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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
› voice, violin, guitar 1
› Soli, Chorus and Orchestra 1
› Choral SATB, Piano & 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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Orchestra - band Sheet music ⮞ Wind Sextet ⮞ Georg Friedrich Haendel

"But Who May Abide" For Wind Ensemble
HWV 56 Part I Mvt. 6
Georg Friedrich Haendel

Wind Sextet

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ViewDownload PDF : "But Who May Abide" (HWV 56) For Wind Ensemble (6 pages - 166.52 Ko)763x⬇

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Composer	Georg Friedrich Haendel (1685 - 1759)
Instrumentation	Wind Sextet
Style	Baroque
Arranger Publisher	MAGATAGAN, MICHAEL (1960 - ) Follow this artist 95 Contact
Date	1741
Copyright	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, eve...(+) 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. "But who may abide" is an Air for alto, as a human reaction to the words of God, shows the trembling in the expectation of the Lord's appearance twofold in a dramatic scene. The Air begins with the pensive question "But who may abide" and continues, in a sharp shift of time and tempo "Prestissimo", with the statement "For He is like a refiner's fire". Forceful downward runs, leaps and trills of the voice are accompanied by fiery figuration in the strings. Like a da capo, the pensive question is repeated, but in a short version, giving way once more to a prestissimo section. The statement returns a final time after a rest, marked Adagio, giving the soloist the opportunity to express it in an ultimate cadenza. A prestissimo postlude concludes the dramatic scene. Handel wrote this dramatic scene in London in 1750 for the castrato Gaetano Guadagni, after he had initially set the text as a recitative. Although originally written for Bass Solo & Continuo, I created this arrangement for Wind Ensemble (Flute, Oboe, Bb Clerinet, English Horn, French Horn & Bassoon).
Sheet central	Messiah (191 sheet music)
	Added by magataganm, 18 Apr 2013