Bloody water, frogs, hailstones and impenetrable darkness: Thomas Hengelbrock sees »Israel in Egypt« as Handel’s most avant-garde work. With its vivid style and gripping choral scenes, the oratorio seems predestined for performance by conductor Hengelbrock and his Balthasar Neumann ensembles, who are known for their uncompromising interpretation of every detail of music and text alike. They are performing this mighty work as part of the Hamburg International Digital Music Festival – together with outstanding vocal soloists from the choir. A detective story on the concert platform!
Note: All Hamburg International Music Festival 2021 concerts are available to stream free of charge. Once premiered, each concert stream can be accessed for the whole festival period.
»Handel is the greatest composer who ever lived!«
Ludwig van Beethoven
Performers
Balthasar Neumann Choir and Soloists
Balthasar Neumann Ensemble
direction Thomas Hengelbrock
Programme
George Frideric Handel (1685–1759)
Israel in Egypt, HWV 54 / Sinfonia, Exodus, Moses (1738)
Duration: 85 minutes
About The Artists
Thomas Hengelbrock – direction
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About Thomas Hengelbrock
Thomas Hengelbrock is one of the most versatile and interesting artists of his generation. Be it Baroque opera, Romantic symphonies or contemporary music, his energy-laden performances are always the product of a detailed study of the score and of his compendious knowledge about the content and meaning of the work. His Balthasar Neumann Choir and Ensemble are both top period-performance formations that he founded over 20 years ago; Hengelbrock has been enjoying international success with them ever since. He is a sought-after partner for many other orchestras such as the Concertgebouw Orkest and the Vienna Philharmonic, and he also appears internationally as an opera conductor and at festivals such as the Salzburg Festival.
Balthasar Neumann Choir
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About the choir
Gramophone Magazine has called the Balthasar Neumann Choir »one of the world’s best choirs«. Whether it is performing music from the 17th century or contemporary repertoire, the vocal ensemble (founded in 1991) displays passion and a deep understanding of the music at all times. The singers can also be heard in a solo capacity, presenting familiar material in a new guise and interweaving music with literature or dance. With these activities, they follow the ideals of the man the choir is named after: Baroque architect Balthasar Neumann (1687–1753) stood for courageous creativity and integral concepts where architecture, painting, sculpture and garden planning all interact.
The choir is regularly invited to appear at leading concert halls and music festivals such as the Schleswig-Holstein Music Festival and the Munich Opera Festival, and it has been on tour to China, Mexico and the USA.
Balthasar Neumann Ensemble
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About the ensemble
The Balthasar Neumann Ensemble is one of the world’s leading period-performance orchestras. Founded by Thomas Hengelbrock in 1995, it opens up new ways of looking at music of different eras – from the Early Baroque to the modern age. The ensemble is made up of top international musicians and is feted not only for its interpretations on authentic instruments, but especially for its expressive playing at the highest level. The orchestra focuses on the time when a particular work was written, and performs it on instruments dating from that period. The programmes often go beyond the bounds of a pure concert, relating the music to other art forms such as dance and literature.
The Balthasar Neumann Ensemble is a guest in Europe’s most prestigious concert halls; it plays at international opera productions from Paris to Madrid, and appears at major festivals like the Salzburg Festival.
An experiment goes wrong :Handel: Israel in Egypt
Too many choruses. Not enough arias. Too solemn. Not operatic enough. London music lovers were definitely not amused when George Frideric Handel’s latest oratorio, »Israel in Egypt«, was premiered on 4 April 1739 in the Haymarket Theatre. Yet Handel had enjoyed great success with four other oratorios in the preceding years. The Old Testament stories, sung in English and including magnificent choruses, seemed to appeal to the audiences. What was different this time?
The people as protagonist
Several things, actually. For a start, the new oratorio didn’t tell the story of individuals, but of an entire people – the people of Israel and their escape from Egyptian slavery, including the ten Plagues of Egypt described in the Book of Exodus. Thus it is only logical that the musical emphasis should be on choruses. In Handel’s previous English-language oratorios on the other hand – »Esther«, »Deborah«, »Athalia« and »Saul« – there was still the accustomed alternation of elaborate arias that express feelings with recitatives, more spoken than sung, that serve to develop the plot. Choruses are an element in these works as well, but they are not the main focus. Unlike in »Israel in Egypt«: the 25 musical numbers of the two-part version that is usual today include no more than four arias, two recitatives and two duets. Everything else is sung by the chorus.
Expressionistic sounds
The musical resources that Handel chose to use are equally unusual. Instead of the stylised expressions of feeling customary in the 18th century, in »Israel in Egypt« Handel opted for sounds that were nothing short of expressionistic, especially when depicting the Plagues of Egypt. The unrestrained harmonies used to portray the three days of darkness that came over the land, the whining and buzzing of the gnats and lice, the instrumental hailstorm unleashed on the audience – some people must have thought they were experiencing the plagues described in the Bible themselves. And even if Handel’s audience was getting a little tired of the opera at this time, all this experimentation seems to have been too much for most of them.
Opera or oratorio?
So what was it that led London theatregoers to suddenly lose interest in opera? There are two theories:
Theory no. 1: A new audience. Supporters of this theory believe that, thanks to increasing wealth and education, the British middle class was now discovering opera, which had hitherto been the domain of the aristocracy. But the middle class didn’t speak Italian, and also preferred more familiar material than the amorous royal intrigues of Italian opera, which prompted Handel to adapt to the taste of his new audience.
Theory no. 2: A new political situation. According to this theory, the audience for opera or oratorio was still the same, but the concertgoers wanted to hear and see different material. The likely reason lay in the political conflict smouldering in the 1730s between Great Britain and France/Spain, triggered by issues of power in the overseas colonies and commercial advantages accruing from trading with them. As a result, the French, the Spanish and other Catholics were unpopular in Britain at the time. At the end of 1739, not long after the first performance of »Israel in Egypt«, this conflict escalated in the so-called »War of Jenkins’s Ear« against Spain; hostilities lasted until 1742. It’s perfectly feasible that the British aristocracy saw it as a patriotic duty to favour English-language works.
Unexpected competition
Whatever the reason, it is a fact that the popularity of Italian opera waned, at least for a while. Opera impresario Handel was obviously affected by the change in taste. And his situation was aggravated further by the fact that his Royal Academy of Music gained a competitor in 1732, the Opera of the Nobility. The two rival opera companies struggled to exist alongside one another for a few years, before they both had to declare bankruptcy in 1737.
Bankruptcy – and a new start
But Handel was not to be discouraged so easily. Although the ruin of the Royal Academy crippled him financially, he set up a new opera company the same year. After another slack season, he decided to switch to the oratorio genre in the autumn of 1738, with which he had already enjoyed great success in 1732/33. The composer’s decision seemed to bear fruit: his new oratorio »Saul« was a considerable hit in January 1739. He then stared work on »Israel in Egypt« with delay, once again looking for ways to captivate his audience with new forms and types of expression – with the results described above.
Belated fame
After the first performance was a flop, Handel subjected the new oratorio to a fundamental reworking. He cut the entire first part from what was originally a three-part work, adding arias and tightening the choruses. But the desired success failed to materialise: »Israel in Egypt« was only performed a few more times up to the composer’s death. Not until the 19th century were the tables turned: today, »Israel in Egypt« is one of Handel’s most important and best-loved oratorios, and is given regular performances by amateurs and professionals alike.
Text: Juliane Weigel-Krämer
Translation: Clive Williams
Libretto
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Part I: Exodus
1. Rezitativ (Tenor)
Now there arose a new king over Egypt, which knew not Joseph; and he set over Israel taskmasters to afflict them with burdens, and they made them serve with rigour.
2. Solo (Altus) und Chor
And the children of Israel sighed by reason of the bondage, and their cry came up unto God.
They oppressed them with burdens, and made them serve with rigour; and their cry came up unto God.
3. Rezitativ (Tenor)
Then sent He Moses, His servant, and Aaron whom He had chosen. These shewed His signs among them and wonders in the land of Ham. He turned their waters into blood.4. Chor
They loathed to drink of the river. He turned their waters into blood.
5. Arie (Altus)
Their land brought forth frogs, yea, even in their king's chambers. He gave their cattle over to the pes-tilence; blotches and blains broke forth on man and beast.
6. Chor
He spake the word, and there came all manner of flies and lice in all their quarters. He spake; and the locusts came without number, and devoured the fruits of the ground.7. Chor
He gave them hailstones for rain; fire mingled with the hail ran along upon the ground.8. Chor
He sent a thick darkness over the land, even darkness which might be felt.
9. Chor
He smote all the first-born of Egypt, the chief of all their strength.10. Chor
But as for His people, He led them forth like sheep. He brought them out with silver and gold. There was not one feeble person among their tribes.12. Chor
He rebuked the Red Sea, and it was dried up.13. Chor
He led them through the deep as through a wilderness.14. Chor
But the waters overwhelmed their enemies, there was not one of them left.15. Chor
And Israel saw that great work that the Lord did upon the Egyptians; and the people feared the Lord,
16. Chor
and believed the Lord and His servant Moses.
Da erhob sich ein neuer König über Ägypten, der Josef nicht gekannt hatte. Und er setzte Fronvögte über Israel ein, um sie mit schweren Bürden zu peinigen, und sie mit Gewalt zur Sklavenarbeit zu zwingen.
Und die Kinder Israels stöhnten unter dem Sklavenjoch, und ihr Hilferuf stieg zu Gott empor. Sie peinigten sie mit schweren Bürden und zwangen sie mit Gewalt zur Sklavenarbeit; und ihr Hilfeschrei stieg zu Gott empor.
Da sandte Gott Mose, seinen Knecht, und Aaron, den er sich erwählt hatte. Diese wirkten unter ihnen seine Zeichen und Wunder im Lande Hams. Er verwandelte ihre Gewässer in Blut.
Sie ekelten sich davor, aus dem Fluss zu trinken. Er verwandelte ihre Gewässer in Blut.
Ihr Land brachte Frösche hervor, ja sogar bis hinein in die Gemächer des Königs. Er brachte über ihr Vieh eine Seuche; und Geschwüre und eitrige Blasen brachen an Mensch und Vieh hervor.
Er sprach, und da kamen alle Arten von Fliegen und Läusen über ihr ganzes Land. Er sprach, und zahllose Heuschrecken kamen und fraßen die Früchte ihres Bodens.Er schickte ihnen Hagel statt Regen; Blitze zusammen mit dem Hagel gingen auf das Land nieder.
Er breitete eine tiefe Dunkelheit über das Land aus, eine Dunkelheit, die sogar gefühlt werden konnte.
Er erschlug jede Erstgeburt Ägyptens, die Quelle all ihrer Stärke.
Sein Volk aber führte er hinaus wie Schafe; er führte es hinaus mit Silber und Gold; es fand sich nicht einen Schwächling unter seinen Stämmen.
Er bedrohte das Schilfmeer, und so wurde es trockengelegt.
Er führte sie durch die Meerestiefen wie durch eine Steppe.
Aber die Fluten überwältigten ihre Feinde; nicht einer von ihnen blieb übrig.
Und Israel sah die großen Taten, die der Herr an den Ägyptern getan hatte; und das Volk fürchtete den Herrn.
Und es glaubte an den Herrn und an seinen Knecht Mose. -
Part II: Moses’ Song
17. Chor
Moses and the children of Israel sung this song unto the Lord, and spake, saying:18. Chor
I will sing unto the Lord, for He hath triumphed gloriously. The horse and his rider hath He thrown into the sea.19. Duett (Sopran)
The Lord is my strength and my song; He is become my salvation.
20. Chor
He is my God, and I will prepare Him an habitation; my father's God,
21. Chor
and I will exalt Him.22. Duett (Bass)
The Lord is a man of war: Lord is His name. Pharaoh's chariots and his host hath He cast into the sea; his chosen captains also are drowned in the Red Sea.23. Chor
The depths have covered them. They sank into the bottom as a stone.24. Chor
Thy right hand, O Lord, is become glorious in power; Thy right hand, O Lord, hath dashed in pieces the enemy.25. Chor
And in the greatness of Thine excel-lency Thou hast overthrown them that rose up against Thee.26. Chor
Thou sentest forth Thy wrath, which consumed them as stubble.28. Arie (Tenor)
The enemy said, I will pursue, I will overtake, I will divide the spoil. My lust shall be satisfied upon them. I will draw my sword, my hand shall destroy them.
29. Arie (Sopran)
Thou didst blow with the wind, the sea covered them. They sank as lead in the mighty waters.30. Chor
Who is like unto Thee, O Lord, among the gods? Who is like Thee, glorious in holiness, fearful in praises, doing wonders? Thou stretchedst out Thy right hand,31. Chor
the earth swallowed them.32. Duett (Altus, Tenor)
Thou in Thy mercy hast led forth Thy people, which Thou hast redeemed; Thou hast guided them in Thy strength unto Thy holy habitation.33. Chor
The people shall hear, and be afraid. Sorrow shall take hold on them. All th’inhabitants of Canaan shall melt away. By the greatness of Thy arm they shall be as still as a stone, till Thy people pass over, O Lord, which Thou hast purchased.
34. Arie (Altus)
Thou shalt bring them in, and plant them in the mountain of Thine inheri-tance, in the place, O Lord, which Thou hast made for Thee to dwell in, in the Sanctuary, O Lord, which Thy hands have established.35. Chor
The Lord shall reign for ever and ever.36. Rezitativ (Tenor)
For the horse of Pharaoh went in with his chariots and with his horse-men into the sea, and the Lord brought again the waters of the sea upon them. But the children of Israel went on dry land in the midst of the sea.37. Chor
The Lord shall reign for ever and ever.38. Rezitativ (Tenor)
And Miriam the prophetess, the sis-ter of Aaron, took a timbrel in her hand, and all the women went out after her with timbrels and with dances. And Miriam answered them:39. Solo (Sopran) und Chor
Sing ye to the Lord, for He hath triumphed gloriously.
The Lord shall reign for ever and ever.
The horse and his rider hath He thrown into the sea.
The Lord shall reign for ever and ever, for He hath triumphed gloriously.
Mose und die Kinder Israels sangen dem Herrn dieses Lied, sie sagten:
Ich singe dem Herrn, denn er hat ruhmreich gesiegt. Das Ross und seinen Reiter warf er ins Meer.
Der Herr ist meine Stärke und mein Lied, er ist für mich zum Retter geworden.Er ist mein Gott, ihm will ich eine Wohnstatt bereiten, dem Gott meines Vaters.
Ihn will ich rühmen.
Der Herr ist ein Krieger: Herr ist sein Name. Pharaos Wagen und seine Streitmacht warf er ins Meer; seine besten Kämpfer ertränkte er im Schilfmeer.
Die Fluten bedeckten sie. Sie sanken in die Tiefen wie Steine.
Deine Rechte, oh Herr, ist herrlich an Stärke; deine Rechte, oh Herr, hat den Feind in Stücke zerschmettert.
Und in deiner erhabenen Größe hast du jene überwältigt, die sich gegen dich erhoben haben.
Du sandtest deinen Zorn, der sie auffraß wie Stoppeln.
Der Feind sagte: Ich will verfolgen, ich werde einholen, ich werde die Beute teilen. Meine Gier soll an ihnen gestillt werden. Ich werde mein Schwert ziehen, meine Hand soll sie vernichten.
Da schnaubtest du Sturm. Das Meer bedeckte sie. Sie versanken wie Blei in den tosenden Fluten.
Wer ist wie du, oh Herr, unter den Göttern? Wer ist wie du ruhmreich in seiner Heiligkeit, gefürchtet im Lobpreis, Wunder vollbringend? Du strecktest deine Rechte aus.Die Erde verschlang sie.
Du, in deiner Gnade, führtest dein Volk, das du erlöst hast; du lenktest sie in deiner Größe zu deiner heiligen Wohnung.
Die Völker sollen dies hören und sich fürchten. Zittern soll sie ergreifen. Alle Bewohner Kanaans sollen dahinschmelzen. Durch die Stärke deines Arms sollen sie zu Stein erstarren, bis das Volk, welches du, oh Herr, dir erwählt hast, hindurchgezogen.
Du wirst sie hinbringen und sie einpflanzen auf dem Berg deines Erbes, an dem Ort, oh Herr, welchen du dir geschaffen hast, um dort zu wohnen, in dem Heiligtum, oh Herr, welches deine Hände erbaut haben.
Der Herr soll herrschen für immer und ewig.
Denn die Rosse des Pharao zogen mit seinen Wagen und seinen Reitern ins Meer, und der Herr ließ das Wasser des Meeres auf sie zurückfluten. Aber die Kinder Israels zogen auf trockenem Boden mitten durch das Meer.
Der Herr soll herrschen für immer und ewig.
Und die Prophetin Miriam, die Schwester Aarons, nahm ein Tamburin in die Hand, und alle Frauen zogen mit Trommeln und Tanz hinter ihr her. Und Miriam rief ihnen zu:Singt dem Herrn ein Lied, denn er hat ruhmreich gesiegt.
Der Herr soll herrschen für immer und ewig.
Das Ross und seinen Reiter warf er ins Meer.
Der Herr soll herrschen für immer und ewig, denn er hat ruhmreich gesiegt.
Übersetzung: Rita Elsner
Supported by the Kühne Foundation, the Hamburg Ministry of Culture and Media, Stiftung Elbphilharmonie and the Förderkreis Internationales Musikfest Hamburg
