This movement acts as a type of coda to the previous one. The tempo suddenly becomes very slow and the voices are treated homophonically. The word “greatness” is painted with a very unusual harmonic colour resulting in a surprising and somewhat unwelcome dissonance.
Chorus SATB SATBExodus 15, v 7 |
And in the greatness of Thine excellency Thou hast overthrown them that rose up against Thee. |
Another fugal chorus in which the voices of Choir 1 enter in descending pitch order, starting with the sopranos. Again the movement begins a cappella and the instruments join in only after the exposition along with Choir 2. After this point the voices of Choir 1 continue to be treated fugally, whereas the voices of Choir
2 are not, acting merely as a background to the fugue by providing accompanimental interjections to the counterpoint. The music for this movement is again parodied from Erba’s Magnificat.
Chorus SATB SATBExodus 15, v 7 |
Thou sentest forth Thy wrath which consumed them as stubble. |
A fast single chorus in which passages of quick-running quavers alternate with passages of more static harmony and repeated sustained notes in various parts in turn. The chorus, unusually, ends with a short ritornello˚.
Chorus SATBExodus 15, v 8 |
And with the blast of Thy nostrils the waters were gathered together, the floods stood upright as an heap, and the depths were congealed in the heart of the sea. |
This aria for the tenor is very Handelian, full of melismatic˚ passages visiting the extremities of the pitch spectrum. The voice is accompanied by the upper three string parts and continuo. The music is purposeful, driving and optimistic with much forward momentum appropriate to the text.
Aria TenorExodus 15, v 9 |
The enemy said, I will pursue, I will overtake, I will divide the spoil; my lust shall be satisfied upon them; I will draw my sword, my hand shall destroy them. |
The music for this aria is somewhat on the cheerful side given the text – Handel clearly taking the side of the Israelites! The soprano is joined by the two oboes which carry on a dialogue over the continuo. Note that the two words “they sank” are always set syllabically˚ and to a falling interval.
Aria SopranoExodus 15, v 10 |
Thou didst blow with the wind; the sea covered them; they sank as lead in the mighty waters. |
This chorus is entirely homophonic and syllabic, the text being delivered in the most expedient way possible. The tonality ambiguously varies between major and minor with subtle changes from one phrase to the next: Handel often ends a phrase with a major chord and then begins the next with the corresponding tonic minor chord. The chorus leads straight into the next movement without a break.
Chorus SATB SATBExodus 15, vv 11, 12 |
Who is like unto Thee, O Lord, among the Gods? Who is like Thee, glorious in holiness, fearful in praises, doing wonders? Thou stretchest out Thy right hand. |
This short fugal chorus begins with the basses, and the fugue subject then spreads upwards through the texture. The counterpoint is dense and somewhat turgid. The lower resonance of the three trombones adds weight to the serious mood of this movement.
Chorus SATB SATBExodus 15, v 12 |
The earth swallowed them. |
