"Messiah" is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the Psalms included with the Book of Common Prayer. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.

Part 2 of the "Messiah" closes with the chorus "Hallelujah", in the key of D major with trumpets and timpani. This chorus is often performed out of context, especially around Christmas and Easter. The choir introduces in homophony a characteristic simple motif on the word, playing with the interval of a second, which re-appears throughout the piece. Several lines from the Book of Revelation (Revelation 19:6,16, Revelation 11:15) are treated differently, as in a motet, but unified by "Hallelujah" as a conclusion or as a countersubject in a fugal section. The line "for the Lord God omnipotent reigneth" is sung by all voices, first in unison, then in imitation with Hallelujah-exclamations interspersed. The second line "The kingdom of this world" is sung in a four part setting like a chorale. The third idea "and he shall reign for ever and ever" starts as a fugue on a theme with bold leaps, reminiscent in sequence of Philipp Nicolai's Lutheran chorale Wachet auf. As a countersubject, the words "for ever – and ever" assume the rhythm of the Hallelujah-motif. The final acclamation "King of Kings ..." is sung on one note, energized by repeated calls "Hallelujah" and "for ever – and ever", raised higher and higher, up to a rest full of tension and a final solemn "Hallelujah".

http://www.youtube.com/watch?v=C3TUWU_yg4s

Coooooooool, karma!

"Messiah" is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the Psalms included with the Book of Common Prayer. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.

Part 2 of the "Messiah" closes with the chorus "Hallelujah", in the key of D major with trumpets and timpani. This chorus is often performed out of context, especially around Christmas and Easter. The choir introduces in homophony a characteristic simple motif on the word, playing with the interval of a second, which re-appears throughout the piece. Several lines from the Book of Revelation (Revelation 19:6,16, Revelation 11:15) are treated differently, as in a motet, but unified by "Hallelujah" as a conclusion or as a countersubject in a fugal section. The line "for the Lord God omnipotent reigneth" is sung by all voices, first in unison, then in imitation with Hallelujah-exclamations interspersed. The second line "The kingdom of this world" is sung in a four part setting like a chorale. The third idea "and he shall reign for ever and ever" starts as a fugue on a theme with bold leaps, reminiscent in sequence of Philipp Nicolai's Lutheran chorale Wachet auf. As a countersubject, the words "for ever – and ever" assume the rhythm of the Hallelujah-motif. The final acclamation "King of Kings ..." is sung on one note, energized by repeated calls "Hallelujah" and "for ever – and ever", raised higher and higher, up to a rest full of tension and a final solemn "Hallelujah".

http://www.youtube.com/watch?v=C3TUWU_yg4s


Thanks for sharing---that's a wonderful piece of music.

I was looking it up and to my surprise there was no songs in 1741.

The Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer.

http://www.youtube.com/watch?v=N2YMSt3yfko

I might be Baching up the wrong tree with this selection... ;)

http://www.youtube.com/watch?v=6JQm5aSjX6g

I was looking it up and to my surprise there was no songs in 1741.
It is not songs to be looked for in these topics, it is the music of the year.

I was looking it up and to my surprise there was no songs in 1741.


Not even any funk songs? :(

Not even any funk songs? :(


nope, not even funk songs, unless you call Walter Murphy "A Fifth Of Beethoven" from 1979 funk but that's more disco than funk.

nope, not even funk songs, unless you call Walter Murphy "A Fifth Of Beethoven" from 1979 funk but that's more disco than funk.
The Symphony No. 5 in C minor of Ludwig van Beethoven, Op. 67, was written in 1804–1808, and was premiered on 22 December 1808.

Vivaldi died in this year - he was best known for the Four Seasons, but then Frankie Valli kicked him out of the group and became lead singer... :P

Vivaldi died in this year - he was best known for the Four Seasons... :P
I noticed that in my research, but could locate any composition for him for that year.

I noticed that in my research, but could locate any composition for him for that year.


Possibly the reason he died...bad career move, dying!

"Messiah" is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the Psalms included with the Book of Common Prayer. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.

Part 2 of the "Messiah" closes with the chorus "Hallelujah", in the key of D major with trumpets and timpani. This chorus is often performed out of context, especially around Christmas and Easter. The choir introduces in homophony a characteristic simple motif on the word, playing with the interval of a second, which re-appears throughout the piece. Several lines from the Book of Revelation (Revelation 19:6,16, Revelation 11:15) are treated differently, as in a motet, but unified by "Hallelujah" as a conclusion or as a countersubject in a fugal section. The line "for the Lord God omnipotent reigneth" is sung by all voices, first in unison, then in imitation with Hallelujah-exclamations interspersed. The second line "The kingdom of this world" is sung in a four part setting like a chorale. The third idea "and he shall reign for ever and ever" starts as a fugue on a theme with bold leaps, reminiscent in sequence of Philipp Nicolai's Lutheran chorale Wachet auf. As a countersubject, the words "for ever – and ever" assume the rhythm of the Hallelujah-motif. The final acclamation "King of Kings ..." is sung on one note, energized by repeated calls "Hallelujah" and "for ever – and ever", raised higher and higher, up to a rest full of tension and a final solemn "Hallelujah".

http://www.youtube.com/watch?v=C3TUWU_yg4s



Oh man, I can remember MOST of the second alto part but not all.  :-[  It has been a LONG, LONG time since I was part of a choir where we preformed this.



Cat

Vivaldi died in this year - he was best known for the Four Seasons, but then Frankie Valli kicked him out of the group and became lead singer... :P



;D

Possibly the reason he died...bad career move, dying!
Vivaldi spent 25 years of his life composing and has been decomposing since his his death.

The "Pièces de clavecin en concerts", published in 1741, constitute the only chamber music by Jean-Philippe Rameau and were composed in full maturity; they came after his music for solo harpsichord, and just before Les Indes galantes.


http://www.youtube.com/watch?v=OSMmQSy03D0

When I saw the title for this, I had to come peek in. Interesting.  ;D

"Joy to the World" is a popular Christmas carol. The words are by English hymn writer Isaac Watts, based on Psalm 98, 96:11-12 and Genesis 3:17-18, in the Bible. The song was first published in 1719 in Watts' collection; 'The Psalms of David: Imitated in the language of the New Testament, and applied to the Christian state and worship'. The tune is often attributed to George Frideric Handel (1685–1759) on the grounds of a 'chance resemblance' to choruses in the oratorio Messiah (premiered 1742), not least because a theme of the refrain (And heaven and nature sing...) appears similar to the orchestral opening and accompaniment of the recitative Comfort ye.

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This one is from the 19th century. I hope that's ok! ;D


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This one is from the 19th century. I hope that's ok! ;D


S-Xm7s9eGxU

Yes is written in the 19th century (1888), but this topic is music from the 18th century.

"La Marseillaise" is the national anthem of France. The song was written in 1792 by Claude Joseph Rouget de Lisle in Strasbourg after the declaration of war by France against Austria, and was originally titled "Chant de guerre pour l'Armée du Rhin" ("War Song for the Rhine Army"). The Marseillaise was a revolutionary song, an anthem to freedom, a patriotic call to mobilize all the citizens and an exhortation to fight against tyranny and foreign invasion. The French National Convention adopted it as the Republic's anthem in 1795. The song acquired its nickname after being sung in Paris by volunteers from Marseille marching to the capital. The song is the first example of the "European march" anthemic style. The anthem's evocative melody and lyrics have led to its widespread use as a song of revolution and its incorporation into many pieces of classical and popular music.

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