The stated purpose of the edition is to present a score in modern notation that represents what Handel wrote, doing so with the minimum of editorial interference in order to allow performers to make thier own decisions about how to interpret it . . . The result of this editorial restraint is a refreshingly uncluttererd score which can be used by experts and non-specialists alike . . . The music is clearly drawn and printed on good quality paper with no perceptible show-through. Where movements occupy more than a single page the title and number is shown in small print on each page, and the initial page number for each item in the vocal score is printed in the full score for ease of cross-referencing

Such simple practical aids will save much rehearsal time: one hopes that other publishers of choral works will follow suit . . . The text is an eminently practical one, not least in the keyboard reduction which lies easily under the fingers. Rapid semiquaver runs in thirds and sixths are avoided wherever possible, yet the essentials of the orchestral texture are always present in an effective transcription for piano or organ which can be used both for rehearsals and for performances without orchestra

For organists/pianists who have for many years done battle with various versions of the accompaniment to Messiah . . . Timothy Morris's piano reduction will be eagerly scrutinized. This is clearly not a 'made easy' version, not a simple reduction to a skeleton of Handel's lively orchestral textures, but it is a lot more playable than commercially available adaptations hitherto . . . Publishing standards are high, clarity ideal, cost (of the vocal score at least) extremely good. In short, this is an excellent new performing score of a key choral work, edited in the light of modern performance practice influenced but not overwhelmed by the authenticity movement. A most finished piece of Musick indeed