[132], Many early recordings of individual choruses and arias from Messiah reflect the performance styles then fashionablelarge forces, slow tempi and liberal reorchestration. Messiah (HWV 56), the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts. The strings add a downward three-note arpeggio. It was probably 1868 when Brahms finally realized what would become the final structure of his First Symphony. [113] Handel wrote the movement in both 11-bar and extended 32-bar forms; according to Burrows, either will work in performance. When Handel moved his company from the King's Theatre to the newly built theatre in Covent Garden, in autumn 1734, organs appeared explicitly for the first time in his operas. In 1966 an edition by John Tobin was published. Not counting some short recitatives as separate movements, there are therefore 47 movements. After a processional "poco sostenuto" opening section featuring chaotic syncopated rhythms underpinned by pulsating timpani, the woodwinds and pizzicato strings play with thematic phrases to be fully explored in the following exposition. The key of E minor has been interpreted as creating "a mood without hope".[2]. During the Classical period the ", "But thanks be to God"; and "If God be for us". "; "His yoke is easy" and "And he shall purify" were drawn from Quel fior che all'alba ride HWV 192 (July 1741), "Unto us a child is born" and "All we like sheep" from N, di voi non vo' fidarmi HWV 189 (July 1741). It featured in the April performances of Athalia at Covent Garden. The concertos have been recorded by multiple organists. Bernard Shaw, in his role as a music critic, commented, "The stale wonderment which the great chorus never fails to elicit has already been exhausted";[84] he later wrote, "Why, instead of wasting huge sums on the multitudinous dullness of a Handel Festival does not somebody set up a thoroughly rehearsed and exhaustively studied performance of the Messiah in St James's Hall with a chorus of twenty capable artists? An accompagnato is based on the words of the prophet Haggai, dealing with the splendor of the temple, and of Malachi who foretold the coming messenger. Messiah remains Handel's best-known work, with performances particularly popular during the Advent season;[47] writing in December 1993, the music critic Alex Ross refers to that month's 21 performances in New York alone as "numbing repetition". [95] In Britain, innovative broadcasting and recording contributed to reconsideration of Handelian performance. The Air for tenor expands the words "Ev'ry valley shall be exalted", which are frequently heard during Advent (preparing a way for the Lord). [3], By the early 1730s public taste for Italian opera was beginning to fade. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. Part II. In his libretto, Jennens's intention was not to dramatise the life and teachings of Jesus, but to acclaim the "Mystery of Godliness",[15] using a compilation of extracts from the Authorized (King James) Version of the Bible, and from the Psalms included in the 1662 Book of Common Prayer. It has been said that some gave the preference to Scarlatti. Unlike the B soprano clarinet which has numerous musicians performing on each part, the E clarinet part is usually played by only one musician in a typical concert band. "[1], Handel's prowess as an organist had already been demonstrated in Rome in 1707 in a contest with the composer Domenico Scarlatti, when his playing on the organ was rated higher than Scarlatti's playing on the harpsichord; his reputation as a great organist had already been established during his one-year position as cathedral organist in Halle in 1702. A2 closes off the first major section with the clarinet stating the first theme, much as it did in the beginning, finishing with a transition to the trio. [14] In contrast with most of Handel's oratorios, the singers in Messiah do not assume dramatic roles; there is no single, dominant narrative voice; and very little use is made of quoted speech. As if the good news was spreading, the solo alto begins "O thou that tellest good tidings to Zion" (Isaiah 40:9), and is taken over by the chorus. Having received Jennens's text some time after 10 July 1741, Handel began work on it on 22 August. A recorder can be distinguished from other duct flutes by the presence of a thumb-hole for the upper hand and seven finger-holes: three for the upper hand and four for the lower. 68.) In three movements, five consecutive verses from the Book of Isaiah are treatedforetelling the return to Jerusalem (Isaiah 40:15) following the Babylonian captivity. [130] The extended, characteristic trumpet tune that precedes and accompanies the voice is the only significant instrumental solo in the entire oratorio. Messiah was presented in New York in 1853 with a chorus of 300 and in Boston in 1865 with more than 600. Then shall the eyes of the blind be open'd. After their introduction in the Part I chorus "Glory to God", apart from the solo in "The trumpet shall sound" they are heard only in Hallelujah and the final chorus "Worthy is the Lamb". The effort of writing so much music in so short a time was not unusual for Handel and his contemporaries; Handel commenced his next oratorio, Samson, within a week of finishing Messiah, and completed his draft of this new work in a month. Instead of the inversion of the theme we expect in the second phrase of A, the strings take over and offer an entirely different melody, but with essentially the same contour as the inversion. The E major second movement is in modified ternary form (ABA'). Free sheet music for all instruments : winds, strings, choral, orchestra. [33][42] The performance, also in the Fishamble Street hall, was originally announced for 12 April, but was deferred for a day "at the request of persons of Distinction". [7] In Rome in 170708 he had written two Italian oratorios at a time when opera performances in the city were temporarily forbidden under papal decree. They inaugurated a new tradition of brisk, small-scale performances, with vocal embellishments by the solo singers. Abaya Manufacture. However, after the heyday of Victorian choral societies, he noted a "rapid and violent reaction against monumental performances an appeal from several quarters that Handel should be played and heard as in the days between 1700 and 1750". The sequence is repeated, but this time all four voices sing "glory" and "peace", the first in a high register, then low again with the bass dropping an octave. A notable aspect of this movement is Brahms's careful attention to symmetry. Meanwhile he had produced Arminio and Giustino, completed Berenice, revived Partenope, and continued with Il Parnasso in Festa, Alexanders Feast, and the revised The Triumph of Time and Truth which premiered on March 23.[14]. 2 in D major, K. 314 (1778) (an arrangement of the above Oboe [1] The long gestation of the C minor Symphony which would eventually be his first, may be attributed to two factors. "Behold, thy King cometh unto thee" is given in dotted rhythm and is reminiscent of the French overture. Manuel Gangl is E-flat clarinetist in the Vienna Symphony Orchestra. B-flat major c. 170710 One of Handel's earliest extant compositions. This is an episode in the Nativity of Jesus described in the Bible in Luke 2, in which angels tell a group of shepherds about the birth of Jesus. Rschmann, Gritton, Fink, C. Daniels, N. Davies; McCreesh", International Music Score Library Project, Center for Computer Assisted Research in the Humanities, Agrippina condotta a morire or Dunque sar pur vero, https://en.wikipedia.org/w/index.php?title=Messiah_(Handel)&oldid=1119757255, Pages containing links to subscription-only content, CS1 maint: others in cite AV media (notes), Articles containing Italian-language text, Articles with International Music Score Library Project links, Articles with German-language sources (de), Articles with MusicBrainz work identifiers, Creative Commons Attribution-ShareAlike License 3.0, Ev'ry valley shall be exalted (air for tenor), And the glory of the Lord (anthem chorus), Thus saith the Lord of hosts (accompanied, But who may abide the day of His coming (soprano, alto or bass), And he shall purify the sons of Levi (chorus), O thou that tellest good tidings to Zion (air for alto and chorus), For behold, darkness shall cover the earth (bass), The people that walked in darkness have seen a great light (bass), For unto us a child is born (duet chorus), (a) There were shepherds abiding in the fields (secco recitative for soprano), (b) And lo, the angel of the Lord (accompanied recitative for soprano), And the angel said unto them (secco recitative for soprano), And suddenly there was with the angel (accompanied recitative for soprano), Rejoice greatly, O daughter of Zion (soprano), Then shall the eyes of the blind be opened (secco recitative for soprano or alto), He shall feed his flock like a shepherd (alto and/or soprano), He was despised and rejected of men (alto), Surely he hath borne our griefs and carried our sorrows (chorus), And with his stripes we are healed (fugue chorus), All we like sheep have gone astray (duet chorus), All they that see him laugh him to scorn (secco recitative for tenor), He trusted in God that he would deliver him (fugue chorus), Thy rebuke hath broken his heart (tenor or soprano), Behold and see if there be any sorrow (tenor or soprano), But thou didst not leave his soul in hell (tenor or soprano), Let all the angels of God worship Him (chorus), Thou art gone up on high (soprano, alto, or bass), How beautiful are the feet (soprano, alto, or chorus), Their sound is gone out (tenor or chorus), Why do the nations so furiously rage together (bass), Let us break their bonds asunder (chorus), Thou shalt break them with a rod of iron (tenor), O death, where is thy sting? Concerto in B-flat major for harp, Op. Finally, a "shocking digression"[3] in the bass line leads to a modulation to F, setting the stage for the recapitulation. The premiere of this symphony, conducted by the composer's friend Felix Otto Dessoff, occurred on 4 November 1876, in Karlsruhe, then in the Grand Duchy of Baden. Two trumpets and timpani highlight selected movements, for example in Part I the song of the angels Glory to God in the highest. [79] Mozart himself was reportedly circumspect about his changes, insisting that any alterations to Handel's score should not be interpreted as an effort to improve the music. The orchestra employed was two hundred and fifty strong, including twelve horns, twelve trumpets, six trombones and three pairs of timpani (some made especially large). The latter employs a chorus of 24 singers and an orchestra of 31 players; Handel is known to have used a chorus of 19 and an orchestra of 37. Adagio Pi andante Allegro non troppo, ma con brio Pi allegro, IV. This article covers Part I and describes the relation of the musical setting to the text. Malachi's words are continued in an aria and a chorus. The circle of fifths developed in the late 1600s and early 1700s to theorize the modulation of the Baroque era (see Baroque era).. [4] The symmetry within one section reflects the symmetry of the whole. [126] It builds from a deceptively light orchestral opening,[46] through a short, unison cantus firmus passage on the words "For the Lord God omnipotent reigneth", to the reappearance of the long-silent trumpets at "And He shall reign for ever and ever". The first separately published biography of the composer, by Johann The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. Important soloistic parts in standard band repertoire for the E clarinet include the second movement of Gustav Holst's First Suite in E-flat for Military Band (for two E clarinets) and his piece "Hammersmith" (also for two E clarinets), Paul Hindemith's Symphony in B-flat for Band, and Gordon Jacob's William Byrd Suite. The upward fourth, followed by a rest, stresses the phrases "for behold", "good tidings", "for unto you" and ultimately "which is Christ". The movement is a parody of Quel fior che all'alba ride (HWV 192, July 1741).[10][11]. Sinfony. [80] Elements of this version later became familiar to British audiences, incorporated into editions of the score by editors including Ebenezer Prout. [42] The appropriateness of the Italian source material for the setting of the solemn concluding chorus "His yoke is easy" has been questioned by the music scholar Sedley Taylor, who calls it "a piece of word-painting grievously out of place", though he concedes that the four-part choral conclusion is a stroke of genius that combines beauty with dignity. In the Grove Dictionary of Music and Musicians, David Scott writes, "the edition at first aroused suspicion on account of its attempts in several directions to break the crust of convention surrounding the work in the British Isles. This introduction was constructed after the remainder of the piece had been scored. Forceful downward runs, leaps and trills of the voice are accompanied by fiery figuration in the strings. [58] The 1754 performance at the hospital is the first for which full details of the orchestral and vocal forces survive. The theme is introduced softly in the low strings, and elaborated upon by the violins. In the table below, the Novello number (Nov) is given first and is the index for the notes to individual movements in the "movements" section, then the Brenreiter number (Br). Handel rewrote this dramatic scene in London in 1750 for the castrato Gaetano Guadagni, after he had initially set the text as a recitative for bass. Fasch was born in the town of Buttelstedt, 11 km north of Weimar, the eldest child of schoolmaster Friedrich Georg Fasch and his wife Sophie Wegerig, from Leiling near Weienfels.After his father's death in 1700, Fasch lived with his maternal uncle, the clergyman Gottfried Wegerig in Gthewitz, and it was presumably in this way that he made the 1 in E-flat major; BWV 526 Sonata No. This uses the numbering first used in the Prout edition of 1902. [36] The orchestra in Dublin comprised strings, two trumpets, and timpani; the number of players is unknown. Handel found various ways to use the format freely to convey the meaning of the text. [2][3] Regarding the text, Jennens commented: "the Subject excells every other Subject. Part II covers the Passion, death, resurrection, ascension, and the later spreading of the Gospel. 6, HWV 319330, by George Frideric Handel are concerti grossi for a concertino trio of two violins and cello and a ripieno four-part string orchestra with harpsichord continuo.First published by subscription in London by John Walsh in 1739, they became in a second edition two years later Handel's Opus 6. The Sinfony, set for oboes and strings, is in two parts in the style of a French overture (a slow first part and a fugue). It is a common subject of Christian art and of Christmas carols. [9], The chorus picks up the idea in the fugue "And he shall purify", with coloraturas on "purify", which may stand for a purifying fire. When Handel first came to Italy he became known to Domenico Scarlatti. After a short transitional passage, the oboe introduces a rising, song-like theme which is initially accompanied only by the violas and the other winds. Gramophone magazine and The Penguin Guide to Recorded Classical Music highlighted two versions, conducted respectively by Trevor Pinnock (1988) and Richard Hickox (1992). The second ending brings the orchestra back into 24 time and to A3. In most central and northern European languages (German, Hungarian, Nordic, Baltic, West Slavic and most South Slavic languages), the pitch B is usually var path = 'hr' + 'ef' + '='; Thus, Se tu non lasci amore HWV 193 from 1722 became the basis of "O Death, where is thy sting? The value and importance of Brahms's achievements were recognized by Vienna's most powerful critic, the staunchly conservative Eduard Hanslick. [40][41] To accommodate Cibber's vocal range, the recitative "Then shall the eyes of the blind" and the aria "He shall feed his flock" were transposed down to F major. Scene 4 is the only real scene of the oratorio: the annunciation to the shepherds, and is taken from the Gospel of Luke, Luke 2:14. [90] In a 1991 study of all 76 complete Messiahs recorded by that date, the writer Teri Noel Towe called this version of Beecham's "one of a handful of truly stellar performances". He subsequently wrote and presented more than 40 such operas in London's theatres. Bartok: Concerto for Orchestra Mvt. The first published score of 1767, together with Handel's documented adaptations and recompositions of various movements, has been the basis for many performing versions since the composer's lifetime. Handel had his own organ shipped to Ireland for the performances; a harpsichord was probably also used. Listing Bach's compositions. The First Symphony of Brahms. At the turn of the century, The Musical Times wrote of the "additional accompaniments" of Mozart and others, "Is it not time that some of these 'hangers on' of Handel's score were sent about their business? This is followed by a second passage of pizzicato strings, which is resolved in a sudden shift to a rising set of modulations in the woodwinds followed by a set of rapid arpeggios in the strings leading to the grand entrance of the Alphorn theme in C major. However, among those where the instrument is featured beyond what would be considered normal in recent music are John Adams's Chamber Symphony, where two players play E and bass clarinet and "double" on soprano and Adriana Hlszky's A due for two E clarinets. In London Farinelli continued to pull the crowds to the Opera of the Nobility, despite Handel's insertions in his operas of dance interludes by Marie Sall, the leader of the resident dance troupe at Covent Garden. He was certainly devoted to Handel's music, having helped to finance the publication of every Handel score since Rodelinda in 1725. After a series of passages which parallelbut do not echothe opening A section, the principal violin enters with a rendition of the first oboe theme, this time with soft accompaniment from the horns. Be charmed by the warm tones of the baroque oboe in a programme that will include Bach's Concerto for Violin and Oboe. A plaque on the Abbey wall records that "The Band consisting of DXXV [525] vocal & instrumental performers was conducted by Joah Bates Esqr. For example, in 1928, Beecham conducted a recording of Messiah with modestly sized forces and controversially brisk tempi, although the orchestration remained far from authentic. Handel waited until the angels' song "Glory to God" to introduce the trumpets. Both recordings have appeared on other labels in both LP and CD formats. The E clarinet is often heard playing along with the flutes and/or oboes. Indeed if they are not prepared to grapple with the problems presented by the score they ought not to conduct it. [31][113] In this initial appearance the trumpets lack the expected drum accompaniment, "a deliberate withholding of effect, leaving something in reserve for Parts II and III" according to Luckett. [37][45], Handel remained in Dublin for four months after the premiere. In its original form it contained three concertos: a concerto in B flat major in 3 movements for "Harp, Lute, Lyrichord and other Instruments" HWV 294 for performance after the recitative Timotheus, plac'd on high in Part I; a concerto grosso in C major in 4 movements for oboes, bassoon and strings, now known as the "Concerto in Alexander's Feast" HWV 318, performed between Parts I and II; and an organ concerto HWV 289 in G minor and major in 4 movements for chamber organ, oboes, bassoon and strings performed after the chorus Let old Timotheus yield the prize in Part II. When performed in this way, it usually concludes with "Hallelujah" (chorus) from Part II as the finale. The symphony is in four movements, marked as follows: The first movement is in sonata form with an extended introduction, featuring a drawn-out and highly elaborated variation of the movement's theme. Other editions count the movements slightly differently; the Brenreiter edition of 1965, for example, does not number all the recitatives and runs from 1 to 47. Artaserse and other operas including Porpora's new opera Polifemo, a precursor of Handel's pastoral masque Acis and Galatea, vied for the audience of Handel's three new works the operas Ariodante and Alcina, part of the trilogy based on Ariosto's romantic epic Orlando Furioso, and the oratorio Athalia.[7]. Password requirements: 6 to 30 characters long; ASCII characters only (characters found on a standard US keyboard); must contain at least 4 different symbols; The autograph manuscript of the second, third, and fourth movements is held by the Morgan Library & Museum in New York City. Handel's Messiah has been described by the early-music scholar Richard Luckett as "a commentary on [Jesus Christ's] Nativity, Passion, Resurrection and Ascension", beginning with God's promises as spoken by the prophets and ending with Christ's glorification in heaven. Subsequent scholarship and performance practice, however, has favoured the original intimate scoring for chamber organ and small baroque orchestra. However, when they came to the Organ there was not the least pretence for doubting to which of them it belonged Handel had an uncommon brilliancy and command of finger; but what distinguished him from all other players who possessed these same qualities, was that amazing fullness, force and energy, which he joined with them. Bass Flute Guitar Harp Horn Oboe Orchestra Percussion Piano Piano Quartet Piano Trio Solos 1. The melody is adapted from Handel's 1722 cantata Se tu non-lasci amore, and is in Luckett's view the most successful of the Italian borrowings. Solo horn quotes the beginning of the movement's second "oboe" theme, which is subsequently elaborated by the principal violin in solo. The choir voices enter in imitation, as if gathering, but soon sing together, starting with "arise" (Isaiah 60:1) on a pronounced "ascending fourth"a signal observed by musicologist Rudolf Steglich as a unifying motif of the oratorio. A lengthy coda follows without pause, which returns to C major, restates the chorale from the introduction, and ends with a triumphant pair of plagal cadences. There were 11 performances of the work in its first form: five in February and March 1736; and in 1737, 3 in March, 1 in early April and 2 in June. The violinist Festing and the composer Arne reported to the musicologist Charles Burney that Handel had included organ solos in the Oxford performances: he had "opened the organ in such a manner as astonished every hearer" and "neither themselves, nor any one of their acquaintance, had ever before heard such extempore, or such premeditated playing, on that or any other instrument. After brief signs of a recovery, he had a relapse in May, with an accompanying deterioration in his mental capacities. The conductor Sir Thomas Beecham wrote that for 200 years the chorus was "the national medium of musical utterance" in Britain. The Peters Edition, edited by Donald Burrows, vocal score published 1972, which uses an adaptation of the numbering devised by Kurt Soldan. The second statement of the theme is joined first by the bassoons, followed by the flutes and oboes. The entry to the coda is marked poco a poco pi tranquillo and the movement ends with the gentle throbbing of triplets quoted from the trio section. 68", International Music Score Library Project, Variations and Fugue on a Theme by Handel, International Johannes Brahms Competition, https://en.wikipedia.org/w/index.php?title=Symphony_No._1_(Brahms)&oldid=1110580541, Short description is different from Wikidata, Articles with International Music Score Library Project links, Articles with MusicBrainz work identifiers, Creative Commons Attribution-ShareAlike License 3.0, Flute, Oboe, Clarinet, Bassoon, Contrabassoon, Horn, Trumpet, Trombone (fourth movement only), Timpani and Strings. An upward fourth followed by a rest accents "Rejoice", and further repeats of the word are rendered as seemingly endless coloraturas. The small English chamber organs at Handel's disposal, with a single keyboard and no pedals, produced a softer sound that could be properly integrated with a small orchestra, making possible a unique form of concerto close to chamber music.[3]. Terpsichore. 21 March] 1685 28 July 1750) was a German composer and musician of the late Baroque period.He is known for his orchestral music such as the Brandenburg Concertos; instrumental compositions such as the Cello Suites; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Harp Concerto (2018) Concerto for Oboe, harp and strings (1944) Kalevi Aho. The concertos were first published in 1738 by John Walsh for solo keyboard, the solo part combined with a simplified reduction of the orchestral accompaniment. //-->. It is typically considered the sopranino or piccolo member of the clarinet family and is a transposing instrument in E with a sounding pitch a minor third higher than written. The symphony begins with a broad introduction wherein three key elements are heard simultaneously: the low drumming, the rising figure in the strings, and the falling figure in the winds. IV. Carl Philipp Emanuel Bach (8 March 1714 14 December 1788), also formerly spelled Karl Philipp Emmanuel Bach, and commonly abbreviated C. P. E. Bach, was a German Classical period musician and composer, the fifth child and second surviving son of Johann Sebastian Bach and Maria Barbara Bach.. C. P. E. Bach was an influential composer working at a time of transition Handel's instruments he used were most likely the single keyboard portable chamber organs with four stops constructed by John Snetzler, the leading organbuilder in London. Balsom was awarded Artist of the Year at the 2013 Gramophone Awards and has won three Classic BRIT Awards and three German Echo Awards, and was a soloist at the BBC Last Night of the Proms in 2009. The exposition begins abruptly, echoing the introduction's plucked final note with an orchestral exclamation, followed by a short motto which leads to the main theme, which is initially played, stridently, by the violins. The form first evolved in the 18th century, when composers including Antonio Vivaldi, George Frideric Handel and Johann Sebastian Bach wrote organ concertos with small orchestras, and with solo parts which rarely call for the organ pedal board. Whoever the organbuilder, Handel added a codicil to his will in 1757 bequeathing to John Rich his "Great Organ which stands at the Theatre Royal in Covent Garden."[6]. [112] In "Glory to God", Handel marked the entry of the trumpets as da lontano e un poco piano, meaning "quietly, from afar"; his original intention had been to place the brass offstage (in disparte) at this point, to highlight the effect of distance. In this second Messiah, which was for Handel's private financial benefit, Cibber reprised her role from the first performance, though Avoglio may have been replaced by a Mrs Maclaine;[48] details of other performers are not recorded. As the theme rises, the violins and violas develop it further, before it turns downwards to be joined with the low strings. The Allegro section of the movement is a large orchestral sonata, wherein musical ideas are stated, developed, and restated with altered relationships among them. The second and third movements are lighter in tone and tension than the first and last movements. var addy11204 = 'info' + '@'; [3] In modern performance (especially in North America and western Europe outside German-speaking countries), it is normal to transpose D clarinet parts for E clarinet.[3]. [12] In July 1741 Jennens sent him a new libretto for an oratorio; in a letter dated 10 July to his friend Edward Holdsworth, Jennens wrote: "I hope [Handel] will lay out his whole Genius & Skill upon it, that the Composition may excell all his former Compositions, as the Subject excells every other subject. Such funding became harder to obtain after the launch in 1730 of the Opera of the Nobility, a rival company to his own. My sister gave you an account of Mr. Handel's playing here for three hours together: I did wish for you, for no entertainment in music could exceed it, except his playing on the organ in Esther, where he performs a part in two concertos, that are the finest thing that I ever heard in my life. Although Brahms commonly specified "natural" (valveless) horn tunings in his compositions (e.g., Horn in F), performances are typically delivered on modern valved French The orchestra scoring is simple: oboes, strings and basso continuo of harpsichord, violoncello, violone and bassoon. Finally, the music moves into a softer, mysterious transitional session, leading to the final section. [8] His first venture into English oratorio had been Esther, which was written and performed for a private patron in about 1718. [59][n 5] For this performance the transposed Guadagni arias were restored to the soprano voice. [110] The scene headings are given as Burrows summarised the scene headings by Jennens. The woodwinds then pick up the song, with the strings in pizzicato accompaniment with gently trilling timpani. Scene 1 deals with general prophecies of salvation. [36] A violinist friend of Handel's, Matthew Dubourg, was in Dublin as the Lord Lieutenant's bandmaster; he would look after the tour's orchestral requirements. He wrote a new setting of "And lo, the angel of the Lord" for Clive, never used subsequently.
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