‘And the Glory of the Lord’ from the Messiah AoS 1

Baroque Music features Use of the harpsichord. Establishment of major/minor system. Basso continuo. Use of ornaments in melodies. Terraced dynamics (either loud or quiet). Orchestra small: violin, viola, cello, harpsichord, timpani, trumpet, horns. Using one ‘affection’ or mood

‘And the Glory of the Lord’ (background) Is from an oratorio called the Messiah. An oratorio is like a religious opera as it has recitative, aria and chorus sections but uses words and stories from the bible. The Messiah is probably the best known oratorio and the 3 main parts tell the story about the birth, death and resurrection of Jesus. The Hallelujah chorus is the most well known piece of this oratorio.

Forms of the oratorio Recitative – little music played, sung on repeated notes, focus listener to the words being narrated. Aria – solo piece which reflects a mood or emotion, music is more elaborate, vocal qualities and expertise of the singer is shown. Chorus – sums up the action of the story at that particular point, SATB choir will sing accompanied by orchestra.

Handel and The Messiah Composed 1741. Even though he was German, he lived in London. Operas in Italian were becoming unpopular by the public, so the idea of an English sacred opera seemed like a good opportunity. The Church forbade the acting of biblical stories in theatre, so the Messiah was written for concert performance in a concert hall rather than a church.

‘And the glory of the Lord) Is built on a series of ideas each based on a different line of text. All the ideas are contrasted to give each idea its own character. When the ideas are combined together, each melody can be heard within the texture of the piece.

Idea 1 Memorise these! Idea 2 Idea 3 Idea 4

A major modulates to E major bars 21-22 Bar number Key points Key signature 1-11 The introduction played by orchestra Finishes with a perfect cadence (V-I) Sets the lively dance tempo Bars 9-10 contain hemiola rhythms and suspensions A major 11-14 Alto starts singing idea 1 Word setting mainly syllabic Perfect cadence bars 13-14 14-17 Texture is homophonic Often bass has the melody in the chordal sections Perfect cadence bars 16-17 17-22 Imitative entries of idea 2 starting with tenor A major modulates to E major bars 21-22 22-33 Idea 1 and 2 combined together Results in 2 part counterpoint. E major

A major modulates to Emajor and then to B major Bar number Key points Key signature 33-38 Four part homophony of idea 1 Bass line has the melody E major 38-43 Orchestral link using idea 2 Features are sequences, hemiloa rhythms, suspensions, same as in introduction 43-50 Idea 3 introduced Texture is one line at a time Perfect cadence bars 46-47 A major 51-57 Lower voices introduce idea 4 Repeated notes act as a tonic pedal note 2 part texture becomes 4 part Perfect cadence ends section Use of suspensions in vocal parts 58-73 Idea 4 sung on E (dominant pedal note) Imitative entries starting with the altos A major modulates to Emajor and then to B major

B major modulates to E major Bar number Key points Key signature 74-83 Short orchestral link based on idea 1 4 part homophony of idea 1 Imperfect cadence bars 82-83 B major 83-102 All 4 ideas come together Music modulates to E major during this section B major modulates to E major 102-124 Texture is reduced Starts with idea 3 Ends with imperfect cadence bars 123-124 A major 124-134 Starts with idea 4 in sopranos Idea 4 heard again in the tonic key Bar 133 ATB suddenly stop 134-138 3 beat rest Finishes with 4 part homophonic plagal cadence to emphasise the final words