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A Bibliographical and Textual Study of the Wordbooks for James Miller's Joseph and His Brethren and Thomas Broughton's Hercu

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A Bibliographical and Textual Study of the Wordbooks for James Miller's Joseph and His Brethren and Thomas Broughton's Hercu A BIBLIOGRAPHICAL AND TEXTUAL STUDY OF THE WORDBOOKS FOR JAMES MILLER’S JOSEPH AND HIS BRETHREN AND THOMAS BROUGHTON’S HERCULES, ORATORIO LIBRETTOS SET TO MUSIC BY GEORGE FRIDERIC HANDEL, 1743-44. by LESLIE MICHAEL MARTYN ROBARTS A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English School of Humanities University of Birmingham December 2008 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT. This thesis recovers the wordbooks for Handel’s oratorios from their neglect in literary and musical history. Taking Joseph and his Brethren and Hercules as samples, it shows the essential place of wordbooks in the original oratorio experience and challenges an editorial and performance practice which favours music over words. Chapter One presents editions of the wordbooks of Joseph and Hercules in order to offer a transmissional history, and Chapter Two reclaims the literariness of the librettos and demonstrates their effectiveness. Chapter Three examines the two librettos in the composer’s and copyist’s manuscript musical scores prior to first publication of the wordbooks and reveals verbal changes made during composition of the music. Chapter Four explores the significance of wordbooks for the booksellers of Joseph and Hercules and reconstructs aspects of wordbook production and consumption. Chapter Five identifies the wordbooks’ printer and places wordbook production in the context of book trade regulation and copyright. Chapter Six discusses the material identity of the wordbooks and the design principles which supported their reception. The thesis concludes that access to printed librettos is essential to redress the verbal-musical imbalance in contemporary performances of Handel’s oratorios. CONTENTS. A bibliographical and textual study of the wordbooks for James Miller’s Joseph and his Brethren and Thomas Broughton’s Hercules, oratorio librettos set to music by George Frideric Handel, 1743-44. ABSTRACT. CONTENTS. FIGURES AND TABLE. ABBREVIATIONS. PREFACE.………………………………………………………………………………… 1 Chapter One: EDITIONS OF JOSEPH AND HERCULES…………………………… 11 1.1. Sources of the two librettos………………………………………………………….. 11 1.2. Editorial principles………………………………………………………………….... 15 1.3. Joseph and his Brethren.………………………………………………………….….. 21 1.3.1. Sources for the edition of Joseph and his Brethren…………………………….....21 1.3.2. Headnotes to the edition of Joseph and his Brethren……………………………...23 1.3.3. Edition of Joseph and his Brethren………………………………………………..30 1.4. Hercules………………………………………………………………………………..87 1.4.1. Sources for the edition of Hercules.……………………………………………….87 1.4.2. Headnotes to the edition of Hercules……………………………………………... 88 1.4.3. Edition of Hercules………………………………………………………………. 94 Chapter Two: THE LIBRETTOS AS LITERARY WORKS...............……………….. 137 2.1. The librettists of Joseph and Hercules………………………………………………. 137 2.2. Chief characteristics of the librettos Joseph and Hercules………………………….. 146 2.2.1. Reputable sources……………………………………………………………….. 147 2.2.2. Short, concise, tight structure…………………………………………………… 158 2.2.3. Distinctive and credible characters……………………………………………… 164 2.2.4. Function fitting form in the verse……………………………………………….. 171 2.2.5. Words congenial to musical setting………………………………………………182 Chapter Three: JOSEPH AND HERCULES AS MANUSCRIPT UNDERLAY.…… 187 3.1. Joseph and Hercules in musical manuscript scores………………………………... 187 3.2. Musical material and literary meaning…………………………………………….. 191 3.3. Aspects of Handel’s mastery of English in the underlay………………………….. 201 3.4. Handel’s underlay revisions……………………………………………………….. 206 3.5. Revisions in Handel’s underlay and the fair copy not in the copy-text…………… 212 3.6. Verbal material in Handel’s underlay not in the fair copy or the copy-text………. 218 3.7. Verbal material in the fair copy not in Handel’s underlay or the copy-text………. 225 Chapter Four: BOOKSELLERS AND WORDBOOKS FOR JOSEPH AND HERCULES…………………………………………………………… 231 4.1. The function of wordbooks..………………………… …………………………… 231 4.2. Booksellers, the book trade, and wordbook imprints……………………………... 233 4.2.1. John Watts, printer and bookseller……………………………………………. 237 4.2.2. Benjamin Dod, stationer………………………………………………………. 245 4.2.3. Jacob Tonson and Richard Tonson, stationers………………………………… 247 4.2.4. Somerset Draper, stationer…………………………………………………….. 252 4.2.5. James Roberts, bookseller……………………………………………………… 255 4.3. Wordbook printing costs…………………………………………………………… 256 4.4. Wordbook markets and prices……………………………………………………… 266 4.5. Wordbook advertisements and distribution………………………………………… 271 Chapter Five: PRINTER, COPYRIGHTS, AND WORDBOOKS FOR JOSEPH AND HERCULES………................................................................................... 277 5.1. Identifying the printer from ornament evidence……...……………………………. 277 5.2. Watts and Joseph…………………………………………………………………… 278 5.3. The printer of the first wordbook for Hercules…………………………………….. 282 5.4. Hercules: Roberts and Watts……………………………………………………….. 287 5.5. Hercules: the Tonsons, Watts, and Roberts…………………………………………. 290 5.6. Copyright and the first wordbooks for Joseph and Hercules………………………. 293 5.7. Copyright in Joseph, the English Stock, and Watts’s administrator and executors... 299 5.8. The Tonsons and copyright in Hercules in 1767…………………………………… 307 5.9. Copyright in Joseph and Hercules in the 1780s……………………………………. 310 Chapter Six: THE MATERIALITY OF WORDBOOKS……………….……………... 314 6.1. Wordbooks as print artefacts...…………………………………………………….. 314 6.2. Paratext in the wordbooks for Joseph and Hercules………………… ……………. 336 6.3. Wordbooks and modern audiences………………………………………………… 352 BIBLIOGRAPHY…………………………...…………………………………………… 365 FIGURES. r Fig. 1. Joseph (I.4). Edited underlay text in B in Handel’s hand (H43 fol. 17 ). [R.M. 20.e.8] 194 v r Fig. 2. Joseph (I.4): underlay in the margin of B (H43 fols 15 -16 ). [R.M.20.e.8] 199 r Fig. 3. Hercules (I.3): Handel emends his spelling (H44 fol. 114 ). [R.M. 20.e.6] 202 r Fig. 4. Hercules: syllabication of ‘Ev’ning’ (II.6; H44 fol. 80 ). [R.M.20.e.6] 203 r Fig. 5. Joseph (II.6): ‘Uncomittett’ in B (H43 fol. 83 ). [R.M.20.e.8] 206 v Fig. 6. Hercules (II.1): ‘Swains’ added superscript (H44 fol. 49 ). [R.M.20.e.6] 207 v Fig. 7. Joseph (I.8): ‘Sweetness’ entered subscript (H43 fol. 32 ). [R.M.20.e.8] 207 r Fig. 8. Joseph (II.7): Handel uses triple dashed punctuation (H43 fol. 89 ). [R.M.20.e.8] 208 v Fig. 9. Joseph (I.4): revision in B to achieve euphony (H43 fol. 13 ). [R.M.20.e.8] 210 Fig. 10. Hercules (I.5): example of cancelled verbal material found only in B and without music (H44 fol. 37r) 220 r Fig. 11. Joseph (III.4): example of verse in B but not in C and F (H43 fol. 78 ). [R.M.20.e.8] 222 v Fig. 12. Joseph (III.4-5): underlay in B (H43 fol. 114 ). [R.M.20.e.8] 226 v Fig. 13. Joseph (III.4-5): underlay in C (C43/3 fol. 35 ). [M A/1025] 227 Fig. 14. Watts monogram used as the printer’s ornament on title-pages of M44, J47, and J57 279 Fig. 15. Two duodecimo flowers in M44, p. 13. [10/D/JOSEPH] 281 Fig. 16. Two duodecimo flowers in J47, p. 13. [Shaw-Hellier 632] 281 Fig. 17. Two duodecimo flowers in J57, p. 11. [162.m.18] 281 Fig. 18. Flower above Advertisement, J47A, p. [5.] (127 x 6). [Shaw-Hellier 632] 281 Fig. 19. Flower above Advertisement, J47B, p. [5.] (125 x 6). [Mt MIL] 281 Fig. 20. The pair of flowers dividing Parts I and II, M44 p, 22, and J47 p. 22. [10/D/JOSEPH; Shaw-Hellier 632] 282 Fig. 21. Printer’s ornament used on title-page of T45 283 Fig. 22. Headpiece in Watts’s printing of Miller’s The Universal Passion, p. [iii.] 284 Fig. 23. Headpiece to T45, p. [7.]. [161.e.37] 284 Fig. 24. Watts factotum in (a) Jones, Sermons, p. 99, (b) T45, p. [5.], and (c) M44, p. [3.]. [b) 10/E/HERCULES; c) 10/D/JOSEPH] 285 Fig. 25. Watts initial ‘W’ in J57, p. 20, and T45, p. 18. [BH Lib.83] [10/E/HERCULES] 286 Fig. 26. Watts ornament in T45, p. 17. [161.e.37] 286 Fig. 27. Watts cherubs-and-trumpets ornament used on the title-page to R49 and R52 287 Fig. 28. Watts flower in R49 and R52, p. [3.]. [1344.n.17] [BH.Lib 83] 288 Fig. 29. Watts flower in J57, p. 20. [162.m.18] 289 Fig. 30. Watts headpiece in J47 p. [7.], R49 p. [5.] and R52, p. [5.]. [Shaw-Hellier 632] [1344.n.17] [BH Lib.83] 289 Fig. 31. Flower below Advertisement in R52 p. [3.] and above Advertisement in J47A, p. [5.]. [BH Lib.83] [Shaw-Hellier 632] 290 Fig. 32. Watts printer’s flowers, R52, p. 18 (much enlarged) 290 Fig. 33. White space and type area in J47A, pp. 26-27. [Shaw-Hellier 632] 319 Fig. 34. M44: I.4-I.6, pp. 18-19. [10/D/JOSEPH] 323 Fig. 35. T45: I.3, pp. 12-13 (Coke Collection image). [10/E/HERCULES] 323 Fig. 36. Layout depicting Joseph’s emotion and movement, M44, p. 21. [10/D/JOSEPH] 331 Fig. 37. Dashes indicating swelling emotion, T45, I.2. [10/E/HERCULES] 332 Fig. 38. Short rules in T45, p. 20. [10/E/HERCULES] 333 Fig. 39. Multiple short dashes right-justify the line, M44, p. 18. [10/D/JOSEPH] 333 Fig. 40. Rules and dashes in the Arioso ‘O Pity!’, M44, p. 27. [10/D/JOSEPH] 334 TABLE. Table 1. Wordbooks published by Watts’s Administrator and Executors, 1764-77 303 ABBREVIATIONS. BL British Library, London GHB Göttinger Händel-Beiträge (Göttingen: Vandenhoeck & Ruprecht, 1984–) HHb IV Dokumente zu Leben und Schaffen, ed.
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