Commentary on Handel- And the Glory of the Lord from Messiah

Texture

The texture alternates between homophonic and contrapuntal textures and there are a few short monophonic sections. During the homophonic sections, it is usually the bass singers who hold the melody. Counterpoint (relationship between two or more voices) is often imitative which is when a melody in one part is copied a few notes later while the first melody continues. Handel also alternates between using the full choir and single voice part for effect. Not only this, but the vocal parts are doubled by instruments such as the violins which creates a thick texture.

Melody

The entire chorus is based upon 4 motifs. Motif A outline the key chord of A major and the ascending of the notes from low A to high A creates a confident mood. Contrastingly, motif B has a smooth, descending outline and there is a sequence. Motif C spans between the dominant (E) and the tonic (A). Finally, motif D consists of long notes which are, mostly, of the same pitch. This not only emphasises the words, but also creates a solemn chant which reflects the importance of the words.

Rhythm and tempo

The piece is in 3/4 throughout. However, hemiolas (bar in 3 time sounds like in 2 time) are seen which creates a lively rhythmic device. The longer notes are used to highlight certain words such as “for the mouth of the Lord…” and contrast to the short lively rhythm of the other motifs. The piece is at Allegro and the only other change in tempo is at the end in which Handel uses Adagio. The ending (total silence followed by a sustained cadence) is typical of Handel’s fast choral movements.

Word Setting

The words in ‘And the glory of the Lord’ are a mixture of syllabic and melismatic. Motif A is syllabic (one note per syllable) whilst motif B is melismatic (several notes per syllable) as is motif C. Motif D is syllabic.