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{{Handel oratorios}}'''''Belshazzar''''' ([[HWV]] 61) is an [[oratorio]] by [[George Frideric Handel]]. The [[libretto]] was by [[Charles Jennens]], and Handel |
{{Handel oratorios}}'''''Belshazzar''''' ([[HWV]] 61) is an [[oratorio]] by [[George Frideric Handel]]. The [[libretto]] was by [[Charles Jennens]], and Handel approached it with style. Jennens' libretto was based off of the [[Biblical]] account of the take-over of [[Babylon]] at the hands of [[Cyrus the Persion]] and the necessary freeing of the Jewish nation, as found in the [[ fifth chapter of the Book of Daniel]]. But, however, Jennens creatively used many ideas from the bible and from Herodotus and Xenophon, which combined, created and a plot that can attract attention, but is not the same as the Bible story. Jennens probably changed this around because he thought it would be a great way to get the audience into the story. |
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Handel was in a creative burst of energy when he composed ''Belshazzar'', and he used the most elaborate of all his forms of composition to come up with the dramatic feeling one feels when getting into it. And that may be why it is the least popular of his oratorios: it is so different than the other examples of his creative bursts. It was also composed while Handel was in a powerful moment of intense musical imagination. His visions for it were not like most of his oratorios, and it may be that it is one of his most unique. |
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Handel composed ''Belshazzar'' in the late Summer of 1744 concurrently with ''[[Hercules (music drama) | Hercules]]'', during a time that Winton Dean calls "the peak of Handel's creative life"<ref name="Dean">[[Winton Dean | Dean, Winton]]. [http://books.google.com/books?as_q=&btnG=Google+Search&as_epq=handel%27s+dramatic+oratorios+and+masques&as_libcat=1 Handel's Dramatic Oratorios and Masques]. London: Oxford University Press, 1959. pp. 435</ref>. The work premiered the following Lenten season on 27 March 1745 at the King's Theatre in London.<ref name="Chrysander" /> The work fell into neglect after Handel's death, with revivals of the work occurring in the United Kingdom in 1847, 1848 and 1873.<ref>Macfarren, G.A., "Handel's ''Belshazzar''" (1 June 1873). ''The Musical Times and Singing Class Circular'', '''16'''(364): p. 115.</ref> |
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And with quite stunning artistry, Handel came up with the motives and lures for the melodies within the oratorio that get it into speed, and combined with the functions of Charles Jennens' libretto, he came up with a score that truly demonstrates his most creative life. No other work has demonstrated the level of intense creativity that is found in ''Belshazzar''. The overture, to start, is, able to relate with the entire theme of the oratorio, as of which, it is surprise, with the entire coliseum of life, coming to balance with motif. |
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==Dramatis Personae== |
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* [[Belshazzar]], King of [[Babylon]] (tenor) |
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* [[Nitocris]], mother of Belshazzar (soprano) |
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* [[Cyrus]], Prince of [[Persia]] (alto) |
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* [[Daniel]], a [[Jew]]ish prophet (alto) |
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* [[Gobrias]], an [[Assyria]]n Nobleman, revolted to Cyrus (bass) |
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* [[Arioch]], a Babylonian Lord (tenor) |
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* Messenger (bass) |
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* Chorus of Wise Men |
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* Chorus of Jews |
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* Chorus of Babylonians |
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* Chorus of Medes and Persians |
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However, the imbalance of social structure within the elaborate work isn't compatible with the use of a motif, and using a motif is quite unique in Baroque works, which shows Handel's departure of recocotive melodies that get caught up in purporting balance. Handel, in this oratorio, clearly didn't believe in true balance of figures. He also didn't try to balance the social structure with the words with the melodies with the enhancements and with everything else, but was just using what came to his mind. |
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==List of numbers in Belshazzar== |
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Handel composed ''Belshazzar'' from August 23<sup>rd</sup> to October 23<sup>rd</sup> of 1744, during a most fun time of his career. It ended up being performed first at the King's Theatre in the bulding of ''Harmarket'' in London, on March 27<sup>th</sup>, during the 1745 oratorio season there. The work has been mostly ignored after the Covent Garden 1758 oratorio season, with revivals of it happening a very few times since. |
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===Act I=== |
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1. Overture<br /> |
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====Act I, Scene 1==== |
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2. Accompagnato, Nitocris: “Vain, fluctuating state of human empire!”<br /> |
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3. Air, Nitocris: “Thou, God most high, and Thou alone”<br /> |
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4. Recitative, Nitocris and Daniel: “The fate of Babylon, I fear, is nigh.”<br /> |
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5. Air, Daniel: “Lament not thus, O Queen, in vain!”<br /> |
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====Act I, Scene 2==== |
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6. Chorus of Babylonians: “Behold, by Persia's hero made”<br /> |
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7. Recitative, Gobrias and Cyrus: “Well may they laugh, from meagre famine safe”<br /> |
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8. Accompagnato, Gobrias: “Oh, memory!”<br /> |
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9. Air, Gobrias: “Oppress'd with never-ceasing grief”<br /> |
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10. Air, Cyrus: “Dry those unavailing tears”<br /> |
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11. Recitative, Cyrus: “Be comforted: safe though the tyrant seem”<br /> |
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12. Accompagnato, Cyrus: “Methought, as on the bank of deep Euphrates”<br /> |
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13. Recitative, Cyrus and Gobrias: “Now tell me, Gobrias, does not this Euphrates”<br /> |
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14. Air, Gobrias: “Behold the monstrous human beast”<br /> |
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15. Recitative, Cyrus: “Can you then think it strange, if drown'd in wine”<br /> |
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16. Air, Cyrus: “Great God, who, yet but darkly known”<br /> |
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17. Recitative, Cyrus: “My friends, be confident, and boldly enter”<br /> |
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18. Chorus of Persians: “All empires upon God depend”<br /> |
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====Act I, Scene 3==== |
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19. Air, Daniel: “O sacred oracles of truth”<br /> |
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20. Accompagnato, Daniel: “Rejoice, my countrymen! The time draws near”<br /> |
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21. Air, Daniel: "Thus saith the Lord to Cyrus, his anointed”<br /> |
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22. Chorus of Jews: “Sing, O ye Heav'ns, for the Lord hath done it!”<br /> |
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====Act I, Scene 4==== |
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23. Air, Belshazzar: “Let festal joy triumphant reign”<br /> |
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24. Recitative, Belshazzar and Nitocris: “For you my friends, the nobles of my court”<br /> |
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25. Air, Nitocris: “The leafy honours of the field”<br /> |
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26. Recitative, Belshazzar and Nitocris: “It is the custom, I may say, the law”<br /> |
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27. Chorus of Jews: “Recall, O king, thy rash command!”<br /> |
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28. Recitative, Nitocris and Belshazzar: “They tell you true; nor can you be to learn”<br /> |
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29. Duet, Nitocris and Belshazzar: “O dearer than my life, forbear!”<br /> |
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30. Chorus of Jews: “By slow degrees the wrath of God to its meridian height ascends;”<br /> |
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===Act II=== |
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====Act II, Scene 1==== |
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31. Chorus of Persians: “See, from his post Euphrates flies”<br /> |
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32. Recitative, Cyrus: “You see, my friends, a path into the city”<br /> |
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33. Air, Cyrus: “Amaz'd to find the foe so near”<br /> |
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34. Chorus of Persians: “To arms, to arms, no more delay!”<br /> |
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====Act II, Scene 2==== |
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35. Chorus of Babylonians: “Ye tutelar gods of our empire, look down”<br /> |
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36. Air, Belshazzar: “Let the deep bowl thy praise confess”<br /> |
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37. Accompagnato, Belshazzar and Babylonians: “Where is the God of Judah's boasted pow'r?”<br /> |
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38. Recitative, Belshazzar: “Call all my Wise Men, Sorcerers, Chaldeans”<br /> |
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39. Symphony (Enter Wise Men of Babylon)<br /> |
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40. Recitative, Belshazzar and Wise Men: “Ye sages, welcome always to your king”<br /> |
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41. Chorus of Babylonians: “Oh, misery! Oh terror, hopeless grief!”<br /> |
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42. Recitative, Nitocris and Belshazzar: “O king, live for ever!”<br /> |
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43. Air, Daniel: “No, to thyself thy trifles be”<br /> |
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44. Accompagnato, Daniel: “Yet, to obey His dread command”<br /> |
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45. Recitative, Nitocris: “Oh, sentence too severe, and yet too sure”<br /> |
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46. Air, Nitocris: “Regard, O son, my flowing tears”<br /> |
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====Act II, Scene 3==== |
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47. Air, Cyrus: “O God of truth, O faithful guide”<br /> |
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48. Recitative, Cyrus: “You, Gobrias, lead directly to the palace”<br /> |
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49. Chorus of Persians: “O glorious prince, thrice happy they”<br /> |
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===Act III=== |
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====Act III, Scene 1==== |
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50. Air, Nitocris: “Alternate hopes and fears distract my mind”<br /> |
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51. Recitative, Nitocris and Daniel: “Fain would I hope. It cannot surely be.”<br /> |
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52. Air, Daniel: “Can the black AEthiop change his skin”<br /> |
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53. Recitative, Nitocris, Arioch, and Messanger: “My hopes revive, here Arioch comes!”<br /> |
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54. Chorus of Jews: “Bel boweth down, Nebo stoopeth!”<br /> |
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====Act III, Scene 2==== |
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55. Air, Belshazzar: “I thank thee, Sesach! Thy sweet pow'r”<br /> |
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56. A Martial Symphony (during which a battle is supposed, in which Belshazzar and his attendants are slain)<br /> |
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====Act III, Scene 3==== |
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57. Air, Gobrias: “To pow'r immortal my first thanks are due”<br /> |
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58. Recitative, Cyrus: “Be it thy care, good Gobrias, to find out”<br /> |
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59. Air, Cyrus: “Destructive war, thy limits know”<br /> |
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60. Duet, Nitocris and Cyrus: “Great victor, at your feet I bow”<br /> |
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61. Recitative, Cyrus and Daniel: “Say, venerable prophet, is there aught”<br /> |
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62. Soli & Chorus: “Tell it out among the heathen”<br /> |
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63. Accompagnato, Cyrus: “Yes, I will rebuild thy city, God of Israel!”<br /> |
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64. Soli & Chorus: I will magnify Thee, O God my king!<br /> |
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==External links== |
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* Belshazzar [[s:Belshazzar|libretto]] on [[Wikisource]]. |
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* [http://www.cantatasingers.org/c-concerts_notes_belshazzar.htm Program notes on ''Belshazzar''] |
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* [http://www.cantatasingers.org/c-concerts_notes_belshazzar_synopsis.html Synopsis of ''Belshazzar''] |
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* [http://opera.stanford.edu/iu/libretti/belshaz.htm Entire libretto] |
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* [http://mdz1.bib-bvb.de/~db/0001/bsb00016757/images/ Score] (E-book) of '''''Belshazzar''''' (ed. [[Friedrich Chrysander]], Leipzig 1864) |
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==References== |
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{{reflist}} |
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[[Category:Oratorios by George Frideric Handel]] |
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[[de:Belshazzar]] |
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[[fr:Belshazzar]] |
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[[ro:Belshazzar]] |
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Revision as of 02:07, 18 June 2009
Template:Handel oratoriosBelshazzar (HWV 61) is an oratorio by George Frideric Handel. The libretto was by Charles Jennens, and Handel approached it with style. Jennens' libretto was based off of the Biblical account of the take-over of Babylon at the hands of Cyrus the Persion and the necessary freeing of the Jewish nation, as found in the fifth chapter of the Book of Daniel. But, however, Jennens creatively used many ideas from the bible and from Herodotus and Xenophon, which combined, created and a plot that can attract attention, but is not the same as the Bible story. Jennens probably changed this around because he thought it would be a great way to get the audience into the story.
Handel was in a creative burst of energy when he composed Belshazzar, and he used the most elaborate of all his forms of composition to come up with the dramatic feeling one feels when getting into it. And that may be why it is the least popular of his oratorios: it is so different than the other examples of his creative bursts. It was also composed while Handel was in a powerful moment of intense musical imagination. His visions for it were not like most of his oratorios, and it may be that it is one of his most unique.
And with quite stunning artistry, Handel came up with the motives and lures for the melodies within the oratorio that get it into speed, and combined with the functions of Charles Jennens' libretto, he came up with a score that truly demonstrates his most creative life. No other work has demonstrated the level of intense creativity that is found in Belshazzar. The overture, to start, is, able to relate with the entire theme of the oratorio, as of which, it is surprise, with the entire coliseum of life, coming to balance with motif.
However, the imbalance of social structure within the elaborate work isn't compatible with the use of a motif, and using a motif is quite unique in Baroque works, which shows Handel's departure of recocotive melodies that get caught up in purporting balance. Handel, in this oratorio, clearly didn't believe in true balance of figures. He also didn't try to balance the social structure with the words with the melodies with the enhancements and with everything else, but was just using what came to his mind.
Handel composed Belshazzar from August 23rd to October 23rd of 1744, during a most fun time of his career. It ended up being performed first at the King's Theatre in the bulding of Harmarket in London, on March 27th, during the 1745 oratorio season there. The work has been mostly ignored after the Covent Garden 1758 oratorio season, with revivals of it happening a very few times since.