It is a fact (little-known but true) that Handel’s Messiah abounds with con ripieno and senza ripieno exchanges. What, you may ask, are con and senza ripieno exchanges? Well, here’s the explanation…
To understand the ripieno in Handel’s Messiah we have to be aware that one of the distinguishing characteristics of the Baroque sound is the exchange between small and larger groups of players or singers. A small group of players—called concertati or concertisti—would play alone for a while, and then the rest of the orchestra, called the ripieno, that is, the ‘fill’, would join in. When a passage was marked senza rip. (without ripieno), the concertati would play alone, until the marking con rip. at which point all the other players would join in to fill up the sound.
THE RIPIENO IN HANDEL’S MESSIAH SCORE
Here is an example from Handel’s conducting score of ‘Comfort ye’. In the top left hand, above Larghetto can be seen Senza Ripi. On the top right, more blurred, is Con Rip. Then, in the middle of the score, on either side of the fermata or pause sign on the first violin part, the same words can be seen again.
SO WHY DOES NO-ONE PLAY THEM?
But these con and senza ripieno exchanges are hardly ever observed in performances of Messiah. And this is because, historically, they were not shown in scores and parts. And the reason for this is that these scores and parts were based on Handel’s autograph score. This, of course, was reasonable enough, since it was in the master’s own hand.
But the autograph score was not Handel’s conducting score. His conducting score—now in the Bodleian Library—was a copy of the autograph score made by his amanuensis, John Christopher Smith. And it was in this copy that Handel wrote in pencil all his performance markings. (Pencils were the latest technology in the mid-1700s.)
It is the one of the strengths of the Watkins Shaw edition that these con and senza ripieno directions from Handel’s conducting score now appear both in the full score and in the latest version of the parts. And I suggest that we should observe them in performance, for they are an important part of restoring the true Baroque sound of Messiah.
ARE THE RIPIENO EXCHANGES IN HANDEL’S MESSIAH IMPORTANT?
Of course, one might argue that these ripieno instructions are not set in stone. Perhaps they occur at tempo changes, only because Handel wanted his best players to lead there. (Modern players have no problem with tempo changes, right!) Or perhaps they arose as specific responses to the players Handel had available. Perhaps there were players that he preferred to keep silent! And Watkins Shaw says that there is evidence for their use only once, in 1749.
Yet, despite that, the ripieno directions seem to me like part of the composer’s original intention and they make perfect sense. After all, the antiphony between small and large groups is a characteristic part of the Baroque sound, so why would Handel not do it?
And again, almost all the airs and recitatives are marked senza ripieno, which means they were accompanied by a small group of upper strings and basso continuo. Now that seems totally reasonable. By the 1750s, Handel was already dealing with larger orchestras than in the earliest performances. In 1752, a performance in Salisbury Cathedral featured twenty-four strings, perhaps sixteen violins and four violas. Such a large string section would have had to be reduced for the solo singers to be heard at all. He would hardly have wanted his soprano soloist, with her light Baroque voice, to fight through twenty-four strings to be heard. (Handel’s famed Mrs Cibber was an actress not a trained singer.)
At other places, the ripieno antiphony produces some surprising results. The smooth and gentle “Comfort ye” (shown above) is marked by continual changes from concertati to ripieni, while the agitato bass solo “Why do the nations so furiously rage together?” is entirely senza ripieno. Equally strikingly, the great Hallelujah chorus is accompanied by only the concertati (string trio and basso continuo) for the first five bars. But in this way the ripieno entry produces a whole new effect of the ensemble gaining strength as the chorus enters. Altogether the observance of the con and senza ripieno exchanges brings more light and shade into the whole oratorio.
MAKING IT WORK
But how many players did Handel have playing concertati and ripieno? Well, in one budget preserved from a 1750s performance, four of a total of twelve violinists and one bassist received a higher remuneration in return for their solo responsibilites. That is to say, Handel’s concertati section consisted of two first and two second violins, [one viola, one cello,] and one bass—seven players out of at least twenty strings.
So restoring the con and senza ripieno in Handel’s Messiah has many benefits. (1) It restores Handel’s intended sound—a more authentically Baroque sound—to his masterpiece. (2) It introduces greater contrast between the arias and choruses. (3) It introduces light and shade into the choruses. (4) It makes the work of the solo singers infinitely easier: no longer are they struggling to be heard through a welter of steel-strung violins. (5) It may help with tempo transitions. (6) And, last but not least, it lightens the rehearsal load for a good 70% of the orchestra.
The vital rehearsal with the solo singers now requires only the concertati. One can follow Handel’s practice and have seven players. Or, with louder steel-strung instruments, it can be reduced to one or two on violin 1, and one each on violin 2, viola, cello, and bass, along with the harpischord. Of course, the five arias that do require the ripieno (2, 3, 9, 47, 48) must be rehearsed during the full strings rehearsal.
WHAT ABOUT PROBLEM SECTIONS?
There remains only the problem of what to do with those senza rip. sections not scored for two violins and viola. What about sections 9a, 32, 36, 38, 43, 45, & 52 where violins 1 and 2 play in unison? Or section 27, scored for V1/V2 in unison, plus violin 3 and viola.
This is where three violins are really needed. In the first case, it gives three violins on the V1/V2 part. (Two violins playing together can sound weak.) And, in section 27, it provides the third violin. Bingo!
As for the ripieno players being upset at having so much less to play during the performance, that may require all your powers of persuasion. But you can tell them that other historically-aware musical directors these days—like Kenneth Woods—are noticing how important the ripieno exchanges are.
See my post: Handel’s Messiah.
Here then is a list of all the sections—first solos, then chorus—featuring the con and senza ripieno in Handel’s Messiah.
SOLOS: AIRS & RECITATIVES
Soprano
14a. There were shepherds abiding in the fields. Mid bc. (senza rip.)
14b. And lo, the angel of the Lord. Strs, mid bc. (senza rip.)
15. And the angel said unto them. Mid bc. (senza rip.)
16. And suddenly there was with the angel. Strs, min bc. (senza rip.)
18. Air. Rejoice greatly, O daughter of Zion. Vni unis., full bc (senza rip.)
19. Then shall the eyes of the blind be opened. Mid bc. (senza rip.)
20. Air w. A. He shall feed his flock like a shepherd. Str, full bc (senza rip.)
38. Air How beautiful are the feet. V1/2. Full bc. (senza rip.)
45. Air. I know that my Redeemer liveth. V1/2. Full bc. (senza rip.)
52. Air. If God be for us (solo violin). V1/2. Full bc. (senza rip.)
Alto
6. Air. But who may abide the day of His coming. Strs, full bc. (senza rip.)
8. Recit. Behold, a virgin shall conceive. Min bc. (senza rip.)
9. Air w. chorus. O thou that tellest. V1/2. Full bc→ob,va (senza/con rip.)
20. Air w. S. He shall feed his flock like a shepherd. Str, full bc. (senza rip.)
23. Air. He was despised and rejected of men. Str, full bc. (senza rip.)
36. Air. Thou art gone up on high. V1/2. Full bc. (senza rip.)
49. Recit. Then shall be brought to pass. Mid bc. (senza rip.)
50. Air w. T. O death, where is thy sting? Mid bc. (senza rip.)
Tenor
2. Comfort ye my people. Strs, mid bc (senza/con rip.)
3. Ev’ry valley shall be exalted. Strs, full bc (senza/con rip.)
27. Recit. All they that see him. Str (vni a3), full bc (senza rip.)
29. Recit. Thy rebuke hath broken his heart. Str, mid bc. (senza rip.)
30. Air. Behold and see if there be any sorrow. Strs, full bc (senza rip.)
31. Recit. He was cut off. Strs, mid bc (senza rip.)
32. Air. But thou didst not leave his soul in hell. V1/2. Full bc (senza rip.)
34. Recit. Unto which of the angels. Mid bc. (senza rip.)
42. Recit. He that dwelleth in heaven. Mid bc. (senza rip.)
43. Air. Thou shalt break them with a rod of iron. V1/2. Full bc. (senza rip.)
50. Air w. A. O death, where is thy sting. Mid bc. (senza rip.)
Bass
5. Recit. Thus saith the Lord of hosts. Strs, mid bc. (senza rip.)
10. Recit. For behold, darkness shall cover the earth. Strs, full bc (senza rip.)
11. Air. The people that walked in darkness. Strs, full bc (senza rip.)
40. Air. Why do the nations so furiously rage together. Strs, full bc (senza rip.)
47. Behold, I tell you a mystery. Strs, mid bc (con rip.).
48. Air. The trumpet shall sound. Bass aria, full bc (con rip.)
CHORUSES
Part I
4. And the glory of the Lord (senz/con rip.)
7. And he shall purify the sons of Levi (senz/con rip.)
9. O thou that tellest good tidings to Zion (senz/con rip.)
12. For unto us a child is born (con/senza rip.)
17. Glory to God in the highest (con rip. till last 8 bb.)
21. His yoke is easy (senz/con rip.)
Part II (Passion sequence)
22. Behold the Lamb of God (senz/con rip.)
24. Surely he has borne our griefs and carried our sorrows (senz/con rip.)
25. And with his stripes we are healed (senz/con rip.)
26. All we like sheep have gone astray (con rip.)
28. He trusted in God that he would deliver him (con rip.)
Part II (Ascension to Triumph of the Gospel)
33. Lift up your heads, O ye gates (senza rip.)
35. Let all the angels of God worship Him (con rip.)
37. The Lord gave the word (chorus) (con rip.)
39. Their sound is gone out (senz/con rip.)
41. Let us break their bonds asunder (senz/con rip.)
44. Hallelujah (senz/con rip.)
Part III
46. Since by man came death (con rip.)
51. But thanks be to God (con rip.)
53. Worthy is the Lamb / Amen (con rip.)