- Debbie Rinawmi
“Hallelujah Chorus” hi kum 1742-ah George Frideric Handel-a phuah a ni a; a hla phuah dah khawm “Messiah” zinga hla pakhat a ni. Handel hi a hunlaia hla phuah thiam lar tak a ni a, Dorothea leh Georg Handel te inkarah February 23, 1685-ah a lo piang a. Baroque Era (1600-1750) chhung khang a hmingthang hle a, Messiah a tih chhuah hma hian Italian opera a phuah deuh ber a, heng hunlaia an phuah nasat tak a ni nghe nghe a ni. Messiah-ah hian hla 53 zet awmin then thum (Prophecy and Advent, Passion and Resurrection, Redemption and Glory) ah then a ni a, Hallelujah Chorus hi then hnih naah tawp berah a awm a. Hla 53 kan ti tak nain he hla hi then thumna tawp berah tih danglam hretin a awm nawn (reprise) a ni. Messiah hi oratorio huanga mi a ni a; oratorio chu hla hmanga Bible thawnthu sawina ti te pawhin a sawi theih awm e. He hla bu danglamna erawh chu Isua nun atang vek phuah an ni. He oratorio phuahna atan hian French, Italian leh English ho in thunun (influence) hle a; chutih laiin Hallelujah Chorus bik hi chuan English-ho hla phuah dan a zul hle a ni. He hla bu pumpui hi ni 24 chhung lekin Handel khan a phuah zo vek a, kum 1742-ah khan a vawikhatna atan charity event-ah sak chhuah a ni. Khatia an han sak chhuah khan King George II rilru a hneh ngang a ni ang, dik meuhin a lo lawm; chuvangin he hla sak a nih apiangin a bultanna (introduction) ah hian mipui an ding thin niin an sawi a ni. Messiah hi Easter atana phuah ni mahse America ramah chuan kum 1818 Krismas ni-ah sak hmasak ber a ni a. A hnu zelah pawh Krismas leh Kristiante hunpuiah sak thin a ni.
Handel-a hlawhtlinna hi vawilehkhata lo par chhuak a ni hauh lo va. Kum 1741-ah khan Handel-a hi leiba avangin a talbuai hle a; chu mai a ni lo va, rimawi lamah pawh hlawmchham nain a zui bawk a, tan ina lut thei hial khawpin a tal buai a ni. April 8, 1741-ah chuan a concert hnuhnung ber ni tura a ngaih chu a nei ta a. Hemi kum vekah hian Handel-a nunah leh rimawi khawvel chawi kang dawrhtirtu thil pahnih a thleng a. A thianpa Charles Jennens-a chuan Isua Krista nun behchhana a ziah hlaa lemchan bu a ziahna chu a pe a. Dublin, Ireland-a charity pawl hrang hrangte chuan hla thar phuah leh turin an sponsor a, a hlawkna atanga leiba neite tan in atanga mi an chhanchhuah theih nan a ni deuh ber. An sponsor bakah hian a hlawkna atangin Handel-a hian chan a nei ve bawk a, hei hian ama kea ding leh turin a pui nasa hle a ni.
Handel-a’n Messiah a phuah lai hian chaw a ei tlemin mutmu a tuah mang lo a tih theih a. A hnuaia thawk (assistants) te’n eitur an chhawpsak pawh khawih miah lova a lo dah te pawh a awm fo a ni. Hla a phuah lai hian a chhiahhlawhte chuan mittui tlain an hmu fo va, “Hallelujah” a phuah zawh hian a chhiahhlawh hnenah, “Ka hmaah hian vanram hmun tin te, Pathian ropui tak vantirhkoh hual velin a lalthuthlengah thua hmuin ka inhria a ni”, tia a sawi niin an sawi a ni (thetabernaclechoir.org).
He hla hi D Major key a phuah a ni a; Theorytab db in a tar lan danin D Major hi major key zawng zawnga hman lar ber dawttu leh key zawng zawnga hman nasat ber dawttu a ni. Part li a sak chi chorus leh orchestra inchawhpawlh a ni a, then(section) hrang hrangah erawh danglam a awm a ni. Orchestra in bultanin homophonic texture in a zui nghal a. A tir atangin homophonic texture an tih chu kan hmu nghal a; homophonic texture chu aw (voice) hrang hrangin rual taka ran dan inanga an sak hi a ni a, ‘chordal music’ an ti bawk a ni. Sak ho dal dal hnuah soprano, tenor leh alto te rawn lutin aw (voice) leh ri (sound) hrang hrang an siam a, non-imitative polyphonic an tih chu kan hmuh zawm zat a. Hetiang hian homophonic leh polyphonic hi a inchhawk zing hle a. A thu hrim hrimah chuan a tlem a, a ngai nawn (imitation) pawh a tam lo thei lo a ni. A tira homophonic bultanna (intro) zawha Baroque style polyphony hmuh tur awm te zir rimawi lama hriatna ngah tan chuan a tingaihnawm zual ngei ang. Phurna leh thathona chu phumin phur taka ‘Hallelujah” hnuah mood thlak hlawk niin zawi leh dim tea sak a ni a, chu chu uar taka sakin a chhunzawm leh a. “Lal chungnung” tih then (section) ah hian soprano hovin note khat inang tlangin an sa a, thunawn (chorus) “Hallelujah” chuan rawn pawlhin soprano ho note chuan a lawn sang telh telh a, tanna (tension) leh thin thawnna mak tak (suspense) a siam chho a. Hemi hi a tawpa a rual/a huhoa sak (unison) hma chu a awm ta char char a ni. Uluk taka kan ngaihthlak chuan zawi muangin a sang chho ngar ngar a tih theih awm e; a hma lama kan sawi tawh angin a inkarah homophonic leh polyphonic a inchhawkin awm mahse a hla pumpui khai khawm chuan a sang chho hret hret a tih theih a ni. He hla hi Thupuan 19:6 behchhana phuah nia sawi a ni a, he bung leh changah hian hetiang hian a inziak a ni-
“Tin, mipui tam tak aw ang leh, tui tam tak ri ang leh, khawpui nasa tak ri angin, “Halleluia! Lalpa kan Pathian Engkimtitheia chuan ro a rel tak hi” (MIZOVBSI).
A hla ziarang te, a music note inrel dan leh a inthu inzam vel dan hian a phuahtu phuah chhan hlenna kawngah an thawk ho tha hle a; sawi nawnna (imitation) hian loh theih lohin a ngaithla tute bengah fiah takin min fah kan ti thei bawk ang.