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Haendel, Georg Friedrich Georg Friedrich Haendel
Allemagne Allemagne
(1685 - 1759)
3 529 partitions
5 117 MP3 836 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

ARRANGEURS :
› Haendel, Georg Friedrich Original 1
› Adrian A, Cuello Piraquibis 1
› Bergeron, Guy 1
› Bert, Jacques 2
› Best, William Thomas 1

Ses partitions:




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Partitions Cor anglais Cor anglais et Harpe Georg Friedrich Haendel
Haendel, Georg Friedrich:

"For Behold, Darkness shall Cover the Earth" for English Horn & Harp
HWV 56 Part I Scene 3 No. 10
Georg Friedrich Haendel



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Télécharger PDF : "For Behold, Darkness shall Cover the Earth" (HWV 56) for English Horn & Harp (2 pages - 105.37 Ko)
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VoirTélécharger PDF : English Cor Part (77.6 Ko)
VoirTélécharger PDF : Harpe Part (97.76 Ko)
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Télécharger MP3 : Audio principal (3.58 Mo)158x 548x
For Behold, Darkness shall Cover the Earth for English Horn & Harp
Télécharger MP3 (3.47 Mo) : (par Magatagan, Michael)153x 136x
For Behold, Darkness shall Cover the Earth for English Horn & Harp
Télécharger MP3 (3.58 Mo) : (par Magatagan, Michael)165x 121x

Compositeur :Georg Friedrich HaendelGeorg Friedrich Haendel (1685 - 1759)
Instrumentation :

Cor anglais et Harpe

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.

The Bass solo "For Behold, Darkness shall Cover the Earth" illustrates the people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined (from Isaiah 9:2). In this menacing bass aria, Handel signals darkness and danger with a "Jaws"-like musical motif in the orchestra. Simple and captivating, this is movement ten of the Messiah. Perfect for Easter or Good Friday.

Although originally written for Bass Solo & Continuo, I created this arrangement for English Horn and Concert (Pedal) Harp.
Source / Web :MuseScore
Ajoutée par magataganm, 29 Mar 2013
Partition centrale :Messiah, 56 (152 partitions)
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Cette partition est associée à la collection de magataganm :
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arrangements pour harpe
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