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

2. 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

3. ‘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.

4. 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.

5. 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.

6. ‘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.

7. Idea 1
Memorise these!
Idea 2
Idea 3
Idea 4

8. 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

9. 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

10. 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
Texture is reduced
Starts with idea 3
Ends with imperfect cadence bars
A major
Starts with idea 4 in sopranos
Idea 4 heard again in the tonic key
Bar 133 ATB suddenly stop
3 beat rest
Finishes with 4 part homophonic plagal cadence to emphasise the final words