The aria 'Let the Bright Seraphim' comes from which Handel oratorio?
"in a Humanist wedding ceremony in 2006. ""Let the bright Seraphim"" from George Frideric Handel's oratorio ""Samson"" performed on 14 March 2011 for BBC Radio 3’s Performance on 3: The Big Red Nose Show in aid of Comic Relief, and broadcast on 18 March 2011. ""Ebben? Ne andrò lontana"" from Alfredo Catalani’s opera ""La Wally"" and ""Vissi d'arte"" from Giacomo Puccini's ""Tosca"", followed by ""Have Yourself a Merry Little Christmas"" performed with Bryn Terfel and Ella Taylor & Liam Jones (winners of Radio 2's 2010 Young Chorister Competition) performed live on 10 December 2010 for BBC Radio 2’s Friday Night"
"Aure soavi e lieti (Handel) Aure soavi e liete (HWV 84) (""Soft and Delightful Breezes"") is a Baroque dramatic secular cantata in the key of E-flat major composed by George Frideric Handel in 1707 while he was serving as Kapellmeister to the Ruspoli family in Rome. The author of the text is unknown. Other catalogues of Handel's music have referred to the work as HG l,12 (there is no HHA designation of the work). The cantata is scored for solo soprano voice and basso continuo. It is divided into four separate movements with a typical performance lasting approximately seven and"
"Many of Handel's ""Nine German Arias"" (HWV 202–210), which were written between 1724 and 1726, share features with his operas of the period, and in particular the aria ""Die ihr aus dunkeln Grüften"" (HWV 208) has a ritornello and pace very close to ""Va tacito"". The aria has been cited as an example of a ""simile aria"", because the words and the music both reflect, in metaphor, the situation of the character. Caesar, at Tolomeo's palace in Alexandria, compares himself to a stealthy hunter carefully tracking his prey; the prey in this case is Tolomeo, king of Egypt, who has"
"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"
"""Glory be to the Father"". In the ""Te Deum"", Handel inserted short solos to achieve a variety of textures as in a concerto grosso, to express the words. In movement 2, the two alto soloists begin together ""To Thee all Angels cry aloud"" on a base of three times ""the heavn and all the pow'rs therein"" in unison octaves of the choir. In movement 3, the announcement ""To Thee Cherubin and Seraphim continually do cry"" is rendered by two sopranos, whereas the full choir enters the homophon statement ""Holy, holy, holy"". Similarly, in movement 4 a tenor soloist sings of"
"Ombra mai fu """" is the opening aria from the 1738 opera ""Serse"" by George Frideric Handel. The opera was a commercial failure, lasting only five performances in London after its premiere. In the 19th century, however, this aria was rediscovered and became one of Handel's best-known pieces. Handel adapted the aria from the setting by Giovanni Bononcini, who, in turn, adapted it from the setting by Francesco Cavalli. All three composers had produced settings of the same opera libretto by Nicolò Minato. Originally composed to be sung by a soprano castrato (and sung in modern performances of ""Serse"" by"
"bass's declamation in D major: ""Behold, I tell you a mystery"", then the long aria ""The trumpet shall sound"", marked ' (""dignified but not fast""). Handel originally wrote this in da capo form, but shortened it to dal segno, probably before the first performance. The extended, characteristic trumpet tune that precedes and accompanies the voice is the only significant instrumental solo in the entire oratorio. Handel's awkward, repeated stressing of the fourth syllable of ""incorruptible"" may have been the source of the 18th-century poet William Shenstone's comment that he ""could observe some parts in ""Messiah"" wherein Handel's judgements failed him;"
"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"
"for strings, oboes, and ""basso continuo"". Despite the few performances ""Berenice"" received, the slow section from the overture, which became known as ""The Minuet from Berenice"", achieved popularity outside the context of the opera, as did the aria for Demetrio in Act Two, ""Si, tra i ceppi"". Handel used the theme of the sinfonia that opens Act 3 in the overture to ""Music for the Royal Fireworks"". Berenice (opera) Berenice (HWV 38) is an opera in three acts by George Frideric Handel to a 1709 Antonio Salvi libretto, ""Berenice, regina d’Egitto"", or ""Berenice, Queen of Egypt"". Handel began the music"
"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"
"The Triumph of Time and Truth The Triumph of Time and Truth is the final name of an oratorio by George Frideric Handel produced in three different versions across fifty years of the composer’s career: Handel’s very first oratorio, composed in spring 1707, to an Italian-language libretto by Cardinal Benedetto Pamphili. Time and Disillusion are personified (thus spelled with an initial capital even in Italian). Comprising two sections, the oratorio was premiered that summer in Rome. One of its famous arias is ""Lascia la spina, cogli la rosa (Leave the Thorn, Take the Rose)"", later recast as ""Lascia ch’io pianga"
"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"
"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"
"to give concerts for the benefit of local hospitals. His ""Messiah"" was first performed at the New Music Hall in Fishamble Street on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating. Handel secured a balance between soloists and chorus which he never surpassed. In 1747 Handel wrote his oratorio ""Alexander Balus"". This work was produced at Covent Garden Theatre in London, on 23 March 1748, and to the aria ""Hark! hark! He strikes the golden lyre"", Handel wrote the accompaniment for mandolin, harp, violin, viola, and violoncello."
"been recognized by contemporary audiences. The aria was performed by actress Daniela Vega for the final scene of Sebastián Lelio's 2017 film ""A Fantastic Woman"". Ombra mai fu """" is the opening aria from the 1738 opera ""Serse"" by George Frideric Handel. The opera was a commercial failure, lasting only five performances in London after its premiere. In the 19th century, however, this aria was rediscovered and became one of Handel's best-known pieces. Handel adapted the aria from the setting by Giovanni Bononcini, who, in turn, adapted it from the setting by Francesco Cavalli. All three composers had produced settings"
"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"
"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"
"for the resemblance of its plan to that of Felix Mendelssohn's ""Elijah"". Between 1768 and 1788, he wrote twenty-one settings of the Passion, and some seventy cantatas, litanies, motets, and other liturgical pieces. In Hamburg he also presented a number of works by contemporaries, including his father, Telemann, Graun, Handel, Haydn, Salieri and Johann David Holland (1746–1827). Bach's choral output reached its apex in two works: the double chorus ""Heilig"" (""Holy"") of 1776, a setting of the seraph song from the throne scene in Isaiah, and the oratorium """" (""The Resurrection and Ascension of Jesus"") of 1774–82, which sets a"
"Hercules' choice (Air, 16). A typical performance takes almost 50 minutes. The work includes the notable aria ""Yet can I hear that dulcet lay"". The work has the following movements: Hyperion Records label received the 2003 International Handel Recording Prize for their recording of ""The Choice of Hercules"". The Choice of Hercules (Handel) The Choice of Hercules (HWV 69) is an oratorio in one act (three scenes) by George Frideric Handel. Handel produced the score between 28 June and 5 July 1750. The first performance was given on 1 March 1751 at the Covent Garden Theatre, London with Cecilia Young"
"in 1986 with James Levine conducting the Berlin Philharmonic Orchestra for Deutsche Grammophon. It has been argued that themes within the symphony are derived from the Gregorian plainsong melody ""Dies Irae"" commonly heard in the Roman Catholic Requiem Mass. The directness of the connection is disputed by some, such as Dutch conductor , who nevertheless notes relations to various Gregorian ""Alleluia"" chant-formulas, especially for the major form of the principal theme of the Maestoso to ""Sacratum hoc templum Dei"". While this principal theme of the Maestoso may not constitute as straightforward a use of the ""Dies Irae"" theme as can"
"Gloria (Handel) George Frideric Handel's Gloria is a sacred solo cantata, a setting of the Gloria, the liturgical part of the Mass, for soprano and strings. Handel may have composed it in Germany before departing for Italy in 1706. The composition was lost and was only attributed to Handel in 2001. ""Gloria"" (HWV deest, the Latin word meaning ""missing""), is a work which was missing from the Handel thematic catalog, but was discovered at the Royal Academy of Music's library in 2001. Handel may have composed ""Gloria"", a demanding piece for a coloratura voice, two violins and basso continuo, during"
"""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,"
"Ecce gratum ""Ecce gratum"" (English: ""Behold, the pleasant"") is a medieval Latin Goliardic poem written early in the 13th century, part of the collection known as the ""Carmina Burana"". It was set to music in 1935/36 by German composer Carl Orff as part of his ""Carmina Burana"" which premiered at Frankfurt Opera on 8 June 1937. Within Orff's ""Carmina Burana"", this song is the 5th movement in section 1, ""Primo vere"" (In Spring). <poem lang=""la"" style=""float:left;"">Ecce gratum et optatum Ver reducit gaudia, purpuratum floret pratum, Sol serenat omnia. Iamiam cedant tristia! Estas redit, nunc recedit Hyemis sevitia. Ah! Iam liquescit"
"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"
"and Christ's glorification in heaven. The libretto by Charles Jennens is entirely drawn from the Bible, mostly from the King James Bible, whereas several psalms are taken from the Book of Common Prayer. The librettist commented: ""... the Subject excells every other Subject. The Subject is Messiah ..."". ""Messiah"" differs from Handel's other oratorios by telling no story, instead offering reflections on different aspects of the Christian Messiah. Christopher Hogwood comments: The oratorio's structure follows the liturgical year; Part I corresponding with Advent, Christmas and the life of Jesus, Part II with Lent, Easter, Ascension and Pentecost, Part III with"
"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"
"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"
"Lascia ch'io pianga """", originally ""Lascia la spina, cogli la rosa"", is an Italian-language soprano aria by composer George Frideric Handel that has become a popular concert piece. Its melody is first found in act 3 of Handel's 1705 opera ""Almira"" as a sarabande; the score for this can be seen on page 81 of Vol. 55 of Friedrich Chrysander. Handel then used the tune for the aria ""Lascia la spina, cogli la rosa"", or ""Leave the Thorn, Take the Rose"", for the character Piacere in part 2 of his 1707 oratorio ""Il trionfo del Tempo e del Disinganno"" (which"
"shown, Bach was able to adjust seamlessly to the changes in the times. Bach's overall style of writing oratorio is clearly influenced by the earlier German composer George Frideric Handel. Bach's themes, musical effects, and affinity for the Old Testament all indicate a respect for and heavy influence by Handel's oratorios, particularly, one of his better-known works, ""Messiah"". ""Die Israeliten in der Wüste"" is an oratorio based on the Old Testament story of the pain and suffering of the Israelites in the desert. In this piece, Bach keeps up with the changing musical ideas of the time by abandoning his"
"Der Messias Der Messias, K. 572, is Wolfgang Amadeus Mozart's 1789 German-language version of ""Messiah"", George Frideric Handel's 1741 oratorio. On the initiative of Gottfried van Swieten, Mozart adapted Handel's work for performances in Vienna. The libretto of Mozart's adaptation was largely based on Luther's translation of the Bible. Mozart re-orchestrated about three-fifths of Handel's composition, primarily providing additional parts for an extended section of wind instruments, which was called ""Harmonie"" at the time. In general, a half-century after the inception of the work, Mozart adapted an English-language work conceived for a baroque orchestra in a public venue, to accommodate"
"their immortality. The oratorio is scored for 2 sections of violins, violas, cellos, double basses, 2 flutes, 2 oboes, 2 bassoons, 1 contrabassoon, 2 horns, 2 trumpets, timpani, harpsichord, and organ. A harpsichord and violoncello play the continuo. Handel's music gives the choruses of Roman pagans, presented in the libretto as evil people gloating over the torture of Christians, ""immense verve and charm"". This is contrasted with the quiet, deep conviction of the music for the choruses of Christians. The chorus ""He saw the lovely youth"", Handel's favorite of all the choruses he wrote, depicts Jesus' raising from the dead"
"the alto solo in the longest movement of the oratorio in terms of duration. It is a da capo aria, showing two contrasting moods, set in E flat major in the first section, C minor in the middle section. The vocal line begins with an ascending fourth on ""he was"" and adds another one on ""despi-sed"", ending as a sigh. The signal of a fourth has been observed by musicologist Rudolf Steglich as a unifying motif of the oratorio. Handel breaks the beginning of the text up to a stammering ""He was despised, – despised and rejected, – rejected of"
"the notable exception of the recitatives), the sublime pastoral Sinfonia which opens Part II, was composed from scratch for the new work. In addition to the new compositions listed above, special mention must go to the recitatives, which knit together the oratorio into a coherent whole. In particular, Bach made particularly effective use of recitative when combining it with chorales in no. 7 of part I (""Er ist auf Erden kommen arm"") and even more ingeniously in the recitatives nos. 38 and 40 which frame the ""Echo Aria"" (""Flößt, mein Heiland""), no. 39 in part IV. Until 1999 the only"