Handel: Israel in Egypt

Israel in Egypt
by George Frideric Handel (1685-1759)

Georg Friedrich Händel was born in Halle, Saxony, on February 23, 1685, and died in London on April 14, 1759. He composed Israel in Egypt in 1738; the first performance took place at the King's Theatre in London on April 4, 1739.

The two parts of the oratorio run a total of 100 minutes in performance, not counting intermission. Handel's score calls for 2 oboes, 2 bassoons, 2 trumpets, 3 trombones, timpani, strings, and organ, plus double chorus and soloists (2 sopranos, alto, tenor, 2 basses).

The Cleveland Orchestra has only performed one excerpt from Israel in Egypt, in an arrangement by Arthur Shepherd, at concerts given in January 1931. The Orchestra was joined by the Orpheus Male Choir, and its director Charles D. Dawe was conducting.

Next to Messiah, Israel in Egypt is Handel's only other oratorio whose text is taken in its entirety from Scripture. There is no 18th-century libretto, nor are there any named characters acting out a dramatized (Biblical or non-Biblical) story. In fact, there are surprisingly few solos; the piece is carried by the chorus to a greater extent as in most Handel oratorios. Audiences expecting more quasi-operatic fireworks were disappointed; Israel in Egypt was a flop when it was first performed in 1739. It was rarely revived during Handel's lifetime, and then only with the addition of some rather incongruous Italian arias. Only gradually were the beauties of this work acknowledged.

The most striking characteristic of the oratorio, the predominance of the chorus, may be explained by the work's unusual background. Several scholars have thought that it may not have originated as an oratorio at all but as an anthem or a series of anthems (such as the Coronation Anthems). In 1738, Handel wrote a funeral anthem on the death of Queen Caroline, wife of King George II. Caroline was a German-born Princess whom Handel had known since his early days in Germany (they were about the same age). A well-trained harpsichordist and singer, she was a lifelong friend and supporter of Handel's. After composing an exquisite anthem in her memory, Handel wanted the music to live on, and, slightly reworking the text, turned it into "The Lamentations of the Israelites for the Death of Joseph." This then became the opening of a musical retelling of the Exodus, which consisted of two more parts - the Ten Plagues, and the Song of Moses and Miriam (Exodus 15). Later the Lamentations were dropped, and eventually the work became known as a two-part oratorio starting with the suffering of the Israelites under Pharaoh.

As always, Handel worked in great haste; and as he often did, he drew generously on his own earlier works, as well as on those of other composers. Long known as one of the greatest "plagiarists" of all times, Handel mined the works of a number of German and Italian composers who were unknown in England - but, especially in Israel, he did not copy them mechanically. He often added new orchestral parts or otherwise rewrote his sources. These "borrowings" affect a rather large number of movements. For instance, the great choruses "He spake the world" and "He gave them hailstones" were derived from a work by Alessandro Stradella. The duet "The Lord is my strength" was lifted from a Magnificat by the obscure Dionigi Erba ("though he would scarcely recognize it," writes Paul Henry Lang in his seminal Handel monograph). Both Erba and another little-known Italian by the name of Francesco Urio supplied material for another duet, "The Lord is a man of war," and a keyboard canzona by Johann Caspar Kerll was transformed into the chorus "Egypt was glad." Handel's own works "recycled" in Israel include his early Dixit Dominus and one of the Chandos Anthems. Discussing this somewhat perplexing issue, Handel specialist Anthony Hicks concludes: "Despite the borrowings - and in some respects because of them - Israel in Egypt remains an astonishingly original work, its greatest moments always being those where Handel deftly enriches his models or declares his independence from them."

Handel's vocal and instrumental forces are particularly large. For the first time since his youthful Nisi Dominus, he divided his vocal forces into two choirs in eight parts. The orchestra includes trombones, rarely heard at the time except in operatic scenes set in the Underworld, in addition to trumpets and timpani.

In Handel's time, the narrative of the plagues was always preceded either by the "Lamentations" or by other material; the short and perfunctory recitative that opens the work was therefore never at the very beginning. There is no specific overture to Israel and Egypt, but one is clearly needed. Over the years, different instrumental works by Handel have served as openings; for the present concert, Mr. Porco has chosen the "Grave" movement from the Concerto grosso in c minor, Op.6, No.8, written in the same year (1739) Israel was premiered.

After a short recitative to set the stage (No.1), the first double chorus (No.2) portrays the "sighs" of the Israelites as they labor under Pharaoh's yoke: doleful diminished seventh leaps in the doleful key of c minor. As God begins to visit His punitive plagues upon the land of Egypt, the dramatic seventh leaps (both diminished and major) continue in the tightly constructed choral fugue "They loathed to drink of the river" (No.4). The next two movements, the aria about frogs (No.5) and the chorus about flies and lice (No.6), introduce the kind of musical tone-painting of animals that inspired Haydn in his Creation some sixty years later. The powerful downbeats in the "hailstone" chorus (No. 7) make for equally "graphic" representations of the plagues; although the material was borrowed, Handel made it to suit his expressive purposes perfectly. Most extraordinary is the evocation of darkness in the following movement (No.8): moving chords, the startling modulations (reaching a highly unusual e-flat minor) create an eerie feeling, true to the words "darkness which may be felt." Towards the end of the movement, the individual choral parts sing one at a time, further increasing the dramatic effect.

"He smote the all the first-born of Egypt" (No.9) is another dense choral fugue, followed by a brief respite in the pastorale-like "But as for his people" (music by Stradella) that ends in a jubilant tone at the words "there was not one feeble person among them" (No.10) As mentioned above, the chorus "Egypt was glad" (No.11) was based on an instrumental piece by J.C. Kerll. Kerll belonged to an earlier generation, publishing his canzona in 1686, when Handel was only a year old. His slightly archaic style works magnificently to provide an introspective moment before the beginning of the Israelites' great journey.

A brief acclamation ("He rebuked the Red Sea," No.12) now leads to the final portion of Part I. An agile contrapuntal movement (No.13) depicts the wandering through the wilderness, and a highly dramatic portion in c minor (No.14), with a stunning series of continuous timpani rolls, represents the furious waters that swallow the Egyptians in pursuit. Finally, a solemn slow segment portrays the Israelites giving thanks to God for their deliverance (Nos.15-16).

Textually, what we have heard so far is a compilation of several Biblical passages, mostly Exodus, complemented by Psalm verses. Handel probably received help in selecting the verses from Charles Jennens, with whom he later collaborated on Messiah. In Part II, no such assistance was necessary, for this is a straightforward setting of Exodus 15, the famous canticle of joy Moses and Miriam sing when their enemies are destroyed.

A few measures of slow chordal music (No.17) introduce the first "horse-and-rider" movement (No.18), which combines virtuoso vocal figurations with the characteristic "riding" rhythm. In their duet "The Lord is my strength" (No.19), the two sopranos offer a lyrical reflection on the Lord's power, while in the following choruses (Nos.20-21), the same idea is given more "public" expression in a more solemn form.

After the duet for two basses, "The Lord is a man of war" (No.22), a section moving in very slow chords conveys the frightful scene of the enemy's drowning in the sea (No.23). Then it is again time for jubilation, with trumpets and timpani. The rhythm of the choral parts at "dashed in pieces" reverts to the "horseback-riding" pattern of earlier. Immediately afterwards, a striking dissonance on the word "greatness" drives home the awesome power of God (No.25). In "Thou sentest forth Thy wrath" (No.26), the parts of Chorus I are constructed as an abstract fugue, but Chorus II interjects a contrasting rhythmic idea focusing on the word "stubble," which ends up overpowering the fugue. Handel makes us feel viscerally how the waters stand still, by contrasting polyphonic motion with the bare-bones repetition of a single pitch (No.27). The tenor soloist, in his only aria, "The enemy said" (No.28), is given abundant virtuoso passagework, but also some "arrow" motives (ascending and descending scales) that illustrate the enemy's murderous intent. The continuous sixteenth-note motion in the next aria, for soprano (No.29), depict the waves of the water in which the Egyptians "sank as lead." Another solemn acclamation and short choral fugue follow (Nos.30-31).

One of the most beautiful lyrical moments in the entire work is the duet for alto and tenor, "Thou in Thy Mercy" (No.32) - the melody is by Francesco Urio, but the accompaniment is by Handel. From there we go to the one of the most elaborate choral movements (certainly the longest), "The people shall hear" (No.33). Paul Henry Lang called this music "heaven-storming," and with good reason: there is a remarkable arc from fear through sorrow and death to hope and confidence in a pre-ordained future. The harmonic richness and the wide expressive range match the breadth of feelings encompassed in a single movement. The alto soloist's lyrical commentary in the work's final solo aria (No.34) sets the stage for the "grand finale:" the great affirmation of faith (Nos.35-37) and, introduced by a brief recitative (No.38), the concluding "horse-and-rider" chorus (No.39). The latter, after a solemn intonation by the soprano solo (Miriam the prophetess), repeats the music of No.18 in its entirety.

Some audience members at the first performances of Israel in Egypt perceived the oratorio as a political allegory. It was usual at the time to refer to ancient Israel as a metaphor for present-day Britain. An anonymous correspondent in the London Daily Post expanded on that metaphor, stating, in so many words, that Protestant England, like the Israelites, needed to be "delivered" from their enemies - meaning the Catholic countries, and in particular Spain, which according to current news reports had "enslaved" English sailors and with which England was openly preparing for war at the time. Handel's oratorio clearly had some added layers of meaning in the historical moment in which it first appeared, although its great themes - the struggle for freedom from foreign oppression, the restoration of national dignity and the forging of a new political identity - are goals with which one can identify in all places and at all times.

ISRAEL IN EGYPT

Part 1

1. Recitative (Tenor)

Now there arose a new king over Egypt, which knew not Joseph; and he set over Israel taskmasters to afflict them with burdens; and they made them serve with rigor. - Exodus 1:8, 11, 13.

2. Double Chorus

And the children of Israel sighed by reason of the bondage, and their cry came up unto God. They oppressed him with burdens, and made them serve with rigor; and their cry came up unto God. - Ex. 2:23

3. Recitative (Tenor)

Then sent He Moses, His servant, and Aaron, whom He had chosen, these shew'd His signs among them, and wonders in the land of Ham. He turned their waters into blood. - Psalms 105: 26, 27, 29.

4. Chorus

They loathed to drink of the river; He turned their waters into blood. - Ex. 7: 18. 19.

5. Air (Alto)

Their land brought forth frogs, yea, even in their king's chambers. - Ps. 105:30.
He gave their cattle over to the pestilence; blotches and blains broke forth on man and beast. - Ex. 11:9, 10.

6. Double Chorus

He spake the word, and there came all manner of flies and lice in all their quarters. He spake, and the locusts came without number, and devoured the fruits of the ground. - Ps. 105: 31, 34, 35.

7. Double Chorus

He gave them hailstones for rain. - Ps.105:32
Fire, mingled with the hail, ran along upon the ground. - Ex. 9:24.

8. Chorus

He sent a thick darkness over all the land, even darkness which might be felt. - Ex. 10:21.

9. Chorus

He smote all the first-born of Egypt, the chief of all their strength. - Ps. 105:36

10. Chorus

But as for His people, He led them forth like sheep. - Ps. 78:52
He brought them out with silver and gold; there was not one feeble person among their tribes. - Ps. 105:37

11. Chorus

Egypt was glad when they departed, for the fear of them fell upon them. - Ps. 105:38.

12. Double Chorus

He rebuked the Red Sea, and it was dried up. - Ps. 106:9.

13. Double Chorus

He led them through the deep as through a wilderness. - Ps. 106:9.

14. Chorus

But the waters overwhelmed their enemies, there was not one of them left. - Ps. 106:11.

15. Double Chorus

And Israel saw that great work that the Lord did upon the Egyptians, and the people feared the Lord. - Ex. 14:31.

16. And believed the Lord and His servant Moses. - Ex. 14:31.

Part 2
Moses' Song

17. Double Chorus

Moses and the children of Israel sang this song unto the Lord, and spake, saying: - Ex. 15:1.

18. Double Chorus

I will sing unto the Lord, for He hath triumphed gloriously, the horse and his rider hath He thrown into the sea. - Ex. 15:1.

19. Duet (Soprano I - II)

The Lord is my strength and my song, He is become my salvation. - Ex. 15:2

20. Double Chorus

He is my God, and I will prepare Him an habitation, my father's God. - Ex. 15:2.

21. Chorus

And I will exalt him. He is my father's God. - Ex. 15:2.

22. Duet (Bass I - II)

The Lord is a man of war, Lord is His name. Pharaoh's chariots and his host hath He cast into the sea. His chosen captains also are drowned in the Red Sea. - Ex. 15:3-4.

23. Double Chorus

The depths have covered them, they sank into the bottom as a stone. - Ex. 15:5.

24. Double Chorus

Thy right hand, o Lord, is become glorious in power: Thy right hand, O Lord, hath dashed in pieces the enemy. - Ex. 15:6.

25. Double Chorus

And in the greatness of Thine excellency, Thou hast overthrown them that rose up against Thee. - Ex. 15:7.

26. Double Chorus

Thou sentest forth Thy wrath, which consumed them as stubble. - Ex. 15:7.

27. Chorus

And with the blast of Thy nostrils, the waters were gathered together. The floods stood upright as an heap, and the depths were congealed in the heart of the sea. - Ex. 15:8.

28. Air (Tenor)

The enemy said, "I will pursue, I will overtake, I will divide the spoil; my lust shall be satisfied upon them. I will draw my sword, my hand shall destroy them." - Ex. 15:9.

29. Air (Soprano)

Thou didst blow with the wind, the sea covered them; they sank as lead in the mighty waters. - Ex. 15:10.

30. Double Chorus

Who is like unto Thee, O Lord, among the gods? Who is like Thee, glorious in holiness, fearful in praises, doing wonders? Thou stretchedst out Thy right hand. - Ex. 15:11-12.

31. Double Chorus

The earth swallowed them. - Ex. 15:12.

32. Duet (Alto, Tenor)

Thou, in Thy mercy, hast led forth Thy people which Thou hast redeemed. Thou hast guided them in Thy strength unto Thy holy habitation. - Ex. 15:13.

33. Double Chorus

The people shall hear and be afraid: sorrow shall take hold on them. All the inhabitants of Canaan shall melt away by the greatness of Thy arm. They shall be still as a stone till Thy people pass over, o Lord, which Thou hast purchased. - Ex. 15:14-16.

34. Air (Alto)

Thou shalt bring them in, and plant them in the mountain of Thine inheritance, in the place, o Lord, which Thou hast made for Thee to dwell in, in the sanctuary, o Lord, which Thy hands have established. - Ex. 15:17.

35. Double Chorus

The Lord shall reign for ever and ever. - Ex. 15:18.

36. Recitative (Tenor)

For the horse of Pharaoh went in with his chariots and with his horseman into the sea, and the Lord brought again the waters of the sea upon them: but the children of Israel went on dry land in the midst of the sea. - Ex. 15:19.

37. Double Chorus

The Lord shall reign for ever and ever. - Ex. 15:18.

38. Recitative (Tenor)

And Miriam the prophetess, the sister of Aaron, took a timbrel in her hand, and all the women went out after her with timbrels and with dances, and Miriam answered them: - Ex. 15:20-21.

39. Soprano Solo and Double Chorus

Sing ye to the Lord, for He hath triumphed gloriously: - Ex. 15:21.
The Lord shall reign for ever and ever. - Ex. 15:18.
The horse and his rider hath He thrown into the sea. - Ex. 15:21.

—Peter Laki