Handel's The King Shall Rejoice
'I beg Your Imperial Highness not to forget Handel's works, since
these will certainly always afford the most excellent food for your
highly developed musical soul which, moreover, is bound ever to
overflow with admiration for that great man.'
Beethoven, 1819
Handel's music has endured centuries, and the fact that The King Shall
Rejoice (TKSR) is studied as a set piece at A level shows it still has
many relevant, interesting and unique styles and qualities to examine.
Handel composed during the Baroque period. Baroque has many
identifiable signatures. For example, much of the music is religious
and is characterised by majestic dotted rhythms and fugal textures,
e.g. in the French Overture.
TKSR follows many of the traditional styles of the Baroque period, and
also Handel's style. The text for The King Shall Rejoice is taken from
the Book of Common Prayer and the Bible. It worships both the King and
God and the whole tone of the piece is of splendour and glory.
It is against the rigid backdrop of English church music that one
should view the style and form of all the Coronation Anthems, which
are constructed from sections of differing key, metre and character.
The relatively frequently changing key (mainly to the dominant and
relative minor) keeps the listener interested and also adds variation
to the music.
The orchestration is typical of the period, with the strings and
continuo providing the core of the accompaniment, the brass being
introduced for bold effects as required and again, this occasional
adding of brass gives the anthem the texture to stop it being
repetitive.
...
... middle of paper ...
...the voices and continuo until bar
299 where another large-scale entry is heard, setting the listener up
for the dramatic finale. Here Handel splits up the alto and bass to
give extra tonal harmony and this is all in anticipation of the
finale. Handel has played many of his textural cards by the last
movement and now must find other ways to hold the listener's
attention. He achieves this by bring back some ideas from previous
movements. A slow and steady crescendo leads to a dramatic pause at
bar 358 before the final, massive, Alleluia leaves the listener
satisfied.
Handel's intention was to impress and stun the many important people
at the coronation. If the performance had been decent (unfortunately
it wasn't) then the effect would have been massive. Handel set out to
create a memorable piece and he achieved it.
The way that people react to sudden loss varies based on their background. Some view it as a direct attack on race, religion, or culture. A prime example of this is when the mother in “When The Emperor Was Divine”, believes that she was put in a camp and sent away just because she was Japanese. Others believe that their loss is because of their own actions. Such a motive is expressed in “What You Pawn I Will Redeem” by Jackson Jackson who knows that he is homeless because of his own actions. Overall, the way that one reacts to a sudden loss all depends if they believe their actions caused the loss.
Dr. King succinctly explains in the first chapter of the book that “three hundred years of humiliation, abuse, and deprivation cannot be expected to find voice in a whisper” (2000, p. 3). The revolution he led had been building up for such a long time that when it finally became clear to the American public, it appeared as an explosion of emotion and defiance. Why We Can’t Wait walks through the answer to segregation. What could have become a violent fight for freedom was instead a peaceful movement that proved just as successful. Dr. King highlights the historical events that led to that answer and why it needed to happen the way it did through nonviolence and civil disobedience—actions of love that Jesus probably would have stood behind.
On theme of August Wilson’s play “King Hedley II” is the coming of age in the life of a black man who wants to start a new life and stay away from violence. Wilson wrote about the black experience, and the struggle that many black people faced and that is seen “King Hedley II” because there are two different generations portrayed in King Hedley II and Elmore. Reporting the African American encounter in the twentieth century, Wilson's cycle of plays, including a play for every decade. The African-American group's relationship to its own particular history is a critical component in the play.
If you are part of society, I think it is safe to make the assumption you are familiar
In Martin Luther King, Jr.’s Why We Can’t Wait, Martin Luther King, Jr. describes the harsh treatment of Negroes while they were fighting for their freedom. Negroes were not allowed to vote, sit at lunch counters with whites, use the same restrooms as whites, or even ride next to whites on buses. Martin Luther King, Jr. led the Birmingham movement in efforts to gain freedom for the Negroes. The Birmingham movement was successful because it gained freedom for blacks, desegregated many places, and it opened up many job opportunities for blacks that they never had before.
Traditionally, dirges are composed in the form of a song or hymn of mourning as a memorial to a dead person. The very definition suggests that the particular qualities of the dead individual deserve recognition. The dirge is not just written for anyone, but for those deserving of glorification, who survive in the memories of the living as testaments to the greater capacities of humankind. It is against this traditional definition that Kenneth Fearing’s poem, “Dirge”, is working, not only as an overt commentary on the social, cultural, and political factors surrounding the destabilization of 1930’s America but also as an abstraction of the prevalent views of reality: the dehumanization of the human. Fearing superimposes these thematic projects onto the context of the Great Depression, a period of American history often seen as representing overarching society decline, the dull malaise of futility, and the alienation of the individual. Through an exploration of the structural elements of “Dirge”, one can find just how Fearing constructs a particular vision of modernism.
The music of George Frideric Handel has been celebrated throughout time, especially his oratorio work. Handel’s oratorios are considered to be some of the best in existence. However, much discussion and reverence is given to his Messiah, while the others are not as commonly subject to this praise. Therefore, I will investigate the origin and creation of the oratorio, Esther by Handel, with focus on his music for the scene. I will argue that Handel expresses the drama and emotion of this biblical story through the musical elements he employs, particularily
Beethoven's Ninth Symphony I attended Beethoven’s Ninth Symphony on October 14, at the Bass Performance Hall in Fort Worth. The Fort Worth Symphony Orchestra, conducted by Miguel Harth-Bedoya and Southwestern Seminary Oratorio Chorus, directed by C. David Keith, performed. Ludwig Van Beethoven composed the work. He composed it between 1811-1824. Beethoven composed the work in D minor, Op.
Abuse is a difficult and sensitive subject that can have long lasting effects. These traumatic emotional effects are often intensified if the abuse happens at a young age because children do not understand why the abuse is happening or how to deal with it. There are many abuse programs set up to counter the severe effects which abuse can have. Even more, poets and writers all over the world contribute works that express the saddening events and force the public to realize it is much more real than the informative articles we read about. One such poem is Theodore Roethke’s My Papa’s Waltz which looks carefully through the eyes of a young boy into the household of an abusive father. Robert Hayden’s Those Winter Sundays is a similar poem from the perspective of a young adult reflecting back on the childhood relationship with his father and the abuse his father inflicted. These poems are important because they deal with the complex issues surrounding the subject of abuse and also show the different ways which children react to it. My Papa’s Waltz and Those Winter Sundays are similar poems because they use tone, imagery, and sounds and rhythms to create tension between the negative aspects of abuse and the boys own love and understanding for their father.
A situation can be interpreted into several different meanings when observed through the world of poetry. A poet can make a person think of several different meanings to a poem when he or she is reading it. Langston Hughes wrote a poem titled "I, Too." In this poem he reveals the Negro heritage and the pride that he has in his heritage and in who he is. Also, Hughes uses very simple terms that allow juvenile interpretations and reading.
Lover A Ballad was written as a reply to the poem To His Coy Mistress.
Johann Sebastian Bach wrote many amazing masterpieces, many still given life today through performance around the world. There are, however, many pieces that do not shine as brightly in the public eye. One of these pieces is Bach’s BWV 543, entitled “Prelude and Fugue in A minor” and otherwise nicknamed “The Great.” This music is said not to be a famous piece for organ but does itself justice when compared to his similar and more famous works. With its many musical structures weaving in and out of the piece and its highly virtuosic nature, after hearing the BWV 543 performed it is easy to understand why it is nicknamed as such.
Johann Sebastian Bach wrote four Orchestral Suites. This piece is the second of the five movements that compose his Orchestral Suite No. 3. What is the difference between a'smart' and a'smart'? The date it was composed remains unsure, as there is strong evidence that the writing of the piece was done during his years at Köthen, even though the piece is said to have been composed and premiered some years later in Leipzig sometime between 1727 and 1730 by his son Carl Philipp Emanuel Bach, one of his students and himself. Johann Sebastian wrote out the main violin and continuo parts, C.P.E. Bach did the same with the trumpet, oboe, and timpani parts, and Johann Ludwig Krebs, his student, finished with the second viola and violin parts.
Ludwig van Beethoven was born in Bonn, Germany in 1770. His works are traditionally divided into three periods. In his early period, he focused on imitating classical style, although his personal characteristics of darker pieces, motivic development, and larger forms are already evident or foreshadowed. In his middle period, he is beginning to go deaf, and has realized that he cannot reverse the trend. His works express struggle and triumph. He stretches forms, with development sections becoming the bulk of his works. He is breaking from tradition and laying the groundwork for the romantic style period. In his late period, he breaks almost completely with classical forms, but ironically starts to study and use baroque forms and counterpoint. He is almost completely deaf, and his works become much more introspective with massive amounts of contrast between sections, ideas, and movements. He dies in Vienna in 1827.
Samuel Osborne Barber II was an American composer of orchestral, opera, choral, and piano music. Samuel Barber expressed his passion for music from childhood and even at a very young age he decided to become a music composer. Barber was born in a family of musicians, it was quite natural that he went along with music all his life. Barber’s works acknowledge his love for poetry and his deep knowledge of music in all aspects. Barber had a very amazing skill in packing dense emotions into small segments of highly charged music. Barbers music often penetrated directly to the listener’s heart. This made his music popular among music buffs all over the world. He is regarded as one of the most distinguished composers to emerge in the twentieth-century. Barber followed neo-romantic style built on romantic