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The final bars of the Hallelujah chorus, from Handel's manuscript Handel's music for Messiah is distinguished from most of his other oratorios by an orchestral restraint—a quality which the musicologist Percy M. Young observes was not adopted by Mozart and other later arrangers of the music. [ 111 ]
Two trumpets and timpani highlight selected movements, such as the closing movements of Part II, Hallelujah. Handel uses a cantus firmus on long repeated notes especially to illustrate God's speech and majesty, such as "King of Kings" in the Hallelujah chorus. [6]
Handel,_Messiah,_Hallelujah_Chorus_closing_bars_01.wav (WAV audio file, length 16 s, 1.41 Mbps overall, file size: 2.75 MB) This is a file from the Wikimedia Commons . Information from its description page there is shown below.
Handel used four voice parts, soprano (S), alto (A), tenor (T) and bass (B) in the solo and choral movements. Only once is the chorus divided in an upper chorus and a lower chorus, it is SATB otherwise. Handel uses both polyphon and homophon settings to illustrate the text.
In Handel’s great chorus, the word is joyous, victorious, accompanied by trumpets and drums. In Sergei Rachmaninoff’s "All Night Vigil," however, hallelujah reflects a more quiet devotion ...
Handel,_Hallelujah_Chorus_closing_bars_01.wav (WAV audio file, length 16 s, 1.41 Mbps overall, file size: 2.75 MB) This is a file from the Wikimedia Commons . Information from its description page there is shown below.