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BIBLIOTHÈQUE
Haendel, Georg Friedrich Georg Friedrich Haendel
Allemagne Allemagne
(1685 - 1759)

1954 Partitions
2615 MP3
476 MIDI


Instrumentations :
CHANT - CHORALE
› Choeur SATB, Orchestre (3) Original
› Choeur SATB, Piano (5)
› Choeur SATB (4)
› Choeur SATB a cappella (3)
› voix, violon, guitare (1)
› Choeur SSAA, Orgue (1)
› Choeur SATB, Piano et Orgue (1)

Arrangeurs :
› 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)

Ses partitions:





Carl Nielsen Collected Works
Partitions pour orchestre de Carl Nielsen



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Haendel, Georg Friedrich: "Worthy is the Lamb" from "Messiah" (HWV 56 No. 53) for Small Orchestra

"Worthy is the Lamb" from "Messiah" (HWV 56 No. 53) for Small Orchestra
HWV 56 No. 53
Georg Friedrich Haendel




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

Vents & Orchestre Cordes

  11 autres versions
Genre :

Baroque

Arrangeur :
Editeur :
Georg Friedrich HaendelMagatagan, Mike (1960 - )
Date :1741
Droit d'auteur :Public Domain
The "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 Psalms included with the Book of Common Prayer (which are worded slightly differently from their King James counterparts). 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 1713, 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 conventional opera, it is not in dramatic form; there are no impersonations of characters and very little direct speech. Instead, Jennens's text is an extended reflection on Jesus Christ as Messiah, moving from the prophetic phrases of Isaiah and others, through the Incarnation, Passion and Resurrection of Christ to his ultimate 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 authenticity; most contemporary performances show a greater fidelity towards Handel's original intentions, although "big Messiah" productions continue to be mounted.

The three-part structure of the work approximates to that of Handel's three-act operas, with the "parts" subdivided by Jennens into "scenes". Each scene is a collection of individual numbers or "movements" which take the form of recitatives, arias and choruses. There are two instrumental numbers, the opening Sinfony in the style of a French overture, and the pastoral Pifa, often called the "pastoral symphony", at the mid-point of Part I.

By the time Handel composed Messiah in London he was already a successful and experienced composer of Italian operas, and had created sacred works based on English texts, such as the 1713 Utrecht Te Deum and Jubilate, and numerous oratorios on English libretti. For Messiah, Handel used the same musical technique as for those works, namely a structure based on chorus and solo singing.

Worthy is the Lamb is the final chorus of the Oratorio (Part III Scene IV #53): "Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen." (Revelation 5:12-14)

Although originally written for oboes, strings and basso continuo of harpsichord, violoncello, violone and bassoon, trumpets, timpani and Chorus (SATB), I created this arrangement for Small Orchestra (Piccolo Trumpet, Bb Trumpet, Flute, Oboe, Bb Clarinet, English Horn, French Horn, Bassoon, Timpani, Violins, Viola & Cello).
Source / Web :MuseScore
Ajoutée par magataganm le 2018-08-02
Partition centrale :Messiah, 56 (137 partitions)


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Cette partition est associée ą la collection de magataganm :
flûte
flûte
Dispositions Flute
Liste des partitions :
› "2 Alma Redemptoris Mater" for Woodwinds & Strings - Vents et Quintet ą cordes
› "3 Gradualia" for Winds & Strings - Vents & Orchestre Cordes
› "A Christmas Air" for Flutes & Harp - Flute et Harpe
› "A Cup of Tea" Reel for Flute - Flūte seule
› "A Dieu Celle" for Woodwind Sextet - Sextuor ą vent.
› "A Pretty Maid Milking the Cow" for Flute, Oboe & Harp - Flūte, Hautbois, Harpe
› "A Swiss Melody" for Flute Quartet - Quatuor de Flūtes
› "Abendlied" for Woodwind Quartet - Quatuor ą vent
› "Ach bleib bei uns, Herr Jesu Christ" for Flute Duet - 2 flutes
› "Ad Te Levavi" for Brass & Strings - Vents & Orchestre Cordes






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