Les oratorios bibliques de Haendel ou « ll faut l’entendre pour le croire »

Les oratorios bibliques de Haendel ou « ll faut l’entendre pour le croire »

This article contends that, having being denied the possibility of truly staging his biblical oratorios, Handel turned this apparent dramatic void into a truly musical force. Examples taken from Saul, Joshua, Belshazzar, Israel in Egypt and Samson will show how the complex and varied processes of (r...

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Bibliographic Details
Main Author: Joël Richard
Format: Article
Language:English
Published: Maison de la Recherche en Sciences Humaines 2008-02-01
Series:Revue LISA
Online Access:http://journals.openedition.org/lisa/1132
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spelling doaj-967d25499bb446d4909edad96d7817892021-10-02T01:23:35ZengMaison de la Recherche en Sciences HumainesRevue LISA1762-61532008-02-01799010.4000/lisa.1132Les oratorios bibliques de Haendel ou « ll faut l’entendre pour le croire »Joël RichardThis article contends that, having being denied the possibility of truly staging his biblical oratorios, Handel turned this apparent dramatic void into a truly musical force. Examples taken from Saul, Joshua, Belshazzar, Israel in Egypt and Samson will show how the complex and varied processes of (re)writing the librettos from their original biblical source often provided Handel with literary pauses, or even “blanks”, which he more than fully filled with moments of “pure” musical experimentation: when singing is heard off stage, or when voices are simply heard no more, sounds do become meaning and hearing is truly believing.http://journals.openedition.org/lisa/1132
collection DOAJ
language English
format Article
sources DOAJ
author Joël Richard
spellingShingle Joël Richard
Les oratorios bibliques de Haendel ou « ll faut l’entendre pour le croire »
Revue LISA
author_facet Joël Richard
author_sort Joël Richard
title Les oratorios bibliques de Haendel ou « ll faut l’entendre pour le croire »
title_short Les oratorios bibliques de Haendel ou « ll faut l’entendre pour le croire »
title_full Les oratorios bibliques de Haendel ou « ll faut l’entendre pour le croire »
title_fullStr Les oratorios bibliques de Haendel ou « ll faut l’entendre pour le croire »
title_full_unstemmed Les oratorios bibliques de Haendel ou « ll faut l’entendre pour le croire »
title_sort les oratorios bibliques de haendel ou « ll faut l’entendre pour le croire »
publisher Maison de la Recherche en Sciences Humaines
series Revue LISA
issn 1762-6153
publishDate 2008-02-01
description This article contends that, having being denied the possibility of truly staging his biblical oratorios, Handel turned this apparent dramatic void into a truly musical force. Examples taken from Saul, Joshua, Belshazzar, Israel in Egypt and Samson will show how the complex and varied processes of (re)writing the librettos from their original biblical source often provided Handel with literary pauses, or even “blanks”, which he more than fully filled with moments of “pure” musical experimentation: when singing is heard off stage, or when voices are simply heard no more, sounds do become meaning and hearing is truly believing.
url http://journals.openedition.org/lisa/1132
work_keys_str_mv AT joelrichard lesoratoriosbibliquesdehaendeloullfautlentendrepourlecroire
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