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(1685 - 1759)

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Messiah - HWV 56

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 SATB, Piano & Organ 1
› Choir SATB, piano or organ 1

+85 instrumentations

ARRANGERS :
› Haendel, Georg Friedrich Original 1
› Adrian A, Cuello Piraquibis 1
› Bergeron, Guy 1
› Bert, Jacques 2
› Best, William Thomas 1
› Chrysander, Friedrich 3
› Cornu, Philippe 1

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Haendel, Georg Friedrich

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Flute Sheet music ⮞ Flute and Strings ⮞ Georg Friedrich Haendel

"Thou art Gone up on High" for Flute & Strings
HWV 56 No. 36
Georg Friedrich Haendel

Flute and Strings

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ViewDownload PDF : "Thou art Gone up on High" (HWV 56 No. 36) for Flute & Strings (5 pages - 134.52 Ko)758x⬇

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Composer	Georg Friedrich Haendel (1685 - 1759)
Instrumentation	Flute and Strings
Style	Baroque
Arranger Publisher	MAGATAGAN, MICHAEL (1960 - ) Follow this artist 94 Contact
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 performe...(+) 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". Pentecost is referred to rather indirectly, without naming the Holy Spirit. "Thou art gone up on high" from Psalm 68 (Psalms 68:18) reflects "gifts for men" and "that God might dwell among them", expressed in swinging 3/4 time. Some claim that Handel wrote the Air in London in 1750 for the castrato Gaetano Guadagni. However, the earlier editions (Novello, Best and Prout) all give this air to the Bass, in F major; only the current Watkins-Shaw edition gives the air to Alto (in D minor), and it provides a transposition for Soprano as well. Although originally written for Vocal soloists (2 sopranos, alto, tenor, bass), Chorus, Orchestra and Harpsichord, I created this arrangement for Flute & Strings (2 Violins, Viola & Cello).
Sheet central	Messiah (191 sheet music)
	Added by magataganm, 03 Feb 2015