Messiah

NOTES by ARTHUR F. EDWARDS

MESSIAH George Frideric Handel (1685-1759) It was Handel's practice to compose during the summer months for the forthcoming season. On August 22, 1741 he began work on Messiah, a compilation of biblical texts largely taken from the Book of Common Prayer by one Charlesjennens (1700-1773). An incredible twenty-three days later, he completed the work. Early in November, Handel left for Ireland in response to an invitation from the Lor.d Lieutenant of Dublin and the governors of three charitable institutions. Messiah was presented at the end of a series of concerts, on April 13, 1742 in the Music Hall on Fishamble Street. Handel presented Messiah to his London audience on March 23, 1743. The performance was not a success, and the work was laid aside. However, in 1749, he gave a new organ to the Foundling Hospital in London and dedicated it on May 1, 1750 with a performance of Messiah. This time, it was a complete triumph, and was repeated yearly until Handel's death, eight days after the 1759 performance. We are fortunate in having detailed records of the forces used for these Foundling Hospital performances in 1754 and 1758: twelve to fourteen violins (first and second), three to six violas, three cellos, two double basses, four oboes, four bassoons, two trumpets, timpani, organ and continuo (as well as two horns that probably doubled the trumpet parts an octave lower). This orchestra was used with a chorus of seventeen men and a variable number of boys. As Baroque performance practices were forgotten and Messiah became an institution, a process of gigantism set in. In 1784, the Handel Commemoration in Westminster Abbey presented Messiah with 525 performers, including 59 sopranos, 48 first violins, 6 flutes (???), 26 oboes and 12 trumpets. The erection of the Crystal Palace effectively removed any limitations of space, and by 1923 the performing forces achieved the impressive total of 4,000. Since such an immense musical mush is no longer possible or desirable, Dr. Wagner has decided to return to the original conception of the work. To the Baroque musician, it was taken for granted that the written notes would be augmented by trills and other ornaments, according to rules known by all. Since the modern performer is two centuries removed from this tradition, it is necessary to have the score and parts carefully ornamented according to Baroque practice. We are very fortunate in having obtained these materials from Basil Lam, whose scholarly edition is based on Handel's autograph, supplemented by the Tenbury-Dublin copy (which includes important additions in the composer's hand) and the Foundling score and parts, presented to the Hospital upon Handel's death. Since Handel was in the habit of revising, transposing, or substituting new versions of numbers for a particular artist, there is no such thing as a single definitive performance of Messiah. A selection must be made between versions. However, cuts have been avoided, since " Messiah was conceived and composed as a unity and as such it should be performed. There is nothing in it that can be omitted without damaging it and nothing that need be omitted on musical grounds." (Tobin: Handel's Messiah, p. 151) Among the most fortuitous variants are the settings of But who may abide and Thou art gone up on high written for the male alto, Guadagni, and later assigned to a female contralto by Handel. Other variants used at this performance are : Rejoice greatly in the original 12/8 version, rather than the more familiar 4/4 setting. He shall feed his flock in the familiar "duet" version, rather than the earlier setting for soprano only. How beautiful are the feet of them for duet and chorus (one of five possibilities), followed by Their sound is gone out in the arioso setting for solo tenor (one of two possibilities). The duet was conceived for two male altos; therefore that sonority is used rather than the makeshift version for soprano and alto. It should also be noted that the Piva (often pretentiously referred to as the Pastoral Symphony) in the original sonority regains the ltalianate evocation of a shepherd's bagpipes. Messiah, as conceived by Jennens and achieved by Handel, can best be appreciated by keeping in mind the quotation from the first Epistle to Timothy which Jennens sent to the composer: "And without Controversy, great is the Mystery of Godliness: God was manifested in the Flesh, justified by the Spirit, seen of Angels, preached among the Gentiles, believed on in the World, received up in Glory."