The Deborah Stein, I will analyze how the

The oratorio Samson is one of G.F. Handel’s great oratorios. The libretto is
based on John Milton’s dramatization of the biblical book of Judges, Samson Agonistes.  “Let the Bright Seraphim” is performed at the
end of Samson, before the final
chorus.  Sung by an anonymous “Israelite
Woman,” the aria summons the angelic hosts of seraphim and cherubim to honor
the dead hero, with trumpets and harps.  Performed
separately from the oratorio, “Let the Bright Seraphim” is treated as a Da Capo
aria, but within its original context, the repeat of the A section would not be
performed, and the aria would have proceeded directly into the chorus after its
contrasting B section.  Although “Let the
Bright Seraphim” was intended to be uplifting and joyous, it is interesting
that Handel would use a minor mode in the B section.  This is interesting because I believe that he
does not stray away from the techniques of the A section, and effectively uses
minor-mode tones in a joyous way.  Using
terminology and concepts from Kofi Agawu, Seth Monahan, and Deborah Stein, I
will analyze how the text, rhythm, and harmony are used in order to understand how
Handel effectively composed this exuberant aria.