NOTE:
Messiah
is a deceptively simple piece of music. Written with
four-part
harmonies, with little orchestra soloing, part of its appeal is that
seemingly anyone can sing it, from the most amateur novice to the most
brilliant artist, each discovering something new and challenging within
its staves. But hidden within its passages are amazing
complexities. Here I will attempt to document some of the
scholarship which has helped to reveal hidden depths to this most
populist of baroque masterpieces.
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