85
b. increased interest in choral singing
D. Messiah
1. composed in 24 days, premiered in Dublin
2. performed continuously since its premiere
3. libretto: biblical verses, Old and New Testaments
a. Christmas section: prophecy of the coming of
Christ
b. Easter section: suffering, death, resurrection,
spread of his doctrine
c. Redemption section: redemption of the world
through faith
E. LG 14: Handel: Messiah, Nos. 18 and 44 (1742)
1. Part I, No.18: “Rejoice greatly, O daughter of
Zion”
a. da capo soprano aria, (A– B- A′)
b. melismatic passages: “rejoice”
c. instrumental ritornellos, exchanges with
voice
d. A′ section: varied considerably
2. Part II, No.44: “Hallelujah Chorus” closes Eas-
ter section
a. 4– part chorus and orchestra
b. shifting textures: homorhythmic, imitative
polyphony
c. varied dynamics, dramatic effect
OVERVIEW
Like Chapter 23, this chapter treats the subject of late
Baroque sacred music; here the focus is on the En glish
oratorio tradition established by George Frideric Handel.
Students are introduced to the musical and textual compo–
nents of the oratorio through an exploration of Handel’s
Messiah.
I. The Oratorio
A. Oratorio: sacred vocal form
1. large- scale dramatic genre: solo voices, chorus,
orchestra
2. performed in concert setting without scenery or
costumes
3. similarities to opera: recitatives, arias, duets,
trios, choruses
4. sacred text: biblical story, libretto by religious
leaders
5. early oratorios sponsored by Catholic Church
a. public meeting places
b. messages of faith to wide audience
c. moral alternative to opera
B. George Frideric Handel (1685–1759)
1. German composer, director, producer
2. worked in Italy, Germany, England
3. wrote, directed, and produced Italian- style opera
4. founder of Royal Acad emy of Music (1720)
5. revered by En glish: buried at Westminster Abbey
6. style: rhythmic drive, rich melodies, dramatic
expression
7. output: over 40 Italian operas, En glish oratorios,
orchestral suites, concertos, keyboard and
chamber music
C. Handel and the En glish oratorio
1. in ven ted new genre
a. ele ments of Italian opera, Catholic oratorio,
and En glish grand choral style
b. libretto by poets rather than religious leaders
2. not sponsored by church; entrepreneurial venture
3. success fits national mood
a. religious stories about a “chosen people”
appealing (economic expansion into colo–
nies: divine blessing)
CHAPTERfi24 Textures of Worship: Handel
and the En glish Oratorio
86 | Chapterfi24
their musical treatment and their importance within the
message of the text as a whole? How do the instruments
contribute to the commentary of the text?
TEACHING CHALLENGES
ities of Baroque style, as covered in the Prelude to Part 3.
SUPPLEMENTAL REPERTORY
SUPPLEMENTAL BIBLIOGRAPHY
Burrows, Donald. Handel: Messiah. Cambridge and New York:
Cambridge University Press, 1991. From the Cambridge Music
history of the oratorio during the late seventeenth and eigh teenth
centuries in Germany and England. Part III examines Handel and
the En glish oratorio.
YOUR TURN TO EXPLORE
aspects of the words that they, or their communities, find
most impor tant? Is the music designed to encourage partici-
pation by the community for which it has been designed, or
is the expressive power left up to trained specialists?
MODEL RESPONSE
LEARNING OBJECTIVES
1. To understand the historical context of the oratorio
before Handel
2. To understand the En glish oratorio tradition established
by Handel in the early to mid- eighteenth century
LECTURE SUGGESTIONS
1. To introduce the oratorio as a musical genre before
Handel’s day, play se lections from Carissimi’s Jephthe,
lament chorus, “Plorate filii Israel” (“Weep, sons of
Israel”). Ask students to consider the ways in which
Carissimi’s music conveys a strong sense of drama with–
out the help of staging or scenery, costumes, and acting.
Connect their responses to the idea of an oratorio as an
unstaged dramatic work.
3. Break students into pairs and have them outline the da
capo form of “Rejoice greatly.” It will be helpful to dis-
play the text and have students use As and Bs to identify
the structural moments in reference to the text. Ask stu-
dents to recognize any repeating internal phrases or sec–
tions (vocal and instrumental), as well as phrases and
ASSIGNMENT SUGGESTIONS
1. How do opera, cantata, and oratorio differ? How are they
related? Think about their texts and performing contexts.
they are performed in dif fer ent contexts— for example,
lighting the significance of the idea of peace within this
setting.
2. The closing “Amen” is the most elaborately polyphonic
section of the piece. The polyphony is also imitative,
cant passages of this religious text. Here are two places that
display this approach:
1. The phrase “And give you peace” is repeated four times:
the first time in unison by the upper voices (sung here