Monday, December 27, 2010
I love Messiah, and love a well-done Sinfonia. For one thing, I simply like it. For another... Messiah is starting.
The third involves me imagining myself in Handel's thoughts, and here your mileage may vary. (Pardon my musically-inexact terminology; you'll know what I mean.)
The movement starts out with some very sonorous chords. I imagine that they are meant to call to attention, and perhaps to call to mind Genesis 1:1—3:14.
Then it all pauses, and a lone melody strikes out, sounded by one or more violins in unison. I hear that as Genesis 3:15, the first Messianic prophecy. It soon is joined by other lines, which interplay in and out as the music becomes progressively complex. This brings to my mind the addition of more Messianic prophecies, of types and shadows and institutions which with greater richness point forward to Jesus Christ.
Then the whole ends, and out comes the prophecy of John the Baptist, Messiah's herald.
Love it, love it.