Oratorio "Messiah" by Georg Friedrich Handel. Messiah (oratorio) List of musical numbers

Abstract on the topic:

Messiah (oratorio)

Plan:

Introduction

1 Overview 2 Structure 3 Work on the oratorio and premiere 4 Musical language 5 Hallelujah 6 List of musical numbers

Introduction

"Messiah"(English) Messiah, HWV 56, 1741) is an oratorio for soloists, choir and orchestra by George Frideric Handel, his most famous work and one of the most famous works of Western choral art.

1. Overview

In Judaism and Christianity, the messiah (“anointed one”) is the Savior sent by God to earth. For Christians, the Messiah is Jesus Christ. Handel was a devout Christian and his writing presents the life of Jesus Christ and its significance according to Christian doctrine. The text for the oratorio is taken from the translation of the Bible generally accepted among English-speaking Protestants at that time - the King James Bible.

"Messiah" is Handel's most famous work (only "Water Music" comes close to it in popularity), remaining unusually popular among classical music lovers.

Handel called his oratorio "Messiah" (without the article "The"), but it is often erroneously called "The Messiah". This popular name has become so familiar that the correct one already cuts the ear.

Although the oratorio was conceived and first performed at Easter, after Handel's death it became customary to perform "Messiah" during the Advent period, the Advent fast. Christmas concerts usually include only the first part of the oratorio and the Hallelujah choir, but some orchestras perform the entire oratorio. This piece can also be heard during Easter week, and passages about the resurrection are often included in Easter church services. The soprano aria "I know that my Redeemer liveth" can be heard during the funeral services.

2. Structure

The oratorio consists of three parts. Most of the libretto is taken from the Old Testament, which is surprising when it comes to a work that tells about the Savior. The basis of the first part of the oratorio is the Book of the prophet Isaiah, which predicts the coming of the Messiah. There are several quotations from the Gospels at the end of the first and the beginning of the second part: about the angel who appeared to the shepherds, from the Gospel of Luke, two cryptic quotations from the Gospel of Matthew and one from the Gospel of John (“Behold the Lamb of God”, “Lamb of God "). The second part uses the texts of the prophecies of Isaiah and quotations from the Psalms. The third part includes one quote from the Book of Job (“I know that my Redeemer livesth”, “And I know that my Redeemer lives”), and then the text of the First Epistle to the Corinthians of the Holy Apostle Paul is mainly used.

It is also interesting that the most famous chorus "Hallelujah" ("Hallelujah") at the end of the second part and the final chorus "Worthy is the Lamb that was slain" ("Worthy is the Lamb that was slain") are taken from the Book, the only book of prophecy in the New Testament.

The libretto was compiled by Charles Jennens from fragments of the King James Bible. C. Jennens conceived the work as an opera in three acts, each of which consists of several scenes:

I - prophecy about salvation;

II - the prophecy about the coming of the Messiah and the question of what this portends to the world;

III - prophecy about the birth of the Virgin;

IV - the appearance of angels to the shepherds;

V - miracles of Christ on earth.

I - sacrifice, scourging and cross torments;

II - death and resurrection of Christ;

III - ascension;

IV - the Lord reveals his essence in heaven;

V - the beginning of preaching;

VI - the world and its rulers reject the Gospels;

VII - the triumph of the Lord.

I - the promise of atonement for the fall of Adam;

II - Judgment Day;

III - victory over death and sin;

IV - the glorification of Jesus Christ.

From this division it is easy to determine which parts are considered suitable for Christmas and which for Easter. Numbers 1-18 of the first part, corresponding to scenes i-iv, are considered as Christmas fragments, numbers 19 and 20 of the first part and number 22 of the second part can be considered transitional, everything else is suitable for Easter. According to this scheme, the Hallelujah choir, which many consider to be a Christmas carol, definitely belongs to the Easter part. Nevertheless, many choral societies perform the whole work at any time of the year to the delight of the listeners.

3. Work on the oratorio and the premiere

At the end of the summer of 1741, Handel, who was at the peak of his musical career, but weighed down by debts, began to compose music for the libretto by C. Jennens based on biblical stories. On August 22, work began, on August 28 the first part was completed, on September 6 - the second, on September 12 - the third, by September 14 the oratorio was instrumented. So, in one breath, in 24 days, Handel creates a grandiose work - "Messiah".

It is said that when Handel was composing The Messiah, his servant often found the composer weeping quietly at the table, Handel was so fascinated by the beauty and grandeur of the music coming out from under his pen. A secondary source for this story is a pamphlet from the Trinity College Dublin Choral Society. The original source is unknown to the author.

Handel ends Messiah on 12 September. The oratorio has already begun to be rehearsed, but Handel unexpectedly leaves for Dublin at the invitation of the Duke of Devonshire, viceroy of the English king in Ireland. The composer is received with great cordiality, he gives concerts throughout the season (from December 1741 to April 1742).

The oratorio "Messiah" was first performed on April 13, 1742. It was a charity concert on Fishhamble Street in Dublin's Temple Bar area. Before the concert, I had to overcome organizational difficulties and make changes to the score at the last moment. J. Swift, as dean of St. Patrick's Cathedral in Dublin, exerted some pressure and generally banned the performance of "Messiah" for a while. He demanded that the work be renamed "The Sacred Oratorio" and that the money received from the concert go to help the local hospital for the insane.

At the premiere of "Messiah" Handel led the performance at the harpsichord, the orchestra was conducted by Matthew Duborg - a student of Geminiani, an Irish violinist, conductor and composer who worked with Handel in London from 1719. Solo parts were sung by soprano K.-M. Avolio, mezzo-soprano M. Cibber, altos W. Lamb and D. Ward, tenor D. Bailey and bass D. Mason, two small choirs (about 20 people) from both Dublin Cathedrals participated in the performance.

In London, the "Messiah" was met with caution. For seven years, the oratorio went on without an original title and was received rather reservedly. Only starting from the London performance on March 23, 1749, the oratorio sounded under its true name and finally received full and unconditional recognition. Since 1750, Handel annually ended his oratorio season in the spring before Easter with the “Messiah”, and the last lifetime performance took place on April 6, 1759, a week before the death of the composer.

Handel conducted Messiah many times, often making changes to suit the needs of the moment. As a result, there is no version that can be called "authentic", and many changes and reworkings have been made over the following centuries. It should be noted the processing by W. A. Mozart with the German text. At present, Messiah is performed by an orchestra, choir and four soloists: bass, tenor, contralto or countertenor and soprano.

In London performances of the oratorio, tenors D. Beard and T. Lowe, basses T. Reinhold, S. Champiess and R. Wess, sopranos E. Duparc (Franchesina), D. Frasi and C. Passerini, mezzo-soprano C. Galli, viola G. Guadagni.

After the death of Handel, the "Messiah" began a triumphal procession through Europe. The first performance in Germany in 1772 in Hamburg was directed by M. Arn, followed by the Hamburg performance of 1775 under the direction of C. F. E. Bach in the German translation of Klopstock and Ebeling, in 1777 under the direction of Abbot Vogler in Mannheim, in 1780 and 1781 years in Weimar under the direction of W. Wolf, translated by Herder. In 1786, A. Hiller directed "Messiah" in Italian.

The house where Handel worked on the "Messiah" is now open to the public. Handel House Museum.

4. Musical language

Handel is known for using in many of his works a special manner of writing, when a musical notation, as it were, draws the corresponding text. Perhaps the most famous and often cited example of this technique is the tenor aria "Every valley shall be exalted" from the beginning of the first movement of Messiah. To the words “… and every mountain and hill made low; the crooked straight and the rough places plain" ("let every mountain and hill fall, the curvatures straighten out and uneven paths become smooth") Handel composed this music:

The melody rises to the upper F sharp on the first syllable "mountain" ("mountain") and falls an octave on the second syllable. The four notes of the word "hill" ("hill") form a small hill, the word "low" ("low") falls on the lowest note of the phrase. On the word "crooked" ("curve"), the melody changes from to sharp to B, to remain on the word "straight" ("straight"). The word "plain" ("smooth, even") in most cases falls on the upper E, lasting three measures with a slight variation. Handel uses the same technique during the repetition of the final phrase: the "curvature" of the curve, and on the word "smooth" the melody descends into three long plains. Handel uses this technique throughout the aria, especially on the word "exalted" ("sublime"), which has several melismas from sixteenth notes and two jumps to the upper E:

It was characteristic of the language of English poetry of that time that the suffix "-ed" of the past tense and past participles of weak verbs was often pronounced as a separate syllable, as, for example, in the above fragment from "And the glory of the Lord":

The word "revealed" was to be pronounced in three syllables. In many printed editions, the letter "e", which was not pronounced in speech, but should have been sung as a separate syllable, was marked with a special sign "gravis": "revealed".

5. Hallelujah

The most famous fragment of the oratorio is the Hallelujah chorus, which completes the second of three movements. The text is taken from three verses of the Apocalypse:

And the seventh angel blew his trumpet, and loud voices were heard in heaven, saying, The kingdom of the world has become the kingdom of our Lord and of His Christ, and shall reign forever and ever. [Open 11:15]

His name is written on his garment and on his thigh: "King of kings and Lord of lords." [Open 19:16]

In many countries of the world, it is customary to stand up during the performance of this part. The tradition dates back to the episode when King George II of Great Britain was so shocked by the music that he jumped to his feet. As now, when the king is standing, so are all those present. However, now this story is not considered reliable: the king could not have attended the premiere at all.

People not familiar with the piece sometimes leave after this number, believing that this is the end of the oratorio, while "Hallelujah", as mentioned above, simply completes the second of the three parts of the work.

6. List of musical numbers

As already noted, Handel himself often changed the performing composition of the oratorio. Most choirs now use the 1912 version, edited by Thomas Noble III. Lower voice? and the words are given according to this version. However, it is not uncommon for arias to be sung by other voices, due to time constraints or musical complexity, some arias are excluded or entire sections are omitted. This list is by no means "official", it's just that now most often the oratorio is performed in this way.
The Russian text of the biblical verses is given according to the synodal translation.

FIRST PART

no. 1. Overture (inf.)

no. 2. Comfort ye my people(inf.)

Comfort ye, comfort ye my people, saith your God; speak ye comfortably to Jerusalem; and cry unto her, that her warfare is accomplished, that her iniquity is pardoned.

The voice of him that crieth in the wilderness, Prepare ye the way of the Lord, make straight in the desert a highway for our God.

Comfort, comfort my people, says your God; speak to the heart of Jerusalem and proclaim to her that the time of her struggle is fulfilled, that satisfaction has been made for her iniquities.

The voice of one crying in the wilderness: Prepare the way of the Lord; make straight paths in the wilderness for our God.

no. 3. Aria (tenor): Every valley shall be exalted(inf.)

Every valley shall be exalted, and every mountain and hill made low; the crooked straight, and the rough places plain.

Let every valley be filled, and let every mountain and hill be lowered, crookedness straightened, and rough paths made smooth.

no. 4. Choir: And the glory of the Lord(inf.)

And the glory of the Lord shall be revealed, and all flesh shall see it together; for the mouth of the Lord hath spoken it.

And the glory of the Lord will appear, and all flesh will see [the salvation of God]; for the mouth of the Lord has spoken it.

no. 5. Thus saith the Lord(inf.)

Thus saith the Lord of Hosts: --Yet once a little while and I will shake the heavens, and the earth, the sea, and the dry land; and I will shake all nations, and the desire of all nations shall come.

For thus says the Lord of hosts: Once again, and it will be soon, I will shake heaven and earth, sea and dry land, and I will shake all nations, and the Desired of all nations will come.

The Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in; Behold, He shall come, saith the Lord of Hosts.

And suddenly the Lord, whom you seek, and the angel of the covenant, whom you desire, will come to his temple; behold, he comes, says the Lord of hosts.

no. 6. Aria (bass): But who may abide(inf.)

But who may abide the day of His coming, and who shall stand when He appeareth?

For He is like a refiner's fire.

And who will endure the day of His coming, and who will stand when He appears?

For He is like a melting fire.

no. 7. Choir: And He shall purify(inf.)

And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.

And he will purify the sons of Levi, that they may offer sacrifice to the Lord in righteousness.

no. 8. Recitative (alto): Behold, a virgin shall conceive(inf.)

Is. 7:14 - Matt. 1:23

Behold, a virgin shall conceive, and bear a Son, and shall call His name EMMANUEL, God with us.

Behold, the Virgin in the womb will receive and give birth to a Son, and they will call His name Immanuel, God is with us.

no. 9. Aria (alto) and choir: O thou that tellest good tidings to Zion(inf.)

Is. 40:9, 60:1

O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up your voice with strength; lift it up, be not afraid; say unto the cities of Judah, Behold your God!

Arise, shine, for your Light is come, and the glory of the Lord is risen upon thee.

Climb the high mountain, O Zion who proclaims the gospel! Lift up your voice with power, O Jerusalem who proclaims the gospel! lift up, do not be afraid; say to the cities of Judah, Behold your God!

Arise, shine, [Jerusalem], for your light has come, and the glory of the Lord has risen over you.

no. 10. Accompanied recitative (bass): For, behold, darkness shall cover the earth(inf.)

For, behold, darkness shall cover the earth and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee, and the Gentiles shall come to your light, and kings to the brightness of your rising.

For, behold, darkness shall cover the earth, and darkness the nations; but the Lord will shine upon you, and his glory will appear upon you. And nations will come to your light, and kings to the brightness that rises above you.

no. eleven. Aria (bass): The people who walked in darkness(inf.)

The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.

The people who walk in darkness will see a great light; on those who dwell in the land of the shadow, the light of death will shine.

no. 12. Choir: For unto us a child is born(inf.)

For unto us a Child is born, unto us a Son is given, and the government shall be upon His shoulder: and His name shall be called Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace.

For a child is born to us - a Son is given to us; dominion on his shoulders, and his name will be called: Wonderful, Counselor, Mighty God, Eternal Father, Prince of Peace.

no. 13. Pastoral Symphony (inf.)

no. 14. Recitative (soprano): There were shepherds abiding in the field(inf.)

There were shepherds abiding in the field, keeping watch over their flocks by night.

In that country there were shepherds in the field, keeping watch over their flock by night.

no. 14a. And lo! the Angel of the Lord came upon them(inf.)

And lo! the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.

Suddenly an angel of the Lord appeared to them, and the glory of the Lord shone around them; and feared with great fear.

no. 15. Recitative (soprano): And the angel said unto them(inf.)

And the angel said unto them, Fear not; for, behold, I bring you good tidings of great joy, which shall be to all people.

For unto you is born this day in the city of David a Saviour, which is Christ the Lord.

And the angel said to them: Do not be afraid; I proclaim to you a great joy that will be for all people:

for today a Savior has been born to you in the city of David, who is Christ the Lord.

no. 16. Accompanied recitative (soprano): And suddenly there was with the angel(inf.)

And suddenly there was with the angel a multitude of the heavenly host praising God, and saying:

And suddenly a large host of heaven appeared with the angel, praising God and crying out:

no. 17. Choir: Glory to God(inf.)

Glory to God in the highest, and peace on earth, good will towards men.

Glory to God in the highest, and on earth peace, goodwill towards men!

no. 18. Aria (soprano): Rejoice greatly, O daughter of Zion(inf.)

Rejoice greatly, O daughter of Zion; Shout, O daughter of Jerusalem: behold, thy king cometh unto thee.

He is the righteous Saviour, and He shall speak peace unto the heathen.

Rejoice with joy, daughter of Zion, rejoice, daughter of Jerusalem: behold, your King is coming to you.

He is the true Savior, and He will proclaim peace to the nations.

no. 19. Recitative (alto): Then shall the eyes of the blind be opened(inf.)

Then shall the eyes of the blind be opened, and the ears of the deaf unstopped; then shall the lame man leap as an hart, and the tongue of the dumb shall sing.

Then the eyes of the blind will be opened, and the ears of the deaf will be opened. Then the lame one will spring up like a deer, and the tongue of the dumb one will sing.

no. 20. Duet (alto, soprano): He shall feed his flock like a shepherd(inf.)

Alto: He shall feed His flock like a shepherd; and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young.

As a shepherd he will shepherd his flock; He will take the lambs in his arms and carry them in his bosom, and lead the milking ones.

Soprano: Come unto Him, all ye that labor and are heavy laden, and He shall give you the rest.

Take His yoke upon you, and learn of Him for He is meek and lowly of heart: and ye shall find rest unto your souls.

Come to Me, all you who are weary and burdened, and I will give you rest;

take my yoke upon you and learn from me, for I am meek and lowly in heart, and you will find rest for your souls.

no. 21. Choir: His yoke is easy, and His burthen is light(inf.)

His yoke is easy and His burthen is light.

My yoke is easy, and my burden is light.

SECOND PART

no. 22. Choir: Behold the Lamb of God(inf.)

Behold the Lamb of God, that taketh away the sins of the world.

Here is the Lamb of God who takes away the sin of the world.

no. 23. Aria (viola): He was despised(inf.)

He was despised and rejected of men: a man of sorrows, and acquainted with grief.

He was despised and humbled before men, a man of sorrows and acquainted with sickness.

He gave His back to the smiters, and His cheeks to them that plucked off the hair: He hid not His face from shame and spitting.

I have given my back to those who strike, and my cheeks to those who strike; He did not hide My face from reproach and spitting.

no. 24. Choir: Surely he hated our griefs(inf.)

Surely He hath borne our griefs, and carried our sorrows; He was wounded for our transgressions; He was bruised for our iniquities; the chastisement of our peace was upon Him.

But He took upon Himself our infirmities and bore our sicknesses; He was wounded for our sins and tormented for our iniquities; the punishment of our peace was upon him.

no. 25. Choir: And with His stripes we are healed(inf.)

And with His stripes we are healed.

And by His stripes we are healed.

no. 26. Choir: All we like sheep have gone astray(inf.)

All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on Him the iniquity of us all.

We all wandered like sheep, each one turned to his own way: and the Lord laid on Him the sins of us all.

no. 27. Accompanied recitative (tenor): All they that see Him laugh Him to scorn(inf.)

All they that see Him, laugh Him to scorn, they shoot out their lips, and shake their heads saying,:

All who see me swear at me, speak with their lips, nodding their heads:

no. 28. Choir: He trusted in God that He would deliver Him(inf.)

He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him.

“He trusted in the Lord; let him deliver him, let him save him, if he pleases him.”

no. 29. Accompanied recitative (tenor): Thy rebuke had broken His heart(inf.)

Thy rebuke hat broken His heart; He is full of heaviness. He looked for some to have pity on Him, but there was no man; neither found He any to comfort Him.

Reproach crushed my heart, and I became exhausted, I waited for compassion, but there is none - comforters, but I do not find.

no. thirty. Aria (tenor): Behold, and see if there be any sorrow(inf.)

Behold, and see if there be any sorrow like unto His sorrow.

Take a look and see if there is a disease like my disease.

no. 31. Accompanied recitative (tenor): He was cut off out of the land of the living(inf.)

He was cut off out of the land of the living: for the transgression of Thy people was He stricken.

He is cut off from the land of the living; for the crimes of my people suffered execution.

no. 32. Aria (tenor): But Thou didst not leave His soul in hell(inf.)

But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption.

For You will not leave my soul in hell, nor will You allow Your Holy One to see corruption.

no. 33. Choir: Lift up your heads, o ye gates(inf.)

Who is the King of Glory? The Lord strong and mighty, the Lord mighty in battle.

Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in.

Who is the King of Glory? The Lord of Hosts, He is the King of Glory.

Who is this King of glory? - The Lord is strong and strong, the Lord is strong in battle.

Lift up, you gates, your heads, and lift up, you eternal doors, and the King of glory will enter!

Who is this King of glory? - The Lord of hosts, He is the king of glory.

no. 34. Recitative (tenor): Unto which of the Angels said He(inf.)

Unto which of the angels said He at any time, Thou art my Son, this day have I begotten Thee?

For to which of the angels did God ever say: You are my Son, today I have begotten you?

no. 35. Choir: Let all the angels of God worship Him(inf.)

Let all the angels of God worship Him.

And may all the angels of God worship Him.

no. 36. Aria (bass): Thou art gone up on high(inf.)

Thou art gone up on high, Thou hast led captivity captive, and received gifts for men; yea, even for Thine enemies, that the Lord God might dwell among them.

You ascended on high, took captive captivity, accepted gifts for people, so that even those who resist could dwell with the Lord God.

no. 37. Choir: The Lord gave the word(inf.)

The Lord gave the word: great was the company of the preachers.

The Lord will give the word: there are a great multitude of heralds.

no. 38. Aria (soprano): How beautiful are the feet of them(inf.)

How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things.

How beautiful are the feet of those who proclaim peace, who proclaim good things!

no. 39. Choir: Their sound is gone out into all lands(inf.)

Their sound is gone out into all lands, and their words unto the ends of the world.

no. 40. Aria (bass): Why do the nations so furiously rage(inf.)

Why do the nations so furiously rage together? why do the people imagine a vain thing?

The kings of the earth rise up, and the rulers take consel together against the Lord, and against His Annointed.

Why do the peoples rage, and the tribes plot in vain?

The kings of the earth rise up, and the princes confer together against the Lord and against His Anointed One.

no. 41. Choir: Let us break our bonds asunder(inf.)

Let us break their bonds asunder, and cast away their yokes from us.

Let us break their bonds, and let us cast off their fetters.

no. 42. Recitative (tenor): He that dwelleth in heaven(inf.)

He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision.

He who lives in heaven will laugh, the Lord will mock them.

no. 43. Aria (tenor): Thou shalt break them(inf.)

Thou shalt break them with a rod of iron; Thou shalt dash them in pieces like a potter's vessel.

You will strike them with a rod of iron; break them like a potter's vessel.

no. 44. Choir: Hallelujah(inf.)

open 19:6; 11:15; 19:16

HALLELUJAH! for the Lord God omnipotent reigneth.

The kingdom of this world is become the kingdom of our Lord, and of His Christ: and He shall reign for ever and ever.

KING OF KINGS, and LORD OF LORDS, HALLELUJAH!

Alleluia! for the Lord God Almighty reigned.

The kingdom of the world has become the kingdom of our Lord and of His Christ, and will reign forever and ever.

King of kings and Lord of lords.

THE THIRD PART

no. 45. Aria (soprano): I know that my Redeemer liveth

Job. 19:25, 26

I know that my Redeemer liveth, and that He shall stand at the last day upon the earth:

And though worms destroy this body, yet in my flesh shall I see God.

And I know that my Redeemer lives, and He is on the last day

He will raise my decaying skin from the dust, and I will see God in my flesh.

For now is Christ risen from the dead, the first-fruits of them that sleep.

But Christ has risen from the dead, the firstborn of the dead.

no. 46. Choir: Since by man came death

1 Cor. 15:21, 22

Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.

For as death is through man, so is the resurrection of the dead through man. As in Adam all die, so in Christ all shall be made alive.

no. 47. Accompanied recitative (bass): Behold, I tell you a mystery

1 Cor. 15:51, 52

Behold, I tell you a mystery: We shall not all sleep; but we shall all be changed in a moment, in a twinkling of an eye, at the last trumpet.

I tell you a secret: not all of us will die, but we will all change suddenly, in the twinkling of an eye, at the last trumpet.

no. 48. Aria (bass): The trumpet shall sound

1 Cor. 15:52, 53

The trumpet shall sound, and the dead shall be raised in corruptible, and we shall be changed.

For this corruptible must put on incorruption, and this mortal must put on immortality.

For the trumpet will sound, and the dead will be raised incorruptible, and we will be changed.

For this corruptible must put on incorruption, and this mortal must put on immortality.

no. 49. Recitative (alto): Then shall be brought to pass

Then shall be brought to pass the saying that is written: Death is swallowed up in victory.

Then the word that is written will come true: "Death is swallowed up in victory."

no. 50. Duet (alto and tenor): O death, where is your sting?

1 Cor. 15:55, 56

O death, where is your sting? O grave, where is your victory? The sting of death is sin, and the strength of sin is the law.

"Death! where is your pity? hell! where is your victory? The sting of death is sin; and the power of sin is the law.

no. 51. Choir: But thanks be to God

But thanks be to God, who giveth us the victory through our Lord Jesus Christ.

Thanks be to God who gave us the victory through our Lord Jesus Christ!

no. 52. Aria (soprano): If God be for us, who can be against us?

Rome. 8:31, 33, 34

If God be for us, who can be against us? who shall lay any thing to the charge of God's elect? It is God that justifieth, who is he that condemneth?

It is Christ that died, yea, rather, that is risen again, who is at the right hand of God, who makes intercession for us.

If God is for us, who can be against us? Who will blame the elect of God? God justifies them. Who condemns?

Christ Jesus died, but also rose again: He is also at the right hand of God, He also intercedes for us.

no. 53. Choir: Worthy is the Lamb that was slain

open 5:12, 13

Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honor, and glory, and blessing.

Blessing and honor, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever.

Worthy is the Lamb that was slain to receive power and riches and wisdom and strength and honor and glory and blessing.

To him who sits on the throne and to the Lamb blessing and honor and glory and dominion forever and ever.

Cast: soprano, alto, tenor, bass, choir, orchestra.

History of creation

“It is often observed in the life of great people that at the moment when everything seems to be lost, when everything collapses, they are close to victory. Handel seemed to be defeated. And just at that hour he created a creation that was destined to consolidate world fame for him, ”wrote Romain Rolland, a researcher of his work. The author of almost forty operas, many instrumental compositions, who turned to the oratorio genre from the mid-1730s (Alexander's Feast, Saul, Israel in Egypt have already been created), Handel lost the love of the public. His enemies, the English aristocrats, who preferred Italian composers to Handel, hired people to tear down posters, and his concerts were no longer attended. Handel, who had decided to leave England, where he had lived for a quarter of a century, announced his last concert on April 8, 1741. However, the composer's strength did not run out: in 24 days, from August 22 to September 14, the composer created one of his best oratorios - Messiah. He worked with inspiration, and when he finished "Hallelujah", he exclaimed, bursting into tears: "I thought that the sky had opened, and I see the Creator of all things." It was one of the happiest moments in the composer's life.

Some researchers attributed to Handel not only the music, but also the text of the oratorio. However, the text belonged to Handel's friend, the writer Charles Jennens (1700-1773), who, as legend has it, declared that the music of "Messiah" was hardly worthy of his poem. Jennens, using gospel motifs about the birth, deed and triumph of Jesus, does not personify the characters. He includes in the oratorio several texts from the New Testament: the Apocalypse, the first letter of the Apostle Paul to the Corinthians and Psalm No. 2, a century earlier, in the era of the English Revolution, translated by the great English poet John Milton, on the tragedy of which Handel will soon write his next oratorio - "Samson".

Having received an invitation from the Lord Lieutenant of Ireland to direct the concerts, Handel arrived in Dublin at the end of 1741, where his compositions were already included in the program of the Philharmonic Society. Here, unlike London, he was met with enthusiasm, as he wrote in a jubilant letter to Jennens a few days before the new year. His concerts were a great success - until the beginning of April there were 12 of them. And, finally, on April 13, 1742, under the direction of the author, "Messiah" was performed for the first time in the Great Music Hall. This was the only charity concert given by Handel in Dublin. Since then, a tradition has been established to perform "Messiah" for the benefit of those in need (in the last years of his life, the composer regularly gave this oratorio in favor of the London Shelter for the Foundlings and secured his monopoly on income from concerts, forbidding, while he was alive, the publication of the score and excerpts from it ).

In London, "Messiah" met with the resistance of the clergy and until the end of the 40s, sounded only 5 times; the name was forbidden, the posters simply read "Spiritual Oratorio". However, during the life of Handel, despite the biblical story, it rarely sounded in English churches - concerts were usually held in the theater or other secular public halls. The last performance took place 8 days before the death of the composer, who himself played the organ. There are many author's versions of "Messiah" - Handel constantly changed the arias, in accordance with the capabilities of the singers.

In Handel's homeland, in Germany, "Messiah" was first heard in 1772 in a translation into German by the famous poet Klopstock; the next translation belonged to the no less famous poet Herder. On the Continent, the oratorio was usually performed in Mozart's version, made for Vienna in 1789 - it was in this form that the "Messiah" was known throughout the 19th century and gained wide popularity.

Music

Despite the absence of specific characters, the oratorio contains many solo and duet numbers: recitatives accompanied by a harpsichord, similar to secca recitatives in Italian opera of the time; arias are lyrical, pastoral, and heroic, especially typical of Handel, as well as ariosos and duets. More than a quarter of the work is choirs; there are several orchestral numbers. Despite the later tradition of employing a large number of performers, during Handel's lifetime Messiah was performed by 33 orchestra members and 23 singers.

The oratorio consists of three parts. In the 1st part (the birth of the Messiah) bright pastoral colors prevail, the 2nd (passion of Christ) is characterized by sharp contrasting juxtapositions, the brief final part (the triumph of Christianity) is permeated with a single jubilant mood. No. 2-3, recitative and tenor aria "All the Valleys", are full of grandeur, illuminated with light and joy. The chorus “Today a Baby is Born for Us” (No. 11) captivates with a simple theme in the folk spirit, embellished with jubilant anniversaries of voices and passages of violins. Orchestral Pastoral No. 12 is built on an authentic Italian melody. In the sound of the strings accompanying the soprano recitatives (No. 13-14), one can hear the rustling of the wings of angels flying to the newborn Savior. The alto aria “He was despised” (No. 20) is marked by a noble, restrained, sublime warehouse. The sharp dotted "rhythm of scourging" in the orchestra unites it with the following chorus "Truly, verily, He took our sorrow." The short tenor arioso “Look, look and tell me who knew worse suffering” (No. 27) is distinguished by a heartfelt mournful declamation. The solemn choir “Head up, see the gates” (No. 30) is built on the antiphonal juxtaposition of the parts of three female and two male voices. Written on the text of the 2nd psalm, the choir (No. 37) “Let us break their bonds and overthrow their shackles from us” and the tenor’s aria (No. 38) “You will strike them with an iron rod; crush them like a potter's vessel" are permeated with a harsh heroic spirit. The pinnacle of the oratorio and one of Handel's most famous creations is the choir (No. 39) "Alleluia", which concludes the 2nd movement. In England, it is listened to standing up, like reading the Gospel in church. In this national victory hymn, the composer masterfully combines a short, uncomplicated melody in a dance rhythm and the unison chant of an old German Protestant chant - a militant anthem of the Peasants' War of the early 16th century. No less popular in England is the soprano aria (No. 40) "I know that my Savior lives." In the brilliant heroic bass aria (No. 43) “Here the trumpets sound” (to the text of the Apocalypse), the trumpet solo, recalling the awakening of the dead at the sounds of the trumpet of the Eternal. The oratorio ends with a grandiose choir with trumpets and timpani (No. 47), a typical Handelian victorious finale, consisting of several episodes crowned with a fugue.

A. Koenigsberg

The proposed recording is the first recording of the oratorio "Messiah" by the German conductor Hermann Scherchen. It was carried out from 15 to 24 September 1953 in London.

Cast:

Margaret Ritchie - soprano

Constance Shacklock

William Herbert - tenor

Richard Standen - bass

London Philharmonic Choir

London Philharmonic Orchestra

CONDUCTOR - Hermann Scherchen

Format - FLAC + CUE + covers. 3 CDs, 398 MB.

https://cloud.mail.ru/public/ef82a3cd19bf%2FHandel-Messiah-H.Scherchen%2C%20LPO-1953-FLAC.rar

Mirrors:

http://narod.ru/disk/64296858001.b8be91f0001a91e816dea4a97fce73b0/Handel-Messiah-H.Scherchen%2C%20LPO-1953-FLAC.rar.html

https://yadi.sk/d/U5RQRDt8bukNN

BONUS: the same recording of "Messiah" with Sherchen, but in LP digitization, downloaded courtesy of Mr. Fred from the city of Boston (USA), from his personal blog (Random classics), format - FLAC.

https://cloud.mail.ru/public/7f59ea564dbd%2FHandel-Messiah-Scherchen%2CLSO-1953-LP-FLAC.rar

Mirrors:

http://narod.ru/disk/64295663001.1f10467c7d382251baa90eb35c0ebd6b/Handel-Messiah-Scherchen%2CLSO-1953-LP-FLAC.rar.html

https://yadi.sk/d/y2Yz8zccbukQN

Messiah is an oratorio for soloists, choir and orchestra by Georg Friedrich Handel, his most famous work and one of the most famous works of Western choral art.

In Judaism and Christianity, the messiah (“anointed one”) is the Savior sent by God to earth. For Christians, the Messiah is Jesus Christ. Handel was a devout Christian and his writing presents the life of Jesus Christ and its significance according to Christian doctrine. The text for the oratorio is taken from the generally accepted translation of the Bible among English-speaking Protestants at that time - the King James Bible.

The Messiah is Handel's most famous work (only Water Music approaches it in popularity), and remains extremely popular among classical music lovers.

Handel called his oratorio "Messiah" (without the article "The"), but it is often erroneously called "The Messiah". This popular name has become so familiar that the correct one already cuts the ear.

Although the oratorio was conceived and first performed at Easter, after Handel's death it became customary to perform "Messiah" during the Advent period, the Advent fast. Christmas concerts usually include only the first part of the oratorio and the Hallelujah choir, but some orchestras perform the entire oratorio. This work can also be heard during Easter week, and passages about the resurrection are often included in Easter church services. The soprano aria "I know that my Redeemer liveth" can be heard during the funeral services.

At the premiere of Messiah, Handel led the performance at the harpsichord, the orchestra was conducted by Matthew Duborg, a student of Geminiani, an Irish violinist, conductor and composer who had worked with Handel in London since 1719. Solo parts were sung by soprano K.-M. Avolio, mezzo-soprano M. Cibber, altos W. Lamb and D. Ward, tenor D. Bailey and bass D. Mason, two small choirs (about 20 people) from both Dublin Cathedrals participated in the performance.

The house where Handel worked on The Messiah is now open to the public, this is the Handel House Museum.

On April 13, 1742, the oratorio "Messiah" by Georg Friedrich Handel was performed for the first time.

The titan of the Baroque era, standing on a par with Bach, the composer Georg Friedrich Handel is considered the author of such a major musical genre as the oratorio (translated from Latin as “eloquence”), where the main place is given to the choir and only then to soloists and orchestra.
Handel's most famous oratorio is The Messiah (also called the Christmas one), which tells of the Magi who came with gifts to the Child.
This is one of the brightest and most joyful works: everything that oppresses a person, all suffering and sorrows, she leaves in the background, and everything that pleases and gives a person hope for love and happiness, shows large, diverse and convincing.
If Handel wants to convey triumph and victory, he resorts to fanfare intonations, and draws pastoral, quiet joy with the help of soft, dance sounds.
The most famous choir "Alleluia" strikes with grandeur and solemnity. By tradition, the whole hall stands up when the musicians perform this part.
It is said that when Handel was composing The Messiah, he was often found crying at the table, how much the composer was fascinated by the beauty of the music that came out from under his pen.

The first performance of the oratorio took place in Dublin on 13 April 1742. The composer donated all the income from the concert to shelters and a hospital for the poor. And even the first edition and copies from it bequeathed to the shelter "with the right to use as much as necessary for the needs of the Society." When the success of the oratorio became strong, Handel began to give annual concerts for the benefit of the poor and always conducted himself, despite the blindness of the last days of his life.
What prompted the little-religious composer, constantly short of funds, to such actions? Maybe a belief in the high purpose of art?
Handel said to a nobleman after the first performance of Messiah in London: “I would be annoyed, my lord, if I gave people only pleasure; my goal is to make them the best"

Later, writers would reward Handel with the sublime epithet - "the creator of the Messiah", and for many generations "Messiah" will be synonymous with Handel.

This musical and literary composition tells about the crisis moments of the composer's life, a happy exit from them and how Handel created his brilliant work "Messiah", which revived his fame and immortalized his name for posterity. Genuine events are interpreted and artistically revealed in Zweig's characteristic language and story with a clear composition, intense action and drama of an unusual plot.
In his novella Resurrection of Georg Friedrich Handel, Stefan Zweig relates:
“For four months Handel could not create, and creativity was his life. The right side of the body was dead. He couldn't walk, he couldn't write, he couldn't play a single sound on the cembalo with the fingers of his right hand. Handel could not speak. The giant, he felt helpless, walled up in an invisible grave. “We may be able to save a person,” the doctor stated doomedly, “but, alas, we cannot return the musician.”

Cast: soprano, alto, tenor, bass, choir, orchestra.

History of creation

Music

A. Koenigsberg

The famous "Messiah" ("Messiah" means "Savior") was created in the midst of the composer's violent clash with the London "tops". Therefore, this work was first performed under the direction of the author in Dublin (Ireland), which sheltered Handel, in 1742. "Messiah" could be called a huge heroic praise. This "Life of a Hero" of the 18th century is compositionally embodied in the form of a musical triptych, similar to those that Renaissance masters wrote on religious motifs: I. Birth, childhood (the first nineteen numbers); II. Feat (twenty-three numbers); III. Triumph (nine numbers). The oratorio was written for a choir, an orchestra and four soloists (singing voices).

The plot of the "Messiah" (libretto by Charles Jennens and Handel himself based on biblical texts) is essentially the same as in the "Passion of the Christ" (" Passions"), but its interpretation is not at all the same. And here the events are not shown and almost not told, and the images of the oratorio are in relation to them only on a certain tangent line: it is rather a cycle of lyrical-epic songs-hymns born by the hero's feat, a reflection of the legend in the popular consciousness. Handel's Messiah bears little resemblance to the modest and humble passion-bearer from the German Passions. On the contrary, this figure is powerful, even warlike, rather reminiscent of the hyperbolic images of Rubens or Michelangelo. In addition, he is so merged with the masses of the people, dissolved in it, that in fact (that is, in music) it is not so much he, but the people themselves become their own messiah! No wonder the solo part of Jesus is absent in the oratorio. Deeply folk choirs (twenty-one of the fifty-two numbers of the whole composition) make up its main musical content and, like a massive colonnade, support a huge building.

The Messiah orchestra does not differ in the timbre variety and play of colors that are characteristic of Handel's palette in purely instrumental and some synthetic genres (Concerti grossi, Julius Caesar, oratorios L "Allegro" and others). Nowadays, "Messiah" usually published and performed in Mozart's arrangement. Highly artistic in itself, it deviates in some respects from the original. Mozart retained all parts of the singing voices and string instruments unchanged, except for additional violins and violas. As for the "obligate" wind and so-called accompanying (organ, clavier, lutes, harps), then here the changes and additions made by Mozart are great.In some places he developed the accompanying voices into obligate parts, and re-instrumented obligate ones, introducing, for example, instead of oboes flutes and clarinets.In some places, separate short melodic phrases deployed in extended constructions, and delightful counterpoints of a purely Mozartian style are added to them.Arrangements of Handel's oratorios - "Acis and Galatea", "Messiahs", "Alexander's Feasts", "Odes of Cecilia" - were made by Mozart in 1788-1790.

The E-minor overture to Messiah in the style of an operatic “symphony” of the time (massive Grave and fugue Allegro) is gloomy, but extremely energetic and conjures up the image of some kind of majestic dance rather than a threshold to religious contemplation of the “passion of the Lord” . The first nine vocal numbers - thrice alternating and thematically interconnected recitatives, arias and choirs - are written as a kind of cyclic narrative introduction. The intonations here indeed are epic-thoughtful, the rhythmic pattern is almost even and calm throughout, the movement of the melody is most often leisurely, sedate. Only at times does this epic expanse explode with a storm of sounds that foreshadow a future tragedy. As if from the depths of centuries, archaic voices are heard - speeches about some important events, and the first E-major recitative (consolation for the "suffering and burdened") of a completely pre-Beethoven type pointedly prophesies the imminent end of unrighteous power. Then, in the very middle of the movement, the clear major sphere is clouded over in B minor (recitative and aria, Nos. 10-11), and, like echoes of hoary antiquity, the majestic images of an ancient legend emerge: a people wandering in darkness sees a bright light ahead, and the light gives rise to great hope in his soul.

The "golden childhood" of the hero is in the form of a whole pastoral cycle in the spirit of the ideals of the "Arcade Academy" (When Handel was in Italy, he participated in Arcadia with Corelli, Marcello and Al. Scarlatti. The similarity of the Pastoral Symphony from Messiah cited here with the finale of Corelli's Christmas Concerto (Angelus) is indeed striking.):

Handel follows the naive-poetic tradition of the Renaissance and, just like in Correggio's "Holy Night", the angels of heaven flock to the manger, overshadowing the peaceful shepherd's idyll with their wings:

They sing the traditional Christmas "Gloria in excelsis" ("Glory in the highest").

If this first part of the oratorio is still close in plot to the biblical source, however, already rethought in terms of folk action, then in the second - the religious legend is gradually obscured by motives of a completely different, civil nature. Here lies the tragic grain of the whole work and its dramatic culmination - the torture, suffering and martyrdom of the hero. Musical images are immersed in a dark "Rembrandtian" color (an array of minor choirs: g-moll, f-moll, f-moll - and solo numbers: b-moll, c-moll, h-moll, e-moll, d-moll, g-moll, e-moll, a-moll). At times, their pathetic melody is fettered by pointed rhythmic ostinatos. Before us are the figures of the enemies of truth - tyrants, unrighteous judges, executioners, detractors with ridicule and sophism on their lips (I recall Titian's "Denarius of Caesar"!), episodes of their intrigues, torture, wild demons. There can hardly be any doubt that it was not in the depths of millennia that Handel directed his “iron verse, drenched in bitterness and anger” here. But perhaps the most remarkable thing is that it is precisely in this climactic phase of the tragedy that there are no detailed images of either the pains of the cross, or the funeral rite, or the mother's weeping at the foot of the cross, or the "tears and sighs" of the Magdalene. Only a small fifteen-bar arioso in e-moll “Look, look and tell me: who knew suffering worse?” - somewhat closer to the image of "Pieta" (“Compassion” was the name given to the artistic images of maternal grief.). However, this arioso is also characterized by a noble measure of expression and restraint of intonation:

Music does not open the tragic panorama of "passions". Only the echoes of events seem to reach us, lyrically refracted in the feelings of the masses. Apparently, the composer consciously avoided here a long stay in a condensed-passive sphere.

Characteristically, Goethe, who was a great admirer of the "Messiah", strongly condemned the excessive tenderness and sentimentality in the performance of this work. “Weakness is a characteristic feature of our age!” he lamented over this in Weimar in 1829. In addition, no matter how often the archaic biblical texts repeat the name of the Messiah, Handel's music, powerful and imperious, covers them with its emotionally truthful beauty. Enormous folk choirs rise above the tragedy of the individual and shoot it in their broad and irresistibly striving movement. Even the most gloomily mournful among them, such as, for example, the g-moll "choir" Prayer for the Cup, "breathe with some kind of inescapable fanatical power (see also chorus fugue in f minor, no. 23):

The composition of "Messiah" is based on the deployment of changing contrasting images in close-up. The idyllic epic of the first part is opposed by the high tragedy of the second, its dramatic antitheses, in turn, are resolved by the radiant apotheosis of the finale. Accordingly, the beginning of the oratorio is more picturesque, the lyrics of mournful pathos and conflicts of passions are concentrated in the center of a large cycle, and its song-dances and processions of a triumphal celebration complete it. Such is the dramaturgy of the individual parts. The Christmas pastoral arises from the sinful darkness and wanderings of the human race. In the midst of giant choirs thundering with stern pathos and indignation, the messengers of peace appear to the people in a short G-minor Sicilian. But the symbols of peace also call for struggle and victory.

The closer to the end of the oratorio, the more the New Testament text loses its expressive and semantic meaning. The militant, figurative choir in C major is conceived according to the libretto as a wild cry of pagans rebelling against Christ:

Break the chains, break, brothers!
The hour has long struck!
And throw away
Slave yoke!

Then it is said how the celestial laughed at these "princes of the world" and "struck them and scattered them with his scepter." But biblical broadcasts are drowned in mighty streams of music, literally seething with the pathos of indignation and protest. "Tear the chains, tear, brothers!" is the battle cry of the rising masses. Then the struggle is crowned with victory. The general culmination of the entire oratorio, which concludes the second part of the Messiah, is the grandiose song of glory Hallelujah (D-dur) - the direct predecessor of the D-dur finale of Beethoven's Ninth Symphony. It heralds the denouement of the tragedy and the triumph of the victorious people. It is characteristic that before greatness and by the dazzling light of this music in its homeland, in England, and to this day audiences rise from their seats to listen to it standing - not only thousands of ordinary people, but also statesmen, prelates of the church, even monarchs.Handel organically merged traditions and techniques stemming from Purcell's Anthems and from German democratic songwriting on a revolutionary theme.In the powerful unisons of the "Hallelujah" the old Protestant folk chant passes meaningfully: "Wachet aut, ruft uns die Stimme!" (“Wake up, the voice is calling us!”).

Twenty years later, Gluck defined the task of music - to complete the poetic images of a verbal text. For that time, this was “the great word of the great artist” (A. N. Serov). But Handel lived in completely different historical conditions, and they often prompted him, on the contrary, to suppress the meaning of the verbal text with the power of his music.

The religious fragments that make up the libretto of the third part of "Messiah" are pious praise to providence, thanksgiving to heaven. But in Handel's interpretation, the finale of the oratorio is rather a folk festival of freedom and victory over the enemy, "some colossal, boundless triumph of an entire people" (V. V. Stasov). Life-affirming hymns loudly challenge darkness, grief and death itself, and the famous E-major Larghetto aria - “I know my savior lives!” - not a prayer. It contains too much oratorical pathos, intellectualism, and perhaps even the austere beauty of Beethoven's minuets.

The Gospel Messiah, no matter how imposingly written his image, is born, suffers and dies. But the people were before him and remain after him. In this emancipation of the image of the people from the religious legend lies the deep philosophical meaning of the work, the beauty of which has survived the centuries and will forever be preserved in the artistic treasury of mankind.

K. Rosenshield