And the Glory of the Lord from Messiah by Handel

George Frideric HandelBorn in Germany 1685Went to Italy in his 20sReturned to Germany and became court

conductor for Prince Elector of HanoverMoved to London. Then Prince Elector of

Hanover became George 1st of Britain so Handel composed for him again

Generally made his living from composing operas and oratorios

Died in London 1789

Sacred and Secular musicSacred – has a religious aspect. Can be Mass,

Requiem, Chorale, Oratorio or Cantata.

Secular – non religious. Can be Opera or Cantata.

Features of Baroque MusicTonalUse of ornamentationMainly string orchestraUse of basso continuoTerraced dynamics

MessiahAn oratorioWritten in 3 weeks in the summer of 1741Words set by Charles Jennens. Mainly from the

prophecies of the Messiah in the Old Testament of King James’ Bible.

First performed in Dublin 13 April 1742First performed in London in the Covent

Garden Theatre. The audience doubted of presenting such a subject in the theatre was a good idea. But eventually this became the most famous of all major choral work.

An oratorioLarge scale orchestral workBiblical subject for concert performance (like

an opera but sacred music not secular)Handel’s were often poetic versions of

dramatic storiesIn oratorios there were:Arias – vocal solo with orchestral

accompanimentRecitative – like a spoken song. Tells a story

and rhythm is like normal speechChorus – sung by the choir . Usually SATB.

First Performance in Dublin 13th April 1742No more than 16 singers and 10 string

playersThe altos were counter altos – male altos –

who used a technique called falsetto to get the high notes.

The pitch was a semitone lower than today.The recording tries to imitate this

performance.

‘And the Glory of the Lord’The fourth movement.First chorus.After a tenor aria and before a bass recitative 4 motifs based on the four phrases:And the glory of the LordShall be revealedAnd all flesh shall see it togetherFor the mouth of the Lord hath spoken it

MetreThis is in ¾ simple triple timeThe triple metre makes I dance like so it

sounds joyful

TempoAllegro – fast, sounds joyfulLast four bars are marked Adagio. This is

only intended to be a little slower than allegro (which is what it is in the recording). It helps create a grand ending.

TonalityBegins in bright and joyful key of A major.Starts to change in bar 22 to E major – the

dominant – with the appearances of D#.It then returns to A major in bar 37. E major

is briefly passed through in bar 63 before the piece moves swiftly to B major – the dominant of the dominant.

The piece then returns on its journey the way it wen and it goes back to E major in bar 93 then A major in bar 105.

It stays in A from then onwards.

HarmonyThe voices are in harmony . There is no

dissonance.At the end of the introduction, there is a

perfect cadence to mark it.Perfect cadences are used o confirm the

changes of keys eg. bars 37 – 38 a perfect cadence in E major.

Handel makes the last of chord of one section the first of the next so that a sense of energy is achieved.

The piece ends in a plagal cadence so it sounds like a grand ‘Amen’.

MelodyEach motif has its distinctive melodyMotif A: leaps to outline A major. Ends with

the last 3 notes of an ascending A major scale. This movement from low A to high A creates a surge of confidence.

Motif B : a smooth descending outline. Has a sequence.

Motif C: A repeated figure spanning the interval of E and A.

Motif D: mostly on the same pitch, combined with the rhythm creates a solemn chant.

RhythmLike melody, the rhythm for each motif is different.Motif A: simple rhythm, with a dotted crotchet-

quaver rhythm in the second barMotif B: dotted rhythm sequenceMotif C: a repeated crotchet quaver, quaver,

crotchet figure.Motif D: contains long dotted crotchets,

expressing seriousness of the words.Hemiolas are used at cadences eg. Bar 9 – 10 There is a general pause before the last phrase for

effectiveness

TextureAlternates between homophonic and contrapuntal.Motif A is sung by altos then repeated by the whole

choir homophonically.Handel contrasts the opening homophonic texture by

creating a contrapuntal one in bar 22 where the tenors enter with motif A whilst the others continue with motif B.

Motifs are often combined in counterpoint to create a complex contrapuntal texture.

Another technique used by Handel to vary texture is by using different combinations of voices. Eg. Bar 108 – 110 where the sopranos are on their own so that their highest note – A – is exposed.

Ends homophonic so it sounds ‘grand’.

StructureAll based around the 4 motifsBegins with introduction – bars 1-10Then the entry of motif A and B – bars 11-8After the piece modulates to E major there is a

ritornello in E major – bars 38-42It then introduces motif C and D – bars 43-73There is another ritornello for 3 bars (73-75)Then there is a long section of 57 bars which the

choir singsThere is a general pause before the Adagio bars,

which is the ‘grand ending’

Instruments

They were originally not marked.Terraced dynamics are used as instruments

then did not have a great dynamic range.The only dynamics are f and p

String orchestra.Basso continuo: cello and chamber organ.

Dynamics