Georg Friedrich Händel, born on February 23, 1685, in Halle, Germany, was a… Read Full Bio ↴Georg Friedrich Händel, born on February 23, 1685, in Halle, Germany, was a prolific composer and one of the most significant figures of the Baroque era. Händel's musical talent was evident from a young age, and despite his father's initial opposition, he received early musical training and excelled in playing the harpsichord and organ.

In his early 20s, Händel traveled to Hamburg, where he immersed himself in the opera scene. There, he composed his first operas and gained recognition for his talent. Seeking further inspiration and opportunities, Händel journeyed to Italy in 1706, where he studied under renowned composers and absorbed the rich musical traditions of the country. During his time in Italy, he composed numerous operas and sacred music, establishing his reputation as a skilled composer.

In 1710, Händel settled in London, England, where he initially composed Italian operas for the Royal Academy of Music. However, as public taste changed, he transitioned to composing English-language oratorios, which combined elements of opera and sacred music. His oratorio "Esther" in 1718 marked the beginning of his success in this genre.

Händel's fame soared with his composition of the oratorio "Messiah" in 1741. Despite its initial lukewarm reception, "Messiah" eventually became one of the most beloved and frequently performed works in the Western classical repertoire. Händel's oratorios, including "Samson," "Judas Maccabaeus," and "Israel in Egypt," showcased his ability to blend grandeur, emotional depth, and dramatic storytelling.

Beyond oratorios, Händel composed instrumental music, including concertos and orchestral suites. His famous "Water Music" and "Music for the Royal Fireworks" exemplify his skill in crafting joyful and celebratory compositions. Händel's works exhibited a mastery of counterpoint, rich harmonies, and expressive melodies, earning him admiration and patronage from British nobility and royalty.

In his later years, Händel faced financial struggles and health issues, including a gradual loss of vision. However, he continued to compose prolifically, adapting to changing musical trends. Despite setbacks, his final oratorio, "Jephtha," was completed in 1751.

Georg Friedrich Händel passed away on April 14, 1759, leaving behind an immense musical legacy. His compositions played a crucial role in shaping the development of Western classical music, and his influence extended to composers such as Mozart and Beethoven. Händel's music continues to be celebrated for its grandeur, emotional depth, and timeless beauty, ensuring his enduring status as one of the greatest composers in history.

Messiah HWV 56: Surely He Hath Borne Our Griefs
Georg Friedrich Händel Lyrics

We have lyrics for 'Messiah HWV 56: Surely He Hath Borne Our Griefs' by these artists:

London Philharmonic Orchestra & Choir Surely He hath borne our griefs, and carried our sorrows He…

We have lyrics for these tracks by Georg Friedrich Händel:

Arrival of the Queen of Sheba Şu hercai hayata bir kere geldik Yedik içtik doyduk kalktık …
Behold the Lamb of God Behold the Lamb of God, that taketh away the sin…
For Unto Us a Child Is Born For unto us a Child is born, unto us a…
Hallelujah Niechaj z nami będzie Pan, clleluja! Niech obroną będzie nam…
Hallelujah! Niechaj z nami będzie Pan, clleluja! Niech obroną będzie nam…
Lascia ch'io pianga Lascia ch'io pianga mia cruda sorte, E che sospiri la libert…

Menuet from Suite in G Minor HWV 439 Стой! Пока ещё не выключен свет Я хочу услышать ответ Скажи,…

The lyrics are frequently found in the comments by searching or by filtering for lyric videos

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Most interesting comment from YouTube:

@asukalangleysoryu6695

2y↑1

@Sn Chongloi I don't understand what you're talking about. The key signature is three flats: Eb major / C minor.

https://en.wikipedia.org/wiki/C_minor

The chord the choir is singing is a G major chord, which, in the first timestamp, resolves directly into C minor. The bass and soprano are singing a G, which is the root of the chord, and the fifth degree of the C minor scale. So no, the leading tone is not doubled.

While the key signature is that of C minor, the piece does indeed start in F minor (relative minor of Ab major). Maybe that's throwing you off? But at the timestamps you provided, we have modulated to C minor.

And regardless of what key we're in, the chord is G major, with the G, the root of the chord, doubled. Doubling the leading tone is only forbidden when it's the third of a chord.

All comments from YouTube:

@ethangenz5254

3y↑11

This is, thus far, my favorite interpretation of this particular chorale. Thanks muchos for posting!

@stephenmolk6332

2y↑6

My favorite chorus from the Messiah!

@littlepawML

1y↑3

Among my top favourites. And the interpretation is damn near perfect. Thank you for sharing.

@timothygoh7395

3y↑15

I would say this is one of my favorite chorus in Messiah , It just totally move me and touch me , it is so powerful !

@ArnoldChengKiLim

4y↑6

Lord, heal the world and each of us.

@beesting8653

6y↑28

My fave from The Messiah

@stegmedris

5y↑4

Me to

@nikolahavlikova8531

43w↑2

I really like Handel👍👍👍

@kentondickerson

5y↑31

i love the dissonant chords on the words wounded and bruised. Also the tritone intervals in the bass part. Great examples of Handel's tone painting.

@Nooticus

3y↑1

Absolutely exquisite

@esdjesd8589

3y↑3

I’m sure they’re dissonant for Baroque music. But Bach is filled with similar chords, and to the so-called “modern” ear they just sound wonderfully juicy post-romantic major seventh chords!

@snchongloi1580

2y↑1

1:24 for our what chord is this? It's so magical

@asukalangleysoryu6695

2y↑1

@Sn Chongloi Fm | Dbmaj7 - Gm7b5/Db - Bbm/Db | C

Do note that this recording is played in "baroque tuning" (A=415) so the chords you're hearing are a half step lower

@danal81

Nobody asked.

2 More Replies...

@leonardfraser5642

4y↑5

This is a wonderful work of art

@thierrylopez684

33w

Handel Gardiner Messiah ! Perfection.

@user-pn1ue6jy1j

38w↑1

My song 😍😍

@user-yh7jg3ri7j

2y↑3

Isaiah 53
4. Surely he hath borne our griefs, and carried our sorrows: yet we did esteem him stricken, smitten of God, and afflicted.
4. אָכֵ֤ן חֳלָיֵ֙נוּ֙ ה֣וּא נָשָׂ֔א וּמַכְאֹבֵ֖ינוּ סְבָלָ֑ם וַאֲנַ֣חְנוּ חֲשַׁבְנֻ֔הוּ נָג֛וּעַ מֻכֵּ֥ה אֱלֹהִ֖ים וּמְעֻנֶּֽה׃
4. 그는 실로 우리의 질고를 지고 우리의 슬픔을 당하였거늘 우리는 생각하기를 그는 징벌을 받아서 하나님에게 맞으며 고난을 당한다 하였노라

@josiahsuartono3710

5y↑7

I could be wrong but... I think the recording and the music score is not in the same chord

@pannonia77

5y↑7

Yes and no. The music is in the same key as the notes, only the pitch standard is different from today's standard. It is a semitone lower as it sounded in Händel's time.

@josiahsuartono3710

5y↑3

Oh I see, thanks for the clarification. I was trying to practice singing it and realised that it was different.

@deepak6529

The score is in f minor but the audio is in eminor

@MrRockZero1

0:29

@hami7047

4y↑3

Score is F minor but the sound is e minor

@pannonia77

4y↑10

I'm a bit surprised that more than 50 years after Nikolaus Harnoncourt's first recordings there are still people who do not know that the a' in Baroque time was not 440 Hz, therefore groups using period instruments use a different pitch, generally a'=415. (Except for Northern Italian music, e.g. Vivaldi concertos, which you can hear at a wide range of pitches from a'=415 to even a'=464, i.e. a semitone ABOVE today's standard.) You can check ALL the Bach and Händel videos on my channel (or any other recording using period instruments on other channels), NEITHER of them is played at a'=440 Hz. Groups using period instruments do not play Haydn, Mozart, Beethoven or Schubert at a'=440 Hz, either, but for Viennese Classicism they often use a'=430 or 432, which is not a semitone but only a quartertone below today's pitch standard.

@Kris9kris

4y↑1

The continuo realizations on these 'homebrew' scores are absolutely abysmal. Notice the blatant parallels in measure 13 at 0:58...

@pannonia77

4y↑1

For me the important thing is that the vocal parts should be okay, the piano part should only indicate what the orchestra is playing. I can see no parallel fifths or octaves in bar 13 in the piano part.

@Kris9kris

4y↑1

@pannonia77 I'm partaking in pointless nitpicking for sure, but the orchestra doesn't play either an Eb or a D in that measure. The viola plays the countermelody G-F-C-D. Händel knew instinctively that a double suspension 7-5 to 6-4-3 would create a parallel fifth if resolved like this, (instead he opted for a simple 7-6) and the transcriber or whoever was responsible didn't. Or an Occam's razor would be that he simply misread the viola part. It's in measure 13 alright, Eb-Ab to D-G.

@snchongloi1580

Correct me if I am wrong.
In the voicing of Sorrow (0:36 and 0:50) leading tone are doubled.
Is it okay sometimes to double leading tone ..

@asukalangleysoryu6695

2y↑1

What makes you think that the leading tone is doubled in those voicings?

The leading tone refers to the seventh note of the scale, a half step below the tonic. At both the timestamps you commented we are in C minor, so the leading tone is B. But neither of those voicings have two B's in them.

@snchongloi1580

The key signature is Ab instead of Eb.

For the scale of Ab we have
B in Soprano and Bass at 0:36 (sorrows)

We have B in Alto and Bass at 0:50 (sorrows)