I know That My Redeemer Liveth (From Messiah)
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Or, if you are already a subscriber Sign in. To emphasise the movements in which the oboes ob and the rarely used trumpets tr and timpani ti play, the summary below does not mention the regular basso continuo and the strings in movements. Details on the development of keys , different tempo markings times within a movement are given in notes on the individual movements.
Movements originally in Italian It are indicated in the Source column, however the exact origin is supplied in the notes on the movement. Scene 1 tells in an aria and a chorus of the resurrection, based on the Messianic anticipation in the Book of Job Job —26 and Paul 's teaching in his first epistle to the Corinthians 1 Corinthians — It begins with the "ascending fourth ", a signal observed by musicologist Rudolf Steglich as a unifying motif of the oratorio,  on the words "I know", repeated almost every time these words appear again.cycsidesta.tk
Messiah Part III - Wikipedia
The text for the chorus "Since by man came death" continues Paul's thoughts, juxtaposing death and resurrection twice. Consequently, Handel twice uses a Grave a cappella setting in A minor with chromatic lines, opposed to an Allegro with orchestra in C major in most simple harmony, switching back and forth between these extremes. Scene 2 deals with Paul's teachings on the Resurrection of the body on the Day of Judgement , as written in his First Epistle to the Corinthians.
Accompagnato and Air share three verses, 1 Corinthians — Handel breaks the text in the middle of the second verse, to open the aria with the musical idea "the trumpet shall sound". The image, first found in Exodus 19, pictures a courtly herald who blew the trumpet as a signal that the king was about to enter the throne room, a signal to stand in his honour. Towards the end, motifs like trumpet signals appear in the strings even before the last words "at the last trumpet".
The Air for bass "The trumpet shall sound", marked "Pomposo, ma non allegro", is a da capo aria. In the work's only instrumental solo, the trumpet provides motifs which the bass picks up.
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In "and we shall be changed", the word "changed" is treated in inventive ever-changing melismas of up to six measures. In the middle section, the word "immortality" is expressed in a lively melisma of first eight, then nine measures. Scene 3 first continues the text of Scene 2 1 Corinthians —57 , presented in recitative, duet and chorus, and ends with an Air on Paul's Assurance of salvation , as written in the Epistle to the Romans, Romans ,33— An alto recitative delivers "Then shall be brought to pass", ending on "death is swallow'd up in victory".
The movement is based on the duet for soprano and alto "Se tu non lasci amore" HWV , The scene closes with the assurance "If God be for us, who can be against us". As a contrast to the following choral conclusion of the oratorio, it is sung by the soprano. Towards the end, Handel quotes the characteristic intervals beginning Martin Luther 's chorale Aus tiefer Not schrei ich zu dir several times, leading into the final chorus. Scene 4 closes the work by visionary verses from the Book of Revelation, The creatures in heaven give praise Revelation —13 , affirmed by an extended Amen.
The chorus, with the full orchestra including trumpets and timpani, proclaims in a solemn Largo "Worthy is the Lamb that was slain", and continues Andante "to receive power — and riches, — and wisdom, — and strength, — and honour, — and glory, — and blessing". The sequence of Largo and Andante is repeated, but not exactly the same music.
A fugue carries the words "Blessing and honour, glory and pow'r be unto him". The men's voices and the continuo begin in unison , the simple theme rises to a note which is repeated nine times and falls back, reminiscent of the repeated notes in " For the mouth of the Lord hath spoken it " and " King of Kings ".
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Several countersubjects add life and texture, gradually more instruments take part in the development on "for ever — and ever". These words are rendered in short downward runs, but then also in the same rhythm as in the Hallelujah chorus , and finally broadened to Adagio. The "Amen" begins again simply in the bass and continuo. An intricate melody rises in four measures and one octave. Every other voice, tenor, alto, soprano, also sings the theme once. Rather unexpectedly, a solo violin plays the theme, first unsupported, then assisted by a continuo entrance of the theme, interrupted by a choral four-part setting with the theme in the bass.
After two more instrumental measures, a four-part-setting develops to imitation and counterpoint of more and more independent voices, ending on a rest of a full measure. Finally, Amen is repeated two more times, Adagio. A contemporary critic, conditioned by John Brown who objected to operatic features in oratorios such as recitatives, long ritornellos, and ornamented vocal lines, commented on Handel's display of musical inventiveness and "contrapuntal skill"  : "The fugue too, on Amen, is entirely absurd, and without reason: at most, Amen is only a devout fiat, and ought never, therefore, to have been frittered, as it is, by endless divisions on A— and afterwards men.
Block summarized in " From Wikipedia, the free encyclopedia. Main article: Structure of Handel's Messiah. I know that my redeemer liveth. Since by man came death. Behold, I tell you a mystery. The trumpet shall sound. Then shall be brought to pass.
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- I Know That My Redeemer Liveth. From Handel's Messiah..
O death, where is thy sting? But thanks be to God. If God be for us, who can be against us. Worthy is the Lamb that was slain, Amen. Archived from the original on 17 July Retrieved 14 July Retrieved 8 July Retrieved 11 July Retrieved 19 July Handel's Messiah: A Celebration. London: Victor Gollancz.
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