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28. He trusted in God
Track 27 on Rehearsal CD |
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Here we have a very dramatic chorus which resembles the “Let Him be Crucified!”
chorus of Bach’s St. Matthew Passion. This is not pious
church music. It is an almost operatic crowd scene, which
has been set by the soloist in No. 27, who derisively sang
“All they that see Him laugh Him to scorn.” The chorus
continues the mocking and arrogant tone of that solo with
their relentless delivery of the text from Psalm 22: “He
trusted in God that He would deliver Him: let Him deliver
Him if he delight in Him.” We know, on the authority of
King George III, that Handel regarded this chorus highly.
The King correctly observed that it contained “a manifest
presumption and impertinence, of which Handel has, in the
most masterly manner, taken advantage.” This is a difficult
chorus, with a multitude of chromatics and with challenges
at every turn.
Never lose sight of the implied mob psychology that permeates
every bar of this marvelous chorus. A clue for the expressive
qualities needed comes from the soloist’s words: ”They
shoot out their lips {in saying ugly things, their mouths
are distorted and twisted into a distended position} and
shake their heads!” The chorus must make Christ appear
cut off and isolated on the cross, so that He will be “full
of heaviness” in the next solo. There are no real shortcuts
available to performing this chorus well. As is so often
true, “repetition is the mother of learning.”
much more an operatic crowd scene than pious church music – arrogant, mocking and ferocious
Theme 1 – BASS, measures 1-5 – (sung very marked)
He trusted in God that He would deliver Him, let Him deliver him, if He delight in Him –
sarcastic stress to “trust”; sostenuto on “let Him de-“; staccato on “if He”;
stress “delight in Him”; omit “r” in “deliver”; crisp consonants
H(EE) TR(UH)ST – (IH)d (IH)n G(AW)D th(EH)t H(EE)
(OO)(oo) – d(EE) - L(IH) - v(oo) H(IH)m
Theme 2 – BASS, measures 18-20
If He delight in Him, let Him deliver Him – emphasize when you have this descending pattern
(IH)f H(EE) d(EE) – L(UH)(EE) – t(IH)n H(IH)m
l(EH)t H(IH)m d(EE) – L(IH) – v(oo) H(IH)m
never lose sight of the implied “mob psychology” which permeates every bar – a clue for these expressive qualities comes from the previous soloist’s words, “They shoot out their lips and shake their heads!”
The final adagio has the same disdainful quality. The whole chorus must make Christ appear cut off and isolated on the cross, so that he will be “full of heaviness” in the next solo.