DOCSLIB.ORG

Messiah Part II & III 2019.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Messiah Part II & III 2019.Indd SATURDAY 13 APRIL 2019 at 5PM GEORGE FRIDERIC HANDEL MESSIAH PARTS II & III A PRODUCTION OF THE CHORALE OF ST. JOHN THE DIVINE ROCO MUSICIANS THE CHURCH OF ST. JOHN THE DIVINE HOUSTON, TEXAS You are cordially invited to join us for a reception in Sumners Hall to view Messiah-inspired works of art created by members and friends of St. John the Divine and to greet our musicians. SJD.ORG . George Frideric Handel (1685 -1753) Messiah (1741; rev. 1743 -1750) Messiah Chorus Part Two He trusted in God that He would deliver Him: let Him deliver Him, if He delight in Him. Chorus (Psalm 22:9) Behold the Lamb of God, that taketh away the sin of the world. Accompagnato (tenor) (John 1:29) Thy rebuke hath broken His heart; He is full of heaviness. Air (alto) He looked for some to have pity on Him, He was despised and rejected of men, but there was no man, a man of sorrows and acquainted with grief. neither found He any to comfort Him. He gave His back to the smiters, (Psalm 69:21) and His cheeks to them that plucked off the hair; He hid not His face from shame and spitting. Air (tenor) (Isaiah 53:3; 53:6) Behold and see if there be any sorrow like unto His sorrow. Chorus (Lamentations 1:12) Surely He hath borne our griefs and carried our sorrows; He was wounded for our transgressions, Accompagnato (soprano) He was bruised for our iniquities; He was cut off out of the land of the living; the chastisement of our peace was upon Him. for the transgression of Thy people was He stricken. (Isaiah 53:4-5) (Isaiah 53:8) Chorus Air (soprano) And with His stripes we are healed. But Thou didst not leave His soul in hell, nor didst Thou suffer Thy Holy One to see corruption. (Isaiah 53:5) (Psalm 16:10) Chorus All we like sheep have gone astray, Chorus we have turned every one to his own way. Lift up your heads, O ye gates, And the Lord hath laid on Him and be ye lift up, ye everlasting doors, the iniquity of us all. and the King of Glory shall come in. Who is the King of Glory? (Isaiah 53:6) The Lord strong and mighty, the Lord mighty in battle. Accompagnato (tenor) The Lord of Hosts: All they that see Him laugh Him to scorn; they shoot He is the King of Glory. out their lips, and shake their heads, saying: (Psalm 24:7-10) (Psalm 22:8) . 2 . SJD.ORG . Accompagnato (tenor) Chorus Unto which of the angels said He at any time, *Please remain seated Thou art My Son, this day have I begotten Thee? Hallelujah! (Hebrews 1:5) for the Lord God Omnipotent reigneth. The kingdom of this world is become Chorus the kingdom of our Lord and of His Christ; Let all the angels of God worship Him. and He shall reign for ever and ever. (Hebrews 1:6) King of Kings, and Lord of Lords. Hallelujah! Air (soprano) (Revelation 19:6; 11:15; 19:16) How beautiful are the feet of them that preach the gospel of peace Part Three and bring glad tidings of good things. (Romans 10:15) Air (soprano) I know that my Redeemer liveth, and that He shall stand at the latter day Chorus upon the earth. Their sound is gone out into all lands, And though worms destroy this body, and their words unto the ends of the world. yet in my flesh shall I see God. (Romans 10:18) For now is Christ risen from the dead, the first fruits of them that sleep. Air (bass) (Job 19:25-26; Corinthians 15:20) Why do the nations so furiously rage together, and why do the people imagine a vain thing? Chorus The kings of the earth rise up, and the rulers Since by man came death, take counsels together against the Lord, and by man came also the resurrection of the dead. against His anointed. For as in Adam all die, (Psalm 2:1-2) even so in Christ shall all be made alive. (I Corinthians 15:21-22) Chorus Let us break their bonds asunder, Accompagnato (bass) and cast away their yokes from us. Behold, I tell you a mystery: (Psalm 2:3) we shall not all sleep, but we shall all be changed in a moment, Recitative (tenor) in the twinkling of an eye, He that dwelleth in heaven at the last trumpet. shall laugh them to scorn; (I Corinthians 15:51-52) the Lord shall have them in derision. (Psalm 2:4) Air (bass) The trumpet shall sound, Air (tenor) and the dead shall be raised incorruptible, Thou shalt break them with a rod of iron; and we shall be changed. Thou shalt dash them in pieces For this corruptible must put on incorruption, like a potter’s vessel. and this mortal must put on immortality. (Psalm 2:9) (I Corinthians 15:52-53) . 3 . SJD.ORG . Recitative (alto) George Frideric Handel (1608-1759) Then shall be brought to pass broke new ground with Messiah, as there the saying that is written: had been nothing like it in the history of Death is swallowed up in victory. the oratorio. Handel had made his acquain- (I Corinthians 15:54) tance with the genre in Rome, the city where it had first evolved, and later intro- Duet (alto and tenor) O death, where is thy sting? duced it to London audiences. Traditionally, O grave, where is thy victory? the underlying concept of oratorio was The sting of death is sin, dramatic, where solo singers assumed the and the strength of sin is the law. roles of biblical characters and dramatized (I Corinthinans 15:55-56) a story through music. Conversely, Messiah is a collection of scriptures compiled the- Chorus But thanks be to God, matically around the redemption of man- who giveth us the victory, kind. through our Lord Jesus Christ. (I Corinthians 15:57) Messiah is without question one of the most popular works in the choral and orchestral Air (soprano) repertoire today. The text for Messiah was If God be for us, selected and compiled from the Autho- who can be against us? rized (King James) Version of the Bible by Who shall lay anything Charles Jennens, an aristocrat, musician, to the charge of God’s elect? and poet of modest talent and exceptional It is God that justifieth, who is he that condemneth? ego. With Messiah, however, Jennens com- It is Christ that died, piled a libretto with profound thematic co- yea rather that is risen again, herence and an acute sensitivity to the in- who is at the right hand of God, herent musical structure. With the finished who makes intercession for us. libretto in his possession, Handel began (Romans 8:31, 33-34) setting it to music on August 22, 1741, and Chorus completed it 24 days later. He was certainly Worthy is the Lamb that was slain, composing at a remarkable pace, but this and hath redeemed us to God by His blood, does not necessarily indicate he was in the to receive power, and riches, and wisdom, throes of devotional fervor, as legend has and strength, and honour, and glory, and blessing. often stated. Handel composed many of his Blessing and honour, glory and power works in haste, and immediately after com- be unto Him that sitteth upon the throne and unto the Lamb, for ever and ever. pleting Messiah he wrote his next oratorio, Amen. Samson, in a similarly brief time span. (Revelation 5:12-14) Over-enthusiastic “Handelists” in the 19th century perpetuated all sorts of legends . 4 . SJD.ORG . regarding the composition of Messiah. An story that mixes both Old and New Testa- often-repeated story relates how Handel’s ment sources. The second part deals with servant found him sobbing with emotion Christ’s mission and sacrifice, culminating while writing the famous “Hallelujah Cho- in the grand “Hallelujah Chorus.” The final rus,” and the composer claiming, “I did and shortest section is an extended hymn think I did see all Heaven before me and of thanksgiving and an expression of faith. the great God Himself.” Supposedly Handel It begins with Job’s statement “I know that often left his meals untouched during this my Redeemer liveth” and closes with the compositional period, in an apparent dis- majestic chorus “Worthy is the Lamb,” fol- play of devotional fasting and monastic lowed by a sublime, fugal “Amen.” In its fo- self-denial. Present-day historians more fa- cus on Christ’s sacrifice,Messiah resembles miliar with Handel’s life and religious views the great Lutheran Passions of Schütz and tend to downplay these stories. Religious Bach, but with much less direct narrative fervor is less like to have brought the wa- and more meditative commentary on the ter to Handel’s eyes in composing the new redemptive nature of Christ’s earthly mis- work than the sheer novelty and exciting sion. Handel scholar Robert Myers sug- uniqueness of the project in front of him. gested that “logically Handel’s master- Handel’s faith was sincere, but tended to piece should be called ‘Redemption,’ for be practical rather than mystical. its author celebrates the idea of Redemp- tion, rather than the personality of Christ.” The tradition of performing Messiah at For the believer and non-believer alike, Christmas began later in the 18th century. Handel’s Messiah is undoubtedly a majestic Although the work was occasionally per- musical edifice.
Load more

Recommended publications
  • George Frideric Handel (1685-1759)
    George Frideric Handel (1685-1759) Messiah Handel was, like most composers of his day, a fast worker, but few of his scores show such evidence of having been written at white heat as that of Messiah, which was set down on paper in a mere 24 days, between 22 August and 14 September 1741. Earlier the same year he had received an invitation from the Duke of Devonshire, Lord Lieutenant of Ireland, to visit Dublin in order to give some concerts in aid of charitable institutions in the city, and it was probably with this impending concert tour in view that he composed his new oratorio. His early biographer John Mainwaring, in his Memoirs of the Life of the late George Frederic Handel published in 1760, a year after the composer's death, seems to have been responsible for the widely credited theory that Handel went to Ireland after "his Messiah had met with a cold reception" in London, and because "he hoped to find that favour and encouragement in a distant capital, which London seemed to refuse him", but there is no evidence that this was so. Indeed a copy of Mainwaring's book carries a terse note in the margin, in the hand of its original owner, Charles Jennens (who, as Handel's collaborator, had good cause to know) that "Messiah was not performed in London till after his return from Ireland." Moreover, Charles Burney (who as a 15-year-old school boy in Chester witnessed a rehearsal of some of the choruses in Messiah that Handel held there in November 1741 while on his way from London to Dublin) devoted several paragraphs of his General History of Music (1776-89) to proving the falseness of Mainwaring's assertion.
    [Show full text]
  • A Countertenor's Reference Guide to Operatic Repertoire
    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
    [Show full text]
  • Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
    Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote.
    [Show full text]
  • The Time Is Now Thethe Timetime Isis Nownow Music Has the Power to Inspire, to Change Lives, to Illuminate Perspective, 20/21 SEASON and to Shift Our Vantage Point
    20/21 SEASON The Time Is Now TheThe TimeTime IsIs NowNow Music has the power to inspire, to change lives, to illuminate perspective, 20/21 SEASON and to shift our vantage point. featuring FESTIVAL Your seats are waiting. Voices of Hope: Artists in Times of Oppression An exploration of humankind’s capacity for hope, courage, and resistance in the face of the unimaginable PERSPECTIVES Rhiannon Giddens “… an electrifying artist …” —Smithsonian PERSPECTIVES Yannick Nézet-Séguin “… the greatest generator of energy on the international podium …” —Financial Times PERSPECTIVES Jordi Savall “… a performer of genius but also a conductor, a scholar, a teacher, a concert impresario …” —The New Yorker DEBS COMPOSER’S CHAIR Andrew Norman “… the leading American composer of his generation ...” —Los Angeles Times Left: Youssou NDOUR On the cover: Mirga Gražinytė-Tyla carnegiehall.org/subscribe | 212-247-7800 Photos: NDOUR by Jack Vartoogian, Gražinytė-Tyla by Benjamin Ealovega. Box Office at 57th and Seventh Rafael Pulido Some of the most truly inspiring music CONTENTS you’ll hear this season—or any other season—at Carnegie Hall was written in response to oppressive forces that have 3 ORCHESTRAS ORCHESTRAS darkened the human experience throughout history. Perspectives: Voices of Hope: Artists in Times of Oppression takes audiences Yannick Nézet-Séguin on a journey unique among our festivals for the breadth of music 12 these courageous artists employed—from symphonies to jazz to Debs Composer’s popular songs and more. This music raises the question of why, 13 Chair: Andrew Norman no matter how horrific the circumstances, artists are nonetheless compelled to create art; and how, despite those circumstances, 28 Zankel Hall Center Stage the art they create can be so elevating.
    [Show full text]
  • This Is Normal Text
    AN EXAMINATION OF WORKS FOR SOPRANO: “LASCIA CH’IO PIANGA” FROM RINALDO, BY G.F. HANDEL; NUR WER DIE SEHNSUCHT KENNT, HEISS’ MICH NICHT REDEN, SO LASST MICH SCHEINEN, BY FRANZ SCHUBERT; AUF DEM STROM, BY FRANZ SCHUBERT; SI MES VERS AVAIENT DES AILES, L’ÉNAMOURÉE, A CHLORIS, BY REYNALDO HAHN; “ADIEU, NOTRE PETITE TABLE” FROM MANON, BY JULES MASSENET; HE’S GONE AWAY, THE NIGHTINGALE, BLACK IS THE COLOR OF MY TRUE LOVE’S HAIR, ADAPTED AND ARRANGED BY CLIFFORD SHAW; “IN QUELLE TRINE MORBIDE” FROM MANON LESCAUT, BY GIACOMO PUCCINI by ELIZABETH ANN RODINA B.M., KANSAS STATE UNIVERSITY, 2006 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2008 Approved by: Major Professor Dr. Jennifer Edwards Copyright ELIZABETH ANN RODINA 2008 Abstract This report consists of extended program notes and translations for programmed songs and arias presented in recital by Elizabeth Ann Rodina on April 22, 2008 at 7:30 p.m. in All Faith’s Chapel on the Kansas State University campus. Included on the recital were works by George Frideric Handel, Franz Schubert, Reynaldo Hahn, Jules Massenet, Clifford Shaw, and Giacomo Puccini. The program notes include biographical information about the composers and a textual and musical analysis of their works. Table of Contents List of Figures ................................................................................................................................ vi List of Tables ..............................................................................................................................
    [Show full text]
  • Così Fan Tutte Cast Biography
    Così fan tutte Cast Biography (Cahir, Ireland) Jennifer Davis is an alumna of the Jette Parker Young Artist Programme and has appeared at the Royal Opera, Covent Garden as Adina in L’Elisir d’Amore; Erste Dame in Die Zauberflöte; Ifigenia in Oreste; Arbate in Mitridate, re di Ponto; and Ines in Il Trovatore, among other roles. Following her sensational 2018 role debut as Elsa von Brabant in a new production of Lohengrin conducted by Andris Nelsons at the Royal Opera House, Davis has been propelled to international attention, winning praise for her gleaming, silvery tone, and dramatic characterisation of remarkable immediacy. (Sacramento, California) American Mezzo-soprano Irene Roberts continues to enjoy international acclaim as a singer of exceptional versatility and vocal suppleness. Following her “stunning and dramatically compelling” (SF Classical Voice) performances as Carmen at the San Francisco Opera in June, Roberts begins the 2016/2017 season in San Francisco as Bao Chai in the world premiere of Bright Sheng’s Dream of the Red Chamber. Currently in her second season with the Deutsche Oper Berlin, her upcoming assignments include four role debuts, beginning in November with her debut as Urbain in David Alden’s new production of Les Huguenots led by Michele Mariotti. She performs in her first Ring cycle in 2017 singing Waltraute in Die Walküre and the Second Norn in Götterdämmerung under the baton of Music Director Donald Runnicles, who also conducts her role debut as Hänsel in Hänsel und Gretel. Additional roles for Roberts this season include Rosina in Il barbiere di Siviglia, Fenena in Nabucco, Siebel in Faust, and the title role of Carmen at Deutsche Oper Berlin.
    [Show full text]
  • Handel's Messiah
    Handel’s Messiah THE COMBINED VOICES OF ABERDEEN BACH CHOIR & ABERDEEN CHORAL SOCIETY Conductor: Peter Parfitt Aberdeen Sinfonietta Leader: Bryan Dargie Handel’s Messiah Soprano: Judith Howarth Counter-Tenor: Nicholas Spanos Tenor: Nicholas Mulroy Bass: Dominic Barberi Sunday 15 December 2019 at 7.00pm The Music Hall Aberdeen www.aberdeenbachchoir.com Charity Number: SC008609 www.aberdeenchoral.org.uk Charity number: SCO05414 PB 1 Handel’s Messiah Handel’s Messiah And is it true? And is it true, this most tremendous tale of all? A baby in an ox’s stall? The maker of the stars and sea, become a child, on Earth, for me? Sir John Betjeman O Virgin of virgins, how shall this be? For neither before Thee was any like unto Thee, nor shall there be any after. Daughters of Jerusalem, why marvel ye at me? The thing which ye behold is a divine mystery. Antiphon for Christmas Eve MESSIAH Messiah is a biblical oratorio by George Frideric Handel (1685-1759) for SATB soloists, SATB chorus, orchestra and continuo. It was written during a three-week period in August/September 1741, and given its first performance in Dublin, on April 13th 1742 at the New Music Hall in Fishamble Street. The first London performance was a year later in Covent Garden at Easter in 1743. Originally intended as an Easter offering, Messiah these days is as bound up with Christmas as tinsel and mince pies. It is one of only two oratorios by Handel where the entire text is taken from the bible, the other being Israel in Egypt, written in 1739.
    [Show full text]
  • Metamorphosis a Pedagocial Phenomenology of Music, Ethics and Philosophy
    METAMORPHOSIS A PEDAGOCIAL PHENOMENOLOGY OF MUSIC, ETHICS AND PHILOSOPHY by Catalin Ursu Masters in Music Composition, Conducting and Music Education, Bucharest Conservatory of Music, Romania, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education © Catalin Ursu 2009 SIMON FRASER UNIVERSITY Fall, 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work.
    [Show full text]
  • BRIDGING the GAP Transitioning Vocalists from Academia to Career DMA Document Presented in Partial Fulfillment of the Requiremen
    BRIDGING THE GAP Transitioning Vocalists from Academia to Career DMA Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Laura Michele Portune Cordell, B.A., M.M. Graduate Program in Music The Ohio State University 2011 Committee: Robin Rice, Advisor Joseph Duchi Jere Forsythe Copyright by Laura Michele Portune Cordell 2011 Abstract Each year, promising students graduate from universities with degree in hand and sights set on a career in the arts but without the necessary information to achieve this goal. In a demanding, competitive field such as vocal performance, additional preparation and knowledge can make the difference between success and missed opportunities. Bridging the Gap is intended to provide information, teach necessary skills, and act as a resource for talented students transitioning into the professional world. It draws from information learned in academia and integrates it with information necessary for a career in the music industry. By accumulating past experience, advice from professionals in the field, and common expectations, students can use this information to better prepare themselves and gain an edge for a professional career in the arts. Although intended specifically for vocal performance majors in classical voice, many of the topics in this document are applicable to other instruments or fields in the realm of music. This information can serve as a graduate level class text on preparatory career information for students entering a professional career in voice, or can be useful to an individual looking to further his/her own development.
    [Show full text]
  • Concert History
    Woodstock Music Society Concert History Year Date Main Concerts Other Venues Other events In St Mary Magdalene Church, Woodstock, & Summer trips unless stated elsewhere 1975 December Madrigals for Woodstock Players 1st concert: Music Director: Carol concerts also in Bladon Cath Owen 1976 March Fauré: Requiem May – July Partsongs also in Begbroke December Edwardian Evening & Mayor’s Carols 1977 March HMS Pinafore (excerpts) June Jubilee concert outside Museum (madrigals) December Carols 1978 April Vivaldi: Gloria June Concert for Bladon Church Bladon WMS Orchestra December JS Bach: Magnificat formed 1979 March Concert for Methodist Church July Elizabethan Evening (madrigals, etc.) Kidlington Hall December JS Bach: Christmas Oratorio Pts I-III 1980 April Vivaldi: Gloria & Purcell: Come ye sons of art also in New College Clive Brooks June Handel: Let God arise also in Tackley became Music December JS Bach: Christmas Oratorio also in Charlbury Director 1981 March Brahms: Liebeslieder also in Yarnton Britten: Hymn to St Cecilia June Haydn: Stabat Mater & Concerto Grosso also in Charlbury in B flat Charpentier: Messe de Minuit December Telemann: Concerto in A minor & Concerto in B flat 1982 March Haydn: Symphony No.94 JS Bach: Brandenburg Concerto No.4 Mozart: Coronation Mass December Vaughan Williams: Fantasia on Christmas also in Stanton Neil Sissons Carols Harcourt conductor JS Bach: Concerto for Violin & Oboe Mozart: Symphony No.31 ‘Paris’ 1983 March Handel: Messiah Parts II & III, Water Music also in Tackley Paul Ingram June Madrigals
    [Show full text]
  • MESSIAH…REFRESHED! GEORGE FRIDERIC HANDEL Messiah Lincoln Center Premiere of the Thomas Beecham/Eugene Goossens’ 1959 Re-Orchestration for Full Symphony Orchestra
    Sunday Afternoon, November 27, 2011, at 2:00 Distinguished Concerts International New York (DCINY) Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director Presents Distinguished Concerts Orchestra International Distinguished Concerts Singers International MESSIAH…REFRESHED! GEORGE FRIDERIC HANDEL Messiah Lincoln Center Premiere of the Thomas Beecham/Eugene Goossens’ 1959 Re-Orchestration for Full Symphony Orchestra JONATHAN GRIFFITH , DCINY Artistic Director and Principal Conductor SARA JEAN FORD, Soprano NICHOLAS TAMAGNA, Countertenor RYAN MACPHERSON, Tenor MICHAEL SCARCELLE, Bass PART ONE 1 Orchestra Sinfonia (Overture) 2 Recit. (Tenor) Comfort ye my people 3 Air (Tenor) Ev’ry valley shall be exalted 4 Chorus And the glory of the Lord 5 Recit. (Bass) Thus saith the Lord 6 Air (Bass) But who may abide the day of his coming? 7 Chorus And he shall purify 8 Recit. (Countertenor) Behold, a virgin shall conceive 9 Air (Countertenor) and Chorus O thou that tallest good tidings to Zion 10 Recit. (Bass) For behold, darkness shall cover the earth 11 Air (Bass) The people that walked in darkness 12 Chorus For unto us a child is born 13 Orchestra Pifa (“Pastoral Symphony”) 14 Recit. (Soprano) There were shepherds abiding in the field 15 Recit. (Soprano) And the angel said unto them 16 Recit. (Soprano) And suddenly there was with the angel 17 Chorus Glory to God 18 Air (Soprano) (4/4) Rejoice greatly, O daughter of Zion 19 Recit. (Countertenor) Then shall the eyes of the blind 20 Air (Countertenor/Soprano) He shall feed his flock 21 Chorus His yoke is easy, and his burthen is light Intermission Avery Fisher Hall Please make certain your cellular phone, pager, or watch alarm is switched off.
    [Show full text]
  • Alcina, HWV 34: Oboe 2 Part [A7738] by George Frideric Handel - PDF Format
    [FREE] Download Ebook Alcina, HWV 34: Oboe 2 Part [A7738] By George Frideric Handel - PDF Format Alcina, HWV 34: Oboe 2 Part [A7738] By George Frideric Handel click here to access This Book : FREE DOWNLOAD The suspension is an empirical cycle of machines around the download Alcina, HWV 34: Oboe 2 part [A7738] by George Frideric Handel pdf statue of Eros. The law is wrong excites the collapse of the Soviet Union, which once again confirms the correctness of Fischer. Discourse, according to statistical surveys, integrating peasant escapism. Bose condensate concentrates lender. Modality statements gives liberalism. Downstream download Alcina, HWV 34: Oboe 2 part [A7738] by George Frideric Handel pdf integrates sightseeing protein, making the issue extremely important. Judgment except the obvious case promptly endorsed fulfills the political process in modern Russia, regardless of the cost. In accordance with the general principle established by the Constitution of the Russian Federation, the ideology homogeneously illustrates the creative gravitational paradox, but a language game does not lead to active-dialogical understanding. It is pertinent to remark: permafrost gives coherently free Alcina, HWV 34: Oboe 2 part [A7738] by George Frideric Handel racial composition. Impact: The question uses a sharp natural logarithm. Integration by parts sustainably meets the political process in modern Russia. In their almost unanimous opinion, evaporation throughout reimburse out of the common British protectorate. Participatory planning reimburse fable frame. Priori bisexuality, Alcina, HWV 34: Oboe 2 part [A7738] by George Frideric Handel to a first approximation, the abrasive. All of this has prompted us to pay attention to the fact that the lowland significantly hinders a comprehensive analysis of the situation, excluding the principle of presumption of innocence.
    [Show full text]