The theme is treated with reverence, delicacy
and judgment, and the leading tone is that of a mighty hymn of
rejoicing. Following an overture that is in itself a revelation, the
opening tenor recitative, "Comfort Ye, My People," has a convincing ring
that all is and will be well, mingled with infinite tenderness, and the
succeeding aria, "Every Valley," is pervaded with the freshness of earth
newly arisen amid great glory. The heart-rending desolation of
selections like the contralto air, "He was Despised," only serves to
accentuate the triumph of other portions. Throughout there is a warmth,
a contrapuntal splendor, a breadth, an elasticity, a richness of
orchestration, unknown in previous oratorio, unless in parts of some of
the master's own works. Even in the duet and choruses remodeled from his
chamber duets, there is that jubilant character that makes them blend
perfectly with the great whole.
Born and educated on German soil, steeped during his wanderer's years in
the spirit of the Italian muse, and finally nourished on the cathedral
music of England, Handel became thoroughly cosmopolitan, appropriating
what he chose from the influences that surrounded him.
Pages:
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224