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One of his most widely performed works is his oratorio Lamb of God about the death and resurrection of Jesus Christ. It was recorded by the London Symphony Orchestra at Air Studios in London in June 2010. Gardner was born and raised in Mesa, Arizona in a Latter-day Saint family.
Worthy is the Lamb that was slain The chorus, with the full orchestra including trumpets and timpani, proclaims in a solemn Largo "Worthy is the Lamb that was slain", and continues Andante "to receive power – and riches, – and wisdom, – and strength, – and honour, – and glory, – and blessing".
The Book with Seven Seals is opened by the enthroned Lamb of God in the presence of the twenty-four elders. The number seven corresponds to the seven spirits of God, and the sevenfold nature of the divine order in the world. As each of the seals is opened in turn, the events and catastrophes leading to the dissolution of the world are set in ...
[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 ...
The reflective soprano solo "If God be for us" (originally written for alto) quotes Luther's chorale Aus tiefer Not. It ushers in the D major choral finale: "Worthy is the Lamb", leading to the apocalyptic "Amen" in which, says Hogwood, "the entry of the trumpets marks the final storming of heaven". [129]
First page of the first part of Bach's Christmas Oratorio (1734) This is a chronological list of oratorios from the 16th century to the present. Unless otherwise indicated, all dates are those when the work was first performed. In some cases only the date of composition is known. In others, the oratorio has only been heard on a recording.
Coloraturas accent the words "mountain" and "glory", and the words "God" and "Lord" are set in long notes. The choir voices enter in imitation, as if gathering, but soon sing together, starting with "arise" (Isaiah 60:1) on a pronounced "ascending fourth"—a signal observed by musicologist Rudolf Steglich as a unifying motif of the oratorio. [6]
Mozart first heard Handel's Messiah in London in 1764 or 1765, and then in Mannheim in 1777. The first performance, in English, in Germany was in 1772 in Hamburg. [1] Carl Philipp Emanuel Bach was the first to perform the oratorio in German: he presented it in 1775 in Hamburg, with a libretto translated by Friedrich Gottlieb Klopstock and Christoph Daniel Ebeling, followed by repeat ...