 | Haendel, Georg Friedrich - "Since by Man Came Death" for Brass & Strings HWV 56 No. 46 Vents & Orchestre Cordes |
VoirPDF : "Since by Man Came Death" (HWV 56 No. 46) for Brass & Strings (3 pages - 317.24 Ko)521x⬇ MP3 (317.24 Ko)104x⬇ 431x
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| Compositeur : | Haendel, Georg Friedrich (1685 - 1759) | ||||
| Instrumentation : | Vents & Orchestre Cordes49 autres versions | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Date : | 1741 | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 07 Fév 2015 The "Messiah" (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the Psalms included with the Book of Common Prayer (which are worded slightly differently from their King James counterparts). It was first performed in Dublin on 13 April 1742, and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. Handel's reputation in England, where he had lived since 1713, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s, in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of conventional opera, it is not in dramatic form; there are no impersonations of characters and very little direct speech. Instead, Jennens's text is an extended reflection on Jesus Christ as Messiah, moving from the prophetic phrases of Isaiah and others, through the Incarnation, Passion and Resurrection of Christ to his ultimate glorification in heaven. Handel wrote Messiah for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified by (among others) Mozart. In the late 20th and early 21st centuries the trend has been towards authenticity; most contemporary performances show a greater fidelity towards Handel's original intentions, although "big Messiah" productions continue to be mounted. The three-part structure of the work approximates to that of Handel's three-act operas, with the "parts" subdivided by Jennens into "scenes". Each scene is a collection of individual numbers or "movements" which take the form of recitatives, arias and choruses. There are two instrumental numbers, the opening Sinfony in the style of a French overture, and the pastoral Pifa, often called the "pastoral symphony", at the mid-point of Part I. By the time Handel composed Messiah in London he was already a successful and experienced composer of Italian operas, and had created sacred works based on English texts, such as the 1713 Utrecht Te Deum and Jubilate, and numerous oratorios on English libretti. For Messiah, Handel used the same musical technique as for those works, namely a structure based on chorus and solo singing. "Since by man came death" is the final chorus of Scene I (Part III #46): The text for the chorus continues Paul's thoughts, juxtaposing death and resurrection twice. Consequently Handel twice uses a Grave a cappella setting in A minor with chromatic lines, opposed to an Allegro with orchestra in C major in most simple harmony, switching back and forth between these extremes. Although originally written for oboes, strings and basso continuo of harpsichord, violoncello, violone, bassoon and Chorus (SATB), I created this arrangement for Brass (Bb Trumpet, Flugelhorn, French Horn & Euphonium) and Strings (2 Violins, Viola & Cello). Partition centrale : | Messiah (191 partitions) | | |||
