Program Notes
Handel's Messiah is, first and foremost, an "oratorio", a kind of opera
without the stage-set or the actions of the characters. Oratorios were first performed in
church oratories, and the story-lines were Biblical in origin; they consisted of a
narrative (told in recitative), followed by arias and choruses which "answered"
or "reflected on" the story being told by the "narrator". True to that
form, Messiah tells the story of the coming of Christ, His life, His death, His
resurrection, and the promise to His believers of "life everlasting".
After the Overture, Part One begins with a tenor "narrator" declaiming on the
subject of Jerusalem: "... her warfare is accomplished . . .her iniquity is pardoned
. . .", and a ". . . highway for our God . . ." is to be prepared. This is
followed by the aria, "Every Valley Shall Be Exalted", and then by the chorus'
declaration that the "…glory of the Lord shall be revealed. . .". This same
pattern of recitative plot-telling followed by reaction and reflection is carried on,
throughout. In his introductory note to the Peters edition of Messiah, Arnold Schering
offers the following comment:
Grand and jubilant choruses and lovely arias prepare for the coming of the Messiah [in
Part One]. . . Part Two is pervaded with the spirit of the Passion and Resurrection . .
.The Recitatives pertaining to the agony of Christ are couched in tones of deepest
compassion, a blend of sorrow and burning reproach . . .With the chorus "Lift Up Your
Heads", the scene changes. The Resurrection is accomplished . . .Everything that now
follows is the fruit of genius of the highest order, and one can readily believe in the
reality of Handel's vision of the Heavens in their glory . . .now begins the Hallelujah
chorus . . .the melody and rhythm, the variety of choral texture and the crystal-clear
form of the movement combine to produce a monumental effect which overpowers one anew at
each hearing. Part Three is concerned with death and the Last Judgment. . .The aria
"I know that my Redeemer liveth", with which it opens, shares with the
Hallelujah chorus the honour of immortality . . .due not only to its sublime melody, but
equally to the qualities of soul inherent in it - purity, innocence, faith and trust . .
.And when . . .the fanfare-like theme "Blessing and honour, glory and power"
begins, and when finally the whole volume of choral sound merges into the fugal Amen
chorus, then the listener, of whatever faith or philosophy of life, stands as it were
spellbound by a vision which leads us up to the loftiest heights . . .strengthens us and
raises us up above our selves.
The score of Messiah has seen many changes and alterations over the years, not the
least of which were Handel's own changes, whenever he wanted to adapt his score to
different voices or to different orchestral parts. The Novello and Co. edition of Messiah,
which Chorus Niagara is using for this concert, is a compilation of all the versions that
Handel himself is known to have used, and was edited by Watkins Shaw. In his work entitled
The Story of Handel's Messiah, Shaw points out that the original manuscript of the
oratorio, now in the British Museum, is a marvelous document to examine; it is complete
with blotches, changes, and even the odd mistake which call to mind Handel's impatience to
get his thoughts down in writing.
After directing several performances of Messiah, Handel left the score, a set of the
parts, and the "proprietary" or copyright property to the Foundling Hospital in
England, a charity that benefits orphaned children; it is known today as The Thomas Coram
Foundation.
Handel's Messiah continues to be the most popular of all Handel's oratorios, even
though its subject matter is sacred, and its format austerely non-theatrical. The initial
performance in Ireland was extremely successful, raising the amazingly large sum (for that
time) of 400 Pounds Sterling for charity. However, its premiere production in London
during Lent in 1743 did not garner quite as enthusiastic a reception; it was given in
Covent Garden theatre, and some, apparently, were not quite ready to accept sacred music
delivered in a secular venue. Be that as it may, subsequent years have proven its great
popularity, not only with English-speaking audiences but also with appreciative listeners
the world over.
- written between August 22nd and September 14th, 1741
- words by Charles Jennens, from the Holy Bible (King James version)
- first performed in Dublin in the New Music Hall, April 13, 1742
Mary Lou Eden |
