It was composed by George Federick Handel in 1741 (the Baroque period, 1600-1750) and it was from an oratorio (a narrative, large scale piece of music). Handel died in 1759 and was buried in Westminster Abbey.
A ('ATG') - alto part (11-14), syllabic, A major key.B('SBR')-tenor part(17-20),'revealed' is melismatic.C ('AAF')-alto part(43-46),same melody repeated3x,D('MOL')-tenor part(51-57),starts with 2 parts using pedal notes, long notes = importance
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Instrumentation
Written for soprano-bass strings, strings often double the voices, double basses play the same as the celli but different octaves, starts with just strings, harpischord improvises harmonies from baseline + bassoon and oboe were later added.
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Rhythm
Time signature is 3/4, uses hemiolas (e.g.: 9-10), long notes highlight motif D, driving crotchets and quaver movement = affection, the ending is silence then a sustained cadence.
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Texture
Alternates between homophonic and polyphonic with short monophonic sections, combines motifs to create a polyphonic texture, contrasts between a single voice and the whole choir, the instruments double the voice line at different octaves
A ('ATG') - alto part (11-14), syllabic, A major key.B('SBR')-tenor part(17-20),'revealed' is melismatic.C ('AAF')-alto part(43-46),same melody repeated3x,D('MOL')-tenor part(51-57),starts with 2 parts using pedal notes, long notes = importance
Back
Card 4
Front
Written for soprano-bass strings, strings often double the voices, double basses play the same as the celli but different octaves, starts with just strings, harpischord improvises harmonies from baseline + bassoon and oboe were later added.
Back
Card 5
Front
Time signature is 3/4, uses hemiolas (e.g.: 9-10), long notes highlight motif D, driving crotchets and quaver movement = affection, the ending is silence then a sustained cadence.
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