The 'Arrival of the Queen of Sheba' comes from which Handel oratorio?
"""Solomon"" and ""Susanna"" the previous year. ""Theodora"" would be his penultimate oratorio. ""Theodora"" differs from the former two oratorios because it is a tragedy, ending in the death of the heroine and her converted lover. It is also Handel's only dramatic oratorio in English on a Christian subject. Thomas Morell (1703–1784) had worked with Handel before on several oratorios. He and Handel were good friends; the composer left the librettist 200 pounds in his will. Morell's source for the libretto was ""The Martyrdom of Theodora and of Didymus"" (1687) by Robert Boyle, a prominent scientist and theologian. He also borrowed"
"Queen of Sheba"") featuring at the 2012 London Olympics opening ceremony. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and historically informed musical performance, interest in Handel's operas has grown. Handel was born in 1685 in Halle-upon-Saale, Duchy of Magdeburg (then part of Brandenburg-Prussia), to Georg Händel and Dorothea Taust. His father, aged sixty-three when George Frideric was born, was an eminent barber-surgeon who served the court of Saxe-Weissenfels and the Margraviate of Brandenburg. Georg Händel (1622–97) was the son of a coppersmith, Valentin Händel, who had"
"Theatre in London, where it had two further performances. Handel revived the work in 1759. The oratorio contains a short and lively instrumental passage for two oboes and strings in Act Three, known as ""The Arrival of the Queen of Sheba"", which has become famous outside the context of the complete work, and was featured at the 2012 London Olympics opening ceremony as James Bond (Daniel Craig) goes to meet the Queen at Buckingham Palace. 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"
"Deborah (Handel) Deborah (HWV 51) is an oratorio by George Frideric Handel. It was one of Handel's early oratorios in English and was based on a libretto by Samuel Humphreys. It received its premiere performance at the King's Theatre in London on 17 March 1733. The story of the oratorio takes place in a single day and is based on the Biblical stories found in 4 and 5 Judges. The Israelites have been subjugated for 20 years by the Canaanites, when the prophetess Deborah foretells the death of the Canaanite commander Sisera at the hands of a woman. The Israelite"
"Judas Maccabaeus (Handel) Judas Maccabaeus (HWV 63) is an oratorio in three acts composed in 1746 by George Frideric Handel based on a libretto written by Thomas Morell. The oratorio was devised as a compliment to the victorious Prince William Augustus, Duke of Cumberland upon his return from the Battle of Culloden (16 April 1746). Other catalogues of Handel's music have referred to the work as HG xxii; and HHA 1/24. Morell's libretto is based on the deuterocanonical or apocryphal book 1 Maccabees (2–8), with motives added from the ""Antiquitates Judaicae"" by Flavius Josephus. The events depicted in the oratorio"
"a hammer and drove nails through his skull. All acclaim her action and celebrate the nation's deliverance. Deborah (Handel) Deborah (HWV 51) is an oratorio by George Frideric Handel. It was one of Handel's early oratorios in English and was based on a libretto by Samuel Humphreys. It received its premiere performance at the King's Theatre in London on 17 March 1733. The story of the oratorio takes place in a single day and is based on the Biblical stories found in 4 and 5 Judges. The Israelites have been subjugated for 20 years by the Canaanites, when the prophetess"
"most prominent source for the libretto). The only true scene of the oratorio is the annunciation to the shepherds which is taken from the Gospel of Luke. The imagery of shepherd and lamb features prominently in many movements, for example: in the aria ""He shall feed His flock like a shepherd"" (the only extended piece to talk about the Messiah on earth), in the opening of Part II (""Behold the Lamb of God""), in the chorus ""All we like sheep"", and in the closing chorus of the work (""Worthy is the Lamb""). By the time Handel composed ""Messiah"" in London"
"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"
"Athalia (Handel) Athalia (HWV 52) is an English-language oratorio composed by George Frideric Handel to a libretto by Samuel Humphreys based on the play ""Athalie"" by Jean Racine. The work was commissioned in 1733 for the Publick Act in Oxford – a commencement ceremony of the local colleges, one of which had offered Handel an honorary doctorate (an honour he declined). The story is based on that of the Biblical queen Athaliah. ""Athalia"", Handel's third oratorio in English, was completed on 7 June 1733, and first performed on 10 July 1733 at the Sheldonian Theatre in Oxford. The ""Bee"" (14"
"To this day, an instrumental rendition of the chorus is played during award ceremonies at Japanese schools while recipients proceed to the stage to receive their awards. The following orchestration was recorded by Chrysander in the Händel-Gesellschaft edition of 1866: The following table summarises the movements of the oratorio. Citations Sources Judas Maccabaeus (Handel) Judas Maccabaeus (HWV 63) is an oratorio in three acts composed in 1746 by George Frideric Handel based on a libretto written by Thomas Morell. The oratorio was devised as a compliment to the victorious Prince William Augustus, Duke of Cumberland upon his return from the"
"of this world"" becoming ""the kingdom of our Lord"", as illustrated in Christ's Parable of The Sheep and the Goats (). Equally, Handel may simply have wanted a rousing conclusion to the anthem. The anthem opens with text adapted from Psalm 41 and the Book of Job ( and ). The famous ""Hallelujah"" chorus is derived from the Book of Revelation ( and ). Handel's fundraising concerts of both the ""Foundling Hospital Anthem"" and ""Messiah"" were highly successful, raising almost £7000 (equivalent to over £1 million in modern money) and his contribution is remembered today. The Foundling Hospital relocated in"
"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"
"and patriotic rallying piece. The Stuart armies, based in Scotland, had invaded England and got as far as Derby when the King's armies under the command of the King's son Prince William, Duke of Cumberland had driven them back to Scotland in December 1745. The fighting was at a hiatus due to winter weather and the Duke of Cumberland was in London in February 1746. Handel composed the Occasional Oratorio hastily in January and February 1746, ""borrowing"" and re-arranging some movements from previous compositions, and premiered it immediately on 14 February 1746 with Willem de Fesch, Élisabeth Duparc, Elisabetta de"
"Handel's part, combining solos with chorus in new ways. Its vivid characterisation through music contributed to its immense success at its premiere. Citations Sources Athalia (Handel) Athalia (HWV 52) is an English-language oratorio composed by George Frideric Handel to a libretto by Samuel Humphreys based on the play ""Athalie"" by Jean Racine. The work was commissioned in 1733 for the Publick Act in Oxford – a commencement ceremony of the local colleges, one of which had offered Handel an honorary doctorate (an honour he declined). The story is based on that of the Biblical queen Athaliah. ""Athalia"", Handel's third oratorio"
"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,"
"""La resurrezione"" in 1708 which uses material from the Bible. The circumstances of ""Esther"" and its first performance, possibly in 1718, are obscure. Another 12 years had passed when an act of piracy caused him to take up ""Esther"" once again. Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came ""Deborah"", strongly coloured by the coronation anthems and ""Athaliah"", his first English Oratorio. In these three oratorios Handel laid the foundation for the traditional use of the chorus which marks his later oratorios. Handel became sure of himself,"
"have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, ""Ode for St. Cecilia's Day"" (1739) (set to texts by John Dryden) and ""Ode for the Birthday of Queen Anne"" (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as ""Acis and Galatea"" (1719), ""Hercules"" (1745) and ""Semele"" (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are"
"the Annunciation to the shepherds which is taken from the Gospel of Luke. The imagery of shepherd and lamb features prominently in many movements. Mozart set his arrangement to a German translation that Klopstock and Ebeling had written for Carl Philipp Emanuel Bach's version in Hamburg. The German text stays close to the Luther Bible translation. For the music, Handel used the same devices as in his operas and other oratorios: choral and solo singing. The solos are typically a combination of recitative and aria. His orchestra is small: oboes; strings; and basso continuo of harpsichord, violoncello, violone, and bassoon."
"Solomon (Handel) Solomon, HWV 67, is an English oratorio by George Frideric Handel. The anonymous libretto – currently thought to have been penned by the English Jewish poet/playwright Moses Mendes (d.1758) – is based on the biblical stories of the wise king Solomon from the First Book of Kings and the Second Book of Chronicles, with additional material from ""Antiquities of the Jews"" by ancient historian Flavius Josephus. The music was composed between 5 May and 13 June 1748, and the first performance took place on 17 March 1749, with Caterina Galli in the title role at the Covent Garden"
"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"
"among others, wrote incidental music (his op. 74) to Racine's play, first performed in Berlin in 1845. One of the most frequently heard excerpts from the Mendelssohn music is titled ""War March of the Priests"" (""Kriegsmarsch der Priester""). In 1733, the musician and composer Handel composed an oratorio based on her life, called ""Athalia,"" calling her a ""Baalite Queen of Judah Daughter of Jezebel."" Baal was the fertility god of the Canaanites, whom the ancient Israelites often fell into worshipping in the Old Testament. Though she is not presented favorably in the Bible, ""Athaliah"" or ""Atalia"" is attested, though infrequently,"
"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"
"Elijah (oratorio) Elijah (), Op. 70, MWV A 25, is an oratorio written by Felix Mendelssohn. It premiered in 1846 at the Birmingham Festival. It depicts events in the life of the Biblical prophet Elijah, taken from the books 1 Kings and 2 Kings of the Old Testament. This piece was composed in the spirit of Mendelssohn's Baroque predecessors Bach and Handel, whose music he loved. In 1829 Mendelssohn had organized the first performance of Bach's ""St Matthew Passion"" since the composer's death and was instrumental in bringing this and other Bach works to widespread popularity. By contrast, Handel's oratorios"
"event as: The performers in this original 1747 production included: The famous chorus ""See, the Conqu’ring Hero Comes!"" was composed during the summer of 1747 for Handel's next oratorio, Joshua. In the wake of its popularity, probably in 1751, Handel added it to Judas Maccabaeus, and so it forms a legitimate part of ""both"" oratorios. The Halifax Choral Society owns a manuscript which purports to be a re-orchestration of the oratorio by Mozart. Ludwig van Beethoven composed twelve variations on ""See, the Conqu’ring Hero Comes!"" for piano and cello in 1796 (WoO 45). In 1884 the Swiss writer Edmond Louis"
"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"
"overture, only a brief orchestral movement simply titled, ""Introduction."" ""Joshua"" also included at least five pieces borrowed from other Handel compositions. Part one was completed on 30 July 1747, Part two on 8 August and Part three on 19 August. Handel's second-most-famous chorus, ""See the Conq'ring Hero Comes"" was first penned for ""Joshua"". It was an immensely popular number and Handel soon added it to ""Judas Maccabaeus"", which had premiered the season before. The chorus is more often thought of in connection with that oratorio (""Judas"") because of its relatively greater fame. When a friend said to Handel that in"
"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"
"Jephtha (Handel) Jephtha (HWV 70) is an oratorio (1751) by George Frideric Handel with an English language libretto by the Rev. Thomas Morell, based on the story of Jephtha in Judges (Chapter 11) and """" (""Jeptha or the Vow"") (1554) by George Buchanan. Whilst writing ""Jephtha"", Handel was increasingly troubled by his gradual loss of sight, and this proved to be his last oratorio. In the autograph score, at the end of the chorus ""How dark, O Lord, are thy decrees"" he wrote ""Reached here on 13 February 1751, unable to go on owing to weakening of the sight of"
"of the characters. Jephtha's torment is searingly depicted in the music. His aria ""Waft her angels, through the skies"" became familiar out of the context of the whole piece. Jephtha (Handel) Jephtha (HWV 70) is an oratorio (1751) by George Frideric Handel with an English language libretto by the Rev. Thomas Morell, based on the story of Jephtha in Judges (Chapter 11) and """" (""Jeptha or the Vow"") (1554) by George Buchanan. Whilst writing ""Jephtha"", Handel was increasingly troubled by his gradual loss of sight, and this proved to be his last oratorio. In the autograph score, at the end"
"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."
"Belshazzar (Handel) Belshazzar (HWV 61) is an oratorio by George Frideric Handel. The libretto was by Charles Jennens, and Handel abridged it considerably. Jennens' libretto was based on the Biblical account of the fall of Babylon at the hands of Cyrus the Great and the subsequent freeing of the Jewish nation, as found in the Book of Daniel. Handel composed ""Belshazzar"" in the late Summer of 1744 concurrently with ""Hercules"", during a time that Winton Dean calls ""the peak of Handel's creative life"". The work premiered the following Lenten season on 27 March 1745 at the King's Theatre, London. The"
"oratorio ""Deborah"", composed in 1733 in response to the success of ""Esther"". Though first editions of the works, both volumes were published posthumously, in 1783 and 1784 respectively. The editions printed by Wright & Wilkinson include a copperplate portrait of Handel by renowned Dutch engraver Jacob Houbraken. The addition of Handel's printed oratorios to the library was thought to be associated with journeys by Ferdinand Philipp, 6th Prince Lobkowicz (1724–1784) to England. However, more recent research suggests that the rare prints were actually part of the collection of Viennese music patron Gottfried van Swieten. The volumes were most likely purchased"
"Subject is Messiah ..."". ""Messiah"" differs from Handel's other oratorios in that it does not contain an encompassing narrative, instead offering contemplation on different aspects of the Christian Messiah. The libretto follows the liturgical year: Part I corresponding to Advent, Christmas, and the life of Jesus; Part II to Lent, Easter, the Ascension, and Pentecost; and Part III to the end of the church year—dealing with the end of time. The birth and death of Jesus are told in the words of the prophet Isaiah, the most prominent source of the libretto. The only true ""scene"" of the oratorio is"