MERRY CHRISTMAS!
Instrumental
Joy to the World - Percy Faith And His Orchestra
O Holy Night - National Philharmonic Orchestra
O come, All Ye Faithful - London Symphony Orchestra
O come, O come, Emmanuel - (Piano/Cello) - The Piano Guys
Little Drummer Boy - George Carlaw & the Avalon Pops Orchestra
What Child Is This - Chantal Dube
In 1741 George Frederick Handel faced the fact that London audiences were no longer interested in Italian opera. His two latest operas had failed, and Handel was seriously thinking of leaving England.
During Holy Week, London’s theaters were closed, and Charles Jennens, Handel’s favorite librettist, came up with a religious work that could be presented in the theater during that week. An oratorio, which is a religious cantata, would guarantee Handel a full house, which is the goal of every composer who writes music for a living. Handel knew that the authorities would not make an exception for Holy Week even for a religious piece, so the idea went in another direction. Handel decided to take his new work, “Messiah,” to Dublin in the fall of 1741 where it was received with great acclaim.
The first London performance in 1743 got a less pleasant reception. There were objections to using a theater as a venue for the performance of a sacred work and to using operatic singers of dubious personal morality to sing it. Even Jennens had issues with some of Handel’s music, which brought on yet another stroke for poor Handel, who had experienced a major stroke in 1737.
Each time “Messiah” was staged, Handel made adjustments to the score. Sometimes a piece was lengthened or shortened due to artistic instincts. Sometimes it was re-scored for different voice. Sometimes the weakness of a particular singer required a rewrite. This is the 1754 Foundling Hospital version, by which time Handel had settled on the score.
”Messiah” is written in three acts. Part 1 covers the prologue to Christ’s birth to his entry into Jerusalem. Part 2 covers his suffering, death and resurrection, and the spreading of the gospels by his disciples. Part 3 covers the promise of eternal life. Each part is structured like the act of a Baroque opera.
Jennens’ idea was to use quotes from the Old Testament to explain quotes from the New Testament. Direct narrative is avoided, and no singer has to impersonate Jesus, which would have been considered blasphemous. (The one exception to this was setting the various Passions to music, which Bach did.)
Instruments of that period were quite different from today, as were the performance practices of the Baroque era.
String instruments were played with gut strings, not steel. The sound decay rate for gut is more rapid, and that gives the strings a thinner, more plangent quality. Vibrato, which is ubiquitous today, was used only rarely and for expressive effect. At the time, there were a large number of markings in the score for bowing and articulation, most of which have been forgotten over the centuries. After Handel, Leopold Mozart, Wolfgang’s father, wrote the first violin tutorial, which explains in detail just how these various markings are to be played. The period instrument movement has revived these techniques, which are quite different from how string instruments are played today.
The wind instruments had not yet been supercharged and had smaller bores. The trumpets had holes rather than valves.
The vocal tradition of the era avoided vibrato. Singers were expected to improvise their own ornamentation using the written score as a guideline. This was especially true in da capo arias which are written in A-B-A format. The first time through the “A” section, the vocalist was expected to follow the score. The second time through, the vocalist was expected to ornament the written vocal line to show off his or her chops.
Both orchestras and choruses were small in size.
Speed indications had different meanings in the Baroque era. All Baroque music is dance music, even religious music. An instruction like allegro indicates a quick dance tempo, and adagio indicates a slower dance tempo. The modern interpretation of these instructions comes from Wagner and the Victorian era, when many traditions were lost. This performance avoids the modern for a Baroque understanding of what these instructions mean.
Baroque operas begin with an overture. The format is a slow introduction with dotted notes in duple time, followed by a fugue, followed by a march, jig or minuet. But Handel knew what he was doing, and he stops the fugue cold with a cadence, making way for the human voice. Note the atmosphere, not so much of joy, but of anticipation.
The purpose of a recitative is to link larger musical numbers and change key. An unaccompanied recitative involves a singer backed by a harpsichord and often cello. An accompanied recitative backs the singer with the string section. “Comfort ye my people” is an accompanied tenor recitative leading into a tenor aria, “Every valley shall be exalted,” where Handel uses the Baroque technique of word painting. Note the music for the words “crooked” and “straight.” (The lyrics come from “Isaiah.”)
Handel introduces the chorus, “And the glory of the Lord,” with low voices first, giving him the ability to amplify as the piece goes on. (Isaiah) This leads into an accompanied recitative for bass, “Thus saith the Lord.” (Haggai & Malachi)
Every Baroque opera had a big production number in each act, and a soprano aria, “But who may abide the day of his coming,” is the big production number for Part 1. (Malachi)
Handel liked to recycle material from his Italian operas on occasion, and this chorus, “And he shall purify,” is an example. (Malachi) It is followed by a recitative for contralto, “Behold, a virgin shall conceive.” (Isaiah)
”O thou that tellest good tidings to Zion” is a mezzo aria that expands into a chorus.
Following is a recitative for bass, “For behold, darkness shall cover the earth.” Note the sudden change in atmosphere and how Handel shows darkness and the change to light. This leads into a bass aria, “The people that walked in darkness,” with a wandering string line minus harmony, symbolizing wandering in the darkness. The magic moments occur where the darkness is dispelled. (Isaiah)
Following is another chorus derived from one of Handel’s Italian operas, “For unto us a child is born.” (Isaiah)
”Pifa” is Handel’s attempt to recreate the sound of shepherds’ bagpipes. It grew in length over the years, but by 1754 Handel had reduced it to its original 11 bars as a lead-in to four short accompanied soprano recitatives, each intended to ratchet up the tension. They in turn lead into a chorus, “Glory to God,” where the trumpets appear for the first time. Note the word painting, high voices for heaven and the low voices for peace on earth. At the end, Handel marks the ending pianissimo as the vision fades. (Luke)
Even though there is no mention of the Lord as “bridegroom,” Handel’s original version of this soprano aria, “Rejoice greatly, O daughter of Zion,” featured a violin playing a jig, the instrument and dance associated with weddings. The time signature for this early version was 12/8. By 1754, Handel had changed the time signature to 4/4, and this little detail disappeared. (Zechariah)
This leads into a soprano recitative, “Then shall the eyes of the blind,” which in turns leads into a soprano aria, “He shall feed his flock.” This started out as a piece for mezzo, then for duet, but by 1754 Handel had settled on handing it to the soprano. (Isaiah & Matthew)
Handel turned to recycling Italian opera for this final number, “His yoke is easy, and his burthen is light.” Note the Elizabethan spelling of “burden” as “burthen.” (Matthew)
Part 2 is a long series of numbers intended to culminate in the resurrection, and Handel builds it slowly. It is similar to the Passion works of Bach. Handel uses the dotted rhythms of a Baroque overture to start “Behold the lamb of God” and brings in the lower voices first. (John)
But Handel wastes no time and launches into his big production number for Part 2, a mezzo da capo aria, “He was despised.” In the “B” section, Handel uses the strings in short staccato strokes to portray the sound of scourging. As the “A” section returns, note Esther’s ornamentation of the vocal line. (Isaiah)
Three short choral numbers are recycled from an earlier Italian opera. “Surely he hath borne our griefs” sets the table. “With these stripes we are healed” is developed as a fugue. The third, “And we like sheep,” is not what you think it is! (Isaiah)
The next two linked numbers start with a recitative for tenor, “All they that see laugh him to scorn.” Note how Handel word paints the sounds of scourging, laughing and the shaking of heads. This leads into a mob chorus, “He trusted in God,” a crowd scene developed as a fugue. (Psalm 22)
The next two numbers are a recitative for tenor, “Thy rebuke has broken his heart,” and a tenor aria, “Behold, and see if there be any sorrow.” (Psalm 69 & Lamentations)
Two numbers are joined: a recitative for soprano, “He was cut off from the land of the living,” and a soprano aria, “But thou didst not leave his soul in hell.” (Isaiah & Psalm 16)
They lead into a chorus, “Lift up your heads, O ye gates.” (Psalm 24)
”How beautiful are the feet” is an aria that went through a number of changes between 1741 and 1754, but Handel finally settled on handing it to the soprano. (Romans)
”Their sound has gone out” is a chorus aimed at brevity. (Romans)
It is followed by a “rage” aria for bass in operatic style, “Why do the nations so furiously rage together?” This performance returns to the 1741 version because Ashley has the chops to handle it. It leads into the next number, a mob chorus in the form of a fugue, “Let us break their bonds asunder.”
A tenor recitative follows, “He that dwelleth in heaven,” leading into a tenor aria, “Thou shalt break them.” (Psalm 2)
It’s time to release all that tension and bring Part 2 to a close. This is the best known number in “Messiah,” a chorus where the trumpets are heard for only the second time in the whole oratorio. It’s the first time for the tympani. This is the announcement of resurrection. Handel writes a canon, then a small fugue and then another canon. The ascending phrases backed by the trumpet are nothing short of magic, as he ratchets up the tension for the breakthrough. (Revelation)
Part 3, unlike the other two parts, begins with a sense of certainty rather than anticipation. The issues have been resolved, and it’s time for a short epilogue on eternal life. “I know that my redeemer liveth” is a soprano aria that is one of the few pieces that underwent no revisions. (Job & 1 Corinthians)
This is followed by a chorus, “Since by man came death” and a bass recitative, “Behold, I tell you a mystery.” (1 Corinthians)
It’s time for the big production number for Part 3, “The trumpet shall sound.” This piece features the only instrumental solo in the work, written for trumpet. There would be a temptation to write a march here, but Handel resists the obvious to write a bass aria in 3/4. This aria was even longer in 1741, but Handel shortened it for the 1754 performance. There is the odd setting of the word “incorruptible” in the original text with the accent on the wrong syllable, but Ashley Riches has taken his own liberty with the text to correct the pronunciation. Note also the use of the same musical phrase for “We shall be changed” everywhere it appears. This goes against the meaning of the line, which is why Jennens criticized the composer’s approach. (1 Corinthians)
”If God be for us” is an aria for soprano, then transposed for mezzo, and then handed back to the soprano. (Romans)
Now it's time for the grand finale, a series of three choruses beginning with “Worthy is the lamb that was slain,” followed by “Blessing and honor” set as a canon, finishing with a giant fugue with one word, “Amen.” Listen to that amazing wrap-up! (Revelation)
~ Merry CHRISTmas 2023 ~
FR CANTEEN MISSION STATEMENT
Showing support and boosting the morale of
our military and our allies' military
and the family members of the above.
Honoring those who have served before.
CLICK HERE TO FIND LATEST THREADS
CLICK FOR Current local times around the world
CLICK FOR local times in Seoul, Baghdad, Kabul,
New York, Chicago, Denver, Los Angeles, Anchorage
The FR Canteen is Free Republic's longest running daily thread
specifically designed to provide entertainment and moral support for the military.
The doors have been open since Oct 7 2001,
the day of the start of the war in Afghanistan.
We are indebted to you for your sacrifices for our Freedom.
 CHRISTMAS BEGINS WITH CHRIST Chris Botti~Ave Maria |
CHRISTMAS BEGINS WITH CHRIST Enya~O Come, O Come Emmanuel |
CHRISTMAS BEGINS WITH CHRIST Jim Brickman~Joy To The World |
 CHRISTMAS BEGINS WITH CHRIST Josh Groban~O Holy Night |
CHRISTMAS BEGINS WITH CHRIST Kevin Ross~The Greatest Gift |
CHRISTMAS BEGINS WITH CHRIST Mannheim Steamroller~Hallelujah |
Bible in a Year :
You, Bethlehem Ephrathah, . . . out of you will come . . . one who will be ruler over Israel.
In November 1962, physicist John W. Mauchly said, “There is no reason to suppose the average boy or girl cannot be master of a personal computer.” Mauchly’s prediction seemed remarkable at the time, but it proved astonishingly accurate. Today, using a computer or handheld device is one of the earliest skills a child learns.
While Mauchly’s prediction has come true, so have much more important predictions—those made in Scripture about the coming of Christ. For example, Micah 5:2 declared, “But you, Bethlehem Ephrathah, though you are small among the clans of Judah, out of you will come for me one who will be ruler over Israel, whose origins are from of old, from ancient times.” God sent Jesus, who arrived in tiny Bethlehem—marking him as from the royal line of David (see Luke 2:4–7).
The same Bible that accurately predicted the first coming of Jesus also promises His return (Acts 1:11). Jesus promised His first followers that He would come back for them (John 14:1–4).
This Christmas, as we ponder the accurately predicted facts surrounding the birth of Jesus, may we also consider His promised return, and allow Him to prepare us for that majestic moment when we see Him face to face! .
Reflect & Pray
How might you respond in worship to the truth of the prophecies of Christ’s birth? How does His promise to return for us impact your decision-making?
Loving Father, I’m so grateful for the birth of Jesus and His mission of rescue and redemption. Thank You for His certain return for me.
 CHRISTMAS BEGINS WITH CHRIST Pentatonix~Mary, Did You Know |
1929 Wishing You a Merry Christmas--Carl Omeron & the Don Lee KHJ Orchestra and Singers
CHRISTMAS BEGINS WITH CHRIST Placido Domingo~I Heard The Bells On Christmas Day |
CHRISTMAS BEGINS WITH CHRIST The Three Suns~Hark! The Herald Angels Sing |
Merry Christmas, Kathy & Conor!