Handel spent most of his life in Hanoverian London. Like Bach he was a German Lutheran, but his early career took him to Rome, where he wrote Italian cantatas and two Oratorios for Corelli’s patron Cardinal Ottobone. He brought with him elements of the French style, but also soaked up the Roman: imagine the impact Bernini’s statue The Ecstasy of St Teresa – theatrical, sensually charged – must have had on the young Sassone. https://en.wikipedia.org/wiki/Ecstasy_of_Saint_Teresa Like Bach, Handel was accused of introducing theatrical elements into scared music. Certainly when he came to write The Messiah his audience would have recognised in O Death Where is thy sting not only a rhetorical question, but an Italian love duet in the tradition of Monteverdi’s Pur ti Miro from Poppea. It had been with Italian opera that Handel caused a sensation when he moved to London in 1710, presenting 35 operas over the next three decades. Gay’s Beggar’s Opera (1728) satirised the conventions of the Italian opera bandwagon, perhaps even hastening its demise. When opera’s commercial momentum eventually ran out, Handel was already shifting his focus, rediscovering Roman oratorio, but adding elements from English Masque and the Anglican church anthem. He wrote his last opera Deidamia in 1741, and The Messiah (with expensive ticket prices) was the first major work to follow.
The first performance was given in Dublin, the city’s two main (all-male) choral foundations supplying the singers, apart from the female soloists. The orchestra was led by Handel’s friend Dubourg. In Rome, the Pope ‘issued an admonishment’ because a woman had appeared singing in La Resurrezione; at the Dublin premiere of The Messiah, however, one clergyman was so overcome by Mrs. Susanna Cibber’s rendering of He was despised that he leapt to his feet and cried: “Woman, for this be all thy sins forgiven thee!”
Charles Jennens’ text was taken from the King James Bible, and the Book of Common Prayer. His plan follows the liturgical year: Part I corresponding with Advent, Christmas, and the life of Jesus; Part II with Lent, Easter, the Ascension, and Pentecost; and Part III with the end of the church year, and the end of time. Running through the text is the theme of Old Testament prophecy being fulfilled. It falls into “scenes” which Handel uses to build tension across the whole work, but not as drama – there is no dialogue between characters, the story is told but obliquely. As Jens Peter Larsen puts it: “not scenes from the life of Jesus linked together to form a dramatic whole” but “the mighty drama of human redemption”
Handel’s oratorios are devotional works intended for performance in theatres during Lent. Some have called them sacred dramas. Indeed The Messiah is full of vivid, even dramatic depictions: the violins scourge in He gave his Back to the Smiters, and rage Like a Refiner’s Fire. The voice is left unaccompanied at crucial momentsof He was Despised, suggesting Christ’s abandonment. The People that Walked in Darkness have an extraordinarily jagged, directionless unison line, while in Ev’ry Valley the tenor line reflects the geographic contours of the text. William Crotch (the first Principal of the Royal Academy of Music) saw All we like Sheep as “the thoughtless dispersion and careless wandering of silly sheep, each seeking pleasure its own way”. But a purely dramatic focus misses the point. For Handel’s rhetorically educated listeners, one word was crucial: Sublime. His aim was to inspire devotion and awe rather than entertain. Schumann’s friend CJ Becker later compared Gothic architecture with the great polyphonic masterpieces of the Baroque. Strasburg Minster he wrote, “like everything sublime and magnificent, excites a turmoil of emotions that threatens to overwhelm clear thought.” As one of Handel’s contemporaries put it: “in his sublime strokes, of which he has many, he acts as powerfully on the most knowing as upon the ignorant.” Painter Joshua Reynolds categorised art into The Sublime and The Ornamental. William Crotch, like Edmund Burke, distinguished further between the sublime and the merely beautiful: “In Handel’s Hallelujah Chorus, the notes of the words ‘The Kingdoms of this world’, when performed soft, are beautiful; but when repeated loud, and with the full band, are sublime”.
Jennens’ text had rhetoric – oratory, the art of persuasion, at its core. The Sublime was at the heart of literary appreciation of the Bible, where “Eloquence sits beside the Throne of Truth” as Robert Boyle, librettist of Theodora put it. Music’s power to persuade (going back to Monteverdi’s Orfeo) saw musical equivalents of the devices used by orators. The alternation of high and low groups in Lift up your heads – Who is the King of glory?; the repetition of the rhythmic motive in Hallelujah; the counter-intuitive use of minor keys for ‘happy’ words – How Beautiful are the Feet, Thou art gone up on high, If God be for us and vice versa in He was Despised. The fugue of He Trusted in God is surely the most effective imitation of mockery in music. Thy Rebuke appears to be a simple accompanied recit, yet it contains the chromatic sophistication that inspired Chaos from Haydn’s Creation. Grand gestures we tend to see as Handelian, such as the interrogatio pause near the end of choruses, the juxtaposition of slow chromatic opening, with jubilant Allegro (Since by man came Death) – all show an ideal stylistic marriage of text and music. Hallelujah is a perfect example of the music fitting the natural prosody of the English text. However, like George I, Handel never really mastered English, perhaps the reason for stressing Incorruptible in The Trumpet Shall Sound.
The sublime power of Handel’s rhetoric was equally felt by the next generation. Mozart was reported saying that “Handel knows better than any of us what will make an effect; when he chooses he strikes like a thunderbolt”. To Beethoven he was “the master of us all… the greatest composer that ever lived. I would uncover my head and kneel before his tomb….. Go to him to learn how to achieve great effects, by such simple means.” It had been the Dutch diplomat Gottried van Swieten who single-handedly introduced the out-of-fashion music of Bach and Handel to Haydn, Mozart and Beethoven. The connections are endless: count the times Handel’s And with his Stripes theme appears in Mozart and Beethoven! Handel uses the Lutheran chorale melody Wachet Auf for the words May the King Live Forever – which went on to become Beethoven’s Fidelio motive. Van Swieten commissioned Mozart’s arrangement of The Messiah and it was his idea that the words “Let there be light” appear only once in Haydn’s Creation – a Handelian gesture which became an iconic symbol of the sublime. Beethoven quoted Kant’s definition of The Sublime in one of his Conversation books: “[Two things fill the mind with ever new and increasing admiration and awe, the more often and the more steadily we contemplate them:] the starry heavens above me, and the moral law within me.”
It is impossible to imagine Haydn’s Creation without The Messiah, but equally Beethoven’s Missa Solemnis, Mendelssohn’s Elijah, perhaps even Brahms’ Requiem. Ithas a universal appeal – from Mozart’s arrangement, to funk and disco versions. In Britain, the tradition of enormous choral societies made the piece, in Sir Thomas Beecham’s words, “the national medium of musical utterance”. No doubt approving of this, Crotch quotes Milton:
The multitude of angels, with a shout
Loud as from numbers without number, sweet
As from blest voices, uttering joy, heaven rung
With jubilee, and loud hosannas fill’d
The heavenly regions.
Small wonder then that performances given by “numbers without number” became the norm. In the 1870’s, lamenting the “stale wonderment” of such spectacles, George Bernard Shaw wrote with uncanny foresight: “Why, instead of wasting huge sums on the multitudinous dullness of a Handel Festival does not somebody set up a thoroughly rehearsed and exhaustively studied performance of the Messiah in St James’s Hall with a chorus of twenty capable artists? Most of us would be glad to hear the work seriously performed once before we die.” Nowadays such performances are the norm, but it was the SCO’s Sir Charles Mackerras who answered Shaw’s request with his 1967 recording using small forces, brisk tempi, and vocal ornamentation. It was another 12 years before the late Christopher Hogwood’s groundbreaking recording.