Does this piece fit that description? Try to name an emotional characteristic of each movement in the short text rage, scorn, etc. Can you hear each voice part entering with the fugue theme? Which voice begins the fugue and which is the last to come in?
This is a crowd scene of the type we find in German "Passion" settings from this period , and you might imagine the passersby represented by the four parts of the chorus contributing to the group by entering the musical texture each at a different time. The fugue is used to wonderful effect here to depict the sound of a crowd. Note: There is a handout of this number here. Disk 2, Track 4. Recitative Tenor , Thy rebuke hath broken his heart, Psalm 20 If you are able to analyze the harmony in this movement , you will notice that this recitative moves from A flat to the key of B major in a very short span of time these keys are not closely related , and thus modulating between them requires much maneuvering.
If you cannot analyze this piece harmonically, perhaps you can still feel a tension in the music and an unsettled quality.
The quick shift between keys here and the harmonic instability of the movement can be interpreted as a reflection of the desolation of the text. Aria Tenor , Behold, and see if there be any sorrow, E minor , Lamentations, 1: Recitative Soprano 1 , He was cut off out of the land of the living, E minor , Isaiah 8.
Disk 2, Track 5. Aria Soprano 1 , But thou didst not leave his soul in hell, A major , Psalm Note: Nos. Here the first soprano sings the second recitative and aria, but in other versions the tenor is given all four numbers. These movements are succinct--a far remove from the full-blown da capo style of other Handelian arias--and they convey the text in as simple a manner as possible.
Disk 2, Track 6. Semi-Chorus and Chorus , Lift up your heads, O ye gates, F major , Psalm The forces of this chorus are divided between a three-part choir of upper voices two soprano parts and alto and a three-part choir of lower voices alto, tenor , and bass with the alto voice split between the two. At which point in the piece do all five voices sing together, and what is the effect of this sound and how does it reflect the text? Disk 2, Track 7.
Recitative Tenor , Unto which of the angels said he at any time, A major , Hebrews, 1: 5. Chorus , Let all the angels of God worship him, D major , Hebrews, 1: 6 This is another fugue chorus , but it has a more complicated structure than the others in that it has more than one fugue subject. How does this movement begin, and when does the fugue actually start? Which voice begins the fugue?
How many fugue subjects do you notice here? Is the first voice to enter the fugal texture imitated by the next voice to enter? When does that initial theme reappear and in which voice? Disk 2, Track 8. Aria Soprano 2 , Thou art gone up on high, G minor , Psalm 18 You will notice in your score that several versions of this aria exist: one for bass , two for alto , and one for soprano. The soprano version is the one used for our recording.
Notice the way Handel sets some words "received" and "dwell" to long strings of notes. These long strings are called melismas and are typical of baroque music from Monteverdi on.
They challenge the soloist's breath support and add excitement to the vocal line. Disk 2, Track 9. Chorus , The Lord gave the word, B flat, Psalm 11 In this anthem chorus Handel makes a striking distinction between the word of God the opening of the text and its dissemination by the preachers the next line of the text.
How does Handel do this? Lastly, 11A allows you to change the mood. An error has occurred! We could not play this song at this time. Cantata No. Quatuor No. Exaltate Regem Regum. Performers PhotoScore.
Editor Friedrich Chrysander Plate H. Pub lisher. Holograph manuscript, n. This file is part of the Submission Project. Editor First edition reprint. Editor John Tobin Plate BA Editor Nicolas Sceaux.
Editor Paul-Gustav Feller. Editor Anthon Hansen. Editor Maximilian Arnke. Arranger Kurt Soldan , continuo realization. Arnold Schering New York: E. Kalmus , n. Kalmus Orchestra Series. Arranger Kurt Soldan , realization. Figures not included; original imprint and acknowledgment of continuo realization missing from reprint; some minor pencil marks. Editor Alfred Mann Jim Schwante. Manuscript, n. This manuscript contains the following numbers: , , 15, 17a, , , 30, 36a, 37 only recitatives , 38a, 39, 42, This manuscript contains numbers 4, 11, 15, 19, 25, 30, 39, 47, and Arranger Friedrich Chrysander , piano reduction.
Arranger William Thomas Best , piano reduction. Victor Wilder , French text. Leipzig: C. Peters , n. Plate This file is part of the Sibley Mirroring Project.
Arranger Ebenezer Prout , piano reduction. Percy Goetschius
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