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 Influence
of Handel's
Messiah |
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One of the earliest
musical influences on the composer of Bible in Song
music was Handel's Messiah, particularly the fact that
it is possible to write melodic tunes to actual
Scripture. |
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Messianic Links |
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About
Handel's Messiah |
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Handel's Messiah: First Performance
Handel's Messiah, first performed more than 260
years ago, is undoubtedly one of the great musical
masterpieces of all time. Composed in only 24 days, it
is the work of a genius which holds an extraordinary
place both among the composer's works and in the history
of music. No other work of its time has seen a
continuous sequence of performances from 1742 to the
present day.
Performances over last 260 years
In the course of these 260 years the Messiah has
been performed in many different ways. The wish to
adhere closely to the composer's own practice was
followed by gestures of conscious departure,
particularly in the 19th and early 20th centuries, when
the availability of piano scores spawned the practice of
performing the work with large (usually amateur) choirs
accompanied by a single instrument, an organ or even a
piano, resulting in versions which not only distorted
the Handelian score, but also ignored the composer's
intentions. Recently, however, there has been a general
awareness of the argument of authenticity in modern
performances. Much research has been done and many
articles and books have been published, particularly in
1985, the Handel anniversary year, all of which have led
up to a greater understanding of the work. Nevertheless,
despite the frequent use of original instruments, large
scale performances are still very much the norm.
Messiah written for economy
It is therefore perhaps surprising to many to
discover that Handel, when composing the work, was
guided by an unusual wish for economy. Uncertain of what
forces he would find in Dublin, he had written for a
small string ensemble with trumpets and timpani. Nor was
there a complete distinction between soloists and
choristers. Some of the soloists were drawn from the
Dublin Cathedral choirs used by Handel and the other
soloists also sang in the chorus. The modern practice of
performing the work with four soloists and a separate
choir was not Handel's intention. In fact, he rarely
used less than six soloists and they almost
always sang in the choruses as well. Handel himself made
several changes during the seventeen years of
performances before he died.
The following notes will be of interest
to those who are familiar with the work:
Instrumentation: There were no
oboes or bassoons in the first performance, only a small
string band with 2 trumpets and timpani. (There are, for
example, no con or senza ripieno marks in the original
score, these being added later for larger-scale
performances in London.) Oboes were also added for later
performances, but only served to double the voices.
Although there are no separate parts for a double bass,
there are clear indications in the score of its use by
changes of clef in the part.
Singers: Handel had sixteen
singers including both female and boy sopranos. The
soloists formed part of the choir and Handel used both
contralto and counter tenor soloists as well as more
than one soprano, tenor and bass. For later performances
in London he also revised two bass arias for a castrato
soloist.
"But who may abide", known
nowadays as an aria for alto, was originally written for
bass and entirely in 3/8. The version for alto was
probably re-written by Handel in 1750, some eight years
after the first performance, and often was performed by
a castrato.
Pifa suggests by its title
shepherds music played traditionally at Christmas by the
Italian pifferari (pipers, shepherds). The familiar
middle section was added later by Handel but eventu'ally
rejected.
"Rejoice greatly" The original
shows Handel's notation in two different time
signatures. The bass continuo part is in 4/4 whereas the
violin and solo soprano part, both containing triplet
patterns throughout, are marked 12/8. The final version,
with the entire score in 4/4, probably did not appear
until 1749. The aria in its original version was written
for the only Italian opera soloist amongst Handel's
singers.
"He shall feed his flock". The
Recitative and entire aria were originally written for soprano.
"Thou art gone up on high" was
originally written for bass. The commonly-heard versions
for alto date from 1750 and were written for a castrato.
"How beautiful are the feet" The now
famous aria for soprano was marked as "A Song
omitted
in the performance" and was probably reinstated in 1749
to precede immediately the chorus "Their sound is gone
out", which was written in 1749 and therefore not part
of the earlier performances (this chorus is the only one
with separate oboe parts which gives added support to
the fact that oboes were not used until about 1749). The
original version was for alto duet leading straight into
the chorus "Break forth into joy".
"If God be for us" The aria (these
days normally sung by a soprano soloist accompanied by
solo violin) was sung in the first performance by the
famous contralto Mrs Gibber who sang it transposed down
to C minor accompanied by tutti violins.
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George
Frideric Handel |
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George Frideric Handel was born in Halle
in 1685. His elderly father, barber-surgeon to the Duke
of Saxe-Weissenfels, entertained natural prejudices
against the choice of music as a profession for his
young son, the second child of his second wife, and
Handel enjoyed an education that led him, after his
father's death, to a brief period of study at the
University of Halle in 1702. The following year he moved
to Hamburg, joining the opera there, at first as a
string-player, then as harpsichordist and composer.
Success in Italian opera in Hamburg coupled with the
doubtful musical prospects the city offered, persuaded
Handel to try his fortune in Italy, where he spent the
years between 1706 and 1710, confirming his generally
Italianate style of composition in works for the
theatre, the church and private entertainment.
Writing Italian Operas
In 1710, rejecting an offer from the ruler of Innsbruck,
Handel accepted the position of Kapellmeister to the
Elector of Hanover, the future King George I of England,
and immediately took leave of absence for the staging of
his opera Rinaldo in London, where Italian opera was
gradually gaining a place. Two years later he was back
in London for good, concerned in particular with the
composition, management and presentation of Italian
opera. During the following thirty years he wrote nearly
forty Italian operas for the London stage, to which he
devoted a considerable part of his working life.
Writing English Oratorio
Early oratorio may be seen as a by-product of opera as
it developed at the turn of the 16th century in Italy.
England was late in its grudging acceptance of opera and
had shown little interest in oratorio, as it had
developed in other countries during the 17th century.
Handel had written Italian oratorio in Rome. His first
attempt at the new form of English oratorio came in 1732
with his setting of an adaptation of Racine's biblical
drama Esther, described by one hostile critic as a
"Religious Farce", and certainly a very profitable one
to its composer. English oratorio combined the musical
delights of Italian opera, with a text in English and a
religious subject that might appeal to the Protestant
conscience. Since oratorio was not staged, there was
also a considerable saving in the cost of production.
Most popular of English Oratorios
Of all English oratorios Handel's Messiah has always
been the most overwhelmingly popular. It is the least
theatrical of all his oratorios and the most purely
sacred in its choice of subject, the Messiah, a
compendious version of the coming of Christ, His death
and resurrection. The text, by Charles Jennens, drew
extensively on the Authorized Version of the Bible, and
an additional attraction has always been the large
number of choruses included, a larger number than in any
other of Handel's oratorios.
Early Performances of the Messiah
Messiah was written with Handel's usual speed in 1741
for performance in Dublin, some of it rehearsed briefly
by inadequate singers in Chester, as he made his way to
Holyhead to embark for the voyage. The first performance
was given at the New Music Hall in Fish-amble Street,
Dublin, on 13th April, 1742, in aid of charity. The
first London performance took place in Lent 1743 at
Covent Garden, but the work failed to please, in part
because of reservations that some held about the
suitability of such a sacred subject for a theatre.
Messiah only achieved its lasting success after
performances in 1750 in aid of the Foundling Hospital,
established ten years earlier by Captain Thomas Coram.
At his death in 1759 Handel left a fair copy of the
score and all parts to the Hospital, an institution that
continued to benefit from annual performances of the
work.
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Tribute to Handel's Messiah |
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Handel's Messiah
George Frederic
Handel (1695-1759)
PART ONE
: The prophesy and
realization of God's
plan to redeem mankind
by the coming of the
Messiah
(1) Overture
Sinfony
(2) Comfort Ye
Recitative
(Tenor or
Soprano)
Comfort ye,
comfort ye my
people, saith your
God. Speak ye
comfortably to
Jerusalem, and cry
unto her, that her
warfare is
accomplished, that
her iniquity is
pardoned. The voice of
him that crieth in
the wilderness,
Prepare ye the way
of the Lord, make
straight in the
desert a highway
for our God.
(Isaiah 40:1-3)
(3) Every
Valley
Air
(Tenor or Soprano)
Every valley shall
be exalted, and every
mountain and hill made
low, the crooked
straight, and the
rough places plain.
(Isaiah 40:4)
(4)
And the Glory of the
Lord Chorus
And the glory of
the Lord shall be
revealed, and all
flesh shall see it
together: for the
mouth of the Lord hath
spoken it.
(Isaiah 40:5)
(5)
Thus saith the Lord
Recitative
(Bass)
Thus saith the
Lord, the Lord of
Hosts; Yet once a
little while and I
will shake the heav'ns
and the earth, the sea
and the dry land: And
I will shake all
nations; and the
desire of all nations
shall come.
(Haggai 2:6-7)
The Lord, whom ye
seek, shall suddenly
come to His temple,
even the messenger of
the Covenant, whom ye
delight in: behold, He
shall come, saith the
Lord of Hosts.
(Malachi 3:1)
(6)
But who may abide the
Day of His Coming?
Air (Alto or
Bass)
But who may abide
the day of His coming,
and who shall stand
when He appeareth? For
He is like a refiner's
fire.
(Malachi 3:2)
(7)
And He shall Purify
Chorus
And He shall
purify the sons of
Levi, that they may
offer unto the Lord an
offering in
righteousness.
(Malachi 3:3)
(8)
Behold A Virgin Shall
Conceive
Recitative
(Alto or Counter
Tenor)
Behold, a virgin
shall conceive and
bear a Son, and shall
call his name
Emmanuel, GOD WITH US.
(Isaiah 7:14; Matthew 1:23)
(9)
O thou that tellest
good tidings to Zion
Air (Alto) &
Chorus
O thou that
tellest good tidings
to Zion, get thee up
into the high
mountain. O thou that
tellest good tidings
to Jerusalem, lift up
thy voice with
strength; lift it up,
be not afraid; say
unto the cities of
Judah, behold your
God! O thou that
tellest good tidings
to Zion, (Isaiah
40:9)
Arise, shine, for
thy Light is come, and
the glory of the Lord
is risen upon thee.
Isaiah 60:1)
(10) For
behold, darkness
shall cover the
earth
Recitative
(Bass)
For behold,
darkness shall cover
the earth, and gross
darkness the people;
but the Lord shall
arise upon thee, and
His glory shall be
seen upon thee. And
the Gentiles shall
come to thy light, and
kings to the
brightness of thy
rising.
(Isaiah 60:2-3)
(11)
The people that walked
in darkness
Air (Bass)
The people that
walked in darkness
have seen a great
light; and they that
dwell in the land of
the shadow of death,
upon them hath the
light shined.
(Isaiah 9:2)
(12) For unto Us a
Child is born
Chorus
For unto us a
Child is born, unto us
a Son is given, and
the government shall
be upon His shoulder;
and His name shall be
called Wonderful,
Counsellor, the Mighty
God, the Everlasting
Father, the Prince of
Peace.
(Isaiah 9:6)
(13) Pastoral
Symphony
(Pifa)
(14) There were
shepherds abiding
in the field
Recitative
(Soprano)
There were
shepherds abiding in
the field, keeping
watch over their
flocks by night.
(Luke 2:8)
(15) And
lo, the angel of the
Lord came upon them
Recitative
(Soprano)
And lo, the angel
of the Lord came upon
them, and the glory of
the Lord shone round
about them, and they
were sore afraid.
(Luke 2:9)
(16)
And the
Angel said unto
them
Recitative
(Soprano)
And the angel said
unto them: Fear not,
for behold, I bring
you good tidings of
great joy, which shall
be to all people. For
unto you is born this
day in the city of
David a Saviour, which
is Christ the Lord.
(Luke 2:10-11)
(17) And
suddenly there was
with the Angel
Recitative
(Soprano)
And suddenly there
was with the angel, a
multitude of the
heavenly host,
praising God, and
saying:
(Luke 2:13)
(18) Glory to
God
Chorus
Glory to God in
the highest, and peace
on earth, good will
towards men.
(Luke 2:14)
(19) Rejoice
greatly, O
Daughter of Zion
Air (Soprano
or Tenor)
Rejoice greatly, O
daughter of Zion;
shout, O daughter of
Jerusalem! Behold, thy
King cometh unto thee;
He is the righteous
Saviour, and He shall
speak peace unto the
heathen.
(Zecharaiah 9:9-10)
(20) Then shall
the eyes of the
blind
Recitative
(Soprano or Alto)
Then shall the
eyes of the blind be
opened, and the ears
of the deaf unstopped.
Then shall the lame
man leap as an hart,
and the tongue of the
dumb shall sing.
(Isaiah 35:5-6)
(21) He shall
feed his flock
like a shepherd
Aria (Soprano
or Alto)
He shall feed His
flock like a shepherd;
and He shall gather
the lambs with His
arm, and carry them in
His bosom, and gently
lead those that are
with young.
(Isaiah 40:11)
Come unto Him, all
ye that labour, come
unto Him that are
heavy laden, an He
will give you rest.
Take His yoke upon
you, and learn of Him,
for He is meek and
lowly of heart, and ye
shall find rest unto
your souls.
(Matthew 11:28-29)
(22) His yoke
is easy
Chorus
His yoke is easy,
and his burden is
light.
(Matthew 11:30)
PART TWO : The
accomplishment of
redemption by the
sacrifice of Jesus,
mankind's rejection of
God's offer, and
mankind's utter defeat
when trying to oppose
the power of the
Almighty
(23) Behold the
lamb of God
Chorus
Behold the Lamb of
God, that taketh away
the sin of the world.
(John 1:29)
(24) He was
despised
Air (Alto or
Counter Tenor)
He was despised
and rejected of men, a
man of sorrows and
acquainted with grief.
(Isaiah 53:3)
He gave His back
to the smiters, and
His cheeks to them
that plucked off the
hair: He hid not His
face from shame and
spitting.
(Isaiah 50:6)
(25) Surely He
hath borne our griefs
Chorus
Surely He hath
borne our griefs, and
carried our sorrows!
He was wounded for our
transgressions, He was
bruised for our
iniquities; the
chastisement of our
peace was upon Him.
(Isaiah 53:4-5)
(26) And with
His stripes we are
healed
Chorus
And with His
stripes we are healed.
(Isaiah 53:5)
(27) All we
like sheep have
gone astray
Chorus
All we, like
sheep, have gone
astray; we have turned
every one to his own
way, and the Lord hath
laid on Him the
iniquity of us all.
(Isaiah 53:6)
(28) All they
that see him laugh
him to scorn
Recitative
(Tenor or Soprano)
All they that see
Him laugh Him to
scorn; they shoot out
their lips, and shake
their heads, saying:
(Psalms 22:7)
(29) He trusted
in God
Chorus
He trusted in God
that He would deliver
Him; let Him deliver
Him, if He delight in
Him.
(Psalms 22:8;
Matthew 27:43)
(30) Thy rebuke
hath broken His
heart
Recitative (Tenor or
Soprano)
Thy rebuke hath
broken His heart: He
is full of heaviness.
He looked for some to
have pity on Him, but
there was no man,
neither found He any
to comfort Him.
(Psalms 69:20)
(31) Behold,
and see if there
be any sorrow
Arioso (Tenor or
Soprano)
Behold, and see if
there be any sorrow
like unto His sorrow.
(Lamentations 1:12)
(32) He was cut
off out of the
land of the living
Recitative
(Tenor or Soprano)
He was cut off out
the land of the
living: for the
transgressions of Thy
people was He
stricken.
(Isaiah 53:8)
(33) But Thou
didst not leave
His soul in hell
Air (Tenor
or Soprano)
But Thou didst not
leave His soul in
hell; nor didst Thou
suffer Thy Holy One to
see corruption.
(Psalms 16:10;
Acts 2:27)
(34) Lift up
your heads, O ye
gates
Chorus
Lift up your
heads, O ye gates; and
be ye lift up, ye
everlasting doors; and
the King of Glory
shall come in. Who is
this King of Glory?
The Lord strong and
mighty, the Lord
mighty in battle. Lift
up your heads, O ye
gates; and be ye lift
up, ye everlasting
doors; and the King of
Glory shall come in.
Who is this King of
Glory? The Lord of
Hosts, He is the King
of Glory.
(Psalms 24:7-10)
(35) Unto which
of the angels said
He at any time
Recitative (Tenor
or Soprano)
Unto which of the
angels said He at any
time: Thou art My Son,
this day have I
begotten Thee?
(Hebrews 1:5;
Psalm 2:7)
(36) Let all
the angels of God
worship Him
Chorus
Let all the angels
of God worship Him.
(Hebrews 1:6)
(37) Thou art
gone up on high
Air (Alto or Bass)
Thou art gone up
on high; Thou hast led
captivity captive, and
received gifts for
men; yea, even from
Thine enemies, that
the Lord God might
dwell among them.
(Psalms 68:18;
Ephesians 4:8)
(38) The Lord
gave the word
Chorus
The Lord gave the
word; great was the
company of the
preachers.
(Psalms 68:11)
(39) How
beautiful are the
feet
Air
(Soprano or Counter
Tenor)
How beautiful are
the feet of them: that
preach the gospel of
peace, and bring glad
tidings of good
things.
(Romans 10:15;
Isaiah 52:7)
(40) Their
sound is gone out
Chorus
Their sound is
gone out into all
lands, and their words
unto the ends of the
world.
(Romans 10:18;
Psalms 19:4)
(41) Why do the
nations so
furiously rage
together?
Air (Bass)
Why do the nations
so furiously rage
together, and why do
the people imagine a
vain thing? The kings
of the earth rise up,
and the rulers take
counsel together
against the Lord, and
against His Anointed.
(Psalms 2:1-2;
Acts 4:25-26)
(42) Let us
break their bonds
asunder
Chorus
Let us break their
bonds asunder, and
cast away their yokes
from us.
(Psalms 2:3)
(43) He that dwelleth in heaven
Recitative (Tenor)
He that dwelleth
in heaven shall laugh
them to scorn; the
Lord shall have them
in derision.
(Psalms 2:4)
(44) Thou shalt
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