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Only once is the chorus divided in an upper chorus and a lower chorus, it is SATB otherwise. The orchestra scoring is simple: oboes, strings and basso continuo of harpsichord, violoncello, violone and bassoon. Two trumpets and timpani highlight selected movements, such as the closing movements of Part II, Hallelujah.
A particular aspect of Handel's restraint is his limited use of trumpets throughout the work. After their introduction in the Part I chorus "Glory to God", apart from the solo in "The trumpet shall sound" they are heard only in Hallelujah and the final chorus "Worthy is the Lamb". [111]
[3] [4] The imagery of shepherd and lamb features prominently in many movements, for example: in the aria "He shall feed His flock like a shepherd" (the only extended piece to talk about the Messiah on earth), in the opening of Part II ("Behold the Lamb of God"), in the chorus "All we like sheep", and in the closing chorus of the work ("Worthy ...
An evaded cadence (a subtype of the inverted IAC) moves from a dominant seventh third inversion chord (V 4 2) to a first inversion tonic chord (I 6). [11] Because the seventh of the dominant chord must fall stepwise to the third of the tonic chord, it forces the cadence to resolve to the less stable first inversion chord.
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On 9 July 1891, the Royal Choral Society performed in a 'Grand Concert for the Visit of Their Imperial Majesties, The German Emperor and Empress', also attended by the Prince of Wales and the Duke and Duchess of Edinburgh. [2] From the beginning, performing premieres of new choral works has been a feature of the choir's repertoire.
First movement includes an independent pedal part. Fuga and ad libitum often less played. 307 Op. 7, No. 2 A major 5 February 1743 18 February 1743 London, Covent Garden Theatre 1761 Ouverture – A tempo ordinario – Organo ad libitum – Allegro Performed with the oratorio Samson (HWV 57) 308 Op. 7, No. 3 B-flat major 1–4 January 1751
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