Comparing two editions of the collection of Handel’s Keyboard Overtures annotated by Charles Burney
By Graham Pont
In April 2011 I purchased from Colin Coleman a copy of Handel’s Celebrated Overtures Complete from his Oratorios and Operas Arranged by the Author for the Organ or Piano Forte (London: Preston, c.1811). The volume was rebound in London and, on arriving in Sydney, it soon disappeared into a large and badly organised collection of Handel publications. During a recent move of that collection into retirement accommodation, my eye was caught by the early hand-written label on the front.
I immediately recognised it as the handwriting of Charles Burney.
The British Library holds a similar collection of Handel’s Celebrated Overtures in an earlier printing of Preston’s edition on paper, water-marked 1807 (K. 5.c.2). This volume has extensive manuscript annotations attributed to Charles Burney, Samuel Butler and Henry Festing-Jones. In both volumes Burney has added comments on individual overtures, many of them copied or adapted from his General History of the Science and Practice of Music, Volume the Fourth (London, 1789). The annotations are less extensive in the later Preston edition: what prompted Burney to produce this second version of his notes on the keyboard overtures is not at all obvious.
Following the title page, the later Preston edition has a separate Index to Handel’s Overtures to which Burney has added in ink, or occasionally pencil, what he takes to be the dates of the first productions of many but not all the works listed. There is no comment on No. I, the Overture in Parthenope which Burney described in his earlier volume as “less captivating than any of Handel.” He also omits his earlier comments on the Overtures to Lotharius, Ptolomy and Siroe (wrongly dated in pencil 1713).
In the later Preston edition, Burney judges the Overture in Richard the Ist to be “one of [Handel’s]finest introductory movements – Heroic music.” The second movement, an Allegro, he further notes is ‘Firm and spirited’. In view of these opinions, it is odd to find that Burney has no comments on this overture in his earlier copy of Preston’s collection.
In the earlier Preston edition, Burney has detailed comments on the Overture in Admetus –“the fugue, though spirited and masterly, has been more injured by time than most of his productions of that kind.” On the Second Overture in Admetus, in the later edition, he notes that the fugal subject of the second movement has its ‘answer inverted’.
Burney has no notes on the later Preston edition of the Overture in Alexander which he describes as “excellent” in his earlier copy. This also has warm praise for the Overture in Scipio as “spirited and pleasing” with the fugue ‘upon two pleasing and marked subjects’ and the final minuet “of an agreeable and uncommon cast.” In the later Preston edition the first movement is simply described as “Firm, spirited” and the minuet as “Agreeable, uncommon.” On the last page of this overture there appears for the first time in this volume Burney’s pencilled ‘x’ which appears to be his mark indicating special interest or quality. In a collection of Corelli from Burney’s library (also in the possession of the present writer) movements are marked with one, two or three ‘x’s in what appears to be a Michelin-style star-rating of quality.
In his earlier Preston edition, Burney notes that the Overture in Rodelinda “long remained in favour” that was “considerably lengthened by the natural and pleasing minuet.”. In his later Preston edition, Burney describes the fast movement of the overture as “Very pleasing” and the minuet as “very beautiful.”
In the later Preston edition Burney has no comment on the Overture in Tamerlane which is described in the earlier collection as “Remarkably majestic.” He also passes over the Second Overture in Amadis and the Overtures in Julius Caesar, Flavius and Acis and Galatea without comment.
The Overture in Radamistus was a particular favourite of Burney’s. In his earlier Preston edition he describes the first movement as “grand and Majestic” and the fugue as “Superior to any that can be found in the overtures of other composers.” In the later edition he hails Radamistus as “One of the most remarkable Operas Handel ever produced.” This remark appears in double quotation marks, which suggest that Burney was citing some publication, but his praise of Radamistus in the General History (Vol. IV, pp. 259-262) does not include those words.
In his later edition, Burney describes the Overture in the Water Musick (No. XVIII) as “Spirited, jubilant.” There are no comments on the following overtures until Rinaldo (No. XXIV): this is described as Handel’s “first Work for the London stage” and its overture as “Majestic.” In Burney’s General History the first movement is declared to be “grand and majestic” (Vol. 4, p.233.)
In the later edition of the overtures, the next is the Overture in Ariadne, noted as “a great favourite.” The third movement, an untitled minuet, is marked with an ‘x’ and a recollection added that this was “Played in the streets in Handel’s time.”
The next movement annotated in Burney’s later edition is the Overture in Sosarmes, with all three movements marked with an ‘x’. So also is the first movement of the Overtures in Etius and Esther. The latter is headed with a note: “See my copy arr. by Greatorex, given to me by Rev’d E. Young, Clifton.” The last movement of this admired overture is marked with an ‘x’.
In Burney’s later edition, the Overture in Justin is pronounced “Dignified and spirited,” with the observation that the fast movement is in “3 pt. Counterpoint.” The fast movement in the overture to Arminius is noted as “One of the severest Fugues in Handel’s Overtures.” The Overture in Atalanta is marked with an ‘x’ and the second movementnoted as exhibiting an “unusual mixture of Rhythms.” Burney’s ‘x’ also appears over the Musette in the Overture to Alcina and the first two movements of the 2d Overture in Pastor Fido. The concluding A tempo di Bouree is noted as a “Masterpiece of
brilliancy and delicacy.”
The Overture in Xerxes in Burney’s later collection is headed “Handel’s only comic Opera.” The concluding Gigue is noted for its “Liveliness, humour” and the “imitation
between highest and lowest part(s).”
The first two movements of the Overture in Alexander’s Feast receive a not -unexpected ‘x’ in Burney’s second collection, with a note that the work was “composed in 20 days, Opera completed.” All three movements of the Overture in Faramondo receive an ‘x’. The Overture in Berenice is noted as “Majestic,” echoing the description “peculiarly majestic and masterly” in the General History (Vol. IV, p.408). The fugue is praised for its “almost continuous stretto, masterly” and the concluding Andante Larghetto for its “Exquisite beauty and purity.” After the Gigue Burney notes that “This opera marks the failure of [Handel’s] Opera ventures. He became bankrupt” (a popular misconception for which there is no firm evidence.)
The opening of the Overture in Alexander Severus (the pasticcio HWV A15) is noted in Burney’s later edition as “Impressive and solid;” the following Allegro is adjudged “One of his most powerful orchestral Fugues” and the final movement “Highly dramatic.”
Burney’s ‘x’ of quality or particular interest is awarded in his second collection to both movements of the Overture in Athalia and the first two movements of the Overture in Samson but none to the Overture in Messiah. The first and last movements of the Overture in Saul also receive an ‘x’.
The Overture in Hymen is correctly dated in Burney’s second collection as having been “First performed in 1740” and the fugue is noted as being “Unusually florid.” The Overture in Parnasso in Festa receives an ‘x’ and its concluding Allegro noted as “Graceful.” All four movements of the Overture to the Occasional Oratorio receive an ‘x’. Several overtures are now passed over without comment until the 2nd Overture in Saul, both movements of which receive an ‘x’. So do the first movements of the Overtures in Solomon and Joshua and the 2nd Overture in Solomon.
Burney’s annotations to his second collection of Handel’s keyboard overtures end, appropriately, with the Overture in Jephtha which he notes was the composer’s “last great Work’.” Reviewing these second annotations as a whole, it is difficult to think of any reason to explain why Burney should have undertaken the task of compiling a much-abbreviated version of his notes on Handel’s keyboard overtures. There is no evidence of any substantial change from the opinions and observations recorded in his earlier copy of the Preston edition. All we can confidently conclude is that Burney’s second set of notes and comments leaves no doubt that, near the end of his life, the great historian remained firm in his judgement of Handel’s keyboard overtures. That judgement, which was informed by a personal acquaintance with the composer and a prolonged consideration of his achievements, has unquestionably stood the test of time: modern critical opinion would not significantly differ from Burney on the overtures he actually discusses and evaluates.