Messiah

DSpace Repository

Messiah

Show simple item record

dc.contributor.other George Frideric Handel es
dc.contributor.other Margaret Price es
dc.contributor.other Hanna Schwarz es
dc.contributor.other Stuart Burrows es
dc.contributor.other Simon Estes es
dc.contributor.other Symphonie Orchester & Chor des Bayerischen Rundfunks es
dc.contributor.other Sir Colin Davis es
dc.coverage.spatial Munich, Germany es
dc.date.accessioned 2012-07-28T13:50:45Z
dc.date.available 2012-07-28T13:50:45Z
dc.date.issued 2012-07-28
dc.identifier.uri http://hdl.handle.net/123456789/899
dc.description.abstract Most music lovers have encountered George Frederick Handel through holiday-time renditions of the Messiah's "Hallelujah" chorus. And many of them know and love that oratorio of Christ's life and death, as well as a few other greatest hits like the orchestral Water Music and Royal Fireworks Music, and perhaps Judas Maccabeus or one of the other English oratorios. Yet his operas, for which he was widely known in his own time, are the province mainly of specialists in Baroque music, and the events of his life, even though they reflected some of the most important musical issues of the day, have never become as familiar as the careers of Bach or Mozart. Perhaps the single word that best describes his life and music is "cosmopolitan": he was a German composer, trained in Italy, who spent most of his life in England. Handel was born in the German city of Halle on February 23, 1685. His father noted but did not nurture his musical talent, and he had to sneak a small keyboard instrument into his attic to practice. As a child he studied music with Friedrich Wilhelm Zachow, organist at the Liebfrauenkirche, and for a time he seemed destined for a career as a church organist himself. After studying law briefly at the University of Halle, Handel began serving as organist on March 13, 1702, at the Domkirche there. Dissatisfied, he took a post as violinist in the Hamburg opera orchestra in 1703, and his frustration with musically provincial northern Germany was perhaps shown when he fought a duel the following year with the composer Matheson over the accompaniment to one of Matheson's operas. In 1706 Handel took off for Italy, then the font of operatic innovation, and mastered contemporary trends in Italian serious opera. He returned to Germany to become court composer in Hannover, whose rulers were linked by family ties with the British throne; his patron there, the Elector of Hannover, became King George I of England. English audiences took to his 1711 opera Rinaldo, and several years later Handel jumped at the chance to move to England permanently. He impressed King George early on with the Water Music of 1716, written as entertainment for a royal boat outing. Through the 1720s Handel composed Italian operatic masterpieces for London stages: Ottone, Serse (Xerxes), and other works often based on classical stories. His popularity was dented, though, by new English-language works of a less formal character, and in the 1730s and 1740s Handel turned to the oratorio, a grand form that attracted England's new middle-class audiences. Not only Messiah but also Israel in Egypt, Samson, Saul, and many other works established him as a venerated elder of English music. The oratorios displayed to maximum effect Handel's melodic gift and the sense of timing he brought to big choral numbers. Among the most popular of all the oratorios was Judas Maccabeus, composed in 32 days in 1746. Handel presented the oratorio six times during its first season and about 40 times before his death 12 years later, conducting it 30 times himself. In 1737, Handel suffered a stroke, which caused both temporary paralysis in his right arm and some loss of his mental faculties, but he recovered sufficiently to carry on most normal activity. He was urged to write an autobiography, but never did. Blind in old age, he continued to compose. He died in London on April 14, 1759. Beethoven thought Handel the greatest of all his predecessors; he once said, "I would bare my head and kneel at his grave." © AMG, All Music Guide es
dc.description.tableofcontents Messiah Part Two CD 2-- Behold the Lamb of God ; Coro-- He was despised ; Aria-- Surely He hath borne our griefs ; Coro, And with His stripes (Coro), All we like sheep have gone astray (Coro)-- All they that see Him ; Accompagnato-- He trusted in God ; Coro-- Thy rebuke hath broken His heart ; Accompagnato-- Behold and see ; Arioso-- He was cut off ; Accompagnato, But Thou didst not leave (Aria)-- Lift up your heads ; Coro-- Unto which of the angels ; Recitativo, Let all the angels of God (Coro)-- Thou art gone up high ; Aria-- The Lord gave the word ; Coro-- How beautiful are the feet ; Aria-- Their sound is gone out ; Coro-- Why do the nations? ; Aria-- Let us break their bonds asunder ; Coro-- He that dwelleth in heaven ; Recitativo, Thou shalt break them (Aria)-- Hallelujah ; Coro-- es
dc.format.medium 1 CD-Rom (57 min., 28 seg.) : Stereo ; 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.M. Estéreo es
dc.subject.lcc 12857374 es
dc.subject.lcsh Jesus Christ Songs and music, Oratorios es
dc.title Messiah es
dc.title.alternative Der Messias es
dc.title.alternative Le Messie es
dc.title.alternative El Mesías es
dc.language.rfc3066 eng es
dc.rights.holder Phonogram International B.V es
dc.identifier.classification 028941253828 es
dc.subject.cdu H.08 es


Files in this item

Files Length Size Format View Description
1. Behold the Lamb of God - Coro.mp3 3:59 5.459Mb Unknown mp3
2. He was despised - Aria.mp3 10:28 14.34Mb Unknown mp3
3. Surely He ha ... ave gone astray (Coro).mp3 9:00 12.34Mb Unknown mp3
4 & 5. All they ... trusted in God - Coro.mp3 2:55 4.002Mb Unknown mp3
6. Thy rebuke h ... s heart - Accompagnato.mp3 2:15 3.080Mb Unknown mp3
7. Behold and see - Arioso.mp3 1:28 2.024Mb Unknown mp3
8. He was cut o ... didst not leave (Aria).mp3 2:59 4.088Mb Unknown mp3
9. Lift up your heads - Coro.mp3 3:01 4.151Mb Unknown mp3
10. Unto which ... e angels of God (Coro).mp3 1:57 2.676Mb Unknown mp3
11. Thou art gone up high - Aria.mp3 3:22 4.625Mb Unknown mp3
12. The Lord gave the word - Coro.mp3 1:15 1.727Mb Unknown mp3
13. How beautiful are the feet - Aria.mp3 2:49 3.870Mb Unknown mp3
14. Their sound is gone out - Coro.mp3 1:38 2.241Mb Unknown mp3
15. Why do the nations - Aria.mp3 3:02 4.175Mb Unknown mp3
16. Let us break their bonds asunder - Coro.mp3 1:47 2.452Mb Unknown mp3
17. He that dwe ... halt break them (Aria).mp3 2:31 3.467Mb Unknown mp3
18. Hallelujah - Coro.mp3 3:48 5.211Mb Unknown mp3
Messiah - Part Two.wav 57:34 580.9Mb WAV audio wav

This item appears in the following Collection(s)

Show simple item record