AND THE GLORY OF THE LORD HANDEL

Background Information Comes from the Oratorio the ‘Messiah’ Written in 1741 First performed in Dublin in 1742 Fourth movement from 1 st section First chorus heard Traditionally performed at Easter but now at Christmas

Structure These contrast to add shape and character to the music 4 main musical themes – one for each line of text Starts with an instrumental Introduction - Ritornello Built in canon

Idea 1

Idea 2

Idea 3

Idea 4

Structure Continued ‘Shall Be Revealed’ – two descending sequences; melismatic word setting ‘And the Glory of the Lord’ – first three notes outline an A major chord; ends in step wise scale F#G#A; syllabic word setting The 4 musical themes are: ‘And all Flesh shall See it Together’ – repetitive idea, three times, interval of a fourth; limited vocal range of E-A ‘And the Mouth of the Lord’ – long dotted minim notes, constant pitch; acts as pedal point, emphasises importance of words

Harmony and Tonality In A major – modulates to E major and B major Diatonic chords Mainly perfect cadences Ends in plagal cadence

Melody and Pitch Top A – Bottom G vocal range Imitation between parts

Rhythm and Tempo Triple time 3/4 Allegro Tempo Marking Hemiolas to give 2/4 feels – add to joyful and uplifting affection by giving more of a drive Dotted rhythms and crotchet syncopation Last four bars marked Adagio

Instrumentation Traditional Baroque Orchestra Basso Continuo, Strings, Trumpets and Timpani SATB Choir Traditionally male singers

Texture Bars homophonic across four part choir Opens with monophony Use of homophonic, polyphonic and monophonic textures Ends with chordal, homophonic coda

Dynamics Hardly any marked on score Those that are, are terraced Between MF and F to match the joyful mood of words and key

Handel – ‘And the Glory of the Lord’