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

2196 Partitions
3054 MP3
521 MIDI


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





Pieds pour alto
Rayon des pieds pour alto.



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Partitions Alto Alto et Cordes Georg Friedrich Haendel
Haendel, Georg Friedrich: "He was Despised and Rejected of Men" for Viola & Strings

"He was Despised and Rejected of Men" for Viola & Strings
HWV 56 No. 23
Georg Friedrich Haendel




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EcouterTélécharger MP3 : Audio principal (10.45 Mo)75x 331x VoirTélécharger PDF : "He was Despised and Rejected of Men" (HWV 56 No. 23) for Viola & Strings (7 pages - 192.84 Ko)287x
 

 
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He was Despised and Rejected of Men for Viola & Strings
Télécharger MP3 (7.85 Mo) : interprétation (par Leonard Anderson)117x 101x



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

Alto et Cordes

  2 autres versions
Genre :

Baroque

Arrangeur :
Editeur :
Georg Friedrich HaendelMagatagan, Mike (1960 - )
Date :1741
Droit d'auteur :Public Domain
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 version of the Psalms included with the Book of Common Prayer. 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 1712, 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 opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens's text is an extended reflection on Jesus Christ as Messiah. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. In Part II, Handel concentrates on the Passion and ends with the "Hallelujah" chorus. In Part III he covers the resurrection of the dead and Christ's 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 reproducing a greater fidelity to Handel's original intentions, although "big Messiah" productions continue to be mounted. A near-complete version was issued on 78 rpm discs in 1928; since then the work has been recorded many times.

From the gentle falling melody assigned to the opening words ("Comfort ye") to the sheer ebullience of the "Hallelujah" chorus and the ornate celebratory counterpoint that supports the closing "Amen", hardly a line of text goes by that Handel does not amplify".

Isaiah wrote in his Songs of the suffering servant in the fourth song about the Man of Sorrows: "He was despised, rejected of men, a man of sorrows, and acquainted with grief" (Isaiah 53:3). Isaiah states in his songs that "the Messiah will play a substitutionary sacrificial role on behalf of his people". Handel gives the pitiful description to the alto solo in the longest movement of the oratorio in terms of duration. It is a da capo aria, showing two contrasting moods, set in E flat major in the first section, C minor in the middle section. The vocal line begins with an ascending fourth on "he was" and adds another one on "despi-sed", ending as a sigh. The signal of a fourth has been observed by musicologist Rudolf Steglich as a unifying motif of the oratorio. Handel breaks the beginning of the text up to a stammering "He was despised, – despised and rejected, – rejected of men, ... – despi-sed – rejected", the words interspersed with rests as long as the words, as if exhausted. Soft sighing motifs of the violins, an echo of the singing, drop into these rests. Hogwood interprets the unaccompanied passages as emphasizing "Christ's abandonment". The middle section is also full of dramatic rests, but now the voice is set on a ceaseless agitated pattern of fast dotted notes in the instruments, illustrating the hits of the smiters in text from the third song (Isaiah 50:6), where the words appear in the first person: "He gave his back – to the smiters – ... and His cheeks – to them – that plucked off the hair. – He hid – not his face – from shame – and spitting."

Although originally written for Vocal soloists (2 sopranos, alto, tenor, bass), Chorus, Orchestra and Harpsichord, I created this arrangement for Solo Viola & Strings (2 Violins, Viola & Cello).
Source / Web :MuseScore
Ajoutée par magataganm le 2015-01-22
Partition centrale :Messiah, 56 (137 partitions)



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Cette partition est associée à la collection de magataganm :
Viola Arrangements


Liste des partitions :
› "Joy to the World" for String Quartet
› 'Élégie' for Viola & Harp - Alto et Harpe
› "Élégie" from "6 Études pour la Main Gauche" for String Quartet
› "3 Chants Sacrés" for Viola & Piano
› "Ach bleib bei uns, Herr Jesu Christ" for Viola
› "Albinoni's Adagio" for Viola & Harp - Alto et Harpe
› "Album leaf" from Lyric Pieces for String Quartet
› "Album" for String Quartet
› "All They That See Him Laugh Him to Scorn" for Horn & Strings
› "All Through the Night" for Violin, Viola & Harp






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