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George Frideric Handel (1685-1759) - works related to hymns and hymn-tunes:
(a) "Messiah", 1741
- Xrefs:
- RS-382 Come, let us join our cheerful songs
- RS-76 The Lord is King! Lift up your voice
- RS-129 The race that long in darkness pined
- RS-135 Antioch
(b) "Samson", 1742
(Novello's Centenary Edition, London, 1842)
- Xref:
- RS-488 Samson
(c) "Athalia", 1733
For a synopsis of the Oratorio, click here . . .
- Xref:
- RS-706 Wm Knyvett: Double Chant in F
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The Oratorio was composed for a festival in Oxford in July 1733. The occasion was the "Public Act" - a combination of Degree Day and sundry public speeches and jollification; and Handel himself conducted the performance, which was given in the Sheldonian Theatre before a large audience.
The libretto was by Samuel Humphreys, an indifferent dramatist; but it was based on a play of the same name by Jean Racine (1739-99), who in turn took his theme from the turbulent period of Jewish history described in 2.Kings 11 &c. Athalia, daughter of Jezebel, and mother of Ahaziah king of Judah, set out to secure the throne for herself on the death of her son, by arranging the murder of other claimants. But Ahaziah's infant son Joash was hidden by his aunt, Athalia's sister Jehosheba (Josabeth); the plot of the play turns upon his eventual succession and Athalia's overthrow.
The final duet, from which William Knyvett's chant is said to be adapted, is a gentle song in which Josabeth and her husband Jehoida the priest (Joad) congratulate one another on the succesful outcome of their scheme. Athalia is quietly forgotten in the general rejoicing, her gruesome execution recorded in 2 Kings 11:15-16 being tactfully omitted from the oratorio, which simply ends with an anthem of praise to God.
Handel's music for the oratorio was mainly composed for the purpose, though a few items made use of earlier material; a good deal of it was subequently re-used by Handel for other compositions.
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Franz Joseph Haydn: "Emperor" Quartet (string quartet)
- Xref:
- RS-98 Austria
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(a) Oratorio "St Paul", 1836
- Xrefs:
- RS-132 Wake, O wake! with tidings thrilling / Wachet auf
- RS-674 Allein Gott
- RS-205 (also 358) Breslau
- RS-502 Neumark
(b) Symphony No.5 ("Reformation")
- Xrefs:
- RS-20d `Amen settings'
- RS-585 Ein' feste Burg
(c) Motet, Op.23 No.1
- Xref:
- RS-331 Coburg / Aus tiefer Not
(d) Organ Sonata No.3
- Xref:
- RS-331 Coburg / Aus tiefer Not
(e) "Festgesang", 1840
- Xref:
- RS-159 Mendelssohn
(f) "Lobegesang" (last movement of Symphony No.2, 1840)
- Xref:
- RS-72 Nun danket
(g) Oratorio "Christus", 1847
- Xref:
- RS-182 Wie schön leuchtet
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(1st performance) Birmingham, 1888
(Vocal score, Novello's octavo edition, printed July 1913)
Parry's oratorio is based rather loosely on the exploit of Judith ( the name means "Jewess" ) described in the Apocryphal book of that name. The original is clearly a fictional narrative, celebrating the deliverance of the Jewish people from yet another period of apostacy and oppression, through the heroism and piety of one of its women. In Parry's scenario the story is set in a different historical context (the reign of Manasseh, a century earlier than the scene of the book of Judith); and the original climax, in which the head of General Holophernes is chopped off by Judith while he is drunk and asleep, is discreetly omitted, except by implication. Judith, however, remains the central character, and the theme that of God's power of deliverance when his people remain faithful to him.
For Parry's Preface as printed in the v/s edition, and a synopsis of the Oratorio, also printed in the v/s edition, click the high-lighted references.
For the text of the Ballad set to the music later used for the hymn-tune Repton, click here . . .
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Parry - "Judith": Composer's Preface
(This is printed at the beginning of the vocal score, Novello edition. An additional paragraph break has been inserted in this transciption.)
When endeavouring to get materials together for an Oratorio in September, 1887, I consulted the learned work of Dean Prideaux, known as "The Connection of the Old and New Testaments," for details of one of the Jewish captivities. I here came across his speculation, which he worked out with some show of historical probability, that the exploit of Judith occured in the reign of Manasseh. I had already been attracted to the story of Manasseh, as its salient features, though merely suggested in the Biblical summary, have a breadth of significance and a force of character that seemed likely to lend themselves to treatment in an Oratorio form.The excuse for introducing Judith afforded me by Dean Prideaux decided my choice, but it was not my original intention to call the work by her name; for though her heroism is most admirable, the sanguinary catastrophe of the story is neither artistically attractive nor suitable for introduction into a work in the Oratorio form. Nevertheless, in working out the subject, I was partly carried away by the superior interest of her personality, and partly by the advice of friends in whose sagacity I had confidence, and her share in the action became at least equal to Manasseh's. But I did not at any time wish to centralise the interest entirely upon individuals, but rather upon popular movements and passions, and such results of them as occur a hundred times in history; of which the Israelitish story is one vivid type out of many.
C.H.H.P.
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(This is printed at the beginning of the vocal score, Novello edition, following the composer's Preface.)
At a great assemblage of the Israelites for the worship of Moloch the priests demand the children of Manasseh for sacrifice. The king, overborne by the frenzy of the crowd, acquiesces. The priests go to the king's palace and take the children from their mother, and bring them down into the Valley of Hinnom to sacrifice them. Judith endeavours to save the children and is near being sacrificed herself by the furious worshippers, but is saved by the coming of the Assyrian host, who lay Jerusalem in ruins, and take Manasseh prisoner to Babylon.In captivity Manasseh repents, and is allowed to return to Jerusalem. But he is followed by Holofernes, who takes advantage of the ruined state of the city to demand submission to Nabuchodonosor, his king, and payment of tribute. Judith exhorts the Jews to have confidence in God's help, and takes it upon herself in His Name to save the city. While the Jews and Manasseh wait in anxious expectancy, she makes her way into the camp of the Assyrians, and even into the tent of Holofernes, who, overcome by wine and her beauty, is slain by her in the night. She escapes back to Jerusalem, and urges the Jews to fall on the Assyrians, while bewildered by the loss of their chieftain. Manasseh and his people, fired by her heroism, scattertheir enemies far and wide, and return to their beloved city exalting the Name of the God of Israel.
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Cantata for SATB chorus, soloists (S, A, T, B) and organ. It follows a conventional pattern of narrative extracts from the Gospels (mainly Luke and John) interspersed with commentary choruses and arias and occasional congregational hymns. Some of the latter appear to have been Somervell's own work (words and music); others use verses of well-known hymns and/or tunes. The final movement is a more elaborate setting of the seven (A.& M.) verses of `Praise to the Holiest in the height', to Somervell's own tune for these words - Chorus Angelorum - with varied harmony and accompaniment to each verse.
The work was dedicated to `G.S.' - probably Geoffrey Shaw, who was a contemporary and colleague of Somervell in many musical events and projects, particularly in Music Education.
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Service in B flat, Op.10
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Tippett, Michael: "A child of our time"
"A child of our time": Oratorio for soli, chorus and orchestra with text and music by Michael Tippett. Schott & Co., 1944
The oratorio, which was composed in 1940, is based on a fictional but contemporary story of communal conflict:
... Now in each nation there were some cast out by authority and tormented, made to suffer for the general wrong. Pogroms in the east, lynching in the west: Europe brooding on a war of starvation ... .... And a time came when in the continual persecution one race stood for all ... .
A boy escapes from the persecution into hiding; but is desperate to reach and rescue his mother; he shoots an official, and the act precipitates a terrible vengeance on his community. He is himself imprisoned, and becomes a scapegoat: ` ... God overpowered him, the child of our time ... .
The outcome is seen to be cathartic:
... Here is no final grieving, but an abiding hope. The moving waters renew the earth ... .
The oratorio is interpersed with chorales, in the manner of Bach's Passion and Christmas oratorios; but instead of conventional hymns Tippett used Afro-American spirituals, with their background - sometimes explicit, as in `Let my people go' - of racial intolerance and slavery. A note prefaced to the Vocal Score says that these `should not be thought of as congregational hymns, but as integral parts of the Oratorio'. There are five in all:
- Steal away
- Nobody knows the trouble I see
- Go down, Moses
- I'm going to lay down my heavy load
- Deep river
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"A Stage Dedication Festival Play"
The subject of the opera, told in Wagner's own libretto, is derived from mediaeval legends about the Knights of the Holy Grail, to whom the chalice used at the Last Supper, and the Spear which pierced the body of Jesus at the Crucifixion, were entrusted. The Spear is stolen by an evil magician, and only an untainted youth may win it back and with it achieve the healing which it brings. A young stranger, Parsifal, turns out to be such a person, and (after many adventures) the Grail and Spear are reunited.
"Parsifal" was Wagner's last major composition; he died the year after its completion.
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(The Rejoice & Sing Enchiridion:edited by David Goodall; last amended 21/8/02)