All we like Sheep

Chiltern Recorder Consort Series

George Frideric (or Frederick) Handel baptised Georg Friedrich Händel, German; 23 February 1685 – 14 April 1759) was a German-British Baroque composer well known for his operas, oratorios, anthems, concerti grossi and organ concertos. He was strongly influenced both by the middle-German polyphonic choral tradition and by composers of the Italian Baroque. In turn, Handel's music forms one of the peaks of the "high baroque" style, bringing Italian opera to its highest development, creating the genres of English oratorio and organ concerto, and introducing a new style into English church music. He is consistently recognized as one of the greatest composers of his age.

George Frideric Handel’s Messiah has remained one of the composer’s most beloved works. Incredibly, Handel completed this 260-page oratorio in just 24 days during the summer of 1741. The scriptural text was compiled by Charles Jennens, with the source being the King James Bible. The first performance of Messiah was on 13th April 1742, to celebrate Easter. 

All we like sheep have gone astray. 

We have turned every one to his own Way. 

And the Lord hath laid on Him the iniquity of us all. 

(Isaiah 53: 6)

Following on with Isaiah’s text, Handel creates a spritely chorus number. Big intervallic leaps in the bass creates angular shapes for the chorus to sing on top of. Handel uses both unison passages and highly melismatic phrases to create a number of different ‘voices’ within the mix. The quick tempo carries throughout most of this piece, with the voices working hard to create the desired haggard effects. A slower section begins after a perfect resolution chord. Initially led by the basses, the key turns minor and all of a sudden there is a dark cloud hanging over the chorus. Sombre in character and the complete opposite of the rest of the piece, this dark and mysterious section leads the once spritely chorus piece to its grisly end.

Alex Ayre was a British recorder teacher and performer who arranged over 500 pieces, of mainly English Renaissance and Baroque music, for recorder ensembles. 

Score: 10 pages. 8 parts @ 2 pages ea.