George Frideric Handel, “Let the Bright Seraphim”

Vocabulary and Musical Expression

by Mitchell Kukura | February 10, 2021

Perhaps one of the most well-known oratorio arias for soprano, Handel’s “Let the Bright Seraphim” is iconic to say the least. Within the context of setting a poem or scriptural text, Handel uses concepts of imitation to reflect the text’s true meaning. As one reads a poem, there are feelings and thoughts that might subconsciously come to our minds. These feelings and thoughts can greatly influence the composition of melody and accompaniment.

Let the bright seraphim in burning row,
Their loud, uplifted angel trumpets blow.
Let the cherubic host in tuneful choirs,
Touch their immortal harps with golden wires.

When a composer has a poem which they have set to music, it is important to consider all the factors that may have led them to set the poem a certain way. In general, poems hold within themselves myriads of information, meaning, moods, and phonetic variation. Upon first glance, if a composer reads a poem, they will notice basic elements such as the mood, or message. But after this initial reading, and after further analysis of the text, one can begin to observe the character of the text. A poem can be brought into another light when it is accompanied by music. The composer must be careful not to change or harm the poet’s original intentions when it comes to setting a text to music. Rather, the composer must work to align their intentions with those of the poet. This ensures that the artistic image or ability of the composer will not overshadow that of the poet.

Within the context of Handel’s "Let the Bright Seraphim", there are many cues taken from the text which heavily influence the way that the accompaniment and melody line was written. For instance, in many places throughout this piece the word ‘trumpet’ takes centre stage. It is not only an important part of the sacred text which Handel is setting, but it also prompts Handel to write both the accompaniment, and the melodic line as an imitation of the trumpet. There are also sections where the trumpet part of the accompaniment, as well as the vocal line, perform a call and response technique.

It is noteworthy to observe what many might consider obvious information. Composers, almost completely subconsciously, will set words in a certain way because of natural human response. For instance, when one imagines the word ‘gloria’, our imagination immediately turns to feelings and thoughts of excitement, happiness, energy, or glory. While on the other side of the spectrum, if one imagines the word ‘death’, associated thoughts might include sadness, despair, or darkness. These same natural reactions and feelings are present when one reads a text or poem. Therefore, when Handel read the word ‘trumpet’, he most likely imagined the feelings, moods, and sounds associated with that word. This is a possible reason why he wrote the vocal line to imitate a trumpet at times.

This example at measures 43–45 (1:35 in the video) can be interpreted as a battle call, or ‘grand entry’ between two trumpets, although in the case of this example we have voice and accompaniment. In each measure of this excerpt the voice has a perfect interval which is then repeated by the trumpet (if orchestral accompaniment) or piano.

These musical moments which highlight the intervals of either a perfect fourth or a major triad can be considered a prominent musical motif that imitates a trumpet call. This circles back to the idea previously mentioned, in which Handel is using concepts of imitation to bring out, or highlight the meaning of the text.

Another important part of this text to consider is the word ‘blow’. If one imagines blowing on a trumpet their thoughts might include feelings of grandeur, or perhaps powerful effort and strenuous exhaustion. Handel sets the word ‘blow’ to a long line of running notes. This at times may seem strenuous or difficult to the vocalist, therefore this is strong evidence of an accurate text setting.

This example shows how sensory feelings can be interpreted through music. We realize that when one blows on a trumpet, there are certain sensory elements associated with that. Therefore, the music here in measures 23–24, and also 26–29 (0:57 in the video) highlight that feeling with musical imitation.

The text which is being set here also sets the stage for a grand and triumphant sounding musical interpretation. The words triumphant, uplifted, immortal, and golden cue certain feelings in one’s mind. The tempo at which the piece is performed also takes influence from the text. One would most likely not think of blowing on a trumpet as a slow or disengaging activity. Rather, it requires great precision and reactionary skills which are brought about in a quick and efficient manner. Many elements like these can affect the way which the composer writes the music.

These examples are only a few out of many that accurately display how composers use the text and vocabulary that they are setting to gain ideas for the structure of melodic line and accompaniment. When composers take these cues, it makes the music more understandable and relatable to all who listen.