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Haendel, Georg Friedrich Georg Friedrich Haendel
Germany Germany
(1685 - 1759)
1722 sheet music
2194 MP3
432 MIDI


Instrumentations :
CHOIR - VOCAL
› Choral SATB, Orchestra (3) Original
› Choral SATB, Piano (5)
› Choral SATB (4)
› Choral SATB a cappella (3)
› Soli, Chorus and Orchestra (1)
› Choral SSAA, Organ (1)
› voice, violin, guitar (1)

Arrangers : › Haendel, Georg Friedrich Original (1)
› Adrian A, Cuello Piraquibis (1)
› Bergeron, Guy (1)
› Bert, Jacques (2)
› Best, William Thomas (1)
› Chrysander, Friedrich (3)
› Czerny, Carl (1)

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Haendel, Georg Friedrich: "All we Like Sheep have Gone Astray" for Winds & Strings

"All we Like Sheep have Gone Astray" for Winds & Strings
HWV 56 No. 26
Georg Friedrich Haendel




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Composer :Georg Friedrich HaendelHaendel, Georg Friedrich (1685 - 1759)
Instrumentation :

Winds & String Orchestra

  11 other versions
Style :

Baroque

Arranger :
Publisher :
Georg Friedrich HaendelMagatagan, Mike (1960 - )
Date :1741
Copyright :Public Domain
Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the version of the Psalms included with the Book of Common Prayer. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.
Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens's text is an extended reflection on Jesus Christ as Messiah. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. In Part II, Handel concentrates on the Passion and ends with the "Hallelujah" chorus. In Part III he covers the resurrection of the dead and Christ's glorification in heaven.
Handel wrote Messiah for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified by (among others) Mozart. In the late 20th and early 21st centuries the trend has been towards reproducing a greater fidelity to Handel's original intentions, although "big Messiah" productions continue to be mounted. A near-complete version was issued on 78 rpm discs in 1928; since then the work has been recorded many times.
From the gentle falling melody assigned to the opening words ("Comfort ye") to the sheer ebullience of the "Hallelujah" chorus and the ornate celebratory counterpoint that supports the closing "Amen", hardly a line of text goes by that Handel does not amplify".
Still continuing Isaiah's text, "All we like sheep, have gone astray" is set as a fast chorus in F-major on a walking bass with irregular patterns and leaps. The voices utter twice together "All we like sheep", then two voice parts move simultaneously in different directions on "have gone astray", with the last syllable extended to eleven notes. The next bit of the text "we have turned" is illustrated by fast coloraturas, lacking direction. In a dramatic sudden adagio, full of chromatic tension, the movement ends on "and the Lord hath laid on Him the iniquity of us all". Myers comments about the chorus, which seems out of place at first sight: "In Handel’s famous chorus sin glories in its shame with almost alcoholic exhilaration. His lost sheep meander hopelessly through a wealth of intricate semi quavers, stumbling over decorous roulades and falling into mazes of counterpoint that prove inextricable. A less dramatic composer than Handel would scarcely have rendered his solemn English text with such defiance, for the discrepancy between the self-accusing words and his vivacious music is patent to any listener emancipated from the lethargy of custom." The movement is based on the duet for two sopranos "Nň, di voi non vo' fidarmi" (HWV 189, July 1741).
Although originally written for Vocal soloists (2 sopranos, alto, tenor, bass), Chorus, Orchestra and Harpsichord, I created this arrangement for Winds (Oboe, Bb Clarinet, French Horn & Bassoon) & Strings (2 Violins, Viola & Cello).
Source / Web :MuseScore
Sheet central :Messiah (137 sheet music)
Added by magataganm the 2015-01-25


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This sheet music is part of the collection of magataganm :
Woodwind
bois
Woodwind Arrangements
Sheet music list :

› Sonata in A Major from Chandos Anthem No. 8 for Oboe & Strings
› "À Tout Jamais" for Oboe & Bassoon Quartet - Oboe and bassoon
› "Ach, dass ich Wassers gnug hätte" for English Horn & Strings
› "Adieu Anvers" for Double Reed Quintet - Oboe, English horn, Bassoon
› "Adieux de l'hôtesse Arabe" for Oboe & Strings
› "Agnus Dei " from the Mass in B Minor for Double-Reed Trio
› "All we Like Sheep have Gone Astray" for Winds & Strings
› "Allegro di Molto" from "Lieder ohne Worte" for Oboe & Strings
› "Amen Chorus" for Oboes & Strings