Halifax Judas, The

23. Recent discussion of Mozart's adaptation of Messiah includes: Christoph Wolff: 'Mozart's Messiah: "The spirit of Handel" from Van Swieten's hands', in Music and civilization: essays in honor of Paul Henry Lang, ed. Edmond Strainchamps & Maria Rika Maniates

(New York & London: WW Norton, 1984), pp. 1-14; and David Schildkret: `On Mozart contemplating a work of Handel: Mozart's arrangement of Messiah', in Festa musicologica: essays in honor of George J. Buelow, ed. Thomas J. Mathiesen & Benito V Rivera (Stuyvesant NY: Pendragon, 1995), pp. 129-46.

24. Figuring has not been given in musical examples here because it is has been omitted in the Halifax score. Small notes and dynamics, and dotted slurs indicate the arranger's additions.

25. Christoph Wolff makes the point that Swieten was probably responsible for some of the decisions concerning the scope and nature of the Messiah arrangement, just as he would later prompt Haydn's musical imagination in The creation and The seasons. References here to Mozart's work on Messiah should be read in this light. See Wolff: `Mozart's Messiah', p.3.

26. I am indebted to Richard Maunder for sharing his views on these aspects of the arrangement with me.

27. Abbe Maximilian Stadler: Vertheidigung der Echtheit des Mozartischen Requiem (Vienna, 1826), p.17; quoted in Christoph Wolff: Mozart's Requiem: historical and analytical studies; documents; scores, trans. Mary Whittall (Oxford: Clarendon, 1994), pp.78-80.

28. See Morrow: Concert life in Haydn's Vienna, pp.340, 387.

29. Andreas Holschneider suggests that the annotated 'Starzer' score, A-Wn S. m. 13046 may have been used for the 1794 performance. See Kritischer Bericht X/28/1: Bearbeitungen von Werken Georg Friedrich Handels I: Acis and Galatea (Kassel: Barenreiter, 1995), p.a/40. This remains tentative, however.

30. Andreas Holschneider: Preface to his edition of the Acis und Galatea arrangement for the Neue Mozart Ausgabe, p.xii Holschneider suggests the Hercules arrangement was also by van Swieten, or possibly Joseph Haydn, who participated in the Associierten performances before the commissioning of The creation and The seasons.

I would like to thank Neal Zaslaw, Julian Rushton, Richard Maunder, and Philip Wilby for their generous advice and input during the preparation of this article. I am also grateful for the co-operation of the Halifax Choral Society who have allowed musical examples from the Halifax score to be included here.

Rachel Cowgill is Lecturer in Music at the University of Leeds.

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