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

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Haendel, Georg Friedrich: "Laudate pueri Dominum" for Winds & Strings

"Laudate pueri Dominum" for Winds & Strings
HWV 237
Georg Friedrich Haendel

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

Vents & Orchestre Cordes

Genre :


Arrangeur :
Editeur :
Georg Friedrich HaendelMagatagan, Mike (1960 - )
Tonalité :Ré majeur
Droit d'auteur :Public Domain
Georg Friedrich Händel (1685 – 1759) was a German, later British, baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, and organ concertos. Handel received important training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712; he became a naturalised British subject in 1727. He was strongly influenced both by the great composers of the Italian Baroque and by the middle-German polyphonic choral tradition.

Born the same year as Johann Sebastian Bach and Domenico Scarlatti, Handel is regarded as one of the greatest composers of the Baroque era, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining steadfastly popular. One of his four Coronation Anthems, Zadok the Priest (1727), composed for the coronation of George II, has been performed at every subsequent British coronation, traditionally during the sovereign's anointing. Another of his English oratorios, Solomon (1748), has also remained popular, with the Sinfonia that opens act 3 (known more commonly as "The Arrival of the Queen of Sheba") featuring at the 2012 London Olympics opening ceremony. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and historically informed musical performance, interest in Handel's operas has grown.

Handel spent most of his time between 1706 and 1710 in Rome where papal decrees had closed the public theaters. Opera was an unprofitable medium. The fach (genre) that would provide him with the most opportunity to grow and to succeed as a composer was the Italian cantata. It was a popular genre, due in part to the constraints of the papal ban, and further supported by the patronage of foreign visitors and local aristocrats—even Church officials—who were eager to hear the considerable talent of Venetian singers put to good use, even if opera was out of the question. Performances of cantatas, which in some cases were actually operas in all ways except by name, were often presented in the"academies" held in the private theatres of discerning (and wealthy) patrons of the arts. These academies were the outgrowth of the scuole grandi popular in Venice during the previous century.

A notable manifestation of the flexibility of Handel's social and musical skills is the fact that he was engaged to compose music for the Roman Catholic liturgy within only a few months of his arrival in Rome. He was, of course, a rather staunch Lutheran, and remained so all of his life, not even conceding to the implications by the British monarchs (later in his life) that he should consider a conversion to the Church of England. The Latin church-music he composed in Rome is superb. His lifelong reputation could have been set on the basis of the stunning "Dixit Dominus" alone, composed in 1707. But many more equally compelling works come from those years, including this, the "Laudate, pueri, Dominum" of 1707. It represents (perhaps intentionally) a veritable catalogue of Italian musical forms, all masterfully employed by Handel. Each movement has a different texture including ritornello form (first movement), trio sonata texture ("Sit nomen Dominrand "Qui habitare facit"), typical imitative polyphony ("A solis ortu usque"), concerto grosso style ("Excelsus super omnes"), homophony ("Quis sicut Dominus"), continuo aria ("Suscitans a terra"), and the hybrid style of the final movement with its predictable return to the music of the first movement at the words "Sicut erat in principio" ("as it was in the beginning").

Psalm 113 is the 113th psalm of the Book of Psalms (Psalm 112 in Greek Septuagint and Latin Vulgate). It is very similar to the Song of Hannah. The psalm is often known by its first two words, Laudate pueri, and there are many musical settings – including Claudio Monteverdi's Vespro della Beata Vergine of 1610 as well as this, Handel's Laudate pueri Dominum (HWV 237.

Source: Wikipedia (

Although originally written for Mixed Chorus and Baroque Orchestra, I created this Arrangement of the "Laudate pueri Dominum" (HWV 237 Psalm 113) for Winds (Flute, Oboe, French Horn & Bassoon) & Strings (2 Violins, 2 Violas & Cello).
Source / Web :MuseScore
Ajoutée par magataganm le 2018-03-16

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Cette partition est associée ą la collection de magataganm :
Dispositions Flute
Liste des partitions :
› Élévation from 30 Pièces pour Orgue for Flute & Strings
› "Matribus suis dixerunt" for Woodwind Quintet
› "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

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