And The Glory Of The Lord

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  • Created by: Viv Leong
  • Created on: 07-04-14 20:25

Messiah and other key points

  • composed in 1741
  • first performed in 1742
  • from the oratorio Messiah
  • And The Glory: the chorus of the oratorio
  • oratorio: large-scale musical setting of a biblical text, designed for concert performance
  • fourth movement of the oratorio
  • oboes and bassoons added afterwards
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General features of Baroque music (c. 1600-1750)

  • ornamented melodic parts
  • major/minor keys began to be used, replacing the old modes system
  • diatonic chords I, IV, V, II and VI used
  • cello plays bass line with constant chordal support from a keyboard instrument (harpsichord or organ) - basso continuo
  • different textures used, including monophonic, homophonic and polyphonic
  • Baroque orchestras:
    • newly invented stringed instruments used to provide harmonies
    • trumpets, horns and timpani used
    • woodwind instruments not commonly used - varied from piece to piece
  • prevalence of one affectation (mood)
  • contrasting of dynamics with no gradual changes: either loud or soft (terrassed dynamics)
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Idea 1: And the glory of the Lord

  • first three notes outline the triad of A major
  • stepwise scale ending
  • mainly syllabic
  • begins in alto part
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Idea 2: Shall be revealed

  • two one-bar descending sequences
  • melisma on 'revealed'
  • begins in tenor part
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Idea 3: And all flesh shall see it together

  • repetitive
  • three repetitions of a descending fourth idea
  • some syllabic, some melismatic
  • begins in alto part
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Idea 4: For the mouth of the Lord hath spoken it

  • long repeated notes
  • doubling of parts
  • majority on major pedal of E
  • begins in soprano part
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  • heard in vocal parts
  • some stepwise movement
  • lyrics set both syllabically and melismatically
  • four melodic ideas
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  • begins in A major, modulates to E major (the dominant) and then to B major (the dominant of the dominant)
  • returns to A major at the end
  • largely diatonic
  • several cadences through the piece
  • plagal cadence at the end
  • entirely major - follows happy affectation
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  • 3/4 (simple triple) throughout
  • hemiolas used (tied notes giving a feeling of 3 bars in duple rhythm, not 2 bars in triple rhythm)
  • regular on-beat crotchet movement keeps piece moving
  • dotted rhythms and syncopation used
  • dramatic 3-beat rest at the end before the cadence adds emphasis
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  • largely homophonic (chordal melodies) and contrapuntal (melodically dependent but rhythmically independent)
  • doubling of parts: strings double vocal parts
  • counterpoint is frequently imitative
  • vocal parts contrast with each other
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  • allegro (quite fast)
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  • terrassed dynamics
  • use of accents
  • wide variation between forte and piano
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  • chorus
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