Rephrase the following parts except the 4th paragraph.
The genius of Wolfgang Mozart is the glorious phenomenon of a commission that includes the reorganization of the text order of the high and symbolic Messiah by Handel. The well-known story of Handel’s life and that great Messiah consists of all of his music history and works. Handel, in Halle, Germany, witnessed the birth of J.S. in the magical year of 1685. Bach and Domenico Scarlatti. Handel made his “Grand Tour” in Italy from 1706 to 1710.
In the years following his move from Salzburg to Vienna in 1781, Mozart developed a fascination for Baroque music, especially the compositions of J.S. Bach and Handel. Baron Gottfried van Swieten, Mozart’s and later, Beethoven’s, friend and patron and a wealthy diplomat and amateur musician, had encouraged Mozart to study the manuscript copies of these Baroque masters which he had archived in his personal library. von Swieten had been arranging regular private performances of Baroque music the private residences of his aristocratic Viennese colleagues, eventually asking Mozart to curate and direct these events. The Baron had earlier founded the Geselschafft der Associerten (The Society of Associates), an exclusive club that offered oratorios at Lenten and Easter. By the time van Swieten offered a copy of Messiah and a German text to Mozart in 1789, he (Mozart) had already transcribed Handel’s Acis and Galatea, and would go on in the following year to transcribe Handel’s Ode to St Cecilia and Alexander’s Feast.
Mozart set his transcription of Messiah, entitled Der Messias (KV 572), to a 1775 German translation of the oratorio by Christoph Daniel Ebeling, which Ebeling had in turn adapted from an earlier eponymous epic poem by Friedrich Gottlieb Klopstock.
Der Messias is neither a radical rethinking of Handel’s original work, nor a cavalier rescoring by Mozart done simply as a lark. Although only 48 years separated Messiah’s premiere and Mozart’s 1789 transcription, an enormous change had occurred in musical style. Handel lived and wrote squarely within the idiom and constraints of the Baroque era, whereas Mozart composed in the conventions of Classical Style. By Mozart’s time, symphonic orchestras were populated by many different instruments, each lending its own tonal color, together giving a more textured sound than that of the simpler “symphonic bands” of strings and continuo, with occasional trumpets, of Handel’s time. In addition, Mozart lived in the Age of the Enlightenment, when diversity of ideas was being accepted (Luise, 2012).
According to musicologist Teresa Frick, “… Baron van Swieten wanted Mozart to “modernize” the oratorio (Messiah). This was a perfectly normal demand – the original work and its composer still commanded great respect, of course, but this was no obstacle to updating something “old-fashioned” to bring it into line with modern taste. Mozart based his arrangement on the first edition of Handel’s score. From this, two copyists produced a working score. For the English libretto and the wind sections of the original, they substituted blank lines so that Mozart could write his own accompaniment and insert the text written by van Swieten. which was based on the German translation done by Klopstock and Ebeling.