Professional Documents
Culture Documents
3 WRITING HISTORY
Synopsis
Writing history
Libretto
3.2
Composition
3
up to produce the nished work on 14 September. The
autograph scores 259 pages show some signs of haste
such as blots, scratchings-out, unlled bars and other
uncorrected errors, but according to the music scholar
Richard Luckett the number of errors is remarkably small
in a document of this length.[25]
3.2
Composition
4
4.1
The three charities that were to benet were prisoners debt relief, the Mercers Hospital, and the Charitable Inrmary.[38] In its report 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 or any other Kingdom.[42] Seven hundred people attended the premiere on 13 April.[43] So
that the largest possible audience could be admitted to
the concert, gentlemen were requested to remove their
swords, and ladies were asked not to wear hoops in their
dresses.[38] The performance earned unanimous praise
from the assembled press: Words are wanting to express the exquisite delight it aorded to the admiring
and crouded Audience.[43] A Dublin clergyman, Rev.
Delaney, was so overcome by Susanna Cibbers renderThe Great Music Hall in Fishamble Street, Dublin, where Mes- ing of He was despised that reportedly he leapt to
siah was rst performed
his feet and cried: Woman, for this be all thy sins
forgiven thee!"[44][n 3] The takings amounted to around
Handels decision to give a season of concerts in Dublin 400, providing about 127 to each of the three nomiin the winter of 174142 arose from an invitation from nated charities and securing the release of 142 indebted
the Duke of Devonshire, then serving as Lord Lieu- prisoners.[35][43]
tenant of Ireland.[34] A violinist friend of Handels,
Matthew Dubourg, was in Dublin as the Lord Lieutenants Handel remained in Dublin for four months after the prebandmaster; he would look after the tours orchestral miere. He organised a second performance of Messiah on
requirements.[35] Whether Handel originally intended to 3 June, which was announced as the last Performance of
perform Messiah in Dublin is uncertain; he did not in- Mr Handels during his Stay in this Kingdom. In this
form Jennens of any such plan, for the latter wrote to second Messiah, which was for Handels private nanHoldsworth on 2 December 1741: "... it was some morti- cial benet, Cibber reprised her role from the rst percation to me to hear that instead of performing Messiah formance, though[46]Avoglio may have been replaced by
details of other performers are not
here he has gone into Ireland with it.[36] After arriving a Mrs Maclaine;
[47]
recorded.
in Dublin on 18 November 1741, Handel arranged a subscription series of six concerts, to be held between December 1741 and February 1742 at the Great Music Hall,
4.2 London, 174359
Fishamble Street. These concerts were so popular that a
second series was quickly arranged; Messiah gured in The warm reception accorded to Messiah in Dublin was
neither series.[34]
not repeated in London when Handel introduced the work
In early March Handel began discussions with the appropriate committees for a charity concert, to be given
in April, at which he intended to present Messiah. He
sought and was given permission from St Patricks and
Christ Church cathedrals to use their choirs for this
5
overshadowed by views expressed in the press that the
works subject matter was too exalted to be performed
in a theatre, particularly by secular singer-actresses such
as Cibber and Clive. In an attempt to deect such sensibilities, in London Handel had avoided the name Messiah
and presented the work as the New Sacred Oratorio.[49]
As was his custom, Handel rearranged the music to suit
his singers. He wrote a new setting of And lo, the angel of the Lord for Clive, never used subsequently. He
added a tenor song for Beard: Their sound is gone out,
which had appeared in Jennenss original libretto but had
not been in the Dublin performances.[50]
The custom of standing for the Hallelujah chorus originates from a belief that, at the London premiere, King
George II did so, which would have obliged all to stand.
There is no convincing evidence that the king was present,
or that he attended any subsequent performance of Messiah; the rst reference to the practice of standing appears
in a letter dated 1756.[51][52][53]
music: Giulia Frasi and Caterina Galli. In the following year these were joined by the male alto Gaetano
Guadagni, for whom Handel composed new versions
of But who may abide and Thou art gone up on
high. The year 1750 also saw the institution of the
annual charity performances of Messiah at Londons
Foundling Hospital, which continued until Handels death
and beyond.[56] The 1754 performance at the hospital is
the rst for which full details of the orchestral and vocal forces survive. The orchestra included fteen violins, ve violas, three cellos, two double-basses, four bassoons, four oboes, two trumpets, two horns and drums. In
the chorus of nineteen were six trebles from the Chapel
Royal; the remainder, all men, were altos, tenors and
basses. Frasi, Galli and Beard led the ve soloists, who
were required to assist the chorus.[57][n 4] For this performance the transposed Guadagni arias were restored to
the soprano voice.[59] By 1754 Handel was severely aficted by the onset of blindness, and in 1755 he turned
over the direction of the Messiah hospital performance to
his pupil, J.C. Smith.[60] He apparently resumed his duties
in 1757 and may have continued thereafter.[61] The nal
performance of the work at which Handel was present
was at Covent Garden on 6 April 1759, eight days before
his death.[60]
Performers.[68]
In continental Europe, performances of Messiah were departing from Handels practices in a dierent way: his
score was being drastically reorchestrated to suit contemporary tastes. In 1786, Johann Adam Hiller presented Messiah with updated scoring in Berlin Cathedral.[69] In 1788 Hiller presented a performance of his
revision with a choir of 259 and an orchestra of 87
strings, 10 bassoons, 11 oboes, 8 utes, 8 horns, 4 clarinets, 4 trombones, 7 trumpets, timpani, harpsichord and
organ.[69] In 1789, Mozart was commissioned by Baron
Gottfried van Swieten and the Gesellschaft der Associierten to re-orchestrate several works by Handel, including Messiah.[70][n 5] Writing for a small-scale performance, he eliminated the organ continuo, added parts for
utes, clarinets, trombones and horns, recomposed some
passages and rearranged others. The performance took
place on 6 March 1789 in the rooms of Count Johann
Esterhzy, with four soloists and a choir of 12.[72][n 6]
Mozarts arrangement, with minor amendments from
Hiller, was published in 1803, after his death.[n 7] The
musical scholar Moritz Hauptmann described the Mozart
additions as "stucco ornaments on a marble temple.[77]
Elements of this version later became familiar to British
5.3
ance in Britain. However, after the heyday of Victorian ful reproduction of Handels original score would not be
choral societies, he noted a rapid and violent reaction practical:
against monumental performances ... an appeal from several quarters that Handel should be played and heard as
[T]he attempts made from time to time by
in the days between 1700 and 1750.[85] At the end of
our musical societies to give Handels music as
the century, Sir Frederick Bridge and T. W. Bourne piohe meant it to be given must, however earnest
neered revivals of Messiah in Handels orchestration, and
the intention, and however careful the prepaBournes work was the basis for further scholarly versions
ration, be foredoomed to failure from the very
in the early 20th century.[86]
nature of the case. With our large choral societies, additional accompaniments of some kind
are a necessity for an eective performance;
and the question is not so much whether, as
5.3 20th century and beyond
how they are to be written.[75]
Prout continued the practice of adding utes, clarinets
and trombones to Handels orchestration, but he restored
Handels high trumpet parts, which Mozart had omitted (evidently because playing them was a lost art by
1789).[75] There was little dissent from Prouts approach,
and when Chrysanders scholarly edition was published
in the same year, it was received respectfully as a volume for the study rather than a performing edition, being
an edited reproduction of various of Handels manuscript
versions.[89] An authentic performance was thought impossible: The Musical Times correspondent wrote, Handels orchestral instruments were all (excepting the trumpet) of a coarser quality than those at present in use; his
harpsichords are gone for ever ... the places in which he
performed the 'Messiah' were mere drawing-rooms when
compared with the Albert Hall, the Queens Hall and the
Crystal Palace.[89] In Australia, The Register protested at
the prospect of performances by trumpery little church
choirs of 20 voices or so.[90]
Although the huge-scale oratorio tradition was perpetuated by such large ensembles as the Royal Choral Society, the Mormon Tabernacle Choir and the Hudderseld
Choral Society in the 20th century,[87] there were increasing calls for performances more faithful to Handels conception. At the turn of the century, The Musical Times
wrote of the additional accompaniments of Mozart and
others, Is it not time that some of these 'hangers on'
of Handels score were sent about their business?"[88]
In 1902, the musicologist Ebenezer Prout produced a
new edition of the score, working from Handels original manuscripts rather than from corrupt printed versions
with errors accumulated from one edition to another.[n 8]
However, Prout started from the assumption that a faith-
6 MUSIC
latter type, and the large scale Messiah came to seem old- 6.1
fashioned.[97]
The numbering of the movements shown here is in accordance with the Novello vocal score (1959), edited
by Watkins Shaw, which adapts the numbering earlier
devised by Ebenezer Prout. Other editions count the
movements slightly dierently; the Brenreiter edition of
1965, for example, does not number all the recitatives
and runs from 1 to 47.[106] The division into parts and
scenes is based on the 1743 word-book prepared for
the rst London performance.[107] The scene headings
are given as Burrows summarised the scene headings by
Jennens.[16]
Music
Overview
6.4
Part II
cording to Luckett.[111]
Although Messiah is not in any particular key, Handels
tonal scheme has been summarised by the musicologist
Anthony Hicks as an aspiration towards D major, the
key musically associated with light and glory. As the
oratorio moves forward with various shifts in key to reect changes in mood, D major emerges at signicant
points, primarily the trumpet movements with their uplifting messages. It is the key in which the work reaches
its triumphant ending.[112] In the absence of a predominant key, other integrating elements have been proposed.
For example, the musicologist Rudolf Steglich has suggested that Handel used the device of the ascending
fourth" as a unifying motif; this device most noticeably
occurs in the rst two notes of I know that my Redeemer
liveth and on numerous other occasions. Nevertheless,
Luckett nds this thesis implausible, and asserts that the
unity of Messiah is a consequence of nothing more arcane than the quality of Handels attention to his text, and
the consistency of his musical imagination.[113] Allan
Kozinn, The New York Times music critic, nds a model
marriage of music and text ... From the gentle falling
melody assigned to the opening words (Comfort ye) to
the sheer ebullience of the Hallelujah chorus and the
ornate celebratory counterpoint that supports the closing
Amen, hardly a line of text goes by that Handel does
not amplify.[114]
6.3
Part I
9
in performance.[32] The group of four short recitatives
which follow it introduce the soprano soloistalthough
often the earlier aria But who may abide is sung by
the soprano in its transposed G minor form.[116] The nal
recitative of this section is in D major and heralds the afrmative chorus Glory to God. The remainder of Part I
is largely carried by the soprano in B at, in what Burrows
terms a rare instance of tonal stability.[117] The aria He
shall feed his ock underwent several transformations
by Handel, appearing at dierent times as a recitative, an
alto aria and a duet for alto and soprano before the original soprano version was restored in 1754.[40] The appropriateness of the Italian source material for the setting of
the solemn concluding chorus His yoke is easy has been
questioned by the music scholar Sedley Taylor, who calls
it a piece of word-painting ... grieviously out of place,
though he concedes that the four-part choral conclusion is
a stroke of genius that combines beauty with dignity.[118]
6.4 Part II
Main article: Messiah Part II
The second Part begins in G minor, a key which, in
Hogwoods phrase, brings a mood of tragic presentiment to the long sequence of Passion numbers which
follows.[44] The declamatory opening chorus Behold the
Lamb of God, in fugal form, is followed by the alto
solo He was despised in E at major, the longest single item in the oratorio, in which some phrases are sung
unaccompanied to emphasise Christs abandonment.[44]
Luckett records Burneys description of this number as
the highest idea of excellence in pathetic expression of
any English song.[119] The subsequent series of mainly
short choral movements cover Christs Passion, Crucixion, Death and Resurrection, at rst in F minor, with a
brief F major respite in All we like sheep. Here, Handels use of N, di voi non vo'darmi has Sedley Taylors
unqualied approval: "[Handel] bids the voices enter in
solemn canonical sequence, and his chorus ends with a
combination of grandeur and depth of feeling such as is
at the command of consummate genius only.[120]
The sense of desolation returns, in what Hogwood calls
the remote and barbarous key of B at minor, for the
tenor recitative All they that see him.[44][121] The sombre sequence nally ends with the Ascension chorus Lift
up your heads, which Handel initially divides between
two choral groups, the altos serving both as the bass line
to a soprano choir and the treble line to the tenors and
basses.[122] For the 1754 Foundling Hospital performance
Handel added two horns, which join in when the chorus
unites towards the end of the number.[44] After the celebratory tone of Christs reception into heaven, marked
by the choirs D major acclamation Let all the angels
of God worship him, the "Whitsun" section proceeds
through a series of contrasting moodsserene and pastoral in How beautiful are the feet, theatrically operatic
10
6.5
Part III
RECORDINGS
7 Recordings
Many early recordings of individual choruses and
arias from Messiah reect the performance styles then
fashionablelarge forces, slow tempi and liberal reorchestration. Typical examples are choruses conducted
by Sir Henry Wood, recorded in 1926 for Columbia
with the 3,500-strong choir and orchestra of the Crystal Palace Handel Festival, and a contemporary rival disc
from HMV featuring the Royal Choral Society under
Malcolm Sargent, recorded at the Royal Albert Hall.[130]
11
two new recordings were regarded as great advances in
scholarship and performance practice, conducted respectively by Colin Davis for Philips and Charles Mackerras for HMV. They inaugurated a new tradition of brisk,
small scale performances, with vocal embellishments by
the solo singers.[n 12] An important recording from 1965
conducted by Otto Klemperer is also available, featuring
superstar soloists Elisabeth Schwarzkopf, Nicolai Gedda,
and Jerome Hines. Among the last notable recordings
of older-style performances were Beechams nal, extravagantly reorchestrated version made for RCA Victor in 1959;[87] one conducted by Karl Richter for DG
in 1973, though it used authentic orchestration;[n 13] and
a third based on Prouts 1902 edition of the score, with a
325-voice choir and 90-piece orchestra conducted by Sir
David Willcocks in 1995.[135]
By 2006, much more was known about authentic performance, and many instrumentalists skilled in the period
style, and equipped with the right instruments were available. Edward Higginbottom produced a new recording,
based on the edition of 1751[139] (Naxos 8.570131). The
choir of New College Oxford (men and boys) provided
the chorus and soloists... bass, tenor, alto and treble. The
orchestra was the Academy of Ancient Music.
8 Editions
The rst published score of 1767, together with Handels documented adaptations and recompositions of various movements, has been the basis for many performing
versions since the composers lifetime. Modern performances which seek authenticity tend to be based on one
of three 20th-century performing editions.[106] These all
use dierent methods of numbering movements:
The Brenreiter Edition, edited by John Tobin, published in 1965, which forms the basis of the Messiah
numbering in Bernd Baselt's catalogue (HWV) of
Handels works, published in 1984.[106]
The Peters Edition, edited by Donald Burrows, vocal
score published 1972, which uses an adaptation of
the numbering devised by Kurt Soldan.[106]
The Oxford University Press edition by Cliord
Bartlett, 1998
The edition edited by Friedrich Chrysander and Max
Seiert for the Deutsche Hndel-Gesellschaft (Berlin,
1902) is not a general performing edition, but has been
used as a basis of scholarship and research.[106]
9 See also
12
10
References
[1] Also catalogued as HG xlv; and HHA i/17.Anthony Hicks
(2001). Handel, George Frideric. In Sadie, Stanley;
Tyrrell, John. The New Grove Dictionary of Music and
Musicians x (2 ed.). London: Macmillan. p. 785.
[2] Myers, Paul (Transcription of broadcast) (December
1999). Handels Messiah. Minnesota Public Radio. Retrieved 20 July 2011.
[3] British Citizen by Act of Parliament: George Frideric
Handel. Parliament.uk. 14 April 2009. Retrieved 13
April 2012.
[4] Luckett, p. 17 (see Sources section below)
[5] Lynam, Peter. Handel, George Frideric. Grove Music
Online. Retrieved 15 June 2011.(subscription required)
[6] Steen, p. 55
[7] Steen, pp. 5758
[8] Burrows (1991), p. 4
[9] Burrows (1991), p. 3
[10] Luckett, p. 30
[11] This recording was monophonic and issued on commercial CD by PRT in 1986; Scherchen re-recorded Messiah
in stereo in 1959 using Vienna forces; this was issued on
LP by Westminster and on commercial CD by Deutsche
Grammophon in 2001. Both recordings have appeared on
other labels in both LP and CD formats. A copyright-free
transfer of the 1954 version (digitized from original vinyl
discs by Nixa Records) is available on YouTube: part 1,
part 2, part 3.
[11] Luckett, p. 33
[12] Luckett, pp. 3841
[13] Burrows (1991), pp. 67
13
[25] Luckett, p. 86
[27] Shaw, p. 18
[28] Shaw, p. 13
[45] Kandell, Jonathan (December 2009). The Glorious History of Handels Messiah. Smithsonian magazine.
[46] Shaw, p. 30
[47] Luckett, p. 131
[48] Shaw, pp. 3134
[49] Burrows (1991), pp. 2427
[50] Burrows (1991), pp. 3031
[51] Luckett, p. 175
[52] Burrows (1991), pp. 2829
[53] Snow, A.C. (23 December 2012). Perched on the cusp
of the Christmas cli. News & Observer.
[75] Prout, Ebenezer (May 1902). Handels 'Messiah': Preface to the New Edition, I. The Musical Times 43 (711):
pp. 31113. JSTOR 3369304. (subscription required)
[76] Towe, Teri Noel (1996). George Frideric Handel Messiah Arranged by Mozart. Classical Net. Retrieved 11
June 2011.
[77] Cummings, William H. (10 May 1904). The Mutilation
of a Masterpiece. Proceedings of the Musical Association,
30th Session (19031904): pp. 11327. JSTOR 765308.
(subscription required)
[58] Hicks, p. 14
14
10
[83] Smither, Howard E. (August 1985). "'Messiah' and [101] Ross, Alex (21 December 1993). The Heavy Use (Good
Progress in Victorian England. Early Music 13 (3): pp.
and Bad) of Handels Enduring Messiah". The New York
33948. doi:10.1093/earlyj/13.3.339. JSTOR 3127559.
Times: p. C10.
(subscription required)
[102] Maddocks, Fiona (6 December 2009). Messiah; Falsta
From Glyndebourne. The Observer. and Bohlen, Celes[84] Laurence (Vol. 1), p, 95
tine (20 April 2011). Broadway in Paris? A Theaters
[85] Beecham, pp. 67
Big Experiment. The New York Times.
[86] Armstrong, Thomas (2 April 1943). Handels 'Messiah'". [103] Ashley, Tim (11 December 2003).
The Times: p. 5.
Guardian.
Messiah.
The
[87] Blyth, Alan (December 2003). Handels Messiah Mu- [104] History. The Really Big Chorus. Retrieved 24 May
sic from Heaven. Gramophone: pp. 5260. (subscrip2010. and Do-It-Yourself Messiah 2011. International
tion required)
Music Foundation. Retrieved 24 May 2011.
[88] The Sheeld Musical Festival. The Musical Times 40 [105] Mackerras, Charles; Lam, Basil (December 1966). Mes(681): p. 738. November 1899. JSTOR 3367781. (subsiah: Editions and Performances. The Musical Times
scription required)
107 (1486): pp. 105657. doi:10.2307/952863. JSTOR
952863. (subscription required)
[89] Cummings, William H. (January 1903). The 'Messiah'". The Musical Times 44 (719): pp. 1618. [106] Burrows (1991), pp. ix and 86100
doi:10.2307/904855. JSTOR 904855. (subscription re[107] Burrows (1991), pp. 8384
quired)
[90] Handels Messiah. The Register (Adelaide, S.A.): p. 4. [108] Young, p. 63
17 December 1908.
[109] Young, p. 64
[91] Brug, Manuel (14 April 2009). Der 'Messias ist hier im[110] Luckett, p. 93
mer noch unterschtzt. Die Welt. (German text)
[111] Luckett, p. 87
[92] van der Straeten, E. (July 1922). The Handel Festival
at Halle. The Musical Times 63 (953): pp. 48789. [112] Hicks, pp. 1011
doi:10.2307/908856. JSTOR 908856. (subscription required)
[113] Luckett, pp. 8889
[93] Messiah (Handel)". The Gramophone: p. 21. January [114] Kozinn, Allan (24 December 1997). Messiah Mavens
1928. (subscription required)
Find that its Ambiguities Reward All Comers. The New
York Times: p. E10.
[94] Dickinson, A. E. F. (March 1935). The Revival of Handels 'Messiah'". The Musical Times 76 (1105): pp 217 [115] Grout & Palisca, p. 445
18. doi:10.2307/919222. JSTOR 919222. (subscription
[116] Burrows (1991), p. 87
required)
[95] The Three Choirs Festival. The Manchester Guardian: [117] Burrows (1991), p. 63
p. 7. 7 September 1935.
[118] Taylor, p. 41
[96] "'Messiah' in First Version Performance at St. Pauls.
[119] Luckett, p. 95
The Times: p. 9. 25 February 1950. and "'The Messiah'
in its Entirety A Rare Performance. The Times: p. 8. [120] Taylor, pp. 4243
20 March 1950.
[121] Burrows (1991), p. 64
[97] Larner, Gerald. Which Messiah?", The Guardian, 18
[122] Luckett, p. 97
December 1967, p. 5
[98] Scott, David. Shaw, Watkins. Grove Music Online. Ox- [123] Young, p. 42
ford Music Online. Retrieved 22 May 2011. (subscription
[124] Luckett, pp. 10204
required)
[99] Harold Watkins Shaw Obituary. The Times: p. 23. [125] Hogwood, pp. 2628
21 October 1996.
[126] Luckett, pp. 10406
[100] Dean, Winton.; Handel; Shaw, Watkins; Tobin, John;
[127] Burrows (1991), p. 99
Shaw, Watkins; Tobin, John (February 1967). Two New
'Messiah' Editions. The Musical Times 108 (1488): pp. [128] Luckett, p. 191
15758. doi:10.2307/953965. JSTOR 953965. (subscription required)
[129] Young, p. 45
15
[130] Klein, Herman (August 1926). Messiah. The Gramophone: p. 39. (subscription required)
[131] Porter, Andrew, in Sackville West, pp. 33745
[132] Sadie, Stanley (November 1966). Handel Messiah.
The Gramophone: p. 77. (subscription required)
[133] Fiske, Roger (March 1967). Handel Messiah. The
Gramophone: p. 66. (subscription required)
[134] Fiske, Roger (November 1973). Handel Messiah. The
Gramophone: p. 125. (subscription required)
[135] Messiah, liner notes. Provo, Utah: NightPro. 1995.
OCLC 34668016.
[136] Bartlett, Cliord, Notes to Chandos CD 0522(2) (1992)
[137] Heighes, Simon. Notes to Hyperion CD CDD 22019
(1997)
[138] Finch, Hilary (April 1993). Handel Messiah. The
Gramophone: p. 109. (subscription required)
[139] From CD packaging, Higginbotton/ New College/
Academy of Ancient Music, Naxos 8.570131
Robbins Landon, H. C. (1990). The Mozart compendium: a guide to Mozarts life and music. London: Thames & Hudson. ISBN 0-500-01481-7.
[142] Handel: Messiah. All recordings. Presto Classical. Retrieved 3 July 2011.
Shaw, Watkins (1963). The story of Handels Messiah. London: Novello. OCLC 1357436.
11
Sources
12 External links
For the full text, scriptural references and sound samples, see Messiah on Wikisource
Messiah (Handel): Free scores at the International
Music Score Library Project
Handels Messiah at the Center for Computer Assisted Research in the Humanities
16
Der Messias, ed. Wolfgang Amadeus Mozart, K.
572: Score and critical report (German) in the Neue
Mozart-Ausgabe
Hallelujah Chorus Flash Mob on YouTube
High Denition Quality Recording OGG AAC
12
EXTERNAL LINKS
17
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13.1
13.2
Images
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13.3
Content license