Messiah, HWV 56 [Mozart's arrangement, K. 572; complete] Cover Image

Messiah, HWV 56 [Mozart's arrangement, K. 572; complete]: Full Orchestra Conductor Score & Parts

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Messiah, HWV 56 [Mozart's arrangement, K. 572; complete] Cover Image

Messiah, HWV 56 [Mozart's arrangement, K. 572; complete]: Full Orchestra Conductor Score & Parts

By George Frideric Handel, ed./arr. by Wolfgang Amadeus Mozart/ Salomon Jadassohn/ English and German libretto by Friedrich Gottlieb Klopstock and Christoph Daniel Ebiling, after Charles Jennens

Item: 36-A261002

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Description
George Frideric Handel (1685-1759) composed Messiah, HWV 56 in 1741, but nearly half a century later Wolfgang Amadeus Mozart (1756-1791) prepared a new arrangement at the request of Baron Gottfried van Swieten, whose Sunday gatherings in Vienna introduced contemporary audiences to the music of Handel and J. S. Bach. Completed in 1789 and catalogued as K. 572, Mozart's version received its premiere on March 6, 1789, at the palace of Count Johann Esterhv°zy in Vienna under the auspices of van Swieten's musical society. Rather than altering Handel's structure or musical substance, Mozart adapted the score to late eighteenth-century Viennese taste by translating the text into German (Der Messias), enriching the orchestration with pairs of flutes, clarinets, horns, trombones, and revised wind writing, occasionally redistributing vocal lines and adding harmonic support while preserving Handel's melodies, contrapuntal craftsmanship, and overall architecture. The arrangement reflects the Classical era's profound admiration for Baroque masterpieces and helped spark renewed interest in Handel's music long before the modern period-instrument revival. Today, Messiah in Mozart's arrangement occupies a respected place alongside Handel's original version, performed less frequently but valued for its elegant Classical orchestral colors and as an important historical document illustrating Mozart's reverence for one of his greatest predecessors. Instrumentation: 2(1st dPicc).2.2.2: 2,2,3,0: Timp: Org: Str (4.4.3.3.3 in set): Soli SATB: Mix Chorus. Reprint of the edition by Salomon Jadassohn.

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Additional Details
Series: Kalmus Choral Library
Publisher: Edwin F. Kalmus
UPC: 604634145825
SKU: 36-A261002
Instrumentation: 2(1st dPicc).2.2.2: 2,2,3,0: Timp: Org: Str (4.4.3.3.3 in set): Soli SATB: Mix Chorus

More about this title

About the Composer: George Frideric Handel

George Frideric Handel (1685-1759) was a master of vocal writing and orchestral color whose dramatic instincts shaped the Baroque era. Born in Halle, Germany, he spent much of his career in England, where he developed the English oratorio as a major genre and composed some of the most enduring choral works in the repertoire.

Why we love this

Mozart's K. 572 opens a window into how one master studied another. The enhanced orchestration preserves every note of Handel's genius while inviting audiences into the sound world of late eighteenth-century Vienna. For conductors willing to step beyond the familiar original, this version rewards with its clarity, its respect for tradition, and the fascinating historical insight it provides into musical taste and reverence across generations.

What to expect

The music breathes with the polish and formal elegance of the Classical era while retaining the emotional depth and architectural grandeur of Handel's original. Handel's melodies sing through Mozart's cleaner, more transparent orchestration, creating an impression of both reverence and reimagining. It feels like standing in a Viennese concert room of 1789, hearing a beloved masterpiece refreshed for contemporary ears.

Who it's for

This edition suits orchestras and choral programs with strong classical training and the instrumental depth to manage Mozart's expanded wind section. Conductors drawn to historical arrangements, comparative study, or programming the work alongside other Mozart compositions will find this a sophisticated and rewarding choice.

How to get the most out of it

  • Balance the winds carefully in the choruses. Mozart added pairs of clarinets and flutes where Handel had none, and these instruments can easily overwhelm the singers if not controlled dynamically.
  • Shape the recitatives with rhetorical weight. The German text replaces English, and phrasing should honor the declamation of this language while maintaining the spiritual gravity of the original.
  • Give the trombones breathing room in their entrance passages. Mozart assigned them sparingly but deliberately, and their first appearances should land with clear intention.
  • Let the organ continue to support the harmonic foundation, especially in the accompanied recitatives. It anchors both soloist and orchestra in Mozart's conception.

How to use it

Pair this with other works from Mozart's later years to illustrate his artistic maturity and his dialogue with musical tradition. Alternatively, program it in a concert exploring Baroque music through the lens of Classical composers, or use it as the centerpiece of a season focused on Handel's influence across centuries. The scale and prestige of the work make it suitable for special events or milestone concert celebrations.

Skills your students will build

  • Singing sustained phrases with Classical articulation and phrasing under full orchestration
  • Reading German text underlay in a Baroque work
  • Balancing blend across expanded wind sections
  • Understanding orchestration across historical periods and composers
  • Ensemble discipline in large-scale choral works with multiple soloists
  • Historical context and comparative listening between original and arranged versions

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