"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"
"Alexander Balus Alexander Balus (HWV 65) is an oratorio by George Frideric Handel, named after its title character, the Seleucid king Alexander Balas. The work has three acts and was written in English. The period of the story is from 150 B.C to 145 B.C. The libretto is by Thomas Morell after the biblical book of 1 Maccabees. Fourth in a series of English military oratorios, following ""Joshua"" and the success of ""Judas Maccabaeus"", celebrating the victories of the Hanoverian monarchy over the Jacobite uprisings, the work moves from celebrations of military success in the first act to personal tragedies"
"to Judah Maccabee in her song ""Jerusalem"". In ""The Goldbergs Mixtape"", a parody song is named ""Judah Macabee"". Judas Maccabeus Judah Maccabee (or Judas Maccabeus, also spelled Machabeus, or Maccabaeus, Hebrew: יהודה המכבי, ""Yehudah ha-Makabi"") was a Jewish priest (""kohen"") and a son of the priest Mattathias. He led the Maccabean Revolt against the Seleucid Empire (167–160 BCE). The Jewish holiday of Hanukkah (""Dedication"") commemorates the restoration of Jewish worship at the temple in Jerusalem in 164 BCE, after Judah Maccabeus removed all of the statues depicting Greek gods and goddesses and purified it. Judah was the third son of"
"an Italian ""azione sacra"" based on which Vallicella composed an oratorio. One of the best-known literary works on the theme is ""Judas Maccabaeus"" (1872), a five-act verse tragedy by Henry Wadsworth Longfellow. A Hebrew version of Longfellow's play was published in 1900. Two later 19th-century interpretations of the story are ""Judas Makkabaeus"", a novella by the German writer Josef Eduard Konrad Bischoff, which appeared in ""Der Gefangene von Kuestrin"" (1885), and ""The Hammer"" (1890), a book by Alfred J. Church and Richmond Seeley. Several 20th-century Jewish authors have also written works devoted to Judah Maccabee and the Maccabeean Revolt. Jacob"
"Judas Maccabeus Judah Maccabee (or Judas Maccabeus, also spelled Machabeus, or Maccabaeus, Hebrew: יהודה המכבי, ""Yehudah ha-Makabi"") was a Jewish priest (""kohen"") and a son of the priest Mattathias. He led the Maccabean Revolt against the Seleucid Empire (167–160 BCE). The Jewish holiday of Hanukkah (""Dedication"") commemorates the restoration of Jewish worship at the temple in Jerusalem in 164 BCE, after Judah Maccabeus removed all of the statues depicting Greek gods and goddesses and purified it. Judah was the third son of Mattathias the Hasmonean, a Jewish priest from the village of Modiin. In 167 BCE Mattathias, together with his"
"Prometheus (art song) ""Prometheus"" (D. 674) is an intensely dramatic art song composed by Franz Schubert in October 1819 to a poem of the same name by Johann Wolfgang von Goethe. The """" was written for bass voice in the key of B major, but the key moves repeatedly through various major to minor tonalities, ending in C major. In Goethe's dramatic declamation by Prometheus, which would be set again, with very different effect, by Hugo Wolf, ""with his alternations of ariosos and recitatives, Schubert created a miniature oratorio"", observes Edward F. Kravitt. Among many other """" by Schubert, Max"
"is usually sung on the holiday of Hanukkah, after lighting the festival lights. Its six stanzas correspond to five events of Jewish history and a hope for the future. Of its six stanzas, often only the first stanza is sung (or the first and fifth), as this is what directly pertains to Hanukkah. ""Ma'oz Tzur"" was written sometime in the 13th century. ""Judas Maccabaeus"" is an oratorio by George Frideric Handel. During Hanukkah, the melody for ""See, the Conqu’ring Hero Comes"" is used by Spanish and Portuguese Jewish communities for the hymn En Kelohenu. To the tune of ""Oh Hanukkah."""
"MacMillan's ""Sun-Dogs"" (2006), for chorus a cappella; the ""Missa ad Consolationis Dominam Nostram"" (1994) by the Mexican composer Mario Lavista, and the premiere and recording of Juan Orrego-Salas's choral-orchestral cantata ""La ciudad celeste"" (2004). Other notable projects are the American, Midwest and/or university premieres of John Adams's oratorio ""El Niño"" (2001); Ralph Shapey's oratorio ""Praise""; Karlheinz Stockhausen's choral opera ""Atmen gibt das Leben"" (1994), Steve Reich's ""Tehillim"" and ""Desert Music""; ""Music/Theater Piece"" by Philip Glass; Arvo Pärt's ""Passio"" and ""Miserere"", Gilles Swayne's ""Cry""; James MacMillan's ""Seven Last Words from the Cross""; and several world-premieres by Feliù Gasull, Aurelio de la"
"Reger also created an orchestration for ""Prometheus"". Prometheus (art song) ""Prometheus"" (D. 674) is an intensely dramatic art song composed by Franz Schubert in October 1819 to a poem of the same name by Johann Wolfgang von Goethe. The """" was written for bass voice in the key of B major, but the key moves repeatedly through various major to minor tonalities, ending in C major. In Goethe's dramatic declamation by Prometheus, which would be set again, with very different effect, by Hugo Wolf, ""with his alternations of ariosos and recitatives, Schubert created a miniature oratorio"", observes Edward F. Kravitt."
"Die Maccabäer Die Maccabäer (""German, The Maccabees"") (sometimes spelt 'Die Makkabäer') is an opera in three acts by Anton Rubinstein to a libretto by Salomon Hermann Mosenthal. The opera is based on a play by Otto Ludwig, which is itself based loosely on the biblical story of the Maccabees. Written in 1872-74, it was first performed on 17 April 1875 at the Hofoper, Berlin. Censorship problems prevented its performance in Russia until January 1877 (in St.Petersburg). ""Die Maccabäer"" was Rubinstein's most successful opera, holding the German and Russian stages throughout his lifetime. The Berlin reviews of its premiere compared its"
"Christmas Oratorio The Christmas Oratorio (), , is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a now lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The ""Christmas Oratorio"" is a particularly sophisticated example of parody music. The author of the text is unknown, although a"
"finest oratorio, and its dramatic structure, rapidly interweaving brief scenes in Holofernes's camp with events in the troubled city, is remarkable."" Alessandro Scarlatti: ""La Giuditta"", Rome or Naples 1697, Libretto by Prince Antonio Ottoboni, father of the cardinal. This smaller setting for three voices, strings and basso continuo, is known today as the ""Cambridge"" Giuditta, since its manuscript is conserved in the Rowe Music Library of King's College, Cambridge. Francisco António de Almeida: La Giuditta These oratorios are generally listed under Latin names: La Giuditta La Giuditta may refer to one of several Italian oratorios: Each version of La Giuditta"
"Gethsemane (oratorio) Gethsemane is a chamber-oratorio by the British composer Matthew King. Commissioned for the opening concert of the 1998 Spitalfields Festival, the work was composed for the early music group, ""Florilegium"" and is scored for 4 vocalists (soprano, alto, tenor, bass) and a 'Baroque' ensemble consisting of flute solo, 2 oboes, 3 natural trumpets, strings, harpsichord and percussion. The oratorio uses a compilation of Biblical texts to relate the New Testament narrative from Christ's triumphal entry into Jerusalem until his arrest in the Garden of Gethsemane. Each of the four vocalists represents several characters in the story and all"
"White's review of ""Gethsemane"" in The Independent on Sunday, June 7 1998 Gethsemane (oratorio) Gethsemane is a chamber-oratorio by the British composer Matthew King. Commissioned for the opening concert of the 1998 Spitalfields Festival, the work was composed for the early music group, ""Florilegium"" and is scored for 4 vocalists (soprano, alto, tenor, bass) and a 'Baroque' ensemble consisting of flute solo, 2 oboes, 3 natural trumpets, strings, harpsichord and percussion. The oratorio uses a compilation of Biblical texts to relate the New Testament narrative from Christ's triumphal entry into Jerusalem until his arrest in the Garden of Gethsemane. Each"
"Juditha triumphans Juditha triumphans devicta Holofernis barbarie (""Judith triumphant over the barbarians of Holofernes""), RV 644, is an oratorio by Antonio Vivaldi, the only survivor of the four that he is known to have composed. Although the rest of the oratorio survives completely intact, the overture has been lost. The Latin libretto was written by Iacopo Cassetti based upon the Book of Judith. The exact date of composition and performance of ""Juditha triumphans"" are not known, but the allegorical treatment of the Venetian defense of Corfu dominated public discussion in Venice throughout 1716. This work was an allegorical description of"
"Juraj Filas Juraj Filas (born 5 March 1955 in Košice, Slovakia) is a Slovak composer. His work includes more than 100 compositions: symphonies, cantatas, concerts, numerous compositions for chamber music, as well as the prize-winning TV opera ""momento mori""; a concerto grosso ""Copernicus""; the opera ""Jane Eyre"" (2010); ""The Wisdom of the Wise Man"", a cantata for choir, violoncello and organ; ""The Song of Solomon"", a cantata for soli, choir and orchestra; and the requiem ""Oratio Spei"" which is dedicated to the victims of terrorism. His compositions have been performed by well known soloists including Joseph Alessi, principal trombone in"
"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"
"Dinner Party"". The famous 40-voice motet ""Spem in alium"" by English composer Thomas Tallis, is a setting of a text from the Book of Judith. The story also inspired oratorios by Antonio Vivaldi, W. A. Mozart and Hubert Parry, and an operetta by Jacob Pavlovitch Adler. Alessandro Scarlatti wrote an oratorio in 1693, ""La Giuditta"", as did the Portuguese composer Francisco António de Almeida in 1726; ""Juditha triumphans"" was written in 1716 by Antonio Vivaldi; Mozart composed in 1771 ""La Betulia Liberata"" (KV 118), to a libretto by Pietro Metastasio. Arthur Honegger composed an oratorio, ""Judith"", in 1925 to a"
"Magnificat, 7 motets (including one ""Stabat Mater""), 4 antiphons, 8 hymns, and 18 villancicos, but it is highly probable that his authorship is hidden among the many anonymous works of the Portuguese and Spanish renaissance manuscripts. His music was popular, as attested by the appearance of copies in far-off places; for example native scribes copied two of his manuscripts in Guatemala. His motet ""Clamabat autem mulier Cananea"" was particularly praised by his contemporaries, and served as the source for instrumental pieces by later composers, namely Alonso Mudarra. Pedro de Escobar Pedro de Escobar (c. 1465 – after 1535), a.k.a. ""Pedro"
"Les Béatitudes Les Béatitudes, (Op. 25), CFF 185, FWV 53, is a French oratorio written by César Franck from 1869 to 1879 and scored for orchestra, chorus, and soloists. The text is a poetic meditation on the eight beatitudes of Jesus, from the Gospel of Matthew, by Joséphine-Blanche Colomb. It was first performed, in reduced form, on February 20, 1879, at a private performance in Franck's home in Paris. The full oratorio was not performed until after Franck's death, on March 19, 1893 in Colonne. The work, at nearly two hours, is among Franck's largest compositions. It is scored for"
"orchestra, choir, and eight soloists (soprano, mezzo-soprano, contralto, 2 tenors, baritone, and 2 basses). The work is divided into eight parts and a prologue: Les Béatitudes Les Béatitudes, (Op. 25), CFF 185, FWV 53, is a French oratorio written by César Franck from 1869 to 1879 and scored for orchestra, chorus, and soloists. The text is a poetic meditation on the eight beatitudes of Jesus, from the Gospel of Matthew, by Joséphine-Blanche Colomb. It was first performed, in reduced form, on February 20, 1879, at a private performance in Franck's home in Paris. The full oratorio was not performed until"
"Lauda Sion ""Lauda Sion Salvatorem"" is a sequence prescribed for the Roman Catholic Mass for the feast of Corpus Christi. It was written by St. Thomas Aquinas around 1264, at the request of Pope Urban IV for the new Mass of this feast, along with ""Pange lingua"", ""Sacris solemniis"", ""Adoro te devote"", and ""Verbum supernum prodiens"", which are used in the Divine Office. The Gregorian melody of the ""Lauda Sion"" is borrowed from the eleventh-century sequence ""Laetabundi iubilemus"" attributed to Adam of Saint Victor. The hymn tells of the institution of the Eucharist and clearly expresses the belief of the"
"Quo Vadis (Nowowiejski) Quo Vadis Op.30, is a 1909 German-language oratorio by the Polish composer Feliks Nowowiejski drawn from the novel ""Quo Vadis"" by Henryk Sienkiewicz. Written during the composer's studies with Max Bruch and Ernst Eduard Taubert in Berlin, it was premiered successfully in Amsterdam at the Concertgebouw in 1909, from where the work's reputation grew so that it was performed in more than 150 cities in Europe, and North and South America. It was performed at Carnegie Hall in New York, conducted by Nowowiejski himself, becoming the first Polish conductor to conduct in the hall's history. In total"
"with the work of Gabriel Fauré, Camille Saint-Saëns, Claude Debussy, Maurice Ravel, and Manuel de Falla. Felipe Boero Felipe Boero (born Buenos Aires, January 1, 1884 - died there, August 9, 1958) was an Argentine composer and music educator. He is most famous for composing the opera ""El Matrero"", after a play by Yamandú Rodríguez, considered one of the national operas of Argentina; among his other works is the opera ""Tucumán"", on a libretto by Leopoldo Díaz, about the Battle of Tucumán. He also was interested in education policy. He began his studies with Pablo Beruti, later traveling to Paris"
"oratories including ""Carmina Burana"" by Carl Orff, ""Ein deutsches Requiem"" by Brahms, ""Stabat Mater"" by Franz Schubert, ""Era di Aguarius"" by Sofia Gubaidulina or ""War Requiem"" by Benjamin Britten. Vytautas Juozapaitis Vytautas Juozapaitis (born December 14, 1963 in Radviliskis, Lithuania) is a Lithuanian singer (baritone), recipient of Lithuanian National Prize, a soloist of Lithuanian National Opera and Ballet Theatre and Kaunas State Musical Theatre, a professor of Lithuanian Academy of Music and Theatre and a docent of Vilnius College of Higher Education, and a television personality. He has performed in many international venues and is considered the most famous contemporary"
"people (""Sound an alarm"") and insists that the pagan altars must be destroyed and that false religions must be resisted. Victory has finally been achieved for the Jewish people (""See, the Conqu’ring Hero Comes!""). News arrives that Rome is willing to form an alliance with Judas against the Seleucid empire. The people rejoice that peace has at last come to their country (""O lovely peace""). The first performance took place on 1 April 1747 at Covent Garden, and ""Judas Maccabaeus"" became one of Handel's most popular oratorios. The ""General Advertiser"" (issued on the day prior to the concert) announced the"
"El juramento (zarzuela) El juramento (Spanish for ""The Oath"") is a 3-act zarzuela by Joaquín Gaztambide for libretto by Luis de Olona. Its central character (the Marquis) is taken from a French operetta ""La Rose de Peronne"" by Eugène Scribe and Adolphe Adam (1840), but the new work is entirely original. It was first staged on December 20, 1858 at the Teatro de la Zarzuela. It is thought to be among Gaztambide's best compositions and one of the most important scores in the history of zarzuela. The first modern performance took place in 2000 in Madrid Teatro de la Zarzuela."
"El juramento (zarzuela) El juramento (Spanish for ""The Oath"") is a 3-act zarzuela by Joaquín Gaztambide for libretto by Luis de Olona. Its central character (the Marquis) is taken from a French operetta ""La Rose de Peronne"" by Eugène Scribe and Adolphe Adam (1840), but the new work is entirely original. It was first staged on December 20, 1858 at the Teatro de la Zarzuela. It is thought to be among Gaztambide's best compositions and one of the most important scores in the history of zarzuela. The first modern performance took place in 2000 in Madrid Teatro de la Zarzuela."
"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"
"Stabat Mater (Giovanni Pierluigi da Palestrina) Stabat Mater is a Motet for Double Chorus by Giovanni Pierluigi da Palestrina. It was composed in the Late Renaissance Period sometime during the late 16th Century. It is centered on the 20 verses of text that constitute the hymn of the same name. The text predates Palestrina's composition and dates as far back as the 13th century. The author of the text is unknown. Some possible authors include: St. Bonaventure, Pope Innocent III, and Jacopone da Todi, a Franciscan Friar. The liturgical text is centered on Mary's suffering at the Crucifixion of Christ."
"Edmond Louis Budry Edmond Louis Budry (August 30, 1854 – November 12, 1932) was a Swiss hymn writer famous for writing the lyrics to the hymn ""Thine Be the Glory"" (""À toi la gloire"") to music from ""Judas Maccabaeus"" by George Frideric Handel. Born in Vevey, he studied theology in Lausanne and was a pastor at Cully and Sainte-Croix between 1881 and 1889. He then became pastor of the Free Church in Vevey for a further 35 years, retiring in 1923. Besides writing original hymns, he translated German, English, and Latin lyrics into French. Some of his work appeared in"
"The late medieval French artist Jean Fouquet painted an illustration of Judah triumphing over his enemies for his famous manuscript of Josephus. Rubens painted Judah Maccabee praying for the dead; the painting illustrates an episode from 2 Maccabees 12:39–48 in which Judah's troops find stolen idolatrous charms on the corpses of Jewish warriors slain on the battlefield. He therefore offers prayers and an expiatory sacrifice for these warriors who have died in a state of sin. During the Counter-Reformation the passage was used by Catholics against Protestants in order to justify the doctrine of purgatory. Accordingly, Rubens painted the scene"
"Joaquín Gaztambide Joaquín Romualdo Gaztambide y Garbayo (Tudela, Navarre, 7 February 1822 – Madrid, 18 March 1870) was one of the most prominent Spanish composers of the Zarzuela in the nineteenth century in Spain. His contribution to the revival of the zarzuela was highly significant, although during the last century his work virtually disappeared from the Spanish musical scene. Of Italian quality, and in the manner of Gaetano Donizetti, his music, however, makes use of Spanish rhythms and folk songs. Among other renowned operettas, stand out his ""La Mensajera"" (1849), ""El valle de Andorra"" (1851), ""Catalina"" (1854), ""Los magiares"" (1857),"