If anything, ye compresses the Kanye West character, making everything about the artist feel smaller, blurrier, like you are squinting at an image once larger than life. And besides that, the intersection of his art and persona was made clear eight years ago when he toasted to his own douchiness before anybody else could. But for most of the 2000s, loudly declaring West an asshole was, in itself, a certified asshole move, the party line of drunk uncles and least-favorite cousins. Until this year, the music had always been great enough to ostensibly eclipse the man himself, had we wanted that.
It remains unclear exactly when West lost the map: Perhaps it was recently, or perhaps he has always been an ideologue representing nothing more or less than the hyper-individualist dogma of Kanye West. It would be convenient to say that ye fails because of his persona. Instead, ye reveals that the past month’s flailing attempts at iconoclasm were building up to exactly nothing: It is an album born from chaos for chaos’ sake, an album that can barely be bothered to refer to that chaos with anything more committal than a Kanye shrug. Nor is it the Performance Art 101 bait-and-switch some fans had hypothesized.
#YE V THE PEOPLE LYRICSX FULL#
And while ye, whose diminutive title feels appropriate, may be vacant of soul and full of punchlines like, “Don’t get your tooth chipped like Frito-Lay,” it is at the very least not West’s alt-right album-that’s where the bar is set now. West knows better than anyone that a few decent beats to remind people of The Old Kanye are usually enough to replenish one’s goodwill, bleak as it may be. Of course, Kanye West was never really going to get canceled. If West has successfully pulled off anything this album cycle, it is managing expectations with all the shameless savvy of his in-laws, the Kardashians. Even “free-thinkers” know nothing really comes for free. Those who are obsessed with money assume goodwill can be bought. And then, in keeping with his tradition of elaborate, immersive rollouts, he chartered private planes for 150 or so influencers to listen by Jackson Hole campfire to seven tracks he farted out to meet his arbitrarily self-imposed deadline. The end Comfort Ye, My People segues into the next piece of the Messiah.In the month leading up to ye, during which he and his team of producers and songwriters created the 24-minute album in its entirety, West proudly donned a Trump-autographed MAGA hat, sputtered that slavery seemed like a choice, and offered a steady stream of empty platitudes urging his followers to “stop thinking so much” and “google dopamine.” He was broadly considered “canceled,” a term we use because we at some point collectively decided to project our sociopolitical hopes and fears onto millionaires. The relationship between the two in this piece is highlighted through call and response motifs and Handel’s layering of harmony. The orchestra are used to not only accompany the voice, but to also lay a foundation for the voice to get their message across. Although technically a recitative, the song itself is lyrical in some aspects, and the warm tones of the tenor voice adds to this effect. This piece sits in the ‘Accompagnato’ category, as it is technically a recitative accompanied by the orchestra. The ebb and flow of the accompaniment add to the peaks and troughs of the vocal line, which keeps the ear interested in the music. This is significant as it places the emphasis on the phrase ‘Comfort Ye’. The vocalist sings the first line, which is then mirrored at pitch by the violins. The slow and warm string opening sets the scene for the tenor to enter. Based on three verses, this work depicts the voice of God talking to the people. During this new Messiah exploration on Classicalexburns, blogs will be posted regularly to cover all of the pieces involved in making up this much-loved oratorio.Ĭomfort Ye, My People is the second piece of music heard in Part I of Handel’s Messiah, as well as also being the first vocal work. Initially the oratorio garnered a lukewarm reception from audiences, however the work began to gain popularity over some years, with it now being the go-to work to perform during the Easter period. The first performance of Messiah was on 13th April 1742, to celebrate Easter. The scriptural text was compiled by Charles Jennens, with the source being the King James Bible. Incredibly, Handel completed this 260-page oratorio in just 24 days during the summer of 1741.
George Frideric Handel’s Messiah has remained one of the composer’s most beloved works.
George Frideric Handel: Comfort Ye, My People Messiah Part I Context
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