George
Frideric Handel (1685-1759):
Messiah
Messiah is probably the best-loved and
– certainly in
Britain – the most-performed piece of choral music ever written. It is one of more than two
dozen oratorios
composed by Handel, the German-born composer who
settled in
England in 1712, was naturalised, and became a focus of English
musical life
in the eighteenth century. Some
parts of
Messiah, notably the
Hallelujah
Chorus and “I know that my Redeemer liveth”, are extremely well known;
but the
musical quality is uniformly high throughout the piece and there are
some wonderful
treats among the less familiar numbers.
An oratorio
is a musical setting of a religious text for vocal soloists, choir and
orchestra. It
differs from opera (also a
favourite form for Handel) in that dramatic action, costumes and stage
settings
are not used: the performance is given just as a concert. Messiah
is about the life of Jesus Christ, but remarkably it uses relatively
little
material from the Gospel narratives of Jesus’ life: instead the
librettist
Charles Jennens carefully chose texts mainly from the Old Testament
prophets,
the Psalms, the Epistles and the book of Revelation.
Messiah is in three parts. Part One relates the
Christmas story; Part
Two is about the death and resurrection of Jesus; and Part Three, which
is much
shorter, reflects on Christ’s enduring impact on the world. Each part comprises a
number of short
sections which take different forms: short recitatives (a musical form
imitating ordinary speech) for the solo singers; more extended arias
for the solo
singers; and passages for the choir.
After the first performance in Dublin in 1742 Handel
frequently revised
Messiah to suit the musical resources available for later performances,
so
different versions exist of many of the numbers.
As Messiah
is quite long in its entirety (more
than 2½ hours) it is quite common for either Part One or Part Two to be
performed with Part Three (the Hallelujah Chorus is nearly always
included!). Those
who know Messiah
well will need
little encouragement
to attend a performance; but anyone who has not heard it before will be
captivated not only by its crisp melodies, invigorating rhythms and
rich harmony but also by
the
skilful way in which Handel often causes the music to reflect the sense
of
the words,
a feature sometimes referred to as “text painting”. King
George II attended a performance of Messiah
in 1743. For some
reason which has never been
explained (but may well be to do with the overwhelming power of the
music) he
rose to his feet during the Hallelujah Chorus.
Protocol demanded that if the monarch rose, everyone
else must too; and
to this day it is customary for audiences in England to stand whenever the
Hallelujah
Chorus is given.
Peter Harbord, North
Yorkshire Chorus
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