May 5, 2013 - Celebration of the Arts

Israel in Egypt - G.F. Handel

G.F. Handel is known to us today primarily for his oratorios, the most notable one being Messiah. It is commonly accepted that Handel turned to oratorio when opera was not an option. In May of 1738 the sale of season tickets was opened and by July the season had to be called off due to lack of subscriptions. Handel realized that he had to rethink his plans and began writing Saul and Israel in Egypt.

The work came together rather quickly and was composed from back to front. Handel first composed what we know today as Part 2, The Song of Moses. Musicologist Richard Streatfeild believes that this was initially to be a stand-alone anthem. He then composed Part 1, the Exodus in four days. In the original composition these served as parts 2 and 3 with part 1 being a reworking of a Funeral Anthem written for the death of Queen Caroline which became Lamentations of the Israelites for the Death of Joseph. The text for this work is taken directly from scripture, primarily the books of Exodus and Psalms. Some researchers believe the libretto to have been assembled by Charles Jennens who also assembled the text for Messiah.

The work was premiered at the King’s Theatre on April 4, 1739 along with a new organ concerto. The piece did not meet with popular approval because, unlike an opera, this work relies almost entirely on the chorus but was defended as a spiritual experience.

Part 1 is essentially divided into two scenes; the first depicting the plagues and the second scene depicting the actual exodus. The plagues choruses illustrate beautifully (and terribly) the tragedy brought on the Egyptians because of their refusal to obey God. Handel illustrates the plague of frogs in the alto aria with a hopping violin figure, and you can hear the buzzing flies in the chorus He Spake the Word. Scene 2 evokes equally vivid images with crashing water being represented by thundering timpani rolls in But the Waters Overwhelmed Their Enemies. These dramatic renderings are part of what gives the work its enduring quality.

Part 2 is Exodus 15, The Song of Moses. This tells almost no story at all. It is merely the Israelites (choir and soloist both) reflecting on what God has done for them by leading them out of Egypt. Each aria and duet is a different person reflecting on the experience that he or she had in leaving the bonds of slavery. Part 2 contains the bulk of the solo writing in this oratorio including the aria Thou Didst Blow in which the wind back-up the soprano soloist with winding sixteenth notes and the martial The Lord is a Man of War for two basses. The triumphal ending of this work ties everything together as Miriam recounts the story and the Israelites erupt with The Lord Shall Reign and then fly into a repeat of I Will sing Unto the Lord.

This magnificent work for two choirs, orchestra and two organs is among the most popular of Handel’s oratorios due to the large role that the chorus plays in the telling of the story. The six soloists highlight the dramatic events and assist the chorus by giving their perspective of the events of Part 1. This work  a true masterpiece for the way that in one short chorus Handel can grab your attention, convey an idea and then move on to something completely different which all flows together to tell this highly dramatic tale.