"The Seasons (Haydn) The Seasons (German: ""Die Jahreszeiten""), Hob. XXI:3), is an oratorio by Joseph Haydn, first performed in 1801. Haydn was led to write ""The Seasons"" by the great success of his previous oratorio ""The Creation"" (1798), which had become very popular and was in the course of being performed all over Europe. The libretto for ""The Seasons"" was prepared for Haydn, just as with ""The Creation"", by Baron Gottfried van Swieten, an Austrian nobleman who had also exercised an important influence on the career of Mozart (among other things commissioning Mozart's reorchestration of Handel's ""Messiah""). Van Swieten's libretto"
"similar or identical choruses on ""Hosanna in excelsis"" flank a meditative section on ""Benedictus"". Part III takes place in the Garden of Eden, and narrates the happy first hours of Adam and Eve. No. 29. Aus Rosenwolken bricht Orchestral prelude in slow tempo depicting dawn in the Garden of Eden, followed by recitative for tenor representing Uriel. Adam and Eve are seen walking hand in hand. The key is E major, very remote from the flat-side keys that have dominated the work so far. Various commentators suggest that this was meant by Haydn to convey the remoteness of Earth from"
"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"
"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"
"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"
"Paradise, showing an idealized love in harmony with the ""new world"". Haydn had composed symphonies, operas, string quartets and more chamber music for the court at Eszterháza. For the oratorio he used the vocal means of contemporary opera, recitative, aria, ensemble and chorus. The orchestra plays a decisive role in structure and tone painting. The oratorio has five solo roles, in Part I and II the three archangels Gabriel (soprano), Uriel (tenor) and Raphael (bass), in Part III Adam (bass) and Eve (soprano). The final movement needs an additional alto soloist. The chorus is in four parts, SATB. Haydn used"
"been a negative role-model in this regard (Neh 13:26); none of this material sheds any light on the 'historical Solomon'."" Pharaoh's daughter is a main figure in a three-act oratorio called ""Solomon"" written by the composer George Frideric Handel. It was composed ""between May 5th and June 13th 1748 and it was first performed at Covent Garden on March 17th 1749"". The first act deals with the dedication of the temple and Solomon's marriage to Pharaoh's daughter. The second act is about the story of his judgement between the two women both claiming the same baby. The third act is"
"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"
"The Seven Last Words of Christ (Haydn) The Seven Last Words of Our Saviour on the Cross (German: ) is an orchestral work by Joseph Haydn, commissioned in 1786 for the Good Friday service at Oratorio de la Santa Cueva (Holy Cave Oratory) in Cádiz, Spain. Published in 1787 and performed then in Paris, Berlin and Vienna, the composer adapted it in 1787 for string quartet and in 1796 as an oratorio (with both solo and choral vocal forces), and he approved a version for solo piano. The seven main meditative sections—labelled ""sonatas"" and all slow—are framed by a slow"
"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"
"of tone painting, perhaps an inspiration to Haydn's own pervasive use of this device in ""The Creation"". The text of ""The Creation"" has a long history. The three sources are Genesis, the Biblical book of Psalms, and John Milton's ""Paradise Lost"". In 1795, when Haydn was leaving England, the impresario Johann Peter Salomon (1745–1815) who had arranged his concerts there handed him a new poem entitled ""The Creation of the World"". This original had been offered to Handel, but the old master had not worked on it, as its wordiness meant that it would have been 4 hours in length"
"Orlando paladino Orlando paladino (English: ""The Paladin Orlando""), Hob. 28/11, is an opera in three acts by Joseph Haydn which was first performed at Eszterháza on 6 December 1782. The libretto by Nunziano Porta is based on another libretto, ""Le pazzie d'Orlando"", by Carlo Francesco Badini (set by the composer P.A. Guglielmi in 1771), itself inspired by Ariosto's epic poem ""Orlando furioso"". The opera was described as a ""dramma eroicomico"" and the plot mixes heroic and comic elements. It was Haydn's most popular opera during his lifetime. The Pennsylvania Opera Theater presented the United States premiere of the work at"
"Scene 2: The crusader camp. The crusaders prepare for battle against the Saracens. Armida appears, swearing to pursue Rinaldo everywhere. As Rinaldo moves off, she sends an infernal chariot after Rinaldo. Armida (Haydn) Armida (Hob. XXVIII/12) is an opera in three acts by Austrian composer Joseph Haydn, set to a libretto based upon Torquato Tasso's poem ""Gerusalemme liberata"" (""Jerusalem Delivered""). The first performance was 26 February 1784 and it went on to receive 54 performances from 1784 to 1788 at the Esterháza Court Theatre. During the composer's lifetime it was also performed in Pressburg, Budapest, Turin and Vienna. Haydn himself"
"three soloists, some conductors prefer different soloists for Adam and Eve. Haydn set most of the narration from the Genesis in secco recitative. The rendering of the words is simple, different for example from Bach's approach in the parts of the Evangelist in his Passions. Haydn exceptions are the two recitatives opening Part I and II, which are accompanied by the orchestra. For each day, the recitative is followed by a contemplation of it, typically in accompanied recitative and aria, and affirmed by a choral movement. As Bach in his ""Christmas Oratorio"" and Handel in ""Messiah"", Haydn saves the soprano"
"but may be written by an unknown author. Back in Vienna, Haydn passed it to his friend and sponsor Baron Gottfried van Swieten, who translated and organized it. The sources for the libretto are the two Creation narratives from the Book of Genesis, some Psalms, and John Milton's ""Paradise Lost"", an epic poem in ten volumes, first published in 1667. The libretto is structured in three parts, the first dealing with the Creation of the universe and the plants, the second with the Creation of the animals, and of man and woman, and the third with Adam and Eve in"
"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"
"Symphony No. 3 (Haydn) Joseph Haydn's Symphony No. 3 in G major, Hoboken I/3, is believed to have been written between 1760 and 1762. It is scored for 2 oboes, bassoon, 2 horns, strings and continuo. It was one of the earliest symphonies to have four movements: The winds are not used in the slow movement, but the trio of the minuet shows ""the first emergence of winds from their earlier rôle ... in the earliest divertimenti for winds and strings."" The Minuet is a canon between the higher and lower voices at the distance of one bar. Haydn would"
"comments: ""the entry of the trumpets marks the final storming of heaven"". Daniel I. Block summarized in 1997: ""... in this piece we see the remarkable confluence of Hebrew theology and biblical truth, Italian operatic genius, English class, and German piety."" 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"
"Tod und Sieg des Herrn Tod und Sieg des Herrn is an oratorio from Felix Draeseke. It is the third oratorio of his mysterium Christus. ""Christus"" consists of four sections: Prelude – The Birth of the Lord First Oratorio – The manifestation of the Christ Second Oratorio – Christ the Prophet Third Oratorio – Death and Triumph of the Lord The third oratorio, Opus 73, is the story of the Passion of Christ. It contains three parts – the Betrayal, the Crucifixion, and the Resurrection. Each part is divided into three scenes: A chorus of 150-200 members functions largely as"
"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"
"upwards and said: ""Not from me—everything comes from up there!"" ""The Creation"" was also performed more than forty times outside Vienna during his life: elsewhere in Austria and Germany, throughout England, and in Switzerland, Italy, Sweden, Spain, Russia and the United States. Despite the eclipse in Haydn's reputation as a composer that took place during the 19th and early 20th centuries, the work never left the repertoire during this time, and today it is frequently performed by both professional and amateur ensembles. There are many recordings (see below). A typical performance lasts about one hour and 45 minutes. The oratorio"
"Armida (Haydn) Armida (Hob. XXVIII/12) is an opera in three acts by Austrian composer Joseph Haydn, set to a libretto based upon Torquato Tasso's poem ""Gerusalemme liberata"" (""Jerusalem Delivered""). The first performance was 26 February 1784 and it went on to receive 54 performances from 1784 to 1788 at the Esterháza Court Theatre. During the composer's lifetime it was also performed in Pressburg, Budapest, Turin and Vienna. Haydn himself regarded ""Armida"" as his finest opera. ""Armida"" then disappeared from the general operatic repertoire; it was revived in 1968 in a concert rendition in Cologne, and later a production in Bern."
"liturgical setting to contrast with the furious opening theme. The same lament is also picked up in the second movement, reinforcing the symphony's link to the Passion through evocation of a melody that would have been familiar to audiences of the time. Since Haydn's day, the symphony has been known as ""Lamentatione"" because of the Christus motif of the opening movement's second theme. As with all the nicknamed symphonies, the title is not Haydn's own. The work is in three movements, ending with a minuet and trio. It is scored for two oboes, two bassoons, horns, timpani, continuo (harpsichord) 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"
"L'anima del filosofo L'anima del filosofo, ossia Orfeo ed Euridice (""The Soul of the Philosopher, or Orpheus and Euridice""), Hob. 28/13, is an opera in Italian in four acts by Joseph Haydn, the last he ever wrote. The libretto, by Carlo Francesco Badini, is based on the myth of Orpheus and Euridice as told in Ovid's ""Metamorphoses"". Composed in 1791, the opera was never performed during Haydn's lifetime. After his patron Prince Nikolaus Esterházy had died in 1790, Haydn travelled to London where he received a commission to write several symphonies. The impresario John Gallini also offered him a contract"
"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"
"Another of his English oratorios, ""Solomon"", was first performed on 17 March 1749 at the Covent Garden Theatre. ""Solomon"" contains a short and lively instrumental passage for two oboes and strings in act 3, known as ""The Arrival of the Queen of Sheba"". The use of English soloists reached its height at the first performance of ""Samson"". The work is highly theatrical. The role of the chorus became increasingly important in his later oratorios. ""Jephtha"" was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works. In"
"likely collaborator was Christian Friedrich Henrici (Picander). The work belongs to a group of three oratorios written in 1734 and 1735 for major feasts, the other two works being the ""Ascension Oratorio"" (BWV 11) and the ""Easter Oratorio"" (BWV 249). All three of these oratorios to some degree parody earlier compositions. The ""Christmas Oratorio"" is by far the longest and most complex work of the three. The ""Christmas Oratorio"" is in six parts, each part being intended for performance on one of the major feast days of the Christmas period. The piece is often presented as a whole or split"
"Symphony No. 7 (Haydn) The Symphony No. 7 in C major, Hoboken I/7, is a symphony by Joseph Haydn, sometimes called ""Le midi"", meaning ""The Noon."" The symphony was composed in May or June 1761, paired together with the other two of the Day Trilogy, Nos. 6 and 8, and under the patronage of Prince Paul II Anton Esterházy. It is scored for 2 flutes, 2 oboes, bassoon, 2 horns, strings and continuo, and exhibits many concertante features; indeed, the principal players of each of the string sections have solos, while the winds are given fairly difficult parts. The work"
"soprano represent Adam and Eve. The first public performance was held in Vienna at the old Burgtheater on 19 March 1799. The oratorio was published with the text in German and English in 1800. Haydn was inspired to write a large oratorio during his visits to England in 1791–1792 and 1794–1795, when he heard oratorios of George Frideric Handel performed by large forces. It is likely that Haydn wanted to try to achieve results of comparable weight, using the musical language of the mature classical style. Among the Handel works Haydn heard was ""Israel in Egypt"", which includes various episodes"
"of ""The Dream of Gerontius"", ""The Apostles"" and ""The Kingdom"". Oratorio returned haltingly to public attention with Igor Stravinsky's ""Oedipus Rex"" in France (1927), William Walton's ""Belshazzar's Feast"" at Leeds (1931), Arthur Honegger's ""Jeanne d'Arc au Bûcher"" in Basel (1938), and Franz Schmidt's ""The Book with Seven Seals"" (""Das Buch mit sieben Siegeln"") in Vienna (1938). Michael Tippett's oratorio ""A Child of Our Time"" (first performance, 1944) engages with events surrounding the Second World War. Postwar oratorios include Dmitri Shostakovich's ""Song of the Forests"", Op. 81 (1949), Sergei Prokofiev's ""On Guard for Peace"" (1950), Vadim Salmanov's ""Twelve"", Krzysztof Penderecki's ""St."
"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"
"lack of subscribers. The oratorio was not well received by the first audience though commended in the ""Daily Post""; the second performance was shortened, the mainly choral work now augmented with Italian-style arias. The first version of the piece is in three parts rather than two, the first part more famous as ""The ways of Zion do mourn"", with altered text as ""The sons of Israel do mourn"" lamenting the death of Joseph. This section precedes the Exodus, which in the three-part version is Part II rather than Part I. Handel had long been resident in London and had enjoyed"