Tag: Handel

Music for Light in Darkness

 

A little over three months ago, I shared “Beautiful Dark Things,” a piece of music along with an essay on drawing creative inspiration from nature. Sometime in September, I realized that the rhythm of that music fit well to the first half of Isaiah 60:1, “Arise, shine, Jerusalem; for thy light is come,” or in Latin, “Jerusalem surge illuminare, quia venit lumen tuum.” Cannibalizing a secular (or, as I often sense, just not overtly sacred) piece for use in sacred music is a venerable tradition. As Luther said, why should the devil have all the best tunes?

Not only did many Christmas hymns start out as secular carols, but even oratorios get in on the game. Handel repurposed several secular love duets for his Messiah. If you’re familiar with choruses from Handel’s Messiah such as, “For unto us a child is born,” “And he shall purify,” “His yoke is easy,” and “All we like sheep,” you’ll recognize them here. So, I’m in good company.

Jim Geraghty of National Review and Greg Corombos of Radio America enjoy watching California Democrats fight over who won the election to be the next state party chairman, with supporters of the losing candidate alleging lax voter identification enforcement.  They also wince as Jon Ossoff moves to a seven-point lead over Karen Handel in the special House race in Georgia.  And they sigh as the Manchester terrorism attack elicits more generic calls for unity rather than identifying the obvious motivation for such heinous attacks.

Member Post

 

It’s not terribly uncommon for commercials to feature classical music. Beethoven’s Symphony No. 5, Strauss’ “Also Sprach Zarathustra”, Handel’s “Hallelujah Chorus”, Tchaikovsky’s “1812 Overture”, and Beethoven’s “Ode to Joy” (Symphony No. 9) are frequently pressed into the service of commerce.  But this year, I’ve been hearing a lot of Handel’s “Zadok the Priest” from the […]

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