06/HandelOp606.pdf Full score]
|-
| Op. 6, No. 7 || HWV 325 || Concerto / V1 V2; V1 V2 Va Vc Bc || B{{music|flat}} Major || [http://scores.ccarh.org/handel/op6/07/HandelOp607.pdf Full score]
|-
| Op. 6, No. 8 || HWV 326 || Concerto / V1 V2; V1 V2 Va Vc Bc || C Minor || [http://scores.ccarh.org/handel/op6/08/HandelOp608.pdf Full score]
|-
| Op. 6, No. 9 || HWV 327 || Concerto / V1 V2; V1 V2 Va Vc Bc || D Minor || [http://scores.ccarh.org/handel/op6/09/HandelOp609.pdf Full score]
|-
| Op. 6, No. 10 || HWV 328 || Concerto / V1 V2; V1 V2 Va Vc Bc || D Minor ||
|-
| Op. 6, No. 11 || HWV 329 || Concerto / V1 V2; V1 V2 Va Vc Bc || A Major || [http://scores.ccarh.org/handel/op6/11/HandelOp611.pdf Full score]
|-
| Op. 6, No. 12 || HWV 330 || Concerto / V1 V2; V1 V2 Va Vc Bc || B Minor || [http://scores.ccarh.org/handel/op6/12/HandelOp612.pdf Full score]
|}

=References=
* [http://ichriss.ccarh.org/HRD Handel Reference Database].

* William H. Grattan Flood. A History of Irish Music.

=Link=

Shortcut to this page: https://handel.ccarh.org