Utrechter Jubilate
O be joyful HWV 279, 1713
The edition is based on Handel’s autograph (which unfortunately does not survive) and on a copy from Handel’s circle, which in some respects provides more information than the autograph and contains important details for this edition. In 1717 Handel revised the Jubilate in a smaller scoring for the ensemble at Cannons (HWV 246) and preceded it with a two-part Sinfonia which is also reproduced in the Appendix to this edition. The chorus is mainly scored in four parts, and is in eight parts in just one short movement. In two other movements the soprano part divides. The second alto solo part can also be sung by a high tenor.
View
Additional material
- Purchase additional material as a download product.
-
text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)5527900380000 1. Solo and ChorusO be joyful in the Lord, be joyful all ye lands!
2. ChorusServe the Lord with gladness, and come before his presence with a song.
3. DuetBe ye sure that the Lord he is God: it is he that has made us, and not we ourselves; we are his people and the sheep of his pasture.
4. ChorusO go your way into his gates with thanksgiving, and into his courts with praise:
5. Trio
be thankful unto him, and speak good of his name.For the Lord is gracious, his mercy is everlasting, and his truth endures from generation to generation.
6. Chorus
...
-
text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Unbenanntes Dokument Gekürzter Booklet-Text der CD Carus 83.310
Henning Bey
Der europäische Friede von Utrecht 1713 und die Geburt eines britischen NationalkomponistenAls Georg Friedrich Händel im Spätsommer des Jahres 1741 am dritten Teil seines Messiah arbeitet, komponiert er auf die Worte „Since by man came death, by man came also the resurrection of the dead“ eine Chornummer, die damals wie heute jedem Zuhörer einen Gänsehautmoment beschert. Langsam und leise singt der Chor in klagendem a-Moll a cappella die erste Hälfte des Textes. Und plötzlich folgt ein unwiderstehlicher Jubel in allen Stimmen, in dem mit der Auferstehung die Schrecken des Todes im rasanten Allegro und leuchtendem C-Dur hinweggefegt, weggesungen, weggefidelt und weggeblasen werden!
Diesen ungemein ausdrucksstarken Wechsel zwischen den Extremen hatte Händel zum ersten Mal in seinem Utrechter Te Deum verwendet – seinem allerersten Stück englischer Kirchenmusik, mit dem am 7. Juli 1713 im Rahmen eines großen Dankgottesdienstes in der Londoner St. Paul’s Cathedral der Friede von Utrecht gefeiert wurde. Auch hier geht es an einer
...
-
text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Unbenanntes Dokument Abridged text from the CD Carus 83.310
Henning Bey
The European Peace of Utrecht in 1713 and the Birth of a British National Composer
Translation: Gudrun and David KosvinerIn his mid-twenties, Georg Friedrich Händel had become an internationally active composer with several European princely courts vying for his services. The overwhelming triumph of his opera Agrippina in Venice in December 1709 drew the attention of, among others, the Elector of Hanover who offered Händel a position as court Kapellmeister, which he took up in 1710. Perhaps he did this already at that time with a view to later employment in London, since it was already generally known that in the not too distant future Queen Anne of Great Britain (as the last of the house of Stuart) would be succeeded on the British throne by the Guelf Elector Georg Ludwig of Hanover as King George I.
It was surely for this reason in particular that Händel was awarded leave of absence on several occasions by his new employer in order to go to London and build a musical reputation for himself there. For his musical inaugural visit Händel deliberately chose
...
-
text (without music) for download, html file, Singing text, German translationhtml file, Singing text, German translation (Sample)5527900380000 1. Solo und Chorus
O frohlocke in dem Herrn, frohlocke alle Welt!
2. ChorusDient dem Herrn mit Freuden, und kommet vor sein Antlitz mit Gesang.
3. DuettUnd erkennt, dass der Herr ist der Gott, und dass er uns gemacht hat, und nicht wir uns selbst, zu seinem Volke, zu den Schafen seiner Weide.
4. ChorusO gehet ein zu seinen Toren mit Danksagung, und zu seinem Haus mit Preis:
5. Trio
seid dankbar gegen ihn und rühmt den Namen sein.Denn der Herr ist freundlich, und seine Gnad ist unvergänglich, seine Wahrheit besteht zu allen Zeiten.
6. ChorusEhre und Preis sei dem Vater, Ehre und Preis dem Sohn und auch dem heil’gen Geist.
...
-
Composer
Georg Friedrich Händel
| 1685-1759George Frideric Handel put his exceptionally versatile compositional abilities to the test at an early age. After moving to London in 1712, where he was appointed Composer of Musick for His Majesty’s Chapel Royal in 1723, he wrote numerous masterpieces for the royal court as well as his major opere serie. For many years he enjoyed triumphant successes with his operas, which were sung by outstanding performers, with serenades, and later also with oratorios such as Saul and Israel in Egypt. Over the years Handel’s reputation grew far beyond the city where he worked; some of his choral works, particularly Messiah, have enjoyed a performance tradition which remains unbroken to this day, and are sung by choirs throughout the world. Personal details
-
Editor
Uwe Wolf
| 1961Uwe Wolf studied musicology, history, and historical ancillary science at Tübingen and Göttingen. After receiving his doctorate in 1991 he was a research assistant at the Johann-Sebastian-Bach-Institut in Göttingen. From 2004 he worked at the Bach-Archiv Leipzig. There he directed a both research departments, was substantially responsible for the redisigning of the Bach Museum, and he developed the digital Online-Projekt Bach. Since October 2011 he has been the Chief Editor at Carus-Verlag, Stuttgart. He has taught at various universities and also belongs to the editorial boards of several complete editions. Personal details
-
Vocal score arranger
Andreas Gräsle
| 1964Andreas Gräsle (harmonium) studied church music in Stuttgart (organ: Jon Laukvik) and took his concert diploma in organ with Daniel Roth in Saarbrücken, followed by early music studies with Andrea Marcon. He was a scholarship holder of the German Academic Exchange Service (DAAD), and a prizewinner at the International Johann Pachelbel Competition in Nuremberg in 1991. From 1996 to 2003 he was choirmaster and organist at the Augustinuskirche in Schwäbisch Gmünd, and in April 2003 he became district choirmaster in Ditzingen. In addition, he is much in demand as chamber music partner, organist and harpsichordist. He has made several CDs of organ and chamber music, and his own improvisations and arrangements of children’s songs round off his musical activities. He has taught score reading at the Musikhochschule Stuttgart since 1997. Personal details
-
Arranger
Paul Horn
| 1922-2016Paul Horn war ein deutscher Kirchenmusiker, Organist, Komponist und Musikwissenschaftler. Er studierte Kirchenmusik und Orgel an der Evangelischen Kirchenmusikschule Esslingen am Neckar bei Hans-Arnold Metzger und Musikwissenschaft, Theologie und Geschichte an der Universität Tübingen. Seine berufliche Laufbahn begann als Kantor an der Evangelischen Michaelskirche in Stuttgart-Degerloch. 1954 wurde er Kantor an der Evangelischen Stadtkirche Ravensburg, eine Position, die er bis zu seiner Pensionierung innehatte. Als Musikwissenschaftler arbeitete Horn bis ins hohe Alter eng mit Carus zusammen. So stammen zahlreiche Carus-Klavierauszüge aus seiner Feder. Personal details
Reviews
…eine Freude für alle, die sich mit Händel beschäftigen.
Musik & Liturgie, 4/2022
... Mit seinen knapp 30 Minuten Aufführungsdauer, dem verhältnismäßig kleinem Orchesterapparat und den für Händel'sche Verhältnisse überschaubarem Einsatz von Koloraturen in den Chorstimmen bietet sich diese wunderbare Vertonung des 100. Psalms als idealer Einstieg in die oratorische Welt des großen Barockkomponisten an.
Andreas Peterl, singende kirche, 3/2021
... die Homophonie überwiegt aber deutlich und macht das Stück auch für nicht ganz so leistungsfähige große Chöre gut erreichbar. … gut für die Verwendung in einem Kantatengottesdienst geeignet.
Württembergische Blätter für Kirchenmusik, 05/2021
Reviews on our website can only be submitted by customers with a registered user account. A check whether the rated products were actually purchased does not take place.
Frequent questions about this work
Does it make sense to perform the Utrecht Jubilate without the Te Deum?
How much do the choral parts divide?
The solo parts for two altos and bass is rather unusual. Can these be re-allocated?
Is the edition compatible with the older edition CV 10.179?
There are no questions and answers available so far or you were unable to find an answer to your specific question about this work? Then click here and send your specific questions to our Customer Services!
