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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]
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.
(Chorus) Glory, glory, hallelujah! Glory, glory, hallelujah! Glory, glory, hallelujah! Our God is marching on. In the beauty of the lilies Christ was born across the sea, With a glory in His bosom that transfigures you and me. As He died to make men holy, let us die to make men free, [16] While God is marching on. (Chorus) Glory, glory, hallelujah!
In Handel’s great chorus, the word is joyous, victorious, accompanied by trumpets and drums. ... Thousands of works of classical liturgical music use hallelujah, in part because there was a ...
Handel's Messiah: A Soulful Celebration is a gospel album by various artists, released in 1992 on Warner Alliance.Executive produced by Norman Miller, Gail Hamilton and Mervyn Warren, it is a reinterpretation of the 1741 oratorio Messiah by George Frideric Handel, and has been widely praised for its use of multiple genres of African-American music, including spirituals, blues, ragtime, big ...
Chorus: John 1:29: Testimony of John the Baptist: 23 / 20: He was despised and rejected by men of sorrows He gave his back to his smiters: Air A: Isaiah 53:3 Isaiah 50:6: Songs of the suffering servant 4, 3: 24 / 21: Surely, He hath borne our griefs and carried our sorrows: Chorus: Isaiah 53:4–5: Man of Sorrows, 4 continued 25 / 22: And with ...