Fanfare figures alternating between the lower voices and the trombones are punctuated by the upper voices and the violins which, in a type of forerunner to Rimsky-Korsakov’s , depict the buzzing of the plagues of flies and lice with very fast short bursts of highly energetic music. The addition of three trombones to the orchestra was unusual at this time and provides the music with a rich, deep sonority rarely associated with Baroque music. The music for this movement is parodied from Stradella’s wedding serenata Qual prodigio è ch’io miri?, although the fast, buzzing violin part is an original Handelian addition – the proverbial polishing of a pebble!
Chorus SATB SATBPsalm 105, vv 31, 34 |
He spake the word and there came all manner of flies and lice in all their quarters. He spake; and the locusts came without number and devoured the fruits of the ground. |
Opening antiphonal˚ exchanges between woodwind and strings, followed by a suggestion of pattering rain, soon yield to the full force of a musical hailstorm. The two choirs are also used antiphonally; and forceful interjections from brass and timpani, and furious string writing complete the picture. The music for this movement is also parodied from Stradella’s wedding serenata “Qual? prodigio è ch’io miri?”.
Chorus SATB SATBPsalm 105, v 32 |
He gave them hailstones for rain; fire mingled with the hail ran along upon the ground. |
The tempo slows right down for this chorus. Hesitant strings and bassoon begin the depiction of thick darkness. The choir sings homophonically to begin with; and the harmony is mysterious and shifts unpredictably. A tremolando˚ figure in the left-hand part for the harpsichord is a highly unusual instruction in music of this period, but extremely effective dramatically. The vocal parts, which had begun together, gradually fragment and the homophony dissipates into single voices; it is as if the choral parts are moving blindly away from each other, groping their way through the darkness.
Chorus SATBExodus 10, v 21 |
He sent a thick darkness over all the land, even darkness which might be felt. |
Anger and vitality return for this fugal chorus which is accompanied forcefully by the entire orchestra, the second bassoon making its first appearance at this point. The music for this movement is partly parodied from another of Handel’s earlier keyboard fugues.
Chorus SATBPsalm 105, v 35 |
He smote all the first born of Egypt, the chief of all their strength. |
Optimism is heard in the music for the first time in this triple-time chorus and the music is in a major key. This is the only movement in the entire work to feature the flutes - not a very economical use of resources. Handel exploits the gentleness of their tone to reflect the sentiment in the text. The phrase “He led them forth like sheep” is set for one voice at a time only, and is accompanied by a sostenuto˚ accompaniment in the lower strings. The music becomes fugal at the mention of silver and gold, and there is much imitation in the voices and the upper strings, before a final declamatory homophonic ending. The music for this movement is also parodied from Stradella’s wedding serenata “Qual prodigio è ch’io miri?”.
Chorus SATBPsalm 78, v 53 |
But as for His people He led them forth like sheep: He brought them out with silver and gold; there was not one feeble person among their tribes. |
