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Messiah (HWV 56) [1] [n 1] is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter [n 2] by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere a year later.
Messiah is not typical Handel oratorio; there are no named characters, as are usually found in Handel’s setting of the Old Testament stories, possibly to avoid charges of blasphemy. It is a meditation rather than a drama of personalities, lyrical in method; the narration of the story is carried on by implication, and there is no dialogue.
Messiah (HWV 56), the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts. The wordbook (also called libretto or text) was supplied by Charles Jennens. This article covers Part I and describes the relation of the musical setting to the text.
George Frideric (or Frederick) Handel (/ ˈ h æ n d əl / HAN-dəl; [a] baptised Georg Fried[e]rich Händel, [b] German: [ˈɡeːɔʁk ˈfʁiːdʁɪç ˈhɛndl̩] ⓘ; 23 February 1685 – 14 April 1759) [3] [c] was a German-British Baroque composer well-known for his operas, oratorios, anthems, concerti grossi, and organ concertos.
List of concerti grossi by George Frideric Handel HWV Key Composed Premiere Venue Published Opus Notes 312 B-flat major ?Hanover, c. 1710 1734 Opus 3 No. 1 No Handel autograph. Earliest surviving manuscript score from c. 1724. Probably the earliest concerto in the Op. 3 set 313 B-flat major c. 1715–1718 1734 Opus 3 No. 2 314 G major c. 1717 ...
George Frideric Handel's operas comprise 42 musical dramas that were written between 1705 and 1741 in various genres.Though his large scale English language works written for the theatre are technically oratorios and not operas, several of them, such as Semele (1744), have become an important part of the opera repertoire.
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Messiah (HWV 56), the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts. This listing covers Part II in a table and comments on individual movements, reflecting the relation of the musical setting to the text.
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