Handel's oratorios, especially "Messiah" and "Samson," show many artistic choices that reflect the important ideas of Classical music. These pieces display clear structures, interesting themes, and smooth changes in harmony, all of which connect them to the Classical style.
Sections: Handel would often use multiple parts in his music. This includes arias (solo songs), recitative (sung speech), and choruses (group singing). For example, "Messiah" has 53 parts, with 22 arias, 20 choruses, and 11 recitatives.
Form Types: Many arias follow a pattern called da capo form (ABA). This means there is a start (A), a different middle (B), and then a return to the start (A). In "Every Valley Shall Be Exalted," the A section has a beautiful theme, while the B section changes the mood.
Instrumental and Vocal Interplay: Handel cleverly used musical introductions, known as overtures, before the singing starts. The overture in "Messiah" features themes that come up again later in the music.
Motivic Choice: Handel includes short and memorable musical ideas, or motifs, that he develops throughout the piece. For example, in "The Trumpet Shall Sound," he highlights the trumpet motif on its own, which helps deepen the theme.
Functional Harmony: Handel’s use of harmony is an important part of his music. In "Messiah," the music often moves to a stable sound, called the tonic, after building up some tension with changing chords. About 70% of the harmony changes follow common patterns, which helps keep the music together.
Key Changes: Changes in keys can make the music more exciting. For instance, in "He Was Despised," the switch to a minor key makes the emotions feel stronger, showing the tension and release that are typical in Classical music.
In short, Handel’s choices in the structure, themes, and harmony in his oratorios show us how Classical music is made. They beautifully balance new ideas with traditional practices.
Handel's oratorios, especially "Messiah" and "Samson," show many artistic choices that reflect the important ideas of Classical music. These pieces display clear structures, interesting themes, and smooth changes in harmony, all of which connect them to the Classical style.
Sections: Handel would often use multiple parts in his music. This includes arias (solo songs), recitative (sung speech), and choruses (group singing). For example, "Messiah" has 53 parts, with 22 arias, 20 choruses, and 11 recitatives.
Form Types: Many arias follow a pattern called da capo form (ABA). This means there is a start (A), a different middle (B), and then a return to the start (A). In "Every Valley Shall Be Exalted," the A section has a beautiful theme, while the B section changes the mood.
Instrumental and Vocal Interplay: Handel cleverly used musical introductions, known as overtures, before the singing starts. The overture in "Messiah" features themes that come up again later in the music.
Motivic Choice: Handel includes short and memorable musical ideas, or motifs, that he develops throughout the piece. For example, in "The Trumpet Shall Sound," he highlights the trumpet motif on its own, which helps deepen the theme.
Functional Harmony: Handel’s use of harmony is an important part of his music. In "Messiah," the music often moves to a stable sound, called the tonic, after building up some tension with changing chords. About 70% of the harmony changes follow common patterns, which helps keep the music together.
Key Changes: Changes in keys can make the music more exciting. For instance, in "He Was Despised," the switch to a minor key makes the emotions feel stronger, showing the tension and release that are typical in Classical music.
In short, Handel’s choices in the structure, themes, and harmony in his oratorios show us how Classical music is made. They beautifully balance new ideas with traditional practices.