This is from yesterdays introduction to Messiah: History and Meaning of Messiah by Mike Leno George Frederick Handel was born German, became a naturalized citizen of Great Britain, and wrote Italian style operas. So it’s no wonder there exist a number of different ways to spell and pronounce his name. Technically, the “a” in Handel sounds more like a short “e”—Hĕndɘl. But I’m sure Handel, as a resident of London, got used to many variations. And the traditional Handel, as in “handle,” works quite well. As for the oratorio form, it provided Handel with a way of doing opera without any costumes, staging or acting. It was drama conveyed by text and music, which worked well for British audiences who were becoming somewhat ambivalent toward Handel’s Italian productions. But Handel himself did not originate the idea for Messiah. Charles Jennens, Handels librettist, first put forward the idea of a work expressing the themes of Messiah. Jennens had in mind a Scriptural anthology set to music by Handel, whose works he very much admired. Handel seized upon Jennens’ idea and composed the entire work in only twenty-four days. This was actually not unusual for Handel. But creating the work in such rapid fashion did leave certain details unspecified, something that vexes music scholars to this day. The Dublin premier on April 13, 1742 was a huge success. Men were asked to come without swords and ladies without hoop skirts in order to save space for everyone. Handel’s original chorus had 16 men and 16 boys. The audience consisted of about 700 in all. Partly because Handel himself kept changing certain elements of the work to match the capabilities of his performers, and partly because the work lends itself to variation according to current fashion, later performances of the work utilized ever bigger and bigger orchestras and choruses. Some productions have had about as many people on stage as Handel had in his original audience. The meaning of Messiah can best be understood as a dramatic portrayal of the triumph of a good Messiah over persistent evil. The beginning expresses a longing for deliverance. Then when the chorus comes in with a triumphant “And the glory of the Lord shall be revealed,” everything sounds like good news. But the bass, with the words of Haggai and Malachi, pronounces judgment. “Thus saith the Lord... I will shake the heavens and the earth. Behold, he shall come, saith the Lord of hosts.” If this werent ominous enough, another bass solo continues plaintively with “But who may abide the day of his coming.” The foreboding begins to be dispelled, however, with the alto, “Behold, a Virgin Shall Conceive,” and the chorus “O Thou that Tellest Good tidings to Zion.” But just when we think things are going to be ok, Handel brings the bass in again, this time singing, “For behold, darkness shall cover the earth.” Fortunately, the chorus dispels all gloom by singing, “For unto us a child is born!” This is followed by the soprano singing about shepherds in the field and the angel of the Lord coming upon them. Then the Chorus responds by singing “Glory to God” and the Soprano returns in absolute fits of vocal ecstasy saying, “Rejoice greatly, O daughter of Zion!” Our drama today moves toward its conclusion with the bass, now sounding triumphant in “The Trumpet Shall Sound.” After that we will all sing the most famous, “Hallelujah” chorus. The drama is one of good news over bad. Fear of an angry God and impending doom is dispelled and conquered by a clear picture of a loving and triumphant Messiah.
Posted on: Mon, 02 Dec 2013 18:00:32 +0000
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