Nabal (Handel)
Encyclopedia
Nabal is an oratorio
pastiche. It was compiled from the works of Handel
in 1764 by John Christopher Smith
. It was first performed on 16 March 1764 at Covent Garden
, London.
The recitatives are presumably the work of Smith, while the arias are largely borrowed from Handel's operas, oratorios, anthems and cantatas.
Oratorio
An oratorio is a large musical composition including an orchestra, a choir, and soloists. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias...
pastiche. It was compiled from the works of Handel
HANDEL
HANDEL was the code-name for the UK's National Attack Warning System in the Cold War. It consisted of a small console consisting of two microphones, lights and gauges. The reason behind this was to provide a back-up if anything failed....
in 1764 by John Christopher Smith
John Christopher Smith
John Christopher Smith [Johann Christoph Schmidt] was an English composer who, following in his father's footsteps, became George Frederic Handel's secretary and amanuensis.-Life:...
. It was first performed on 16 March 1764 at Covent Garden
Royal Opera House
The Royal Opera House is an opera house and major performing arts venue in Covent Garden, central London. The large building is often referred to as simply "Covent Garden", after a previous use of the site of the opera house's original construction in 1732. It is the home of The Royal Opera, The...
, London.
The recitatives are presumably the work of Smith, while the arias are largely borrowed from Handel's operas, oratorios, anthems and cantatas.
Dramatis Personae
- Nabal (bass)
- Abigail (sopranoSopranoA soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody...
) - David (tenorTenorThe tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2...
) - Asaph (soprano)
- Shepherd (soprano)
Summary
| Part | Movement | Type | Voice | Text (first lines) |
|---|---|---|---|---|
| 1 | 1 | Symphonia (Largo, Allegro, Largo, Minuet) |
||
| 1 | 2 | Recitative | David | Here in the Wilderness of Paran |
| 1 | 3 | Chorus | The righteous shall be had in everlasting remembrance | |
| 1 | 4 | Accompagnato | David | Have mercy on us, Lord |
| 1 | 5 | Air | David | Food they ask'd |
| 1 | 6 | Recitative | Asaph | No doubt |
| 1 | 7 | Air | Asaph | The Lord, our guide |
| 1 | 8 | Chorus | The Lord our guide | |
| 1 | 9 | Recitative | Abigail | How hard the woman's fate |
| 1 | 10 | Air | Abigail | Free from discord |
| 1 | 11 | Recitative | Nabal | Avaunt, unpleasing wretch |
| 1 | 12 | Air | Nabal | Still fill the bowl |
| 1 | 13 | Ballo and Minuet | ||
| 1 | 14 | Gavotte | ||
| 1 | 15 | Siciliana | ||
| 1 | 16 | Air | Shepherd | Gay and light as yonder sheep |
| 1 | 17 | Chorus | Gay and light as yonder sheep | |
| 1 | 18 | Recitative | Nabal | 'Tis Carmel's annual holiday |
| 1 | 19 | Chorus | Happy, while we reign in pleasure | |
| 2 | 1 | Recitative | David | Asaph, 'tis well advis'd |
| 2 | 2 | Air | David | Great Creator |
| 2 | 3 | Chorus | God, who in they heav'nly hand | |
| 2 | 4 | Recitative and Accompagnato | Asaph | Thus saith my Lord |
| 2 | 5 | Air | Asaph | Grateful hearts enjoy the blessing |
| 2 | 6 | Recitative | Nabal | Who is this David? |
| 2 | 7 | Air | Nabal | With harps new strung |
| 2 | 8 | Solo and Chorus | Shepherd | Come! Come! Live with pleasure |
| 2 | 9 | Air and Chorus | Shepherd | Sing we the feast |
| 2 | 10 | Chorus | Crown with festal pomp the day | |
| 2 | 11 | Accompagnato | Abigail | Thrice happy sheep |
| 2 | 12 | Air | Abigail | Mind eternal |
| 2 | 13 | Recitative | Shepherd, Abigail | Fly my good mistress |
| 2 | 14 | Accompagnato | David | Fell monster! |
| 2 | 15 | Air | David | Fury in all they terrors rise |
| 2 | 16 | Accompagnato | Abigail | On me, my Lord, on me |
| 2 | 17 | Air | Abigail | Mercy, thou heavn'ly cherub |
| 2 | 18 | Accompagnato | David | Blessed be the Lord |
| 2 | 19 | Chorus | All creatures upon God depend | |
| 3 | 1 | Interludes | ||
| 3 | 2 | Accompagnato | Nabal | Ah! Whence this sudden dread |
| 3 | 3 | Air | Nabal | Oh! Who can tell the terrors? |
| 3 | 4 | Recitative | Shepherd | How soon the scene is chang'd |
| 3 | 5 | Chorus | By slow degrees the wrath of God | |
| 3 | 6 | Recitative | Asaph | A messenger, my Lord |
| 3 | 7 | Air | Asaph | When beauty sorrow's livery wears |
| 3 | 8 | Recitative | David | True is your observation |
| 3 | 9 | Air | David | Lovely beauty |
| 3 | 10 | Recitative | Abigail | Behold! Thine handmaid |
| 3 | 11 | Air | Abigail | Come ye similing hours |
| 3 | 12 | Accompagnato | Shepherd | Guardian angels |
| 3 | 13 | Duet | Shepherd, Asaph | Thrice happy pair |
| 3 | 14 | Solo and chorus | Shepherd | Still caressing |
| 3 | 15 | Recitative | Abigail | in praise, to great Jehovah |
| 3 | 16 | Duet | Abigail and David | Thoughts sublime |
| 3 | 17 | Chorus | O glorious prince | |