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25. And with His stripes we are healed Track 21 on Rehearsal CD |
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The stripes that heal are the wounds inflicted by the chastisement (whipping)
referred to in the previous movement. This chorus is a
continuation of the previous one, and is to be followed
without a pause by No. 26. It is based on a fugue subject
that was also used by Bach in his Well-Tempered Clavier
and by Mozart in his Requiem. The agonized leap from “His”
to “stripes,” a diminished seventh, is a characteristic
of the fugue subject that makes it easily identifiable
by the listener. The second subject has movement in quarter
notes that clearly differentiates it from the first. It
is a marvelous fugue, but at the same time, the repetition
of the same text again and again gives continuity to the
thought that Christ’s chastisement brings us peace. The
text is from Isaiah 53:5 which follows exactly from the
previous chorus (based on verses 4 and 5) and is continued
(verse 6) in the next one.
When this chorus was performed at the Handel Commemoration
at Westminster Abbey in 1748 it received this accolade:
“And with His stripes we are healed,” is written upon a
fine subject, with such clearness and regularity as was
never surpassed by the greatest choral composers of the
16th Century. It may fairly be compared with movements
of the same kind in Palestrina, Tallis, and Byrd which,
in variety, it very much surpasses”.
The words “And with His stripes” can be separated, and
“we are healed” can be legato, making a contrast between
the suffering of Christ and the healing his suffering brings
us.
without a pause after Surely He hath borne our griefs
Theme A – SOPRANO, measures 1-6 ("and with His stripes" sung accented, "we are healed" sung legato)
And with His stripes we are healed – sound the "th" in "with" (like the "th" in "this"), connect the final
sound of "His" to the initial sound of "stripes", "healed" is a two
syllable word but unaccent the "-ed", final "-ed" on the and of 2
(EH)nd (OO)(IH) – th(IH) – ZSTR(UH)(IH)PS (OO)(EE) (UH)r H(EE)L – (IH)d
ALL – be aware that sometimes the first interval of this theme is a third, sometimes a second.
Pronunciation and execution of the counter subject (ALTO, measures 14-16) same as above.
Very little slow down at adagio and no pause before All we like sheep.