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Ode per il giorno di santa Cecilia (HWV 76) è una cantata composta da Georg Friedrich Händel nel 1739, adattando il poema del poeta inglese John Dryden. Il titolo della cantata è ispirato a santa Cecilia, la santa patrona dei musicisti. Il tema principale del poema è la teoria pitagorica di harmonia mundi, che la musica fosse una forza centrale nella creazione della Terra. La première è avvenuta il 22 novembre 1739 al teatro in Lincoln's Inn Fields, Londra.
Ode per il giorno di santa Cecilia | |
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Titolo originale | Ode for St. Cecilia's Day |
Lingua originale | inglese |
Genere | cantata |
Musica | Georg Friedrich Händel |
Fonti letterarie | John Dryden |
Epoca di composizione | 1739 |
Prima rappr. | 22 novembre 1739 |
Teatro | Teatro in Lincoln's Inn Fields, Londra |
Ebenezer Prout ha scritto a proposito di diverse sfaccettature della strumentazione di Händel nel lavoro.[1] Edmund Bowles ha scritto sull'utilizzo di Händel dei timpani in questa composizione.[2]
TENOR: From harmony, from heavenly harmony
This universal frame began.
When nature, underneath a heap
Of jarring atoms lay,
And could not heave her head.
The tuneful Voice, was heard from high,
Arise! Arise!
Arise ye more than dead!
Then cold, and hot, and moist, and dry,
In order to their stations leap!
And music's power obey!
And music's power obey!
CHORUS: From harmony, from heavenly harmony,
This universal frame began.
Through all the compass of the notes it ran,
The diapason closing full in man.
SOPRANO: What passion cannot music raise, and quell?
When Jubal struck the chorded shell,
His listening brethren stood 'round.
And wondering on their faces fell,
To worship that celestial sound!
Less than a god they thought there could not dwell
Within the hollow of that shell
That spoke so sweetly and so well.
What passion cannot Music raise and quell?
TENOR: The trumpet's loud clangour excites us to arms,
With shrill notes of anger and mortal alarms,
The double-double-double beat,
Of the thund'ring drum,
Cries hark! Hark! Cries hark the foes come!
Charge! Charge! Charge! Charge!
'Tis too late, 'tis too late to retreat!
Charge 'tis too late, too late to retreat!
SOPRANO: The soft complaining flute
In dying notes discovers
The woes of hopeless lovers,
Whose dirge is whispered by the warbling lute.
TENOR: Sharp violins proclaim,
Their jealous pangs,
And desperation!
Fury, frantic indignation!
Depth of pains, and height of passion,
For the fair disdainful dame!
SOPRANO: But oh! what art can teach,
What human voice can reach
The sacred organ's praise?
Notes inspiring holy love,
Notes that wing their heavenly ways
To join the choirs above.
SOPRANO: Orpheus could lead the savage race,
And trees uprooted left their place
Sequacious of the lyre:
But bright Cecilia raised the wonder higher:
When to her Organ vocal breath was given
An Angel heard, and straight appeared –
Mistaking Earth for Heaven.
SOPRANO: As from the power of sacred lays
The spheres began to move,
And sung the great Creator's praise
To all the blest above;
So when the last and dreadful hour
This crumbling pageant shall devour,
The trumpet shall be heard on high,
CHORUS: The dead shall live, the living die,
And music shall untune the sky
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