Religious Music of the Reformation Handel & Bach

Cantata (Bach) A work for chorus, soloists, and orchestra Performed without action or costumes Usually part of the church service on Sunday and based on that week’s Bible reading Protestant

Johann Sebastian Bach (1685 – 1750) Two wives and twenty kids Excelled in both secular and sacred music. Appointed Kapellmeister (Music Director) of St. Thomas church in Leipzig Composed new music every week for the Sunday mass

Bach’s Cantata No. 120 “Wachet auf, ruft uns die Stimme” One of Bach’s 195 surviving cantatas Movement 7 – Chorale Chorus needs to harmonize with keyboard Bach is considered a master of harmony

Bach’s Cantata No. 120 “Wachet auf, ruft uns die Stimme” Movement 1 – Ritornello Melodic idea that returns periodically (refrain) What instruments do you hear? Movement 4 – Nocturne This part of the story takes place at night Tenors sing about Mary awakening and her “joyful union” with Jesus

Oratorio (Handel) An extended work for chorus, soloists, and orchestra Text is typically drawn from scripture Performed without action or costumes Not part of a church service Catholic and Protestant

George Frideric Handel (1685 – 1759) Born in Germany Traveled and studied in Italy Became Kapellmeister of Hanover, Germany Moved to London in 1712 Considered England’s greatest composer

Handel’s Messiah Presented in Dublin, Ireland in 1742 It has been performed every year since Jesus’ birth, death and resurrection King George II of Britain stood up when he first heard the “Hallelujah Chorus” in 1743, starting a tradition that lives on today

“Hallelujah Chorus” of Handel’s Messiah What to listen for: The chorus gradually intensifies through voices rising to ever higher pitches The sharp shouts of “hallelujah” Imitative Polyphony during the phrase “and he shall reign forever and ever.” Building tension through a series of rising phrases (“King of Kings, and Lord of Lords”) Regal tone

360 singers