Messiah

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Messiah ( HWV 56, dt. The Messiah ) is an oratorio by Georg Friedrich Handel based on Bible texts in an English-language compilation by Charles Jennens for four solos ( SATB ), choir and orchestra . It sets the Christian doctrine of the Messiah to music based on the King James Bible and the Book of Common Prayer . It was composed in the summer of 1741 and premiered in Dublin on April 13, 1742 .

The work is still one of the most popular examples of sacred music in the Christian West. It encompasses Christian salvation history in three parts , beginning with the Old Testament prophecies of prophets such as Isaiah , the life of Jesus , who is seen as the fulfillment of prophecies, his birth , his death on the cross and his hoped-for second coming . Although life is portrayed in the New Testament , the oratorio text mostly draws on the Old Testament.

title

The title Messiah refers to an original Hebrew sovereign title from the Jewish Bible and means "the anointed" ( Hebrew משיח Maschiach ). Already in the Septuagint translation of the Hebrew Bible the word was translated predominantly with Christ .

Emergence

The idea for the Messiah came from Charles Jennens , who had previously written the libretto for the Saul oratorio and probably composed the text for Israel in Egypt from Bible words. In July 1741 he informed a friend that he would get Handel to set another collection of Bible passages to music and perform them during Holy Week .

Handel actually didn't want to do anything in the 1741/42 season. The previous season his last attempt to continue his Italian operas with Imeneo and Deidamia had failed . The occasion for the composition of a new oratorio was finally an invitation to a series of concerts in Dublin .

Handel wrote the music at his usual tempo and, as with other operas and oratorios, sometimes used earlier pieces, including his Italian duet cantatas. After starting on August 22, 1741, he completed the first part on August 28, the second on September 6, and the third on September 12. With the instrumentation, the score was completely finished on September 14th - i.e. after 24 days. Immediately afterwards he turned to another oratorio, Samson , and composed most of it, but revised it again substantially in the fall of 1742.

Autograph page of the final chorus.

In November 1741, Handel traveled to Dublin. On October 2, Mr Neale's Great Musick Hall opened there in Fishamble Street , where from December he was offering a subscription series in which L'Allegro, il Penseroso ed il Moderato and other oratorical works were performed. Before the first performance of the Messiah , he changed some passages and composed new numbers. Preparations were delayed because Jonathan Swift - Dean of St. Patrick's Cathedral  - initially refused to give his choir members permission to perform at the concert. The premiere on April 13th jul. / April 24, 1742 greg. was announced as a benefit concert for several charitable organizations:

"For the Relief of the Prisoners in the several Gaols, and for the Support of Mercer's Hospital in Stephen's Street and of the Charitable Infirmary on the Inns Quay, on Monday the 12th of April [ recte April 13], will be performed at the Musick Hall in Fishamble Street, Mr. Handel's new Grand Oratorio, call'd the MESSIAH, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some Concertoes on the Organ, by Mr Handell. "

After the Messiah's performances , Handel left Dublin in August and returned to London. In comparison with the enthusiastic reception in Dublin, the establishment of the Messiah in the London concert scene was more problematic. Already in Israel in Egypt there had been voices criticizing the reproduction of scriptures in a profane theater; in the case of the Messiah , quotations from the Gospels were also used for evening entertainment. Years later, the work was condemned as blasphemous .

Perhaps because of these reservations, the oratorio was announced for the first London performance on March 19, 1743 at the Covent Garden Theater as A New Sacred Oratorio , without mentioning the title Messiah . This was also maintained in 1745 and 1749. It was not until 1750 that an annual performance tradition began, with Handel now ending his oratorio seasons during Lent with a performance of the Messiah and after Easter gave another performance in the chapel of the Foundling Hospital , the proceeds of which went to the foundlings and orphans .

Handel himself conducted Messiah many times, often modifying it to adapt it to current needs. As a result, no version can be considered "authentic" and many other changes and arrangements were added in the centuries that followed - for example, The Messiah by Wolfgang Amadeus Mozart in 1789 on behalf of Gottfried van Swieten (German version by Christoph Daniel Ebeling ).

Performance practice

Handel always put Messiah on the game board during Lent or Easter, according to the content, which deals with the Passion and the Resurrection in the second part and his second coming and glorification in the third . Even during Handel's lifetime it became customary in Dublin to perform the work in the concert hall during Advent . This tradition soon spread, especially in English-speaking countries.

As a result, the oratorio was sometimes broken down into its parts: Christmas concerts often only consist of the first part and the Hallelujah , at Easter the parts that relate to the resurrection are played as church music. The soprano - Arie I knowthat my Redeemer liveth is common in Christian funerals sung.

The most famous movement of the oratorio is the Alleluia , which closes the second of the three parts. In many parts of the world it is customary for the audience to stand up for this part of the performance - legend has it that when the choir was first heard, King George II was so moved that he jumped up, prompting everyone else to follow suit consequences.

Every year on April 13th, the anniversary of the premiere, parts of the Messiah are performed in the open air near the former Great Music Hall on Fishamble Street in Dublin.

libretto

Besides Israel in Egypt, Messiah is Handel's only oratorio whose text consists entirely of Bible verses. The choice of verses was made by Charles Jennens, who was guided by the pericopes in the Book of Common Prayer of the Church of England .

Most of the text is taken from the books of the prophets and the psalms of the Old Testament in the text version of the King James Bible . In this way Jennens cleverly achieves that the Christ of the New Testament is identified as the Messiah through the prophecies of the Old Testament.

occupation

In the Messiah, Handel uses four solo voices ( soprano , alto , tenor , bass ) and a choir , which, with one exception, is four-part. However, it is documented that he almost always divided the solo parts among five singers and mostly divided the soprano arias. Eight singers were used for the performances in Dublin, including Christina Maria Avoglio (soprano) and Susanna Maria Cibber (alto), who later also belonged to Handel's ensemble in London. The solo soprano and alto parts were predominantly occupied by women. The cast lists of 13 re-performances up to 1759 show only three cases in the soprano, in addition to women, in which boys were also used as soloists. The alto part was sung by castrati in three cases, never by boys, otherwise by women. Only for the world premiere are two countertenors documented as soloists in addition to the alto.

The orchestra in Handel's autograph is violin I / II, viola , cello , basso continuo , trumpet I / II, timpani . There are no other wind parts, possibly because Handel did not know at the time of the composition which instruments would be available to him in Dublin. What is certain, however, is that oboes, bassoons and horns were involved at least in the late London performances. A statement from 1754 shows that 14 violins, 6 violas, 3 cellos, 2 basses, 4 oboes, 4 bassoons, 2 horns, 2 trumpets and 2 timpani were used for this performance for the Foundling Hospital. The choir consisted of around 20 singers, the soprano being made up of boys from the Chapel Royal and the alto with countertenors . In addition, the soloists sang the choir parts. At the Dublin premiere, the choir was slightly larger and consisted of 16 boys (soprano) and 16 men for the remaining three voices.

Structure of the work

It should be noted that to this day different versions of the oratorio are made which go back to Handel's repeated revisions. The sentence numbers are reproduced below in accordance with the Halle Handel Edition .

No. title German text version by Christoph Daniel Ebeling Form / occupation Text basis Audio
part One [Promise and Birth of the Savior ]
1. Sinfonia Sinfonia (Orchestral prelude in the form of a French overture )
2. Comfort ye my people Comfort Zion! Accompagnato (tenor) Isa 40 : 1-3  KJV
3. Ev'ry valley shall be exalted All valley makes high and sublime Aria (tenor) Isa 40.4  KJV
4th And the glory, the glory of the Lord For the glory of the Lord God Choir Isa 40.5  KJV
5. Thus saith the Lord So says the Lord Accompagnato (bass) Hag 2,6-7  KJV ; Times 3.1  KJV
6th But who may abide Yet who can endure the day of his arrival Aria (alto) Times 3.2  KJV
7th And He shall purify And he will cleanse the Levi children Choir Times 3.3  KJV
Behold, a virgin shall conceive Because look! A virgin becomes pregnant Recitative (alto) Isa 7.14  KJV ; Mt 1.23  KJV
8th. O thou that tellest O you, the bliss proclaimed in Zion Aria (alto) and choir Isa 40.9  KJV ; 60.1 KJV
9. For behold, darkness shall cover the earth Look at! Night covers the ground Accompagnato (bass) Isa 60 : 2-3  KJV
10. The people that walked in darkness The people who walk in the dark Aria (bass) Isa 9.2  KJV
11. For unto us a child is born A child is born to us for salvation Choir Isa 9,6  KJV
12. Pifa Pastoral music ( Pastoral symphony )
There were shepherds There were shepherds together in the field Recitative (soprano) Lk 2.8  KJV
13. And lo, the angel of the Lord And see! The angel of the Lord came to them Accompagnato (soprano) Lk 2.9  KJV
And the angel said unto them And the angel spoke to them Recitative (soprano) Lk 2.10-11  KJV
14th And suddenly there was with the angel And immediately there was with the angel Accompagnato (soprano) Lk 2.13  KJV
15th Glory to God in the highest Glory to you God on high Choir Lk 2.14  KJV
16. Rejoice greatly, O daughter of Zion Wake up to songs of bliss Aria (soprano) Sach 9,9-10  KJV
Then shall the eyes of the blind Then the blind man's eye opens Recitative (alto) Isa 35,5-6  KJV
17th He shall feed His flock He tends his flock Duet (alto, soprano) Isa 40.11  KJV , Mt 11.28-29  KJV
18th His yoke is easy His yoke is gentle Choir Mt 11.30  KJV
Part II [ Passion and Resurrection of Jesus]
19th Behold the Lamb of God Come here and see the lamb! Choir Joh 1.29  KJV
20th Hey was despised He was spurned Aria (alto) Isa 53.3  KJV ; 50.6 KJV
21st Surely, He hath borne our griefs Verily, verily Choir Isa 53: 4-5  KJV
22nd And with His stripes we are healed We are healed through his wounds Choir Isa 53.5  KJV
23. All we like sheep Go like sheep Choir Isa 53.6  KJV
24. All they that see Him And everyone who see him Accompagnato (tenor) Ps 22.7  KJV
25th He trusted in God He trusted God Choir Ps 22.8  KJV
26th Thy rebuke hath broken His heart The shame breaks his heart Accompagnato (tenor) Ps 69.20  KJV
27. Behold, and see if there be any sorrow Look and see! Arioso (tenor) Klgl 1.12  KJV
28. He was cut off out of the land He is gone from the land of the living Accompagnato (tenor) Isa 53.8  KJV
29 But you didst not leave But you did not leave him in the grave Aria (tenor) Ps 16.10  KJV
30th Lift up your heads Open the gate Choir Ps 24.7-10  KJV
Unto which of the angels To which of the angels did he ever say Recitative (tenor) Heb 1.5  KJV
31. Let all the angels of God worship Him Let all the angels of the Lord praise him Choir Heb 1.6  KJV
32. You art gone up on high You went up Aria (alto) Ps 68.18  KJV
33. The Lord gave the word The Lord gave the floor Choir Ps 68.11  KJV
34. How beautiful are the feet How lovely is the messenger's step! Duet (alto I, II) and choir Isa 52.7  KJV ; Rom 10.15  KJV
34a. How beautiful are the feet How lovely is the messenger's step! Aria (soprano)
35. Their sound is gone out Their sound went out Arioso (tenor) Rom 10.18  KJV ; Ps 19.4  KJV
35a. Their sound is gone out Their sound went out Choir
36. Why do the nations so furiously rage together? Why are the heathen aflame? Aria (bass) Ps 2,1-2  KJV
37. Let us break their bonds asunder Break all the chains in two Choir Ps 2,3  KJV
He that dwelleth in heaven That one lives in heaven Recitative (tenor) Ps 2.4  KJV
38. Thou shalt break them You smash them with the iron scepter Aria (tenor) Ps 2.9  KJV
39. Hallelujah! Alleluia! Choir Rev 19.6.16  KJV , 11.15 KJV
Part III [Salvation]
40. I know that my Redeemer liveth I know my Savior is alive Aria (soprano) Job 19.25-26  KJV , 1 Cor 15.20  KJV
41. Since by man came death Like death through one Choir 1 Cor 15: 21-22  KJV
42. Behold, I tell you a mystery Take note! Accompagnato (bass) 1 Cor 15.51-52  KJV
43. The trumpet shall sound It sounds the trumpet Aria (bass) 1 Cor 15.52-53  KJV
Then shall be brought to pass Then it is fulfilled Recitative (alto) 1 Cor 15.54  KJV
44. O death, where is thy sting? O death, where is your arrow Duet (alto, tenor) 1 Cor 15.55–56  KJV
45. But thanks be to God But thanks be to God Choir 1 Cor 15.57  KJV
46. If God be for us When God is for us Aria (soprano) Rom. 8.31  KJV ; 8.33-34 KJV
47. Worthy is the Lamb / Amen Worthy is the Lamb / Amen Choir Rev 5 : 12-14  KJV
attachment [alternative versions]
6a. But who may abide Yet who can endure the day of his arrival Aria (bass)
But who may abide Yet who can endure the day of his arrival Recitative (alto)
13a. But lo, the angel of the Lord And see! The angel of the Lord came to them Arioso (soprano)
16a. Rejoice greatly, O daughter of Zion Wake up to songs of bliss Aria (soprano)
Then shall the eyes of the blind Then the blind man's eye opens Recitative (soprano)
17a. He shall feed His flock He tends his flock Aria (soprano) Isa 40.11  KJV , Mt 11.28-29  KJV
32a. You art gone up on high You went up Aria (bass) Ps 68.18  KJV
32b. You art gone up on high You went up Aria (soprano)
34b. How beautiful are the feet How lovely is the messenger's step! Aria (alto)
Thou shalt break them You smash them with the iron scepter Recitative (tenor)

A complete performance lasts roughly between two and two and a half hours , depending on the underlying version of the musical text and the conductor's interpretation of the interpretation (see historical performance practice ), and up to three hours in older recordings. Often the last arias and duets (apart from the final chorus) are left out.

literature

  • Donald Burrows: Commerce: Messiah . Cambridge Music Handbooks. Cambridge University Press, New York 1991, ISBN 0-521-37620-3 .
  • Tassilo Johannes Erhardt: Handel's Messiah. Text, music, theology . Comes, Bad Reichenhall 2007, ISBN 978-3-88820-500-2 .
  • Klaus Miehling: Handel's Messiah on sound carriers: versions, performance practice . In: Göttinger Handel Contributions , VII. Vandenhoeck & Ruprecht, Göttingen 1998, pp. 267–294, ISBN 978-3-525-27816-1 .
  • Andreas Waczkat: Georg Friedrich Handel. The Messiah . Bärenreiter, Kassel 2008, ISBN 978-3-7618-2107-7 .
  • Stefan Zweig: Great moments of mankind . In it: "Georg Friedrich Handel's resurrection - August 21, 1741" (The origin of the oratorio Messiah ). 50th edition. Fischer, Frankfurt am Main 2006, ISBN 978-3-596-20595-0 .

Web links

Commons : Messiah  - album with pictures, videos and audio files
Wikisource: Messiah (oratorio)  - Sources and full texts (English)

References and comments

  1. In Great Britain the audience often sings along with the Hallelujah. In so-called scratch performances , it even sings along with the entire choir parts. This corresponds to Friedrich Schleiermacher's romantic view of religion , in whose Christmas party of 1806 it was stated: “That is why both must hold on tightly to one another, Christianity and music, because both transfigure and elevate one another. As Jesus was received by the choir of angels, so we accompany him with tones and singing until the great Hallelujah of the Ascension; and music like Handel's 'Messiah' is to me, as it were, a compendious proclamation of the whole of Christianity. "
  2. Neal's New Musick Hall, Fishamble Street, Dublin on ArthurLloyd.co.uk
  3. Fishamble Street echoes again to Handel's 'Messiah' , The Irish Times , April 14, 2010
  4. ^ Fintan O'Toole: Traces in Dublin: The premiere of Handel's "Messiah" , www.goethe.de