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

2196 Partitions
3054 MP3
521 MIDI



Arrangeurs :
› Haendel, Georg Friedrich (1)
› Alkan, Charles-Valentin (1)
› Best, William Thomas (1)
› Czerny, Carl (1)
› Heidtmann, Klaus (2)
› MACHELLA, MAURIZIO (2)
› Magatagan, Mike (4)

Ses partitions:





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Partitions Clarinette Quatuor de Clarinettes Georg Friedrich Haendel
Haendel, Georg Friedrich: "To Man God

"To Man God's Universal Law" for Clarinet Quartet
HWV 57 Act II No. 3
Georg Friedrich Haendel




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VoirTélécharger PDF : Bass Clarinet Part (75.39 Ko)
 

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

Quatuor de Clarinettes

Genre :

Baroque

Arrangeur :
Editeur :
Georg Friedrich HaendelMagatagan, Mike (1960 - )
Date :1741
Droit d'auteur :Public Domain
Samson was begun immediately after Handel had finished writing Messiah in 1741. Although almost all of the work was done by October of that year, he put the oratorio aside so that it could be premiered in London. It premiered at the Covent Garden Theatre in February 1743, where it had an extremely successful run of eight performances. Samson was staged in direct competition to the opera season at the King's Theatre, and was by far the more successful.

Handel's approach was new, having written and hired all English singers and performers. Up until this time, Handel had always had a lead castrato sing the heroic role, but he no longer had the resources in personnel that he once had. He decided to write the part for a singer who was not in the least virtuosic, but was known for his musicianship and dramatic skill: a tenor by the name of John Beard. His choice for Dalila was an actress capable of acting the part of a great seductress, Catherine Clive.

The score borrows a good deal from the music of others: Legrenzi, Telemann, Muffat, and Porta. It was hailed by the public as one of Handel's great works, and became a favorite of Londoners. The aria "Total eclipse!" in which Samson bewails his loss of sight, was known in later years to move both Handel and the London audience to tears, as Handel, spending the last ten years of his life blind, sat unseeing at his harpsichord during oratorio performances.

The libretto is taken from the Milton poem Samson Agonistes, as well as the biblical story from the Book of Judges. The librettist, Newburgh Hamilton, revised the poem to be a dramatic masterpiece for an oratorio. It opens with Samson in chains, having lost his strength and been blinded by the Philistines. The drama of Hamilton's libretto surrounds the transformation that takes place within Samson, as he changes from a despairing, defeated Israelite hero, into a resolved, committed, and believing instrument of retribution against the worshippers of Dagon. Each act is divided into sections in the libretto which are reflected in the score. The first act contrasts the celebrating Philistines with Samson's bleak circumstances. Trumpets and drums at the opening contrast with the soulful minor singing of the despondent Samson. Towards the end of the act Samson's transformation begins. In "Why does the God of Israel sleep?" Samson calls on Jehovah for aid. The entire closing sequence, which continues with a grand contrapuntal chorus and a solo for Samson's father, is in major, symbolizing Samson's growing inner strength. In Act II, Samson must confront first Dalila, his profligate wife, and then an emissary of the Philistines. In "Traitor to love," Dalila and Samson voice their conflicting views, and angrily spurn one another. In this oratorio Handel makes effective use of "crowd" choruses. When Harapha the champion of the Philistines arrives, crowds of Philistines and Israelites sing against one another in contrasting keys and types of thematic material. In the third act, Samson's final transformation takes place. The triumphal key of D major prevails in its exultant choruses, as the Israelites rejoice in their victory.

Although originally written for Chorus (SATB) and Keyboard, I created this arrangement for Clarinet Quartet (3 Bb Clarinets & Bass Clarinet).
Source / Web :MuseScore
Ajoutée par magataganm le 2013-05-24
Partition centrale :Samson, 57 (15 partitions)



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arrangements à vent
Liste des partitions :
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› "À Tout Jamais" for Oboe & Bassoon Quartet - Haubois et basson
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› "Adieu Anvers" for Double Reed Quintet - Hautbois, Cor anglais, Basson
› "Adieux de l'hôtesse Arabe" for Oboe & Strings
› "Agnus Dei " from the Mass in B Minor for Double-Reed Trio
› "Album Leaf" from Lyric Pieces for Clarinet & Strings
› "All we Like Sheep have Gone Astray" for Winds & Strings
› "Allegro di Molto" from "Lieder ohne Worte" for Oboe & Strings
› "Amen Chorus" for Oboes & Strings






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