Used only in special passages such as the "Hallelujah"Ĭhorus at the end of Part II. Most important elements that link Handel's music to earlier baroque
HALLELUJAH CHORUS INSTRUMENTAL PARTS SERIES
Their part in the score is notated as a series of single notes augmented by numbers which indicate the harmony (these symbols are called figured bass). Stringed instruments (first and second violins, violas, 'cellos, and double basses), woodwinds and brass ( oboes, bassoons, horns, and trumpets), timpani, organ, and harpsichord. Handel's orchestra is typical of that for any large instrumental work of this period: a large group of Often used fugal writing to bring a part of a large work to a close,Īnd several of the large choruses in Messiah are fugal. Handel, like other high baroque composers, (a fugue is a highly sophisticated polyphonic procedure in which a theme is introduced by one voice part or instrument, and then is imitated successivelyīy the other voices or instruments see " FugueĬhorus" below). The day of his coming." Notice the fast, steady tremolo of the violins in the accompaniment underneath the soprano's crisp delivery of the text "For HeĬoncise outlines of musical ideas ( motives) are also found in the many fugal passages Rhythms in fast sections, and clearly delineated melodic ideas,Īs in the B section of the Soprano II aria, "For who may abide The writing is characterized byĪ regular and relatively fast harmonic rhythm (the harmony changes regularly and frequently), motor-like Will precede an aria which is more formally bound by meter, affect,Īnd melodic material.
HALLELUJAH CHORUS INSTRUMENTAL PARTS FREE
Metrically free recitative that explores a number of ideas and emotions Separate pieces that have their own moods and themes and usuallyĬontrast with one another: a slow aria will be followed by a chorus moving at a faster pace, for instance, or a S.īach and Vivaldi, Handel composed large works that are made up of Messiah is in the high baroque style, and many of theĬonventions of baroque music are found in this piece. In 1754 (April 5, in Covent Garden Theatre) and differs from theĭublin performance of April 13, 1742. Recordings that has been recommended for your use in this course,Īnd the one from which we take our examples for this web page) presentsĪ version of the oratorio that dates from a performance in London Of Messiah with the Academy of Ancient Music (one of the Perform a version of the oratorio that differed in several respectsįrom the work's first performance. New aria for a particularly noted singer) were liked by the publicĪnd later performers, and Handel himself in later years tended to Tailor an aria to a particular performer, or to create an entirely Made subsequently (sometimes for artistic purposes, but often to That Handel changed many sections of Messiah after theįirst performance and that any modern-day performance may reflect On the first performance of the work, but it is important to remember (in various forms) up to the present, and its popularity shows no Performance in Dublin in 1742 it has been performed continuously Messiah is the best known and most loved. Of all oratorios, in any language and from any period, Handel's Theĭisk and track numbers given here correspond to those given in theĬD booklet for the Hogwood recording and will differ, therefore,įrom the numbers of other versions of the oratorio. The performance on the recording that is used most often in thisĬourse (Christopher Hogwood and The Academy of Ancient Music). LAB51 - Messiah: Baroque Music and the Main Musical Features of Handel's Messiahīaroque Music and the Main Musical Features of Handel's Messiah