"never went out of fashion in England. Mendelssohn prepared a scholarly edition of some of Handel's oratorios for publication in London. ""Elijah"" is modelled on the oratorios of these two Baroque masters; however, in its lyricism and use of orchestral and choral colour the style clearly reflects Mendelssohn's own genius as an early Romantic composer. The work is scored for four vocal soloists (bass-baritone, tenor, alto, soprano), full symphony orchestra including trombones, ophicleide, organ, and a large chorus singing usually in four, but occasionally eight parts. The title role is for bass-baritone and was sung at the premiere by the"
"deep impression on British musical life. Not only did he compose and perform, but he also edited for British publishers the first critical editions of oratorios of Handel and of the organ music of J. S. Bach. Scotland inspired two of his most famous works, the overture ""Fingal's Cave"" (also known as the ""Hebrides Overture"") and the ""Scottish Symphony"" (Symphony No. 3). His oratorio ""Elijah"" was premièred in Birmingham at the Triennial Music Festival on August 26, 1846. On his last visit to England in 1847 he was the soloist in Beethoven's Piano Concerto No. 4 and conducted his own"
"the theatre where his Italian operas were being presented. However the Bishop of London would not permit a drama based on a Biblical story to be acted out on the stage, and therefore Handel presented ""Esther"" in concert form, thus giving birth to the English oratorio. ""Esther"" in its revised form proved a popular work, and Handel, though still continuing to focus on composition of Italian operas, followed ""Esther"" with two more sacred dramas with English words to be presented in concert form, ""Deborah"", and ""Athalia"" (which, like ""Esther"", was also based on a Biblical drama by Racine), both in"
"Cantata Singers’ groundbreaking performances of the Brahms ""Requiem"", Beethoven's ""Missa Solemnis"", and the Verdi ""Requiem"", Cantata Singers will present a free performance of another choral icon, Felix Mendelssohn's ""Elijah"", in the original German. ""Elijah"" is one of the few choral-orchestral icons of the classical canon that Cantata Singers has never tackled in its 50-year history. “Mendelssohn’s efforts to present and promote J.S. Bach’s music are credited for reviving Bach’s reputation and popularity in the 19th century. It was Mendelssohn who presented the first performance of the ""St. Matthew Passion"" after Bach’s death” said Music Director David Hoose. “""Elijah"" is a"
"Henry Farmer Henry Farmer (13 May 1819 – 25 June 1891) was an organist and composer based in Nottingham. He was born in Nottingham, the third son of Mr. John Farmer. He was self-taught as a musician, but undertook some study in harmony with Sir Henry Bishop. He played violin in the orchestra when Felix Mendelssohn conducted his oratorio ""Elijah"" was premiered in Birmingham at the Triennial Music Festival on 26 August 1846. He was organist of High Pavement Chapel in Nottingham from 1839 to 1879, and he was conductor of the Nottingham Harmonic Society from 1866 to 1880. He"
"Structure of Handel's Messiah Messiah (HWV 56), the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts, listed here in tables for their musical setting and biblical sources. The libretto by Charles Jennens is drawn from the Bible: mostly from the Old Testament of the King James Bible, but with several psalms taken from the Book of Common Prayer. Regarding the text, Jennens commented: ""...the Subject excells every other Subject. The Subject is Messiah ..."". ""Messiah"" differs from Handel's other oratorios in that it does not contain an encompassing narrative, instead offering contemplation on different"
"recitative, aria and chorus. When Handel composed ""Messiah"" in London, he was already a successful and experienced composer of Italian operas. He had started in 1713 to also compose sacred music on English texts, such as the ""Utrecht Te Deum and Jubilate"". He set many oratorios on English libretti. In ""Messiah"" he used practically the same musical means as for those works, namely a structure based on chorus and solo singing. Only a few movements are a duet or a combination of solo and chorus. The solos are typically a combination of recitative and aria. The arias are called Air"
"the oratorios ""Judith"" (1732) and ""Joseph"" (1746), as well as chamber duets, solo and trio sonatas, concertos and part songs. Both oratorios were thought lost until 1980 when a copy of a manuscript of ""Joseph"" was found in London's Royal Academy of Music. De Fesch's music was influenced by the Italians, particularly Vivaldi, as well as Handel. Willem de Fesch Willem de Fesch (, 1687, Alkmaar – 3 January 1761) was a virtuoso Dutch violone player and composer. The pupil of Karel Rosier, who was a Vice-Kapellmeister at Bonn, de Fesch later married his daughter, Maria Anna Rosier. De Fesch"
"Felix Mendelssohn Jakob Ludwig Felix Mendelssohn Bartholdy (3 February 1809 4 November 1847), born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early romantic period. Mendelssohn wrote symphonies, concertos, oratorios, piano music and chamber music. His best-known works include his Overture and incidental music for ""A Midsummer Night's Dream"", the ""Italian Symphony"", the ""Scottish Symphony"", the overture ""The Hebrides"", his mature Violin Concerto, and his String Octet. His ""Songs Without Words"" are his most famous solo piano compositions. After a long period of relative denigration due to changing musical tastes and antisemitism"
"Emilio Villa Emilio Villa (Milan, 21 September 1914 – Rieti, 14 January 2003) was an Italian poet, visual artist, translator, art critic and Bible scholar. His poems reflected his knowledge of modern and ancient languages, including Italian, French, English, Latin, Greek, Sumerian, and Akkadian. Most of Villa's writing were printed by small publishing houses throughout Italy, and many are unavailable today. He translated the Babylonian creation epic, ""Enuma Elis"", Homer's ""Odyssey"", and several books of the Hebrew Scriptures, including the first five books of Moses (Pentateuch), Job, Proverbs, and Song of Songs. In 1950, Villa moved to Brazil, where he"
"Jean-Baptiste Lully choruses, which he conducted until 1977, and with which he gave the great works of the sacred repertoire, from Roland de Lassus to Olivier Messiaen, with the collaboration of international soloists such as Maria Stader, Aldo Ciccolini, Jacques Villisech, Yvonne Loriod, Yi-Kwei Sze, Elizabeth Harwood, Rita Streich. The main Parisian orchestras participated in these concerts. One example is the complete creation in France of the oratorio ""Elijah"" by Mendelssohn in the presence of a descendant of the German composer. Only excerpts had previously been given, mainly by the 19th century Orchestre de la Société des concerts du Conservatoire."
"solemn ""Hallelujah"". Messiah Part II Messiah (HWV 56), the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts. This listing covers Part II in a table and comments on individual movements, reflecting the relation of the musical setting to the text. Part I begins with the prophecy of the Messiah and his birth, shows the annunciation to the shepherds and reflects the Messiah's deeds on earth. Part II covers the Passion in nine movements including the oratorio's longest movement, an air for alto He was despised, then mentions death, resurrection, ascension, and reflects the spreading"
"edition, the Novello numbers are given in parentheses. Structure of Handel's Messiah Messiah (HWV 56), the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts, listed here in tables for their musical setting and biblical sources. The libretto by Charles Jennens is drawn from the Bible: mostly from the Old Testament of the King James Bible, but with several psalms taken from the Book of Common Prayer. Regarding the text, Jennens commented: ""...the Subject excells every other Subject. The Subject is Messiah ..."". ""Messiah"" differs from Handel's other oratorios in that it does not contain"
"Conservatory in Philadelphia. There he composed two oratorios, ""Jerusalem in Affliction"" and ""Daughter of Zion"", which had their premieres in Philadelphia in 1828 and 1829 respectively. A comprehensive history of the oratorio form describes them as ""[p]resumably the earliest oratorios composed in America"". Trajetta continued to give music lessons at the conservatory and to direct musical performances until his death. Trajetta died in Philadelphia on January 9, 1854, and was buried in the Odd Fellows Burial Ground. Philip Trajetta Philip Trajetta (Filippo Traetta) (January 8, 1777 – January 9, 1854) was an Italian-born American composer and music teacher. The son"
"Samson (Handel) Samson (HWV 57) is a three-act oratorio by George Frideric Handel, considered one of his finest dramatic works. It is usually performed as an oratorio in concert form, but on occasions has also been staged as an opera. The well-known arias ""Let the bright Seraphim"" (for soprano) and ""Total eclipse"" (for tenor) are often performed separately in concert. The German-born Handel had been resident in London since 1712 and had there enjoyed great success as a composer of Italian operas. His opportunities to set English texts to music had been more limited; he had spent the years 1717"
"story to be acted out on the stage, and therefore Handel presented ""Esther"" in concert form, thus giving birth to the English oratorio. ""Esther"" in its revised form proved a popular work, and Handel, though still continuing to focus on composition of Italian operas, followed ""Esther"" with two more sacred dramas with English words to be presented in concert form, ""Deborah"", and ""Athalia"" (which, like ""Esther"", was also based on a Biblical drama by Racine), both in 1733. By 1738, Handel was experiencing some difficulty in maintaining support for his Italian opera seasons in London and he collaborated for the"
"Elijah Benamozegh Elijah Benamozegh, sometimes Elia or Eliyahu, (born 1822; died 6 February 1900) was an Italian rabbi and a noted Kabbalist, highly respected in his day as one of Italy's most eminent Jewish scholars. He served for half a century as rabbi of the important Jewish community of Livorno, where the Piazza Benamozegh now commemorates his name and distinction. His major work is ""Israel and Humanity"" (1863), which was translated into English by Dr. Mordechai Luria in 1995. He was born at Livorno. His father (Abraham) and mother (Clara), Maghrebi Jewish natives of Fez, Morocco, died when Elijah was"
"due to ill health. He died in Bologna in 1695. Colonna's pupils included the cellist-composers Giovanni Bononcini and Antonio Maria Bononcini. Most of Colonna's works are for the church, including settings of the psalms for three, four, five and eight voices, and various masses and motets. He also composed an opera, ""Amilcare"". He was an important composer of oratorios, eight of which have survived, including ""La Profezia d'Eliseo"". Emperor Leopold I received a copy of every sacred composition of Colonna, and the Austrian National Library now possesses 83 such works. His writing takes into account the resonant acoustics of S."
"Messiah (Handel) Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the Coverdale Psalter, the version of the ""Psalms"" included with the ""Book of Common Prayer"". It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. Handel's reputation in England, where he had lived since"
"by at least 35 composers from 1730–90. In Germany the middle baroque oratorios moved from the early-baroque ""Historia"" style Christmas and Resurrection settings of Heinrich Schütz, to the Passions of J. S. Bach, oratorio-passions such as ""Der Tod Jesu"" set by Telemann and Carl Heinrich Graun. After Telemann came the galante oratorio style of C. P. E. Bach. The Georgian era saw a German-born monarch and German-born composer define the English oratorio. George Frideric Handel, most famous today for his ""Messiah"" (1741), also wrote other oratorios based on themes from Greek and Roman mythology and Biblical topics. He is also"
"summer of 1844, he conducted five of the Philharmonic concerts in London, and wrote: ""[N]ever before was anything like this season – we never went to bed before half-past one, every hour of every day was filled with engagements three weeks beforehand, and I got through more music in two months than in all the rest of the year."" (Letter to Rebecka Mendelssohn Bartholdy, Soden, 22 July 1844). On subsequent visits Mendelssohn met Queen Victoria and her husband Prince Albert, himself a composer, who both greatly admired his music. Mendelssohn's oratorio ""Elijah"" was commissioned by the Birmingham Triennial Music Festival"
"Messiah Part I Messiah (HWV 56), the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts. The wordbook (also called libretto or text) was supplied by Charles Jennens. This article covers Part I and describes the relation of the musical setting to the text. Part I begins with the prophecy of the Messiah and his virgin birth by several prophets, namely Isaiah. His birth is still rendered in words by Isaiah, followed by the annunciation to the shepherds as the only scene from a Gospel in the oratorio, and reflections on the Messiah's deeds. Part"
"taking part in performances of his Magnificat with one voice per part. Independent instrumental accompaniment opened up new possibilities for choral music. Verse anthems alternated accompanied solos with choral sections; the best-known composers of this genre were Orlando Gibbons and Henry Purcell. Grands motets (such as those of Lully and Delalande) separated these sections into separate movements. Oratorio, pioneered by Giacomo Carissimi, extended this concept into concert-length works, usually loosely based on Biblical stories. The pinnacle of the oratorio is found in George Frideric Handel's works, notably ""Messiah"" and ""Israel in Egypt"". While the modern chorus of hundreds had to"
"Italian Concerto (Bach) The Italian Concerto, BWV 971, originally titled Concerto nach Italienischen Gusto (Concerto in the Italian taste), is a three-movement concerto for two-manual harpsichord solo composed by Johann Sebastian Bach and published in 1735 as the first half of Clavier-Übung II (the second half being the ""French Overture""). The ""Italian Concerto"" has become popular among Bach's keyboard works, and has been widely recorded both on the harpsichord and the piano. An Italian concerto relies upon the contrasting roles of different groups of instruments in an ensemble; Bach imitates this effect by creating contrasts using the ""forte"" and ""piano"""
"Messiah Part II Messiah (HWV 56), the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts. This listing covers Part II in a table and comments on individual movements, reflecting the relation of the musical setting to the text. Part I begins with the prophecy of the Messiah and his birth, shows the annunciation to the shepherds and reflects the Messiah's deeds on earth. Part II covers the Passion in nine movements including the oratorio's longest movement, an air for alto He was despised, then mentions death, resurrection, ascension, and reflects the spreading of the"
"Italienisches Liederbuch (Wolf) Italienisches Liederbuch (English: Italian songbook) is a collection of 46 Lieder (songs for voice and piano) by Hugo Wolf (18601903). The first 22 songs (Book 1) were composed between September 1890 and December 1891, and published in 1892. The other 24 songs (Book 2) were composed between March and August 1896, and published the same year. The time lag between the two volumes was caused by Wolf's long-proposed opera, ""Der Corregidor"" (1895), which might have been inspired by his personal love triangle with his friend’s wife Melanie Köchert. The 46 lyrics of the songs were taken from"
"Elijah Oratorio, as a highlight of his season. His guest conducting appearances included orchestras like Concertgebouw Orchestra, La Scala, London Symphony Orchestra, Royal Philharmonic Orchestra, Rotterdam Philharmonic, Stuttgart Radio Orchestra, La Fenice, Detroit Symphony and Teatro Colón. Mintz gives master classes worldwide, including Crans-Montana Classics, Switzerland, since summer 2012, where he is the Artistic Director. He was one of the founders of the Keshet Eilon International Violin Mastercourse in Israel, an advanced-level summer program for young talented violinists from all around the world in Kibbutz Eilon, Israel, and served as a patron there for eighteen years (1992-2010). Mintz is one"
"Handel's participation and had proved popular, so Handel revised the work and planned to present it at the theatre where his Italian operas were being presented. However the Bishop of London would not permit a drama based on a Biblical story to be acted out on the stage, and therefore Handel presented ""Esther"" in concert form, thus giving birth to the English oratorio. Such was the success of his oratorios in English that eventually Handel abandoned Italian opera, his last being Deidamia in 1741, and produced a string of masterpieces of oratorio in English. Opera seria, the form of Italian"
"Elegy (Corigliano) Elegy is an orchestral composition by the American composer John Corigliano. It was first performed by the San Francisco Symphony under the direction Verne Sellin at the War Memorial Opera House on June 1, 1966. The piece is dedicated to the composer Samuel Barber. ""Elegy"" is composed in a single movement and has a duration of roughly 7 minutes. The work is based on an incidental score Corigliano wrote for an Off-Broadway production of Wallace Frey's play ""Helen""; the music is specifically derived from a love scene between the titular character Helen of Troy and her young lover"
"in 1847, the year of Mendelssohn's death. The libretto was eventually set by Fromental Halévy. At his death Mendelssohn left some sketches for an opera on the story of the Lorelei. Mendelssohn's two large biblical oratorios, ""St Paul"" in 1836 and ""Elijah"" in 1846, are greatly influenced by J. S. Bach. The surviving fragments of an unfinished oratorio, ""Christus"", consist of a recitative, a chorus ""There Shall a Star Come out of Jacob"", and a male voice trio. Strikingly different is the more overtly romantic ""Die erste Walpurgisnacht"" (""The First Walpurgis Night""), a setting for chorus and orchestra of a"
"shortening the overture and cutting repeats. Ezio was sung by Gaetano Guadagni, Valentiniano by Giovanni Toschi, Massimo by Giuseppe Tibaldi, and Fulvia by Rosa Tibaldi. The manuscript is now located at the Lobkowicz Palace in Prague, Czech Republic, where it can be viewed in the Beethoven Room. Ezio (Gluck) Ezio is a baroque opera in three acts composed by Christoph Willibald Gluck, staged in 1750 and revised in 1763. Metastasio's libretto for this opera had previously been set by a number of composers, including Nicola Porpora (1728) and Pietro Auletta (1728), Hasse (Naples, 1730; Dresden, 1755), Handel (London, 1732) and"
"costumes and scenes were an added attraction.) Nevertheless, King George II attended every performance but one. To music historian David Vickers, ""Ezio"" is ""one of Handel's finest serious operas."" The opera is scored for two recorders, two flutes, two oboes, two bassoons, trumpet, two horns, strings and continuo (cello, lute, harpsichord). Notes Sources Ezio (Handel) Ezio (""Aetius"", HWV 29) is an opera seria by George Frideric Handel to a libretto by Metastasio. Metastasio's libretto was partly inspired by Jean Racine's play ""Britannicus"". The same libretto had already been set by many other composers first of all Nicola Porpora who managed"
"Ottorino Respighi Ottorino Respighi (; 9 July 187918 April 1936) was an Italian violinist, composer and musicologist, best known for his trilogy of orchestral tone poems: ""Fountains of Rome"" (1916), ""Pines of Rome"" (1924), and ""Roman Festivals"" (1928). His musicological interest in 16th-, 17th- and 18th-century music led him to compose pieces based on the music of these periods. He also wrote several operas, the most famous being ""La fiamma"". Ottorino Respighi was born on 9 July 1879 in an apartment inside Palazzo Fantuzzi on Via Guido Reni in Bologna, Italy, into a musical family. His father, a local piano"