Comparison Of Scarlatti And Le Violette

Handel had started to experiment with oratorios in 1732, after the success of a ballad opera called the Beggars Opera by Johann Pepusch and John Gay. His own operas had declined in popularity, and operas were expensive and difficult to produce (Barber, and Donald). An oratorio was basically the same thing as an opera, except there were no expensive sets and costumes (Bonds). Handel composed Messiah from August 22 to September 14, 1741, a space of only 3 weeks. After finishing the oratorio, he put it away and started to work on another oratorio, Saul. It sat collecting dust for months, until Handel was invited to Ireland to visit the Duke of Devonshire in early November of 1741. After a rather disappointing opera season in 1740 and 1741, Handel was eager to get to Dublin. The libretto for Messiah was written by Charles Jennens (who also wrote the libretto for Saul) in the summer of 1741. It contained a compilation of verses from the bible; it didn’t tell a story, but reflected on the life of Christ and the Christian message, which is why it is a popular performance with churches today (Barber, and Donald). Messiah contains a recitative, “He that dwelleth in heaven”, and an aria, “Thou shalt not break them”. A recitativeis a style of singing that is between a lyrical song and speech, and makes the words clearer and easier to understand. An aria is the lyrical movement or piece for solo voice with some kind

Words are strong; they can build, tear down, or repair; they have a purpose, much like tools in a tool chest. Using a distressed and then confident tone, the author of “Under the Feet of Jesus,” Viramontes, details the progression of Estrella’s character from a confused and hostile girl to an empowered and knowledgeable young lady through the use of repetition, an epiphany in the form of a potent simile and diction. The epiphany that words hold immense power and the key to success in life completely transforms Estrella’s character as she learns to grow stronger from her troubled childhood experience. Viramontes emphasizes how much power we give words when we use them to support or tear down each other and how we should carefully direct that power of words to give a voice to an underprivileged individual whose experience and potential in life would otherwise remain hidden and unknown.

His career includes 42 operas, 29 oratorios, 16 organ concerti, over 120 cantatas, trios and duets, chamber music, odes, and many ecumenical pieces, his most famous work being the Oratorio “Messiah.” Composed in 1741, the oratorio was preformed first in Dublin in 1742. It had a scriptural text from the King James Bible and was written for modest vocal and instrumental forces. The work, although very much in the style of Handel, is a series of thoughts on the Christian idea of redemption and utilizes a mixture of traditions. After Handel’s death in 1759, the Oratorio began to gain popularity even further and was adapted to larger scale choirs and orchestras. Handel has very much influenced the world of music, especially through his operas, and has grown in popularity throughout the years. As the inventor of English Oratorios and being so well known for his Italian operas his style and influence is felt around the world even still in the music of today.

The last sentence of the poem, ““There is still murder in your heart” (14), is a powerful claim that suggests that a routine consisting of prayer, communion, or hymn singing will not dissolve the sin of the heart. However, seeing this claim from a different standpoint, this can also suggest that this dull routine is convenient when it comes to preserving an appearance of purity and grace. There is an image in the middle of the poem, “light swords” (7), that possibly represents sharp members of the congregation trying to deceive the church authorities and God. Their comfort to the routine is remarkable because it does not really make a difference at the end; the only thing that truly matters is the masked life they are trying to keep hidden. Readers may consider the arguments presented in this poem as the truth reaching out to the contemporary church and its followers to improve their relationship with

Not only is George Frideric Handel's Water Music extraordinarily beautiful, it also helped to establish the orchestral suite as a legitimate art form. Written to be performed outside instead of in a theater, it remains one of the most outstanding compositions in Handel's catalogue. Even though it is somewhat overplayed, the Water Music continues to be a very popular work of art. By nature of the venue this great work was to be performed in, Handel had to be very original in orchestration. His strong usage of woodwinds and percussion influenced countless composers such as the wind music of Mozart, Holst, Strauss, Beethoven, Vaughn-Williams, and even Stravinsky. Handel's music proved that he

This piece is based upon the scriptural text from the King James Bible it was first performed in Dublin in 1742; Handel makes use of the renaissance technique of word painting and multi-part polyphony. It uses fascinating word painting and is repeated throughout the piece. This piece comes from the oratorio called Messiah; it is the third piece of Messiah. It is the combination of homophony and polyphony with the addition of two trumpets. There are also two oboes, two violins, a viola, and a basso continuo. The use of basso continuo (instrumental accompaniment) requires a chordal instrument and a thoroughbass.

With the language being written in a colloquial style, it illustrates a more true and realistic approach while underlining the speaker’s statement to the Pope in a much stronger way. The choice of using words that solely relate to the native culture such as “isistawina” (27) and “matotsan” (42) demonstrate the effort the speaker is publicly displaying to maintain and uphold her customs. The use of no capitalization can relate to the idea that the poem is written in a vernacular language, but also provides evidence that the speaker does not believe the she or her culture, is better than another. It is not her objective to prove her culture should become more dominant, but to provide awareness of the past history and the impact caused from it. Communicating and expressing the poem with the heavy dialect not only signifies the importance of the speaker’s culture, as well adds humour and a sense of satire as a result of the improper diction.

Oratorios were performed in prayer halls, which was a sacred setting similar to the cantata. Oratorios were recitative and contained de capo arias and chorus, like the Italian opera. It was sung drama performed without staging or costumes. “The catholic church saw the power of operas and was quick to take on operas for sacred subjects, such as the lives of saints. However, the church also condemned operas for its power to seduce and dazzle, banning the performance of opera during Advent and Lent.”3 George Handel, an opera composer also composed Messiah, which was one of the best-known oratorios. Another important composer of this genre was Giacomo Carissimi, who wrote many early

Handel's "Halleluiah Chorus" from the Messiah is one of the most famous pieces in all of Western classical music. The Chorus uses "the rhythm of the word hallelujah," to structure the piece, lengthening the first note, and creating a stirring 'explosion' of sound at the end (The pure power of Handel's 'Hallelujah Chorus', NPR, 2008). The "King of Kings" passage is a single note, but by "repeating the passage in higher and higher registers...[e]ach one seems to be the highest you could possibly get," creating the "climax of the piece" (The pure power of Handel's

Handel's libretti were drawn literally from the Bible, though the verses he used were not necessarily consecutive ones. His musical style in the oratorios is a reversion to the high Baroque idiom, and in oratorio he abandonned the fashionable new stile galant touches he used in in his last operas in hopes of saving them from financial failure. His choral style resonates with fugal writing, but this too is affected by older traditions. His fugues are not the monthematic ones that German organ composers wrote to fill the time before the worship service. Instead the subjects could change as the work unfolded or the imitative texture could be abandonned altogether. The music was controlled by the dramatic needs, not requirements of musical form, and, in this respect Handel's choral fugues show a direct and strong linkage to both Grand Concerto and madrigal! Another madrigal element is Handel's use of music to set mood or depict events. In madrigal, tone painting was a rather local and sometimes puerile device; in Handel, musical depiction occurs on a grand and alomost profound scale. Handel's oratorios also approach recitative differently than opera

George Frideric Handel (23 February 1685 – 14 April 1759) was a baroque era composer, with an impressive repertoire of compositions. Handel didn’t grow up in a music rich environment, but in fact, he was forbidden by his father to touch any musical instrument, but found time when everyone else was asleep to play a clavichord he had smuggled to an upstairs room in the house. He grew up in Halle, Germany and at the age of 18, he traveled to Hamburg, and took a job as a violinist in the Hamburg Opera House. He supported himself by giving private lessons, and eventually published his first opera, Almira.

As stated by Burkholder, Grout and Palisca, Weber’s Der Freischutz’s “rustic choruses, marches, dances and airs”; multisectional aria form (influence from Rossini) and florid vocal lines were all common characteristics of the Italian Opera. Meanwhile in Verdi’s Otello, Wagnerian influence could be seen. Verdi used melodic motives to show the characters’ emotions. In Act 4 scene 3, the orchestra was used to heighten the dramatic moment instead of the voice, which was a breakthrough in the history of Italian Opera. It is apparent that both Italians and Germans knew how to blend the musical elements and text well to demonstrate the Romantic traits in their opera.

“Your Reverence may suppose that it would have needed no great effort to behold those hands and that beauteous face…. I began to feel such certainty and security that my fear was soon lost,” (St. Teresa 42).

The first roots of modern opera first appeared in Italy in the 17th century from the Camerata (an academy of Florentine poets, musicians, and scholars). The Camerata, inspired by ancient Greek drama, sung dialogues and choruses which were accompanied by musical instruments. The Camerata developed the “stile recitative,” in order to integrate drama, action, dialogue and narration. In this “sung speech,” a singer delivered a recitative melody with an actor’s dramatic and oratorical skills, achieving the goal of providing

Otello asks everyone to let him alone in order to stay with Desdemona, she moves closer to him. Her eyes are full of love, and to demonstrate her ecstasy, Verdi uses a solo, muted cello that swells with Otello’s and Desdemona’s emotions. Then, Otello starts to embrace her and starts singing his immense love: Gia nella note densa”, and she calls him, “Mio Superbo Guerrier”. Then, singing a beautiful lyric, she asks him to remember how speaking both intimately was the foundation of their love: “Do you remember”, she says accompanied by the halo of an angelic harp arpeggio. The string instruments remove their mutes, and a grand, measured largo unfurls, the principal movement of the love duet (Hepokoski, 1987). Desdemona starts describing how she got in love with the tales of his adventures. Otello also remembers and both start exchanging wonderful lyrical memories about their relationship.