Who, in 1846, composed the oratorio Elijah?
"Herbert Howells amongst others. Settings composed for the English text include John Clarke-Whitfeld, Charles Villiers Stanford and Henry Walford Davies. Hungarian composer Zoltán Kodály composed his Geneva Ps CXXI (mixed chorus a cappella) for the Hungarian translation. Felix Mendelssohn composed the famous Hebe deine Auge auf (looks up), which was originally a trio of his oratorio Elijah (op. 70, 1846). Heinrich Schütz created a version for four voices and basso continuo (SWV 31). A setting by William McKie was sung at the funeral of Queen Elizabeth The Queen Mother in 2002. Israeli Hasidic singer-songwriter Yosef Karduner composed a popular Hebrew"
"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"
"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"
"Joshua (Handel) Joshua (HWV 64) is an oratorio by George Frideric Handel. It was composed in a month, between 19 July 1747 and 19 August 1747, six months before the beginning of the oratorio season, and is Handel's fourth oratorio based on a libretto by Thomas Morell. The oratorio premiered on 9 March 1748 at the Covent Garden Theatre, London. "" Joshua"" is based on the Biblical story of Joshua as the leader of the Children of Israel. The story follows the Israelites from their passage over the Jordan River into Caanan and through the Battle of Jericho. The work"
"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"
"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"
"harmony and composition. About 1818 Perry became leader of the orchestra at the Theatre Royal, Norwich, then an institution enjoying a high reputation. Perry wrote an oratorio, ""The Death of Abel"" (text by George Bennett of the Norwich Theatre), which was first performed in Norwich, and afterwards repeated by the Sacred Harmonic Society in 1841 and 1845. Shortly after his appointment to the theatre he wrote another oratorio, ""Elijah and the Priests of Baal"", to a text by James Plumptre, which was first performed in Norwich on 12 March 1819. About 1822 Perry was appointed musical director of the Haymarket"
"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"
"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"
"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"
"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"
"time in many years a singer from this city was chosen to appear as soloist at the regular concerts. During the Louisiana Purchase Exposition she was engaged by the Scranton Oratorio Society of Scranton, Pennsylvania, to sing the soprano role in Felix Mendelssohn's Oratorio, ""Elijah"", at the concert given by them in Festival Hall in 1904. Epstein was the only St. Louis singer engaged for the concerts given during the fair, most of them coming from Chicago and New York. The soprano role in ""Elijah"" was a difficult one, which she rendered amazingly well. Many unique programmes were rendered by"
"be of a fine quality, though they were had mixed opinions of the singing of Mr Braham. Maria Malibran, the great French singer, appeared at the festival of 1836 having been injured in a fall from her horse in July which led to her death on 23 September. Though buried in the Collegiate Church she was afterwards exhumed and reburied at Brussels. A medallion of her was sculpted by William Bally which was presented to the Henry Watson Music Library. Felix Mendelssohn conducted a performance of his oratorio ""Elijah"" in the Free Trade Hall, Manchester, in 1847. In 1848 Frédéric"
"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"
"was devastated by the premature death of Mendelssohn in November 1847. She did not at first feel able to sing the soprano part in ""Elijah"", which he had written for her. She finally did so at a performance in London's Exeter Hall in late 1848, which raised £1,000 to fund a musical scholarship as a memorial to him; it was her first appearance in oratorio. The original intention had been to found a school of music in Mendelssohn's name in Leipzig, but there was not enough support in Leipzig, and with the help of Sir George Smart, Julius Benedict and"
"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"
"statement ""and His burden is light"". 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"
"The Dream of Gerontius The Dream of Gerontius, Op. 38, is a work for voices and orchestra in two parts composed by Edward Elgar in 1900, to text from the poem by John Henry Newman. It relates the journey of a pious man's soul from his deathbed to his judgment before God and settling into Purgatory. Elgar disapproved of the use of the term ""oratorio"" for the work (and the term occurs nowhere in the score), though his wishes are not always followed. The piece is widely regarded as Elgar's finest choral work, and some consider it his masterpiece. The"
"""Boruch Habo"") are included in a recording of Music of the Victorian Synagogue by the London Jewish Male Choir and The Old Synagogue Singers. Julius Mombach Julius (Israel Lazarus) Mombach (1813 – February 1880) was a 19th-century English synagogue composer. His compositions started from the traditional modes of synagogue music, but extended to include German and English folk song and contemporary classical themes. His style was influenced by Mendelssohn, and it is noteworthy that motifs from Elijah appear in a number of his pieces. Mombach was born in Pfungstadt, Germany in 1813, the son of a cantor. Pfungstadt is a"
"Andrew Black (baritone) Andrew Black (15 January 1859, Glasgow – 1920, Sydney) was a Scottish baritone who was primarily known for his performances in oratorios and other works from the concert repertoire. He was particularly admired for his performances of Felix Mendelssohn's ""Elijah"" which he first performed at the Birmingham Triennial Music Festival in 1894. He made several recordings for His Master's Voice in London from 1901-1906 which are chronicled in volume one of ""The Record of Singing"". Black began his career as a church organist with the United Presbyterian Church in Glasgow. He then studied singing with Alberto Randegger"
"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"
"sang the soprano solo music at the first performance of Beethoven's Ninth Symphony in England on 21 March 1826 and, in the same year, took part in the York festival and was at Gloucester. In 1827 she performed at the Leicester and Worcester festivals. In 1834, she sang in the Handel festival in Westminster Abbey, in 1836 at the Winchester festival with Maria Malibran, and in 1846 she took part in Felix Mendelssohn's ""Elijah"" at a production given at the Birmingham festival. In the final phase of her career, she abandoned the stage for oratorio and concert singing, in which"
"In February 1848 he sang Handel's ""Judas Maccabaeus"", at Exeter Hall for John Hullah, ""Acis and Galatea"" in March and ""Jephtha"" in April and May. He was, meanwhile establishing himself as the leading ballad-singer in England. In September 1848 at the Worcester festival he took a solo in ""Elijah"", and sang in Beethoven's ""Christ on the Mount of Olives"", and packed the hall in a recital of ""Oberon"". At the Norwich Festival he was sensational in ""Elijah"" and ""Israel in Egypt"". After his November appearance at the Sacred Harmonic Society in ""Judas Maccabaeus"", a critic wrote, 'the mantle of Braham"
"Chandos labels respectively. Notes References 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,"
"1828, Enoch Binom Elias (Enoch Eliasson) from Darmstadt was appointed cantor at the Great Synagogue, Duke's Place, London. A condition of his appointment as cantor was that he should bring a boy accompanist (or meshorrer) with him. The cantor traditionally sang in a trio with a meshorrer and a bass. In 1827, Mombach would have been 14, and it is unknown whether his voice had broken; in practice this was not a major issue, as the meshorrer could be either a treble or a tenor. Within two years, Elias had caught a chill which damaged his voice. In 1829, he"
"Occasional Oratorio An Occasional Oratorio (HWV 62) is an oratorio by George Frideric Handel, based upon a libretto by Newburgh Hamilton after the poetry of John Milton and Edmund Spenser. The work was written in the midst of the Jacobite rising of 1745–1746, the attempt to overthrow Handel's patrons the Hanoverian monarchy under George II and replace them with a Stuart restoration under Charles Edward Stuart, ""Bonnie Prince Charlie"".The ""Occasional Oratorio"" is unique among Handel's works which he labelled ""oratorio"" in that it does not tell a story or contain elements of a drama, but was intended as a defiant"
"Royal Northern College of Music in 1893. Andrew Black (baritone) Andrew Black (15 January 1859, Glasgow – 1920, Sydney) was a Scottish baritone who was primarily known for his performances in oratorios and other works from the concert repertoire. He was particularly admired for his performances of Felix Mendelssohn's ""Elijah"" which he first performed at the Birmingham Triennial Music Festival in 1894. He made several recordings for His Master's Voice in London from 1901-1906 which are chronicled in volume one of ""The Record of Singing"". Black began his career as a church organist with the United Presbyterian Church in Glasgow."
"Messiah Part III Messiah (HWV 56), the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts. This listing covers Part III 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 as a scene from the Gospel of Luke, and reflects the Messiah's deeds on Earth. Part II covers the Passion, death, resurrection, ascension, and the later spreading of the Gospel. Part III concentrates on Paul's teaching of the"
"Die Zerstörung Jerusalems (oratorio) Die Zerstörung Jerusalems (German: ""The Destruction of Jerusalem""), (Op. 24), is an 1840 oratorio by Ferdinand Hiller to a libretto by Salomon Steinheim largely based on biblical texts from the Book of Jeremiah and the Psalms. The oratorio deals with the siege of Jerusalem by Nebuchadnezzar II in 587 BC. There are solo roles for the prophet Jeremiah (baritone), King Zedekiah (tenor), and for the non-historical characters of Chamital, Zedekiah's mother (soprano), Achicam, a pious Jew (tenor), and Hanna, Achicam's sister (mezzo-soprano). Steinheim's libretto is largely based on Martin Luther's translation of the Bible into German."
"St. Paul (oratorio) St. Paul (in German Paulus), Op. 36, is an oratorio by Felix Mendelssohn. The libretto was begun in 1832 by the composer with pastor , a childhood friend, pulling together passages from the New Testament (chiefly the Acts of the Apostles) and Old Testament. It also features chorales or hymn settings after Bach's model. Composition of the music began in 1834, and the work was premiered on 22 May 1836 (having been completed in April of that year) at the Lower Rhenish Music Festival in Düsseldorf. The English premiere was in Liverpool on 3 October 1836 in"
"Gregor Meyer, Choir of Leipzig Gewandhaus. Notes Sources Die Zerstörung Jerusalems (oratorio) Die Zerstörung Jerusalems (German: ""The Destruction of Jerusalem""), (Op. 24), is an 1840 oratorio by Ferdinand Hiller to a libretto by Salomon Steinheim largely based on biblical texts from the Book of Jeremiah and the Psalms. The oratorio deals with the siege of Jerusalem by Nebuchadnezzar II in 587 BC. There are solo roles for the prophet Jeremiah (baritone), King Zedekiah (tenor), and for the non-historical characters of Chamital, Zedekiah's mother (soprano), Achicam, a pious Jew (tenor), and Hanna, Achicam's sister (mezzo-soprano). Steinheim's libretto is largely based on"
"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"
"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"