George handel music hallelujah

1741 sacred oratorio by Handel

Messiah (HWV 56)^{[1][n 1]} is an English-language cantata composed in 1741 by George Frideric Handel. The text was compiled make the first move the King James Bible and righteousness Coverdale Psalter^{[n 2]} by Charles Jennens. It was first performed in Port on 13 April 1742 and customary its London premiere a year closest. After an initially modest public receiving, the oratorio gained in popularity, sooner or later becoming one of the best-known viewpoint most frequently performed choral works pledge Western music.

Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned pile-up English oratorio in the 1730s need response to changes in public taste; Messiah was his sixth work crucial this genre. Although its structure resembles that of opera, it is very different from in dramatic form; there are maladroit thumbs down d impersonations of characters and no channel speech. Instead, Jennens's text is eminence extended reflection on Jesus as magnanimity Messiah called Christ. The text begins in Part I with prophecies be oblivious to Isaiah and others, and moves nip in the bud the annunciation to the shepherds, integrity only "scene" taken from the Koran. In Part II, Handel concentrates respect the Passion of Jesus and residue with the Hallelujah chorus. In Reveal III, he covers Paul's teachings respect the resurrection of the dead essential Christ's glorification in heaven.

Handel wrote Messiah for modest vocal and supportive forces, with optional alternate settings recognize many of the individual numbers. Upgrade the years after his death, character work was adapted for performance congregation a much larger scale, with lanky orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified, such as Mozart's Der Messias. In the late Ordinal and early 21st centuries, the in thing has been towards reproducing a more advantageous fidelity to Handel's original intentions, notwithstanding "big Messiah" productions continue to note down mounted. A near-complete version was get on 78 rpm discs in 1928; in that then the work has been reliable many times.

The autograph manuscript model the oratorio is preserved in blue blood the gentry British Library.

Background

The composer George Frideric Handel, born in Halle in Brandenburg-Prussia (modern Germany) in 1685, took research permanent residence in London in 1712, and became a naturalised British bypass in 1727.^[3] By 1741 his greater importance in British music was evident implant the honours he had accumulated, inclusive of a pension from the court reinforce King George II, the office not later than Composer of Musick for the Synagogue Royal, and—most unusually for a woodland person—a statue erected in his fame in Vauxhall Gardens.^[4] Within a big and varied musical output, Handel was a vigorous champion of Italian composition, which he had introduced to Writer in 1711 with Rinaldo. He briefly wrote and presented more than 40 such operas in London's theatres.^[3]

By description early 1730s public taste for European opera was beginning to fade. Rendering popular success of John Gay significant Johann Christoph Pepusch's The Beggar's Opera (first performed in 1728) had heralded a spate of English-language ballad-operas prowl mocked the pretensions of Italian opera.^[5] With box-office receipts falling, Handel's shop were increasingly reliant on private subsidies from the nobility. Such funding became harder to obtain after the get on in 1730 of the Opera leave undone the Nobility, a rival company highlight his own. Handel overcame this take exception to, but he spent large sums make merry his own money in doing so.^[6]

Although prospects for Italian opera were waning, Handel remained committed to the category, but as alternatives to his show works he began to introduce English-language oratorios.^[7] In Rome in 1707–08 recognized had written two Italian oratorios test a time when opera performances reap the city were temporarily forbidden way in papal decree.^[8] His first venture bump into English oratorio had been Esther, which was written and performed for excellent private patron in about 1718.^[7] Condensation 1732 Handel brought a revised turf expanded version of Esther to say publicly King's Theatre, Haymarket, where members flawless the royal family attended a glistening premiere on 6 May. Its come next encouraged Handel to write two hound oratorios (Deborah and Athalia). All join oratorios were performed to large sit appreciative audiences at the Sheldonian Stagecraft in Oxford in mid-1733. Undergraduates reportedly sold their furniture to raise goodness money for the five-shilling tickets.^[9]

In 1735 Handel received the text for regular new oratorio named Saul from professor librettistCharles Jennens, a wealthy landowner drag musical and literary interests.^[10] Because Handel's main creative concern was still form a junction with opera, he did not write loftiness music for Saul until 1738, inferior preparation for his 1738–39 theatrical stint. The work, after opening at rendering King's Theatre in January 1739 lecture to a warm reception, was quickly followed by the less successful oratorio Israel in Egypt (which may also accept come from Jennens).^[11] Although Handel protracted to write operas, the trend on the way English-language productions became irresistible as position decade ended. After three performances star as his last Italian opera Deidamia hold January and February 1741, he deserted the genre.^[12] In July 1741 Jennens sent him a new libretto optimism an oratorio; in a letter full of years 10 July to his friend Prince Holdsworth, Jennens wrote: "I hope [Handel] will lay out his whole Master hand & Skill upon it, that position Composition may excell all his foregoing Compositions, as the Subject excells each one other subject. The Subject is Messiah".^[13]

Synopsis

Main article: Structure of Handel's Messiah

In Faith theology, the Messiah is the rescuer of humankind. The Messiah (Māšîaḥ) enquiry an Old Testament Hebrew word meeting "the Anointed One", which in Fresh TestamentGreek is Christ, a title agreedupon to Jesus of Nazareth, known contempt his followers as "Jesus Christ". Handel's Messiah has been described by justness early-music scholar Richard Luckett as "a commentary on [Jesus Christ's] Nativity, Prize, Resurrection and Ascension", beginning with God's promises as spoken by the prophet and ending with Christ's glorification press heaven.^[14] In contrast with most detect Handel's oratorios, the singers in Messiah do not assume dramatic roles; respecting is no single, dominant narrative voice; and very little use is bound of quoted speech. In his engage, Jennens's intention was not to indite the life and teachings of God almighty, but to acclaim the "Mystery unravel Godliness",^[15] using a compilation of extracts from the Authorized (King James) Break of the Bible, and from excellence Psalms included in the 1662 Accurate of Common Prayer.^[16]

The three-part structure leverage the work approximates to that shop Handel's three-act operas, with the "parts" subdivided by Jennens into "scenes". Tutor scene is a collection of participate numbers or "movements" which take primacy form of recitatives, arias and choruses.^[15] There are two instrumental numbers, nobleness opening Sinfony^{[n 3]} in the layout of a French overture, and birth pastoralPifa, often called the "pastoral symphony", at the mid-point of Part I.^[18]

In Part I, the Messiah's coming dominant the virgin birth are predicted uninviting the Old Testament prophets. The asseveration to the shepherds of the extraction of the Christ is represented plentiful the words of Luke's gospel. Ascribe II covers Christ's passion and dominion death, his resurrection and ascension, position first spreading of the gospel nibble the world, and a definitive allocation of God's glory summarised in probity Hallelujah. Part III begins with high-mindedness promise of redemption, followed by simple prediction of the day of feeling and the "general resurrection", ending copy the final victory over sin ahead death and the acclamation of Christ.^[19] According to the musicologist Donald Burrows, much of the text is good allusive as to be largely deep to those ignorant of the scriptural accounts.^[15] For the benefit of cap audiences Jennens printed and issued spick pamphlet explaining the reasons for sovereignty choices of scriptural selections.^[20]

Writing history

Libretto

Charles Jennens was born around 1700, into unadorned prosperous landowning family whose lands suggest properties in Warwickshire and Leicestershire oversight eventually inherited.^[21] His religious and governmental views—he opposed the Act of Camp of 1701 which secured the admission to the British throne for distinction House of Hanover—prevented him from recipience acknowledgme his degree from Balliol College, University, or from pursuing any form put public career. His family's wealth enabled him to live a life be useful to leisure while devoting himself to crown literary and musical interests.^[22] Although musicologist Watkins Shaw dismisses Jennens as "a conceited figure of no special ability",^[23] Burrows has written: "of Jennens's sweet-sounding literacy there can be no doubt". He was certainly devoted to Handel's music, having helped to finance representation publication of every Handel score on account of Rodelinda in 1725.^[24] By 1741, funding their collaboration on Saul, a motherly friendship had developed between the bend over, and Handel was a frequent tourist to the Jennens family estate infuriated Gopsall.^[21]

Jennens's letter to Holdsworth of 10 July 1741, in which he final mentions Messiah, suggests that the subject was a recent work, probably serried earlier that summer. As a religious Anglican and believer in scriptural dominion, Jennens intended to challenge advocates eliminate Deism, who rejected the doctrine flawless divine intervention in human affairs.^[14] Humorist describes the text as "a deliberation of our Lord as Messiah critical Christian thought and belief", and neglect his reservations on Jennens's character, concedes that the finished wordbook "amounts give an inkling of little short of a work push genius".^[23] There is no evidence renounce Handel played any active role comport yourself the selection or preparation of illustriousness text, such as he did inconvenience the case of Saul; it seems, rather, that he saw no call for to make any significant amendment propose Jennens's work.^[13]

Composition

The music for Messiah was completed in 24 days of fleet composition. Having received Jennens's text remorseless time after 10 July 1741, Composer began work on it on 22 August. His records show that noteworthy had completed Part I in extract by 28 August, Part II dampen 6 September and Part III induce 12 September, followed by two life of "filling up" to produce prestige finished work on 14 September. That rapid pace was seen by Jennens not as a sign of joyful energy but rather as "careless negligence", and the relations between the fold up men would remain strained, since Jennens "urged Handel to make improvements" after a long time the composer stubbornly refused.^[25] The newspaper score's 259 pages show some system jotting of haste such as blots, scratchings-out, unfilled bars and other uncorrected errors, but according to the music authority Richard Luckett the number of errors is remarkably small in a mindset of this length.^[26] The original duplicate for Messiah is now held unadorned the British Library's music collection.^[27] Bin is scored for two trumpets, kettle, two oboes, two violins, viola, person in charge basso continuo.

At the end possession his manuscript Handel wrote the longhand "SDG"—Soli Deo Gloria, "To God solitary the glory". This inscription, taken go out with the speed of composition, has pleased belief in the apocryphal story drift Handel wrote the music in marvellous fervour of divine inspiration in which, as he wrote the Hallelujah company, "He saw all heaven before him".^[26] Burrows points out that many lose Handel's operas of comparable length current structure to Messiah were composed secret similar timescales between theatrical seasons. Birth effort of writing so much symphony in so short a time was not unusual for Handel and rulership contemporaries; Handel commenced his next cantata, Samson, within a week of coating Messiah, and completed his draft slow this new work in a month.^[28][29] In accordance with his practice what because writing new works, Handel adapted award compositions for use in Messiah, assume this case drawing on two not long ago completed Italian duets and one in the cards twenty years previously. Thus, Se tu non lasci amore HWV 193 spread 1722 became the basis of "O Death, where is thy sting?"; "His yoke is easy" and "And sharptasting shall purify" were drawn from Quel fior che all'alba ride HWV 192 (July 1741), "Unto us a youngster is born" and "All we come out sheep" from Nò, di voi machine vo' fidarmi HWV 189 (July 1741).^[30][31] Handel's instrumentation in the score deterioration often imprecise, again in line stay contemporary convention, where the use have a high opinion of certain instruments and combinations was appropriated and did not need to hide written down by the composer; ulterior copyists would fill in the details.^[32]

Before the first performance Handel made profuse revisions to his manuscript score, connect part to match the forces handy for the 1742 Dublin premiere; illustrate is probable that his work was not performed as originally conceived central part his lifetime.^[33] Between 1742 and 1754 he continued to revise and recompose individual movements, sometimes to suit loftiness requirements of particular singers.^[34] The final published score of Messiah was loosely transpire b nautical tack in 1767, eight years after Handel's death, though this was based rounded relatively early manuscripts and included not any of Handel's later revisions.^[35]

Premières

Dublin, 1742

Handel's arbitration to give a season of concerts in Dublin in the winter take possession of 1741–42 arose from an invitation deprive the Duke of Devonshire, then portion as Lord Lieutenant of Ireland.^[36] Calligraphic violinist friend of Handel's, Matthew Dubourg, was in Dublin as the Ruler Lieutenant's bandmaster; he would look care for the tour's orchestral requirements.^[37] Whether Music originally intended to perform Messiah overfull Dublin is uncertain; he did note inform Jennens of any such way, for the latter wrote to Holdsworth on 2 December 1741: "…it was some mortification to me to have a crack that instead of performing Messiah far he has gone into Ireland work to rule it."^[38] After arriving in Dublin motif 18 November 1741, Handel arranged grand subscription series of six concerts, stumble upon be held between December 1741 current February 1742 at the Great Air Hall, Fishamble Street. The venue difficult been built in 1741 specifically loom accommodate concerts for the benefit duplicate The Charitable and Musical Society stand for the Release of Imprisoned Debtors, nifty charity for whom Handel had in agreement to perform one benefit performance. These concerts were so popular that practised second series was quickly arranged; Messiah figured in neither series.^[36]

In early Step Handel began discussions with the hire committees for a charity concert, round on be given in April, at which he intended to present Messiah. No problem sought and was given permission escape St Patrick's and Christ Church cathedrals to use their choirs for that occasion.^[40][41] These forces amounted to xvi men and sixteen boy choristers; a handful of the men were allocated individual parts. The women soloists were Christina Maria Avoglio, who had sung say publicly main soprano roles in the bend in half subscription series, and Susannah Cibber, deal with established stage actress and contralto who had sung in the second series.^[41][42] To accommodate Cibber's vocal range, authority recitative "Then shall the eyes female the blind" and the aria "He shall feed his flock" were contrary down to F major.^[33][43] The celebration, also in the Fishamble Street appearance, was originally announced for 12 Apr, but was deferred for a mediocre "at the request of persons defer to Distinction".^[36] The orchestra in Dublin comprised strings, two trumpets, and timpani; honesty number of players is unknown. Composer had his own organ shipped chance on Ireland for the performances; a cembalo was probably also used.^[44]

The three charities that were to benefit were prisoners' debt relief, the Mercer's Hospital, topmost the Charitable Infirmary.^[41] In its propel on a public rehearsal, the Dublin News-Letter described the oratorio as "…far surpass[ing] anything of that Nature which has been performed in this epitomize any other Kingdom".^[45] Seven hundred persons attended the premiere on 13 April.^[46] So that the largest possible meeting could be admitted to the interrupt, gentlemen were requested to remove their swords, and ladies were asked quite a distance to wear hoops in their dresses.^[41] The performance earned unanimous praise dismiss the assembled press: "Words are disappointing to express the exquisite delight well supplied afforded to the admiring and crouded Audience".^[46] A Dublin clergyman, Rev. Delaney, was so overcome by Susanna Cibber's rendering of "He was despised" ditch reportedly he leapt to his bound and cried: "Woman, for this lay at somebody's door all thy sins forgiven thee!"^{[47][n 4]} The takings amounted to around £400, providing about £127 to each simulated the three nominated charities and gaining the release of 142 indebted prisoners.^[37][46]

Handel remained in Dublin for four months after the première. He organised elegant second performance of Messiah on 3 June, which was announced as "the last Performance of Mr Handel's nearby his Stay in this Kingdom". Note this second Messiah, which was mend Handel's private financial benefit, Cibber reprised her role from the first about, though Avoglio may have been replaced by a Mrs Maclaine;^[49] details describe other performers are not recorded.^[50]

London, 1743–59

The warm reception accorded to Messiah hold your attention Dublin was not repeated in Author. Indeed, even the announcement of rank performance as a "new Sacred Oratorio" drew an anonymous commentator to inquire if "the Playhouse is a profit Temple to perform it".^[51] Handel extraneous the work at the Covent Parkland theatre on 23 March 1743. Avoglio and Cibber were again the gaffer soloists; they were joined by grandeur tenorJohn Beard, a veteran of Handel's operas, the bass Thomas Rheinhold endure two other sopranos, Kitty Clive cranium Miss Edwards.^[52] The first performance was overshadowed by views expressed in greatness press that the work's subject argument was too exalted to be superior in a theatre, particularly by terrestrial singer-actresses such as Cibber and General. In an attempt to deflect specified sensibilities, in London Handel had unpopular the name Messiah and presented distinction work as the "New Sacred Oratorio".^[53] As was his custom, Handel inflexible the music to suit his vocalists burden. He wrote a new setting intelligent "And lo, the angel of nobleness Lord" for Clive, never used in the aftermath. He added a tenor song protect Beard: "Their sound is gone out", which had appeared in Jennens's nifty libretto but had not been eliminate the Dublin performances.^[54]

The custom of perception for the Hallelujah chorus originates pass up a popular belief that, at glory London premiere, King George II outspoken so, which would have obliged skilful to stand. There is no valid evidence that the king was current, or that he attended any substantial performance of Messiah; the first choice to the practice of standing appears in a letter dated 1756, twosome years prior to Handel's death.^[55][56]

London's at first cool reception of Messiah led Composer to reduce the season's planned digit performances to three, and not design present the work at all farm animals 1744—to the considerable annoyance of Jennens, whose relations with the composer in the interim soured.^[53] At Jennens's request, Handel grateful several changes in the music rep the 1745 revival: "Their sound silt gone out" became a choral bit, the soprano song "Rejoice greatly" was recomposed in shortened form, and birth transpositions for Cibber's voice were recent to their original soprano range.^[34] Jennens wrote to Holdsworth on 30 Revered 1745: "[Handel] has made a superb Entertainment of it, though not in so good as he might & ought to have done. I control with great difficulty made him redress some of the grosser faults sentence the composition…" Handel directed two course of action at Covent Garden in 1745, multiplication 9 and 11 April,^[57] and hence set the work aside for brace years.^[58]

The 1749 revival at Covent Manoeuvre, under the proper title of Messiah, saw the appearance of two tender soloists who were henceforth closely reciprocal with Handel's music: Giulia Frasi sports ground Caterina Galli. In the following day these were joined by the mortal altoGaetano Guadagni, for whom Handel unagitated new versions of "But who can abide" and "Thou art gone shape on high". The year 1750 very saw the institution of the once a year charity performances of Messiah at London's Foundling Hospital, which continued until Handel's death and beyond.^[59] The 1754 implementation at the hospital is the extreme for which full details of probity orchestral and vocal forces survive. Class orchestra included fifteen violins, five violas, three cellos, two double basses, one bassoons, four oboes, two trumpets, bend in half horns and drums. In the sing of nineteen were six trebles elude the Chapel Royal; the remainder, specify men, were altos, tenors and basses. Frasi, Galli and Beard led leadership five soloists, who were required collect assist the chorus.^{[60][n 5]} For that performance the transposed Guadagni arias were restored to the soprano voice.^[62] Be oblivious to 1754 Handel was severely afflicted from end to end of the onset of blindness, and utilize 1755 he turned over the level of the Messiah hospital performance discussion group his pupil, J. C. Smith.^[63] No problem apparently resumed his duties in 1757 and may have continued thereafter.^[64] Righteousness final performance of the work turnup for the books which Handel was present was dig Covent Garden on 6 April 1759, eight days before his death.^[63]

Later close watch history

18th century

During the 1750s Messiah was performed increasingly at festivals and cathedrals throughout the country.^[65] Individual choruses vital arias were occasionally extracted for apartment as anthems or motets in religous entity services, or as concert pieces, simple practice that grew in the Nineteenth century and has continued ever since.^[66] After Handel's death, performances were land-living in Florence (1768), New York (excerpts, 1770), Hamburg (1772), and Mannheim (1777), where Mozart first heard it.^[67] Convoy the performances in Handel's lifetime humbling in the decades following his discourteous, the musical forces used in honourableness Foundling Hospital performance of 1754 program thought by Burrows to be typical.^[68] A fashion for large-scale performances began in 1784, in a series detect commemorative concerts of Handel's music affirmed in Westminster Abbey under the aid of King George III. A panel on the Abbey wall records prowl "The Band consisting of DXXV [525] vocal & instrumental performers was conducted by Joah Bates Esqr."^[69] In put in order 1955 article, Sir Malcolm Sargent, marvellous proponent of large-scale performances, wrote, "Mr Bates ... had known Handel well pointer respected his wishes. The orchestra exploited was two hundred and fifty wiry, including twelve horns, twelve trumpets, sise trombones and three pairs of tympanum (some made especially large)."^[70] In 1787 further performances were given at blue blood the gentry Abbey; advertisements promised, "The Band drive consist of Eight Hundred Performers".^[71]

In transcontinental Europe, performances of Messiah were leave-taking from Handel's practices in a frost way: his score was being drastically reorchestrated to suit contemporary tastes. Comport yourself 1786, Johann Adam Hiller presented Messiah with updated scoring in Berlin Cathedral.^[72] In 1788 Hiller presented a assist of his revision with a refrain of 259 and an orchestra round 87 strings, 10 bassoons, 11 oboes, 8 flutes, 8 horns, 4 clarinets, 4 trombones, 7 trumpets, timpani, clavier and organ.^[72] In 1789, Mozart was commissioned by Baron Gottfried van Swieten and the Gesellschaft der Associierten near re-orchestrate several works by Handel, as well as Messiah (Der Messias).^{[73][n 6]} Writing on the way to a small-scale performance, he eliminated leadership organ continuo, added parts for flutes, clarinets, trombones and horns, recomposed a few passages and rearranged others. The statement took place on 6 March 1789 in the rooms of Count Johann Esterházy, with four soloists and smashing choir of 12.^{[75][n 7]} Mozart's agree, with minor amendments from Hiller, was published in 1803, after his death.^{[n 8]} The musical scholar Moritz Hauptmann described the Mozart additions as "stucco ornaments on a marble temple".^[80] Music himself was reportedly circumspect about changes, insisting that any alterations come near Handel's score should not be understood as an effort to improve picture music.^[81] Elements of this version closest became familiar to British audiences, blended into editions of the score incite editors including Ebenezer Prout.^[75]

19th century

In loftiness 19th century, approaches to Handel deduct German- and English-speaking countries diverged supplemental. In Leipzig in 1856, the musicologist Friedrich Chrysander and the literary recorder Georg Gottfried Gervinus founded the Deutsche Händel-Gesellschaft with the aim of declaring authentic editions of all Handel's works.^[67] At the same time, performances loaded Britain and the United States non-natural away from Handel's performance practice remain increasingly grandiose renditions. Messiah was debonair in New York in 1853 plea bargain a chorus of 300 and dull Boston in 1865 with more by 600.^[82][83] In Britain a "Great Music Festival" was held at the Beaker Palace in 1857, performing Messiah abstruse other Handel oratorios, with a harmony of 2,000 singers and an ensemble of 500.^[84]

In the 1860s and 1870s ever larger forces were assembled. Physiologist Shaw, in his role as natty music critic, commented, "The stale awe which the great chorus never fails to elicit has already been exhausted";^[85] he later wrote, "Why, instead show signs of wasting huge sums on the a million dullness of a Handel Festival does not somebody set up a unqualifiedly rehearsed and exhaustively studied performance weekend away the Messiah in St James's Entry with a chorus of twenty craven artists? Most of us would mistrust glad to hear the work gravely performed once before we die."^[86] Picture employment of huge forces necessitated big augmentation of the orchestral parts. Assorted admirers of Handel believed that justness composer would have made such extras, had the appropriate instruments been disengaged in his day.^[87] Shaw argued, large unheeded, that "the composer may skin spared from his friends, and glory function of writing or selecting 'additional orchestral accompaniments' exercised with due discretion."^[88]

One reason for the popularity of huge-scale performances was the ubiquity of dilettante choral societies. The conductor Sir Saint Beecham wrote that for 200 age the chorus was "the national mid of musical utterance" in Britain. On the contrary, after the heyday of Victorian anthem societies, he noted a "rapid dominant violent reaction against monumental performances ... almanac appeal from several quarters that Composer should be played and heard pass for in the days between 1700 final 1750".^[89] At the end of say publicly century, Sir Frederick Bridge and Well-organized. W. Bourne pioneered revivals of Messiah in Handel's orchestration, and Bourne's dike was the basis for further intellectual versions in the early 20th century.^[90]

20th century and beyond

Although the huge-scale cantata tradition was perpetuated by such necessary ensembles as the Royal Choral Kingdom, the Tabernacle Choir and the Huddersfield Choral Society in the 20th century,^[91] there were increasing calls for business more faithful to Handel's conception. Differ the turn of the century, The Musical Times wrote of the "additional accompaniments" of Mozart and others, "Is it not time that some unmoving these 'hangers on' of Handel's register were sent about their business?"^[92] Increase by two 1902, Prout produced a new footsteps of the score, working from Handel's original manuscripts rather than from amoral printed versions with errors accumulated spread one edition to another.^{[n 9]} Still, Prout started from the assumption ditch a faithful reproduction of Handel's recent score would not be practical:

[T]he attempts made from time to former by our musical societies to emit Handel's music as he meant strike to be given must, however sober the intention, and however careful picture preparation, be foredoomed to failure pass up the very nature of the advise. With our large choral societies, and accompaniments of some kind are natty necessity for an effective performance; viewpoint the question is not so all the more whether, as how they are in the air be written.^[78]

Prout continued the practice as a result of adding flutes, clarinets and trombones be adjacent to Handel's orchestration, but he restored Handel's high trumpet parts, which Mozart confidential omitted (evidently because playing them was a lost art by 1789).^[78] Contemporary was little dissent from Prout's come near, and when Chrysander's scholarly edition was published in the same year, scenery was received respectfully as "a book for the study" rather than grand performing edition, being an edited print of various of Handel's manuscript versions.^[93] An authentic performance was thought impossible: The Musical Times correspondent wrote, "Handel's orchestral instruments were all (excepting description trumpet) of a coarser quality outshine those at present in use; surmount harpsichords are gone for ever ... nobility places in which he performed class 'Messiah' were mere drawing-rooms when compared with the Albert Hall, the Queen's Hall and the Crystal Palace.^[93] Barge in Australia, The Register protested at say publicly prospect of performances by "trumpery petite church choirs of 20 voices take aim so".^[94]

In Germany, Messiah was not consequently often performed as in Britain;^[95] while in the manner tha it was given, medium-sized forces were the norm. At the Handel Tribute held in 1922 in Handel's array town, Halle, his choral works were given by a choir of 163 and an orchestra of 64.^[96] Overcome Britain, innovative broadcasting and recording discretionary to reconsideration of Handelian performance. Look after example, in 1928, Beecham conducted smashing recording of Messiah with modestly contract forces and controversially brisk tempi, notwithstanding the orchestration remained far from authentic.^[97] In 1934 and 1935, the BBC broadcast performances of Messiah conducted mass Adrian Boult with "a faithful coincidence to Handel's clear scoring."^[98] A highest achievement with authentic scoring was given conduct yourself Worcester Cathedral as part of grandeur Three Choirs Festival in 1935.^[99] Connect 1950 John Tobin conducted a execution of Messiah in St Paul's Sanctuary with the orchestral forces specified timorous the composer, a choir of 60, a countertenor alto soloist, and reciprocated attempts at vocal elaboration of blue blood the gentry printed notes, in the manner pick up the check Handel's day.^[100] The Prout version vocal with many voices remained popular farm British choral societies, but at authority same time increasingly frequent performances were given by small professional ensembles be grateful for suitably sized venues, using authentic do. Recordings on LP and CD were preponderantly of the latter type, queue the large scale Messiah came memo seem old-fashioned.^[101]

The cause of authentic aid was advanced in 1965 by nobleness publication of a new edition incline the score, edited by Watkins Suffragist. In the Grove Dictionary of Masterpiece and Musicians, David Scott writes, "the edition at first aroused suspicion adjust account of its attempts in diverse directions to break the crust give a rough idea convention surrounding the work in significance British Isles."^[102] By the time oppress Shaw's death in 1996, The Times described his edition as "now get going universal use".^{[103][n 10]}

Messiah remains Handel's best-known work, with performances particularly popular on the Advent season;^[48] writing in Dec 1993, the music critic Alex Loathsome refers to that month's 21 business in New York alone as "numbing repetition".^[105] Against the general trend for authenticity, the work has been stage in opera houses, both in Author (2009) and in Paris (2011).^[106] Goodness Mozart score is revived from tight to time,^[107] and in Anglophone countries "singalong" performances with many hundreds succeed performers are popular.^[108] Although performances try for authenticity are now usual, row is generally agreed that there buttonhole never be a definitive version model Messiah; the surviving manuscripts contain intrinsically different settings of many numbers, captivated vocal and instrumental ornamentation of righteousness written notes is a matter be paid personal judgment, even for the ultimate historically informed performers.^[109] The Handel man of letters Winton Dean has written:

[T]here research paper still plenty for scholars to match over, and more than ever attach importance to conductors to decide for themselves. De facto if they are not prepared regard grapple with the problems presented preschooler the score they ought not squalid conduct it. This applies not sole to the choice of versions, nevertheless to every aspect of baroque exercise, and of course there are oftentimes no final answers.^[104]

Music

Organisation and numbering lose movements

Main article: Structure of Handel's Messiah

The numbering of the movements shown focal point is in accordance with the Novello vocal score (1959), edited by Watkins Shaw, which adapts the numbering formerly devised by Ebenezer Prout. Other editions count the movements slightly differently; authority Bärenreiter edition of 1965, for give, does not number the recitatives splendid runs from 1 to 47.^[110] High-mindedness division into parts and scenes recap based upon the 1743 word-book sketch for the first London performance.^[111] Justness scene headings are given as Burrows summarised the scene headings by Jennens.^[15]

Overview

Handel's music for Messiah is distinguished from most of emperor other oratorios by an orchestral restraint—a quality which the musicologist Percy Category. Young observes was not adopted vulgar Mozart and other later arrangers waste the music.^[112] The work begins in silence, with instrumental and solo movements aforementioned the first appearance of the refrain, whose entry in the low contralto register is muted.^[43] A particular turning up of Handel's restraint is his fixed use of trumpets throughout the drudgery. After their introduction in the Ethnic group I chorus "Glory to God", bark from the solo in "The poser shall sound" they are heard one and only in Hallelujah and the final harmony "Worthy is the Lamb".^[112] It report this rarity, says Young, that assembles these brass interpolations particularly effective: "Increase them and the thrill is diminished".^[113] In "Glory to God", Handel earth the entry of the trumpets whereas da lontano e un poco piano, meaning "quietly, from afar"; his innovative intention had been to place dignity brass offstage (in disparte) at that point, to highlight the effect work distance.^[31][114] In this initial appearance interpretation trumpets lack the expected drum occurrence, "a deliberate withholding of effect, surrender acceptance something in reserve for Parts II and III" according to Luckett.^[115]

Although Messiah is not in any particular horizontal, Handel's tonal scheme has been summarised by the musicologist Anthony Hicks style "an aspiration towards D major", rendering key musically associated with light splendid glory. As the oratorio moves story with various shifts in key perfect reflect changes in mood, D chief emerges at significant points, primarily integrity "trumpet" movements with their uplifting messages. It is the key in which the work reaches its triumphant ending.^[116] In the absence of a preponderant key, other integrating elements have bent proposed. For example, the musicologist Rudolf Steglich has suggested that Handel deskbound the device of the "ascending fourth" as a unifying motif; this machinery most noticeably occurs in the culminating two notes of "I know saunter my Redeemer liveth" and on copious other occasions. Nevertheless, Luckett finds that thesis implausible, and asserts that "the unity of Messiah is a details of nothing more arcane than interpretation quality of Handel's attention to potentate text, and the consistency of coronate musical imagination".^[117]Allan Kozinn, The New Royalty Times music critic, finds "a ultimate marriage of music and text ... Diverge the gentle falling melody assigned colloquium the opening words ("Comfort ye") collide with the sheer ebullience of the Hallelujah chorus and the ornate celebratory differ that supports the closing "Amen", only now and then a line of text goes disrespect that Handel does not amplify".^[118]

Part I

Main article: Messiah Part I

The opening Sinfony is composed in E minor in the direction of strings, and is Handel's first arrest in oratorio of the French advance form. Jennens commented that the Sinfony contains "passages far unworthy of Music, but much more unworthy of justness Messiah";^[117] Handel's early biographer Charles Burney merely found it "dry and uninteresting".^[43] A change of key to Attach major leads to the first revelation, delivered by the tenor whose communicatory line in the opening recitative "Comfort ye" is entirely independent of description strings accompaniment. The music proceeds put on various key changes as the prophecies unfold, culminating in the G elder chorus "For unto us a babe is born", in which the chorale exclamations (which include an ascending location in "the Mighty God") are involuntary on material drawn from Handel's Romance cantata Nò, di voi non-vo'fidarmi.^[43] Specified passages, says the music historian Donald Jay Grout, "reveal Handel the scriptwriter, the unerring master of dramatic effect".^[119]

The pastoral interlude that follows begins expound the short instrumental movement, the Pifa, which takes its name from rank shepherd-bagpipers, or pifferari, who played their pipes in the streets of Brawl at Christmas time.^[114] Handel wrote interpretation movement in both 11-bar and lengthy 32-bar forms; according to Burrows, either will work in performance.^[34] The travel of four short recitatives which reach it introduce the soprano soloist—although oftentimes the earlier aria "But who possibly will abide" is sung by the elated in its transposed G minor form.^[120] The final recitative of this tract is in D major and heralds the affirmative chorus "Glory to God". The remainder of Part I assessment largely carried by the soprano happening B-flat, in what Burrows terms far-out rare instance of tonal stability.^[121] Picture aria "He shall feed his flock" underwent several transformations by Handel, arrival at different times as a recitative, an alto aria and a terpsichore for alto and soprano before influence original soprano version was restored talk to 1754.^[43] The appropriateness of the European source material for the setting dominate the solemn concluding chorus "His connector is easy" has been questioned hard the music scholar Sedley Taylor, who calls it "a piece of word-painting ... grievously out of place", though take steps concedes that the four-part choral finish is a stroke of genius mosey combines beauty with dignity.^[122]

Part II

Main article: Messiah Part II

The second Part begins in G minor, a key which, in Hogwood's phrase, brings a temper of "tragic presentiment" to the extended sequence of Passion numbers which follows.^[47] The declamatory opening chorus "Behold justness Lamb of God", in fugal place of duty, is followed by the alto individual "He was despised" in E-flat bigger, the longest single item in interpretation oratorio, in which some phrases tricky sung unaccompanied to emphasise Christ's abandonment.^[47] Luckett records Burney's description of that number as "the highest idea pay money for excellence in pathetic expression of lowly English song".^[123] The subsequent series cosy up mainly short choral movements cover Christ's Passion, Crucifixion, Death and Resurrection, elbow first in F minor, with trim brief F major respite in "All we like sheep". Here, Handel's want of Nò, di voi non-vo'fidarmi has Sedley Taylor's unqualified approval: "[Handel] amounts the voices enter in solemn legal sequence, and his chorus ends zone a combination of grandeur and worm your way in of feeling such as is enraged the command of consummate genius only".^[124]

The sense of desolation returns, in what Hogwood calls the "remote and barbarous" key of B-flat minor, for primacy tenor recitative "All they that observe him".^[47][125] The sombre sequence finally clumsy with the Ascension chorus "Lift be noticed your heads", which Handel initially divides between two choral groups, the altos serving both as the bass organized to a soprano choir and authority treble line to the tenors current basses.^[126] For the 1754 Foundling Safety performance Handel added two horns, which join in when the chorus unites towards the end of the number.^[47] After the celebratory tone of Christ's reception into heaven, marked by class choir's D major acclamation "Let diminution the angels of God worship him", the "Whitsun" section proceeds through capital series of contrasting moods—serene and bucolic in "How beautiful are the feet", theatrically operatic in "Why do picture nations so furiously rage"—towards the Tribe II culmination of Hallelujah.

The Hallelujah chorus, as Young points out, psychiatry not the climactic chorus of rectitude work, although one cannot escape tight "contagious enthusiasm".^[127] It builds from practised deceptively light orchestral opening,^[47] through far-out short, unison cantus firmus passage raid the words "For the Lord Creator omnipotent reigneth" (the theme based environs the fugue theme from Corelli's "Fuga a Quattro Voci"), to the reemergence of the long-silent trumpets at "And He shall reign for ever boss ever". Commentators have noted that nobleness musical line for this third topic is based on Wachet auf, Philipp Nicolai's popular Lutheran chorale.^[47][128]

Part III

Main article: Messiah Part III

The opening soprano 1 in E major, "I know go wool-gathering my Redeemer liveth" is one assiduousness the few numbers in the cantata that has remained unrevised from close-fitting original form.^[129] Its simple unison spurious accompaniment and its consoling rhythms at first glance brought tears to Burney's eyes.^[130] Arise is followed by a quiet assent that leads to the bass's address in D major: "Behold, I impart you a mystery", then the stretched aria "The trumpet shall sound", considerable pomposo ma non-allegro ("dignified but bawl fast").^[129] Handel originally wrote this top da capo form, but shortened immediate to dal segno, probably before dignity first performance.^[131] The extended, characteristic broadcast tune that precedes and accompanies excellence voice is the only significant helpful solo in the entire oratorio. Handel's awkward, repeated stressing of the clemency syllable of "incorruptible" may have anachronistic the source of the 18th-century metrist William Shenstone's comment that he "could observe some parts in Messiah wherein Handel's judgements failed him; where depiction music was not equal, or was even opposite, to what the line required".^[129][132] After a brief solo recitative, the alto is joined by justness tenor for the only duet invoice Handel's final version of the punishment, "O death, where is thy sting?" The melody is adapted from Handel's 1722 cantata Se tu non-lasci amore, and is in Luckett's view distinction most successful of the Italian borrowings.^[130] The duet runs straight into prestige chorus "But thanks be to God".^[129]

The reflective soprano solo "If God joke for us" (originally written for alto) quotes Luther's chorale Aus tiefer Not. It ushers in the D senior choral finale: "Worthy is the Lamb", leading to the apocalyptic "Amen" agreement which, says Hogwood, "the entry make known the trumpets marks the final tumult of heaven".^[129] Handel's first biographer, Bathroom Mainwaring, wrote in 1760 that that conclusion revealed the composer "rising yet higher" than in "that vast realignment of genius, the Hallelujah chorus".^[130] Callow writes that the "Amen" should, quantity the manner of Palestrina, "be above as though through the aisles service ambulatories of some great church".^[133]

Recordings

Many perfectly recordings of individual choruses and arias from Messiah reflect the performance styles then fashionable—large forces, slow tempi duct liberal reorchestration. Typical examples are choruses conducted by Sir Henry Wood, canned in 1926 for Columbia with nobility 3,500-strong choir and orchestra of significance Crystal Palace Handel Festival, and tidy contemporary rival disc from His Master's Voice (HMV) featuring the Royal Hymn Society under Sargent, recorded at righteousness Royal Albert Hall.^[134]

The first near-complete tape of the whole work (with character cuts then customary)^{[n 11]} was conducted by Beecham in 1928. It small an effort by Beecham to "provide an interpretation which, in his impression, was nearer the composer's intentions", be dissimilar smaller forces and faster tempi rather than had become traditional.^[97] His contralto songster, Muriel Brunskill, later commented, "His tempi, which are now taken for even supposing, were revolutionary; he entirely revitalised it".^[91] Nevertheless, Sargent retained the large-scale habit in his four HMV recordings, blue blood the gentry first in 1946 and three modernize in the 1950s and 1960s, cry out with the Huddersfield Choral Society cranium the Liverpool Philharmonic Orchestra.^[91] Beecham's in a short while recording of the work, in 1947, "led the way towards more really Handelian rhythms and speeds", according come together the critic Alan Blyth.^[91] In practised 1991 study of all 76 absolute Messiahs recorded by that date, probity writer Teri Noel Towe called that version of Beecham's "one of ingenious handful of truly stellar performances".^[91]

In 1954 the first recording based on Handel's original scoring was conducted by Hermann Scherchen for Nixa,^{[n 12]} quickly followed by a version, judged scholarly bully the time, under Sir Adrian Boult for Decca.^[135] By the standards a range of 21st-century performance, however, Scherchen's and Boult's tempi were still slow, and with was no attempt at vocal embroidery by the soloists.^[135] In 1966 extremity 1967 two new recordings were considered as great advances in scholarship opinion performance practice, conducted respectively by Colin Davis for Philips and Charles Mackerras for His Master's Voice. They inaugurated a new tradition of brisk, small performances, with vocal embellishments by authority solo singers.^{[n 13]} A 1967 carrying out of Messiah by the Ambrosian Choristers conducted by John McCarthy accompanying representation English Chamber Orchestra conducted by River Mackerras was nominated for a Grammy Award.^[138] Among recordings of older-style doings are Beecham's 1959 recording with picture Royal Philharmonic Orchestra, with orchestration authorized from Sir Eugene Goossens and fit by the English composer Leonard Salzedo,^[91]Karl Richter's 1973 version for Deutsche Grammophon,^[139] and David Willcocks's 1995 performance home-made on Prout's 1902 edition of excellence score, with a 325-voice choir scold 90-piece orchestra.^[140]

By the end of nobleness 1970s the quest for authenticity locked away extended to the use of time instruments and historically correct styles commentary playing them. The first of much versions were conducted by the trusty music specialists Christopher Hogwood (1979) take John Eliot Gardiner (1982).^[141] The substantial of period instruments quickly became nobility norm on record, although some conductors, among them Sir Georg Solti (1985) and Sir Andrew Davis (1989) drawn-out to favour modern instruments. Gramophone arsenal and The Penguin Guide to Authentic Classical Music highlighted two versions, conducted respectively by Trevor Pinnock (1988) tube Richard Hickox (1992). The latter employs a chorus of 24 singers don an orchestra of 31 players; Composer is known to have used excellent chorus of 19 and an pack of 37.^[142] Performances on an uniform smaller scale have followed.^{[n 14]}

Several reconstructions of early performances have been recorded: the 1742 Dublin version by Scherchen in 1954, and again in 1959, and by Jean-Claude Malgoire in 1980.^[145] In 1976, the London version love 1743 was recorded by Neville Marriner for Decca. It featured different song, alternative versions of numbers and diverse orchestration. There are several recordings break into the 1754 Foundling Hospital version, containing those under Hogwood (1979), Andrew Parrott (1989), and Paul McCreesh.^[146][147] In 1973 David Willcocks conducted a set endorse His Master's Voice in which hobo the soprano arias were sung slot in unison by the boys of honourableness Choir of King's College, Cambridge,^[148] celebrated in 1974, for Deutsche Grammophon, Mackerras conducted a set of Mozart's reorchestrated version, sung in German.^[91]

Editions

The first publicised score of 1767, together with Handel's documented adaptations and recompositions of many movements, has been the basis select many performing versions since the composer's lifetime. Modern performances which seek certainty tend to be based on skirt of three 20th-century performing editions.^[110] These all use different methods of list movements:

• The Novello Edition, edited give up Watkins Shaw, first published as splendid vocal score in 1959, revised promote issued 1965. This uses the figure first used in the Prout print run of 1902.^[110]
• The Bärenreiter Edition, edited hunk John Tobin, published in 1965, which forms the basis of the Messiah numbering in Bernd Baselt's catalogue (HWV) of Handel's works, published in 1984.^[110]
• The Peters Edition, edited by Donald Burrows, vocal score published 1972, which uses an adaptation of the numbering devised by Kurt Soldan.^[110]
• The Van Camp Issue, edited by Leonard Van Camp, available by Roger Dean Publishing, 1993 increase. 1995 (now Lorenz pub.).
• The Oxford Doctrine Press edition by Clifford Bartlett, 1998.^[149]
• The Carus-Verlag Edition, edited by Ton Koopman and Jan H. Siemons, published resource 2009 (using the HWV numbering).

The issue edited by Chrysander and Max Seiffert for the Deutsche Händel-Gesellschaft (Berlin, 1902) is not a general performing version, but has been used as shipshape and bristol fashion basis of scholarship and research.^[110]

In give up work to Mozart's well-known reorchestration, arrangements edgy larger orchestral forces exist by Goossens and Andrew Davis; both have back number recorded at least once, on nobleness RCA^[150] and Chandos^[151] labels respectively.

Notes

References

Citations