Area of Study 1: Western classical music 1600-1899: Handel 'And the Glory of the Lord'

Messiah

• Composed in the summer of 1741 over 24 days. The idea of a biblical opera was more popular than an Italian opera with British audiences.
• Originally just strings and continuo, with trumpets and timpanis in more dramatic moments.
• First perfomed in Dublin in 1742. The first perfomance in England was in Covent Garden Theatre in 1743.
•  Handel later added parts for oboe and bassoon that doubled existing string parts.

Handel

• 1685-1759.
• In 1710 he was Kapellmeister. Due to this he was given permission to go to England for a year, where he spent the rest of his life, eventually becoming royal composer.
• Prior to Messiah he wrote Italian operas, but he changed to Oratorios when they became unpopular.

Baroque Era

ATGOTL is a peice written in the barqoue style, of which the features are:

• Ornamented melodic parts.
• Major/Minor keys replacing modes.
• Use of diatonic chords- I, IV, V, II and VI.
• Basso Continuo.
• Different Textures- Monophonic, Homophonic and Polyphonic.
• Previaling mood in pieces- affection.
• Terrassed dynamics- loud and soft.
• Orchestra- Strings (inluding Harpsichord), trumpets, horns and timpanis. There was some woodwind but it's prescence depended on the piece and varied.

Oratorio

ATGOTL is part of the oratorio Messiah. An oratorio is a large-scale biblical work. Oratorios have a specific structure:

• Recitative- concentrates on getting the words across with minimal use of music. In Messiah this prophecises the coming of the Lord.
• Aria- solo song that refelcts a mood or emotion. The music is more elaborate. Here, Messiah is uplifting and joyful.
• Chorus- sums up the action until that point. ATGOTL is a chorus and is a positive look at the coming of the Lord.

The Libretto, or the words in Messiah are in three parts:

• Part 1- propechies fortelling the coming of the Messiah.
• Part 2- passion music of Jesus' suffering and crucifixion.
• Part 3- Jesus' resurrection.

Idea 1

Idea 2

Idea 3

Idea 4

Idea 1

• First three notes are an A major triad.
• Stepwise scale ending- last three notes ascend.
• Syllabic.

Idea 2

• Built on two one-bar descending sequences.
• Word 'revealed' is melismatic.

Idea 3

• Repetitive idea with three statements of the descending fourth idea making it firm.

Idea 4

• Long dotted minim notes with only two low pitches.
• Part is doubled with tenor and basses to make give it a strong conviction.

Rhythm and Metre

• Sprightly 3/4 triple time.
• Intially allegro so that it is uplifting, but adagio at the end so it comes to a slow finish.
• Use of hemiolas. This is where notes are tied over bars to make 2/4 sound like 3/4.

Melody

• Four motifs are used throughout the piece repetitively.
• Mostly based around descending sequences.
• Mostly syllabic, but in places it's melismatic in the voices.

Harmony

• Begins in A Major, so that the piece sounds joyful as it tells of the coming of the Lord.
• Modulates throughout: A maj- E maj- A maj- E maj- B maj- E maj.
• Finishes with a plagal (or 'amen') cadence. A plagal cadence is chords IV-I.
• Diatonic- only using seven notes of scale.

Texture

• Mixture of polyphonic and homophonic.
• Imitation is used. Different parts imitate each other, especially the voices.

Instrumentation

• Strings (violins 1 and 2, viola) and basso continuo (cello).
• SATB choir.

Structure

• Based on four motifs.
• No real structure.
• Intrumental introduction that is allegro, with a slow adagio finish.