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lation of the text. The Prospectus is dated 15 Aug. 1856, and has 35 names appended to it, including those of Chrysander, Dehn, Franz, Gervinus, Hauptmann, Hiller, Jahn, Liszt, Meyerbeer, Moscheles, Neukomm, Rietz. A second Prospectus announcing the first year's issue is dated Leipzig, 1 June 1859, and signed by the Directorium, viz. Rietz, Hauptmann, Chrysander, Gervinus, Breitkopf & Härtel. For the editing—which is of the most thorough character, and based in every possible case on the autograph MSS.—Dr. Chrysander is understood to be responsible; and the execution is all that might be expected from the well-known efficience and taste of the firm of Breitkopf & Härtel, by whom the volumes are issued. The annual subscription is 10 thalers, or 30s.

The following works have been published, and it is intended to complete the whole by 1885, the second centenary of Handel's birth. (Those marked with a * are published for the first time.)

1.	1858.	1. Susannah. 2. Harpsichord works, 3 Suites de Pieces etc. 3. Acis.
2.	1859.	4. Hercules. 5. Athaliah. 6. Allegro, Penseroso. and Moderato.
3.	1860.	7. Semele. 8. Theodora. 9. * Passion (St. John).
4.	1861.	10. Samson. 11. Funeral Anthem. 12. Alexander's Feast.
5.	1862.	13. Saul. 14. Coronation Anthems. 15. * Passion (Brockes).
6.	1863.	16. Israel. 17. Joshua. 18. Choice of Hercules.
7.	1864.	19. Belshazzar. 20. Time and Truth, 21. Oboe Concertos, Concertante, etc.
8.	1865.	22. Judas. 21 Ode for S. Cecilia's Day. 24. * Il Trionfo del Tempo. 25. Dettingen Te Deum.
9.	1866.	26. Solomon. 27. Alclna. 28. 12 Organ Concertos.
10.	1867.	29. Deborah. 30. 12 Grand Concertos. 31. Utrecht Te Deum and Jubilate.
11.	1868.	32. Chamber Duets. 33. Alexander Balus. 34. Chandos Anthems.
12.	1869.	35. Chandos Anthems. 36. 2 Wedding Anthems, Dettingen do., etc.
13.	1870.	37. Chandos Te Deum. and 2 short do. 38. * Latin Psalms and Motets. 55. * Almira. 56. * Rodrigo. Appendix to Time and Truth, and to Deborah.
14.	1871.	57. Agrippina. 58. * Rinaldo. 60. Teseo. 62. * Amadigi. 64. *Muzio Scevola.
15.	1872.	61. * Silla. 63. * Radamisto. 67. * Flavio. 68. Giulio Cesare.
16.	1873.	65. * Floridante. 70. * Rodelinda. 59. * Pastor Fido. 69. * Tamerlano.
17.	1874.	71. * Scipione. 72. * Alessandro. 73. * Admeto. 74. * Riccardo.
18.	1875.	39. * Resurrezione. 54. * Parnasso in festa. 75. * Siroe. 76. * Tolomeo.

Many things, even in the well-known works, have been here published, and indeed revealed, for the first time—such as the trombone parts in Israel in Egypt and Saul, the organ part in Saul, the rescoring, in D, for Samson, of the Dead March in Saul, the final chorus in Belshazzar, etc. etc.

[ G. ]

[App. pp.665–6 "HÄNDEL-GESELLSCHAFT. The edition of Handel's entire works in score, for which this society was formed in 1856, is now approaching completion, so that a full list of its contents can be given, which is at the same time the most complete list of the composer's works. Dr. Friedrich Chrysander has been sole active editor from the commencement, having for some few years at the beginning had the little more than nominal cooperation from Rietz, Hauptmann, and Gervinus. The editor has paid frequent visits to England to consult Handel's original manuscripts, upon which the edition is based throughout; and has acquired the scores written for the purpose of conducting by Handel's secretary J. C. Smith, which previously belonged to M. Schoelcher. Vols. 1–18 of this edition were issued by Breitkopf & Härtel of Leipzig; but in the year 1864 the editor terminated this arrangement, and engaged engravers and printers to work under his immediate control on his own premises at Bergedorf near Hamburg. All the volumes from vol. 19 have been thus produced; and with vol. 20 an important improvement was made in the use of zinc (as a harder metal) instead of pewter for the engraved plates.

In the following list, vols. 45, 48–53, 84, 95, 96, and 98–100, are not yet published. An asterisk is prefixed to those works which are now published for the first time, at all events in complete score. Vol. 97, in a different form (the oblong shape of Handel's manuscript), contains a facsimile of 'Jephtha,' which is of especial interest as showing the composer's style of writing when blindness was rapidly coming on, and making evident the order in which he wrote—the parts of the score first written exhibiting his ordinary hand, while those which were written in later, when he was struggling with dimness of sight, can be readily distinguished by their blotched and blurred appearance.

The English Oratorios, Anthems, and other vocal works, are provided with a German version, executed by Professor Gervinus, and after his death by the editor; and the few German vocal works have an English translation added. The Italian Operas and other vocal works, and the Latin Church Music, have no translation. The Oratorios, Odes, Te Deums, 'Acis and Galatea,' 'Parnasso in festa,' Italian duets and terzets, and Anthems, have a PF. accompaniment added to the original score; but not the Italian Operas, nor vols. 24, 38, 39. These accompaniments are partly by the editor, partly by Im. Faisst, J. Rietz, E. F. Richter, M. A. von Dommer and E. Prout.

Dr. Chrysander has also published the following articles on certain works of Handel's, which should be combined with the information contained in the prefaces to make the edition complete: on vol. 13 ('Saul'), in Jahrbücher für musikalische Wissenschaft, vol. 1; on vol. 16 ('Israel in Egypt'), ibid. vol. 2; on vol. 47 (Instrumental Music), in Vierteljahrsschrift für Musikwissenschaft for 1887. The promised article on 'Belshazzar' has not yet been published.

The account of this edition would not be complete without mention of the munificence of the late King of Hanover, who guaranteed its success by promising to provide funds to meet any deficiency in those received from subscribers; as well as of the liberality of the Prussian government, which took the same liability after the absorption of the territory of Hanover.

Vol.

1. Oratorio: Susanna, 1748.
2. Pièces pour le clavecin. (1. Eight suites. 1720. 2. Nine suites, first published 1733. 3. Twelve pieces, some hitherto unpublished. 4. Six fugues, about 1720.)
3. Masque: Acis and Galatea, about 1720.
4. Oratorio: Hercules, 1744.
5. Do. Athalia, 1733.
6. Do. L'Allegro, il Pensieroso, ed il Moderato, 1740.
7. Do. Semele, 1743.
8. Do. Theodora, 1749.
9. * Do. Passion according to St. John (German), 1704.
10. Do. Samson. 1741.
11. Funeral Anthem for Queen Caroline, 1737.
12. Ode: Alexander's Feast, 1736.
13. Oratorio: Saul, 1738.
14. Coronation Anthems (Zadok the Priest; The king shall rejoice; My heart is inditing; Let thy hand be strengthened), 1727.
15. * Oratorio: Passion, by Brockes (German), 1716.
16. Do. Israel in Egypt, 1738.
17. Do. Joshua, 1747.
18. Musical Interlude: Choice of Hercules, 1750.
19. Oratorio: Belshazzar, 1744.
20. Do. Triumph of Time and Truth, 1757.
21. Concertos (6 'Hautbois Concertos'; Concerto grosso in C, 1736; 4 Concertos, early works; *Sonata in B♭. about 1710).
22. Oratorio: Judas Maccabeus, 1746.
23. Ode for St. Cecilia's Day, 1739.
24. * Oratorio: Il Trionfo del Tempo e della Verità (Italian), 1708, 1737.
25. Dettingen Te Deum, 1743.
26. Oratorio: Solomon, 1748.
27. Sonate da camera (15 solo sonatas, first published about 1724; 6 sonatas for 2 oboes and bass, earliest compositions, 1696; 9 sonatas for 2 violins etc. and bass; 6 sonatas for 2 violins etc. and bass, 1738).
28. Twelve Organ Concertos, 1738, etc.
29. Oratorio: Deborah, 1733.
30. Twelve Grand Concertos, 1739.
31. Utrecht Te Deum and Jubilate, 1713.
32. Duetti e Terzetti (22 Italian vocal duets and 2 trios, 1707–8, 1741–5, six never before printed).
33. Oratorio: Alexander Balus, 1747.
34. Anthems, vol. 1. ('Chandos' with 3 voice-parts, with some now first published). 1716–18.
35. Do. vol. 2. ('Chandos' with 4 voice-parts.)
36. Do. vol. 3. ('O praise the Lord'; *Wedding Anthems, 1734; Wedding Anthem, 1736; *Dettingen Anthem, 1743; *Foundling Hospital Anthem. 1749.)
37. Three Te Deums (in D, about 1714; in B♭, about 1718–20; in A. perhaps 1727).
38. Latin Church Music, about 1702, 1707, 1718, 1735–45.
39. Oratorio: Resurrezione (Italian), 1708.
40. Do. Esther, 1st version ('Haman and Mordecai,' a masque), about 1720.
41. Do. Esther. 2nd version, 1732.
42. Do. Joseph, 1743.
43. Do. Occasional, 1746.
44. Do. Jephtha, 1751.
45. Do. Messiah, 1741.
46. Birthday Ode and Alceste.
47. Instrumental Music for full orchestra (*Concerto in F. about 1715; Water Music, 1715; *Concertos in F and D; Firework Music, 1749; Double Concerto in B♭, 1740–50 (?); *Double Concerto in F, 1740–50 (?)).
48. Organ and miscellaneous instrumental music.
49. German, Italian, and English songs and airs.
50. Italian Cantatas, with bass, vol. 1.
51. Do. vol. 2.
52. Italian Cantatas, with instruments, vol. 1. 63.
53. Do. vol. 2.
54. Serenata: Il Parnasso in festa. 1734.
55. * Opera: Almira (German), 1704.
56. * Do. Rodrigo, 1707.
57. Do. Agrippina, 1709.
58. * Do. Rinaldo, 1711.
59. * Do. II Pastor FIdo. 1712.
60. Do. Teseo, 1712.
61. * Do. Silla, 1714.
62. * Do. Amadigi, 1715.
63. * Do. Radamisto, 1720.
64. * Do. Muzio Scevola, Act 3, 1721.
65. * Do. Floridante, 1721.
66. * Do. Ottone, 1722.
67. * Do. Flavio, 1723.
68. Do. Giulio Cesare, 1723.
69. * Do. Tamerlano, 1724.
70. * Do. Rodelinda, 1725.
71. * Do. Scipione, 1726.
72. * Do. Alessandro, 1726.
73. * Do. Admeto, 1726.
74. * Do. Riccardo, 1727.
75. * Do. Siroe, 1728.
76. * Do. Tolomeo, 1728.
77. * Do. Lotario, 1729.
78. * Do. Partenope, 1730.
79. * Do. Poro, 1731.
80. * Do. Ezio. 1732.
81. Do. Sosarme, 1732.
82. * Do. Orlando, 1732.
83. * Do. Arianna, 1733.
84. Do. Terpsichore and second Pastor Fido, 1734.
85. * Do. Ariodante, 1734.
86. * Do. Alcina, 1735.
87. * Do. Atalanta, 1736.
88. * Do. Giustino, 1736.
89. * Do. Arminio, 1736.
90. * Do. Berenice, 1737.
91. * Do. Faramondo, 1737.
92. * Do. Serse, 1738.
93. * Do. Imeneo, 1738–40.
94. Do. Deidamia, 1740.
95. Aci e Galatea (Italian), 1708 and 1732.
96. Miscellaneous Vocal pieces.
97. Oratorio: Jephtha, facsimile of Handel's MS. score.
98. and 99. Facsimiles of Handel's autographs.

100. Thematic Catalogue of Handel's works.

[ R. M. ]

HANDEL SOCIETY, THE. A society formed in 1843 'for the production of a superior and standard edition of the works of Handel.' It was suggested by Mr. Macfarren, senior, who however died on the 24th April, immediately after the first meeting convened by him. The Prospectus was signed by George A. Macfarren as Secretary, on behalf of the Council, and was issued from his residence 73 Berners Street, June 16, 1843. The Council for the first year consisted of R. Addison, Treasurer; W. Sterndale Bennett; Sir H. R. Bishop; Dr. Crotch; J. W. Davison; E. J. Hopkins; G. A. Macfarren, Secretary; I. Moscheles; T. M. Mudie; E. F. Rimbault; Sir George Smart, and Henry Smart. The annual subscription was a guinea, and the Society commenced operations with 1000 members. The publications—in large folio, full score, each with P. F. arrangement and editor's preface—were issued by Cramer, Addison, and Beale, as follows:—

1843–4. 4 Coronation Anthems, edited by Dr. Crotch: and L'Allegro, Il Pensieroso, ed Il Moderato, by I. Moscheles.
1844–5. Esther, by Charles Lucas; and Ode for S. Cecilia's Day, by T. M. Mudie.
1845–6. Israel in Egypt, by Mendelssohn.
1846–7. Acis and Galatea, by W. Sterndale Bennett; and Dettingen Te Deum, by Sir G. Smart.
1847–8. Belshazzar, Part 1, by G. A. Macfarren.
1848–9. ⁠Do.⁠Part 2, by⁠Do.
1850. Messiah, by Dr. Rimbault
1851. 13 Chamber Duets and 2 Trios, by Henry Smart.
1852. Samson, by Dr. Rimbault.
1853. Judas Maccabaeus, by G. A. Macfarren.
1854. Saul, by Dr. Rimbault.
1855. Jephthah, by G. A. Macfarren.

The Society was dissolved in Jan. 1848, owing to a lack of subscribers; but the publication of the works was continued by Cramer & Co. till 1858, when the last volume (for 1855) was issued.

[ G. ]

HANDEL AND HAYDN SOCIETY, THE, Boston, Massachusetts, is the largest, and, with one ^[1]exception, the oldest living musical organisation in the United States. It dates from March 30, 1815, when sixteen gentlemen met in answer to an invitation dated six days before, signed by Gottlieb Graupner, Thomas Smith Webb, and Asa Peabody, to consider 'the expediency of forming a society for cultivating and improving a correct taste in the performance of sacred music, and also to introduce into more general practice the works of Handel, Haydn, and other eminent composers.' At a second meeting a fortnight later, a set of rules was adopted, and Matthew S. Parker was elected Secretary. The first board of government was completed at the third meeting, April 20, 1815, by the election of Thomas Smith Webb as president, Amasa Winchester vice-president, and Nathaniel Tucker treasurer, and nine others as trustees.

The state of music in Boston was at this time very low. The 'Massachusetts Musical Society,' formed in 1807, was extinct. The Philoharmonic Society—for orchestral music only—was still in existence; but of professional musicians there were probably not a score in the town. The society's first musical utterances were from the 'Lock Hospital' and other collections of hymn tunes then in general use in New England. By degrees, and as its numbers grew, music of a higher order was rehearsed. Early in September, 1815, the project of a 'public exhibition' assumed importance. And on the night of the following Christmas, at the Stone Chapel, in the presence of a thousand auditors, the society gave to the public the first taste of its quality. The chorus numbered about a hundred, of which perhaps ten were ladies; an orchestra of less than a dozen and an organ furnished the accompaniments; the programme was long and varied, and included selections from 'The Creation' and 'The Messiah,' and other works by Handel. An enthusiastic journalist declared that there was

1. The Staughton Musical Society, formed Nov. 7. 1786. Stoughton is an inland town about twenty miles from Boston. The Society's artistic importance has been much less than that of the subject of this article.