# Judas Maccabaeus (Handel)

Judas Maccabaeus (HWV 63) is an oratorio in three acts composed in 1746 by George Frideric Handel based on a libretto written by Thomas Morell. The oratorio was devised as a compliment to the victorious Prince William Augustus, Duke of Cumberland upon his return from the Battle of Culloden (16 April 1746). Other catalogues of Handel's music have referred to the work as HG xxii; and HHA 1/24.

## Synopsis

Morell's libretto is based on the deuterocanonical (or apocryphal) book 1 Maccabees (2–8), with motives added from the Jewish Antiquities by Josephus.
The events depicted in the oratorio are from the period 170–160 BC when Judea was ruled by the Seleucid Empire which undertook to destroy the Jewish religion. Being ordered to worship Zeus, many Jews obeyed under the threat of persecution; however, some did not. One who defied was the elderly priest Mattathias who killed a fellow Jew who was about to offer a pagan sacrifice. After tearing down a pagan altar, Mattathias retreated to the hills and gathered others who were willing to fight for their faith.
Handel's music depicts the changing moods of the Jewish people as their fortunes vary from dejection to jubilation.

### Part 1

The people mourn the death of their leader Mattathias, but his son Simon tries to restore their faith and calls them to arms (Arm, arm, ye brave). Simon's brother, Judas Maccabaeus, assumes the role of leader and inspires the people with thoughts of liberty and victory through the power of Jehovah.

### Part 2

The people have been victorious, but Judas is concerned that vanity will cause the people to claim victory for themselves. When news arrives that the Seleucid commander Gorgias is preparing to enact revenge, the people's joyous mood gives way to wailing and dejection (Ah! wretched Israel!). Again Judas rallies the people (Sound an alarm) and insists that the pagan altars must be destroyed and that false religions must be resisted.

### Part 3

Victory has finally been achieved for the Jewish people (See, the Conqu'ring Hero Comes!). News arrives that Rome is willing to form an alliance with Judas against the Seleucid empire. The people rejoice that peace has at last come to their country (O lovely peace).

## First performance

The first performance took place on 1 April 1747 at the Royal Opera House in London, and Judas Maccabaeus became one of Handel's most popular oratorios. The General Advertiser (issued on the day prior to the concert) announced the event as:
   COVENT-GARDEN At the Theatre-Royal in Covent-Garden To-morrow, will be perform'd a New Oratorio, call'd JUDAS MACCHABAEUS With a New Concerto Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be delivered that Day, at the Office at Covent-Garden Theatre, at Half a Guinea each. First Gallery 5s.; Second Gallery 3s.6d. The Galleries to be Open'd at Half an Hour after Four o'Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o'Clock.
The performers in this original 1747 production included:
* Judas: John Beard (tenor)
* Israelite man: Caterina Galli (mezzo-soprano)
* Israelite woman: Elisabetta de Gambarini (soprano)
* Simon, brother to Judas: Thomas Reinhold (bass)
* Eupolemus, Jewish ambassador to Rome: Thomas Reinhold (bass)
The famous chorus See, the Conqu'ring Hero Comes! was composed during the summer of 1747 for Handel's next oratorio, Joshua. In the wake of its popularity, probably in 1751, Handel added it to Judas Maccabaeus, and so it forms a legitimate part of both oratorios.

## Publication

The oratorio was published in London after the composer's death by William Randall, the successor to John Walsh.
Judas Maccabaeus was translated into German and published in 1866 as Volume 22 of the complete works series of the Händel-Gesellschaft.

## Literary reference

Come, ever smiling Liberty, / And with thee bring thy jocund train is sung by Maria, the heroine of Mary Wollstonecraft's novel Maria (1798), at the point where she believes herself to have escaped from her abusive husband. She calls her state "Comparative liberty", suggesting that "the jocund train lagged far behind!" because she takes no pleasure in her need for the separation.

## Adaptations
### Reorchestration

A re-orchestration of Judas Maccabaeus has been attributed to Mozart. The score in question updates Handel's original in a similar way to Mozart's 1789 version of Handel's Messiah. It has been suggested that this version of Judas Maccabaeus represents one of the projects instigated by Mozart's patron Gottfried van Swieten, who promoted the revival of baroque music. However, unlike the re-orchestration of Messiah, which is definitely by Mozart, it has not been possible to confirm Judas Maccabaeus was his. The work survives in a score in an unknown hand which was rediscovered in 2001, having been presented to the Halifax Choral Society in 1850.

### Nazi text

Under the Nazis the work was subject to "aryanization", a new text being provided so that Handel's music could be performed without reference to Jewish culture.

### See, the Conqu'ring Hero Comes!

The third act chorus See, the Conqu'ring Hero Comes! has been adapted and re-used several times.
In Britain during the 19th century, "See, the Conqu'ring Hero Comes!" gained familiarity as a tune frequently played by brass bands at the opening of new railway lines and stations.
Ludwig van Beethoven composed twelve variations for piano and cello in 1796 (WoO 45). Later, Henry Wood used the tune for a movement in his Fantasia on British Sea Songs (1905), which is regularly played at the Last Night of the Proms.
As a hymn tune, Handel's melody is most frequently associated with two texts: the German Advent song "Tochter Zion, freue dich" by Friedrich Heinrich Ranke (first published in 1826); and as an Easter hymn based on a French-language text by the Swiss writer Edmond Louis Budry ("À toi la gloire, O Ressuscité!"), which was later translated in English as "Thine Be the Glory".
A Hebrew language version of the hymn was composed by Levin Kipnis in 1936, titled "Hava Narima " [he] (הבה נרימה, "Let us raise"). This version maintains the theme of Judas Maccabaeus and his victories against the Seleucid Empire, and due to its subject matter is popularly sung during Hanukkah by Jewish communities in Israel and elsewhere.

## Orchestration

The following orchestration was recorded by Chrysander in the Händel-Gesellschaft edition of 1866:
* violins I, II
* violas
* cellos
* basses (double-bass, bassi)
* recorders I, II (flauto)
* oboes I, II
* flutes I, II (traversa)
* horns I, II (corno)
* trumpets I, II, III (tromba)
* bassoon I, II (fagotti)
* timpani
* organ
* keyboard

## Dramatis personae

* Judas Maccabaeus (tenor)
* Simon, his Brother (bass)
* Israelitish Woman (soprano)
* Israelitish Man (mezzo-soprano)
* Eupolemus, the Jewish Ambassador to Rome (alto)
* First Messenger (alto)
* Second Messenger (bass)
* Chorus of Israelites
* Chorus of Youths
* Chorus of Virgins

## Summary

The following table summarises the movements of the oratorio.
| Part | No. | Type | Title | Voices | Tempo | Time Signature | Key Signature |
| 1 | 1 | Overture | | | Largo, Allegro, Largo | 4/4, 3/8, 4/4 | G minor |
| 1 | 2 | Chorus | Mourn, ye afflicted children | Soprano, Alto, Tenor, Bass | Largo | 4/4 | C minor |
| 1 | 3 | Recitative | Well may your sorrows | Israelitish man (Tenor) | | 4/4 | |
| 1 | 4 | Duet | From this dread scene | Israelitish man (Tenor), Israelitish woman (Alto) | Andante e staccato | 3/4 | G minor |
| 1 | 5 | Chorus | For Sion lamentation make | Soprano, Alto, Tenor, Bass | Larghetto e un poco piano, Adagio | 12/8, 4/4 | F minor |
| 1 | 6 | Recitative | Not vain is all this storm of grief | Simon | | 4/4 | |
| 1 | 7 | Air | Pious orgies | Israelitish woman | Largo e sostenuto | 4/4 | E flat major |
| 1 | 8 | Chorus | O Father, whose Almighty power | Soprano, Alto, Tenor, Bass | Larghetto, Allegro | 3/4, 4/4 | B flat major |
| 1 | 9 | Recitative (accompanied) | I feel the Deity within | Simon | | 4/4 | |
| 1 | 10 | Air | Arm, arm, ye brave | Simon | Allegro | 4/4 | C major |
| 1 | 11 | Chorus | We come, in bright array | Soprano, Alto, Tenor, Bass | Allegro | 3/4 | C major |
| 1 | 12 | Recitative | 'Tis well, my friends | Judas Maccabaeus | | 4/4 | |
| 1 | 13 | Air | Call forth thy powers | Judas Maccabaeus | Allegro | 4/4 | D major |
| 1 | 14 | Recitative | To Heaven's Almighty King we kneel | Israelitish woman | | 4/4 | |
| 1 | 15 | Air | O Liberty, thou choicest treasure | Israelitish woman | Largo | 4/4 | A major |
| 1 | 16 | Air | Come, ever-smiling Liberty | Israelitish woman | Andante | 6/8 | A major |
| 1 | 17 | Recitative | O Judas, may these noble views inspire | Israelitish man | | 4/4 | |
| 1 | 18 | Air | 'Tis Liberty | Israelitish man | Larghetto, Adagio, Larghetto | 4/4 | E major |
| 1 | 19 | Duet | Come, ever-smiling Liberty | Israelitish woman, Israelitish man (mezzo-soprano) | Andante | 6/8 | A major |
| 1 | 20 | Chorus | Lead on, lead on | Soprano, Alto, Tenor, Bass | Allegro | 4/4 | D major |
| 1 | 21 | Recitative (end accompanied) | So willed my father | Judas Maccabaeus | | 4/4 | |
| 1 | 22 | Chorus | Disdainful of danger | Alto, Tenor, Bass | Allegro | 3/8 | G major |
| 1 | 23 | Recitative | Ambition! if e'er honour was thine aim | Judas Maccabaeus | | 4/4 | |
| 1 | 24 | Air | No unhallow'd desire | Judas Maccabaeus | Allegro | 6/8 | B flat major |
| 1 | 25 | Recitative | Haste we, my brethren | Israelitish man (Tenor) | | 4/4 | |
| 1 | 26 | Chorus | Hear us, O Lord | Soprano, Alto, Tenor, Bass | A tempo giusto | 4/4 | F major |
| 2 | 27 | Chorus | Fallen is the foe | Soprano, Alto, Tenor, Bass | Allegro moderato | 4/4 | D minor |
| 2 | 28 | Recitative | Victorious hero | Israelitish man | | 4/4 | |
| 2 | 29 | Air | So rapid thy course is | Israelitish man | Allegro, Adagio (last five bars) | 3/8 | G major |
| 2 | 30 | Recitative | Well may hope our freedom to receive | Israelitish man (Soprano) | | 4/4 | |
| 2 | 31 | Duet | Sion now her head shall raise | Israelitish woman, Israelitish man (Soprano) | Andante | 3/4 | G major |
| 2 | 32 | Chorus | Tune your harps | Soprano (1st & 2nd), Alto, Tenor, Bass | Andante | 3/4 | G major |
| 2 | 33 | Recitative | O let eternal honours crown his name | Israelitish woman | | 4/4 | |
| 2 | 34 | Air | From mighty kings he took the spoil | Israelitish woman | Andante, Allegro (fine) | 12/8, 4/4 (fine) | A major |
| 2 | 35 | Duet | Hail, Judea, happy land | Israelitish man (Contralto), Israelitish woman | Allegro | 4/4 | D major |
| 2 | 36 | Chorus | Hail, Judea, happy land | Soprano, Alto, Tenor, Bass | Allegro | 4/4 | D major |
| 2 | 37 | Recitative | Thanks to my brethren | Judas Maccabaeus | | 4/4 | |
| 2 | 38 | Air | How vain is man who boasts in fight | Judas Maccabaeus | Andante | 4/4 | F major |
| 2 | 39 | Recitative | O Judas! O my brethren | Israelitish messenger (Alto) | | 4/4 | |
| 2 | 40 | Air | Ah! wretched Israel | Israelitish woman | Largo | 3/4 | C minor |
| 2 | 41 | Chorus | Ah! wretched Israel | Soprano, Alto, Tenor, Bass | Largo, Adagio (ending) | 3/4 | C minor |
| 2 | 42 | Recitative | Be comforted | Simon | | 4/4 | |
| 2 | 43 | Air | The Lord worketh wonders | Simon | Allegro | 4/4 | A minor |
| 2 | 44 | Recitative | My arms! against this Gorgias will I go | Judas Maccabaeus | | 4/4 | |
| 2 | 45 | Air | Sound an alarm | Judas Maccabaeus | Allegro | 6/8 | D major |
| 2 | 46 | Chorus | We hear | Soprano, Alto, Tenor, Bass | Allegro | 6/8 | D major |
| 2 | 47 | Recitative | Enough! to Heaven we leave | Simon | | 4/4 | |
| 2 | 48 | Air | With pious hearts | Simon | Larghetto | 3/4 | G minor |
| 2 | 49 | Recitative | Ye worshippers of God | Israelitish man (Contralto) | | 4/4 | |
| 2 | 50 | Air | Wise men, flattering, may deceive you | Israelitish woman | Larghetto | 3/4 | F major |
| 2 | 51 | Duet | O never bow we down | Israelitish woman, Israelitish man (Contralto) | Andante | 3/4 | C minor |
| 2 | 52 | Chorus | We never will bow down | Soprano, Alto, Tenor, Bass | Andante | 3/4 | C minor, C major |
| 3 | 53 | Air | Father of Heaven | Israelitish man (Contralto) | Andante larghetto | 4/4 | F major |
| 3 | 54 | Recitative | See, see yon flames | Israelitish man (Contralto) | | 4/4 | |
| 3 | 55 | Recitative | O grant it, Heaven | Israelitish woman | | 4/4 | |
| 3 | 56 | Air | So shall the lute and harp awake | Israelitish woman | Allegro, Adagio (ending) | 4/4 | B flat major |
| 3 | 57 | Recitative | From Capharsalama | Israelitish messenger (Alto), Israelitish messenger (Bass) | | 4/4 | |
| 3 | 58 | Chorus of Youths; Chorus of Virgins; Chorus | See the conquering hero comes | Soprano (1st & 2nd), Alto; Soprano (1st & 2nd); Soprano, Alto, Tenor, Bass | | 2/2 | G major |
| 3 | 59 | March | | | Allegro | 2/2 | G major |
| 3 | 60 | Duet; Chorus | Sing unto God | Alto, Tenor; Soprano, Alto, Tenor, Bass | Allegro | 4/4 | D major |
| 3 | 61 | Recitative | Sweet flow the strains | Judas Maccabaeus | | 4/4 | |
| 3 | 62 | Air | With honour let desert be crowned | Judas Maccabaeus | Andante larghetto | 4/4 | A minor |
| 3 | 63 | Recitative | Peace to my countrymen | Eupolemus | | 4/4 | |
| 3 | 64 | Chorus | To our great God | Soprano, Alto, Tenor, Bass | Allegro | 4/4 | G minor |
| 3 | 65 | Recitative | Again to earth let gratitude descend | Israelitish woman | | 4/4 | |
| 3 | 66 | Duet | O lovely peace | Israelitish woman, Israelitish man (Alto) | Allegro | 6/8 | G major |
| 3 | 67 | Air | Rejoice, O Judah | Simon | Andante allegro | 4/4 | D major |
| 3 | 68 | Chorus | Hallelujah, Amen | Soprano, Alto, Tenor, Bass | Allegro, Adagio (ending) | 4/4 | D major |

## Recordings

Judas Maccabaeus discography :
| Year | Cast (Judas Maccabaeus t, Israelitish Woman s, Simon bar, Israelitish Man ms, Messenger a, Eupolemus bs) | Conductor, orchestra and chorus | Label |
| 1963 | Jan Peerce Martina Arroyo David Smith Mary Davenport Mary Davenport Lawrence Avery | Thomas Scherman Vienna State Opera orchestra Vienna Academy chorus | CD: VoxBox Cat: 5125 |
| 1971 | Alexander Young Heather Harper John Shirley-Quirk Helen Watts Patricia Clark Jean Temperley | Johannes Somary English Chamber Orchestra Amor Artis Chorale | CD: Vanguard Classics Cat: OVC 4072 |
| April 1976, Watford Town Hall | Ryland Davies Felicity Palmer John Shirley-Quirk Janet Baker Paul Esswood Christopher Keyte | Charles Mackerras English Chamber Orchestra Wandsworth School Choir | CD: Deutsche Grammophon Cat: 447692 |
| 1992 | Jamie MacDougall Emma Kirkby Catherine Denley Michael George James Bowman Simon Birchall | Robert King The King's Consort Choir of New College Oxford | CD: Hyperion Cat: CDA66641/2 |
| 1993 | Guy de Mey Lisa Saffer David Thomas Patricia Spence Brian Asawa Leroy Kromm | Nicholas McGegan Philharmonia Baroque Orchestra U.C. Berkeley Chamber chorus | CD: Harmonia Mundi Cat: HMX 2907374.75 |
| 2009 | Timothy Bentch Andrea Lauren Brown Ed Bara Dana Wilson Richard Shapp Tatyana Rashkovsky | Valentin Radu Ama Deus Ensemble Baroque orchestra and chorus | CD: Lyrichord Cat: LEMS 8070 |
| 2019 | Kenneth Tarver Deanna Breiwick Joao Fernandes Sophie Harmsen Owen Willetts N/A | Laurence Cummings Göttingen International Handel Festival orchestra NDR chorus | CD: Accent Records Cat: ACC26410 |