Comparing Two Baroque Masses: Mozart's Dies Irae and Handel's Hallelujah Chorus from the Messiah

In George Frederic Handels Hallelujah Chorus, the music grows from simple to complex, as in Wolfgang Amadeus Mozarts Dies Irae. Hallelujah, like many other masses, praises Gods almightiness, and lets the audience feel the power of God. The pick starts slay it a modest hallelujah sung in unison, where the music seems kind of free. When the piece begins to praise God, the music enters a firmer, more ascendent tone, as the choir sings, for the Lord Omnipotent reigneth. When declaring the epithets for the God, such as king of kings and lord of lords, the voices of the choir turn forte and there are consecutive flat tones, for emphasis. When the music enters into, The ground of this world..., it is piano, symbolising something unimportant. It grows louder with is become the, and suddenly, it is forte with the Kingdom of our Lord and of His Christ, and of His Christ, which symbolizes its importance. Handel pushes the repetition of eternally and ever to make the meaning, God ruling for eternity, match the insistent form, while the violin in the background adds complexity to the sound.



Handel caps it mop up at the end, with a long, ceremonious hallelujah that reminds the audience of the glory of the kingdom of God, with a large drum playing the background that seems to apostrophize the greatness of God. Handel has truly made a great piece of work in all aspects, which is surprising considering how fast he wrote the entire Messiah, of which the Hallelujah Chorus is only a small take up of.

An another mass, the requiem mass Dies Irae, is started off furiously by Mozart, the choir singing, Dies irae, dies illa (this day, this day of wrath). The force in these words reverberate this meaning. Since it is a requiem, a...

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