Messiah, an Oratorio, HWV 56
George Frideric Handel
(b. March 5, 1685 in Halle, Brandenburg-Prussia; d. April 14, 1759 in Westminster, England)
The Miracle of the "Great Work" Handel wrote out the massive score of Messiah in a brief 24 days. While this often strikes modern audiences as a superhuman feat, Handel was famous for his speed. The true miracle of Messiah lies not in the speed of the pen, but in the collaboration between the composer and his librettist, Charles Jennens.
Jennens, a wealthy man of leisure with no public career, was a complicated figure who was nevertheless highly literate in both music and the Bible. He compiled a libretto that was unique for its time. Unlike other oratorios that retold specific biblical stories with distinct characters playing roles (like Esther or Samson), Messiah has no characters and no plot in the traditional sense. It is a theological meditation—a "Scriptural Collection"—that covers the entire liturgical year.
Jennens divided the work into three massive acts, or "Parts," a structure that guides the listener even when the work is performed with abridgments (as is the custom in almost every modern performance).
• Part I: In Jennens’ words, this details “The prophecy and realisation of God's plan to redeem mankind by the coming of the Messiah.” It moves from Isaiah’s foretelling of Jesus to the Nativity and his ministry on earth.
• Part II: This covers the Passion, Easter, the Ascension, and Pentecost. It concludes with the "Hallelujah" chorus, representing the triumph of the Almighty.
• Part III: Jennens described this final section as “A Hymn of Thanksgiving for the final overthrow of Death,” utilizing text from Revelation and Pauline epistles regarding the Day of Judgment.
A Legacy Built on Charity While Messiah is now a concert staple, its initial enduring success was built on philanthropy. Handel directed that proceeds from early performances go to charity. The 1742 premiere in Dublin supported several causes, including a debtor’s prison and Mercer’s Hospital. Later, in London, Handel developed a close relationship with the Foundling Hospital, an institution for abandoned children.
Starting in 1750, Handel performed Messiah annually in the Foundling Hospital chapel. These performances raised thousands of pounds (a fortune in the 18th century) and firmly established the work in the British consciousness. While Handel had suffered from the indifferent reception of his Italian operas, his association with these moral causes rehabilitated his public image.
Christmas or Easter? Given that Messiah spans the life, death, and resurrection of Christ, why do we associate it so strongly with Christmas? It debuted in Dublin during the Easter season, and for decades it was considered an Easter offering. However, in Victorian times, the tradition shifted.
Part of this stems from the early controversy of performing sacred music in secular theaters. When Messiah was first performed in London theaters, many were scandalized. Over time, as choral societies grew and "festive" performances became the norm, the work found a natural home in the Advent season, likely because the joyous "Hallelujah" and the Part I Nativity scenes resonate so strongly with the holiday spirit.
The "Standing" Tradition One aspect of Messiah invariably surprises first-time attendees: the audience will stand, if they are able, when the "Hallelujah" chorus begins. Why?
Legend has it that King George II stood up during the London premiere. No contemporaneous accounts record that he actually did so, making the story historically doubtful. However, if he did stand, it was likely due to one of three reasons:
1. Emotional Impact: He was simply moved by the music's grandeur.
2. Religious Protocol: The text "King of Kings and Lord of Lords" may have prompted the monarch to rise in deference to the Divine, just as subjects rise for a King.
3. Confusion: It is possible he thought the performance was over!
Regardless of the origin, the tradition persists as a communal gesture of respect for the work’s enduring power.
The Narrative Synopsis
Part I: The Prophecy and the Birth
• Scene 1, The Prophecy: The work opens with a purely instrumental Sinfonia, setting a solemn tone that is immediately lifted by the Tenor’s call to "Comfort ye my people." The chorus soon joins to proclaim the "Glory of the Lord," establishing the massive scale of the salvation to come.
• Scene 2 & 3, Judgment and Incarnation: The Bass soloist shifts the mood to the trembling awe of judgment ("Thus saith the Lord") before the focus turns to the mystery of the Virgin Birth. The chorus "For unto us a child is born" provides the jubilant climax of this section, celebrating the arrival of the Prince of Peace.
• Scene 4 & 5, The Shepherds and Miracles: The narrative moves to the fields of Bethlehem where the soprano recounts the angel's visit, leading to the angelic chorus "Glory to God." Part I concludes with two contrasting visions of the Messiah: the virtuoso joy of "Rejoice greatly," followed by the gentle, pastoral assurance of "He shall feed His flock."
Part II: The Passion and Triumph
• Scene 1, The Suffering Servant: The mood turns dark as the music contemplates the Passion. This section features a sequence of dramatic choruses—"Behold the Lamb of God" and "Surely He hath borne our griefs"—which depict the physical and spiritual weight of the crucifixion. It concludes with "All we like sheep," using wandering musical lines to depict humanity straying from the path.
• Scene 6 & 7, The Victory: The music leaps forward to the world's rejection of the Gospel. The Tenor soloist vividly describes the breaking of God's enemies ("Thou shalt break them with a rod of iron"), launching directly into the ultimate triumph: the "Hallelujah" chorus, celebrating the reign of the Lord God Omnipotent.
Part III: The Promise of Eternal Life
• Scene 1 & 2, The Resurrection: The final act opens with a serene assurance of faith in the soprano aria "I know that my Redeemer liveth," followed by the choral affirmation "Since by man came death." The Bass soloist returns for the dramatic "The trumpet shall sound," where the vocal line mimics the instrument to announce the final judgment.
• Scene 4, The Acclamation: The oratorio concludes with the colossal "Worthy is the Lamb," a choral anthem of praise that flows into the final, extended "Amen."
Historical Curiosities
Because Messiah has been performed continuously since 1742, it has accumulated a wealth of history.
• Mozart’s Version: In 1789, Wolfgang Amadeus Mozart re-orchestrated Messiah (K. 572) to suit Viennese tastes, adding woodwinds and altering harmonies. While rarely performed today, it was instrumental in popularizing the work in German-speaking lands.
• The Name: The word "Messiah" comes from the Hebrew Mashiach (anointed one), akin to the Greek Christos. The title was likely chosen to emphasize the Old Testament prophecies, bridging Jewish and Christian traditions.
• The Descent into Hell: In Part II, the text "But thou didst not leave his soul in hell" is a direct reference to the Apostles' Creed. This line has historically caused theological friction in some denominations (such as Methodism), leading to it being occasionally omitted in liturgical settings, though it remains in Handel’s score.
• The "Pifa": The instrumental "Pastoral Symphony" in Part I is often referred to as the "Pifa." This nickname refers to the pifferari, the Calabrian shepherds who played bagpipes (piffero) in Rome during Christmas. Handel’s drone-like strings mimic the sound of these rustic instruments.
• The Grumpy Dean: For the Dublin premiere, Handel needed the services of the Cathedral choirs. This required permission from the Dean of St. Patrick's Cathedral—the satirist and author of Gulliver's Travels, Jonathan Swift. Swift initially refused, promising to "punish such vicars as shall ever appear there," but eventually relented, allowing the premiere to proceed with a full chorus.
• Where is the Drama? Contemporary London audiences were initially confused by Messiah because it lacked the "entertainment" value of Handel’s other oratorios. Accustomed to works like Saul or Belshazzar, which featured distinct characters and dramatic plot twists, they found the contemplative, theological nature of Messiah perplexing until they adjusted to its unique genre.
Libretto
These are the biblical citations included in today's performance.
PART I
Isaiah 40:1–5 Comfort ye, comfort ye my people... The voice of him that crieth in the wilderness... Every valley shall be exalted... And the glory of the Lord shall be revealed.
Haggai 2:6–7; Malachi 3:1–2 Thus saith the Lord of Hosts... And I will shake all nations... The Lord, whom ye seek, shall suddenly come to His temple... But who may abide the day of His coming?
Isaiah 7:14; 40:9 Behold, a virgin shall conceive... O thou that tellest good tidings to Zion.
Isaiah 9:6 For unto us a child is born, unto us a Son is given... and His name shall be called Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace.
Luke 2:8–11, 13–14 There were shepherds abiding in the field... And lo, the angel of the Lord came upon them... For unto you is born this day... Glory to God in the highest.
Zechariah 9:9–10 Rejoice greatly, O daughter of Zion! ... He is the righteous Saviour, and He shall speak peace unto the heathen.
Isaiah 35:5–6 Then shall the eyes of the blind be opened, and the ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing.
Isaiah 40:11 He shall feed His flock like a shepherd, and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young.
Matthew 11:28–29 Come unto Him, all ye that labor, come unto Him ye that are heavy laden, and He will give you rest. Take His yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls.
PART II
John 1:29 Behold the Lamb of God that taketh away the sin of the world.
Isaiah 53:4–6 Surely He hath borne our griefs, and carried our sorrows. He was wounded for our transgressions, He was bruised for our iniquities, the chastisement of our peace was upon Him. And with His stripes we are healed. All we like sheep have gone astray; we have turned every one to his own way, and the Lord hath laid on Him the iniquity of us all.
Psalm 2:4 He that dwelleth in Heaven shall laugh them to scorn; the Lord shall have them in derision.
Psalm 2:9 Thou shalt break them with a rod of iron; Thou shalt dash them in pieces like a potter’s vessel.
Revelation 19:6, 16; 11:15 Hallelujah! for the Lord God Omnipotent reigneth... King of Kings, and Lord of Lords... The kingdom of this world is become the kingdom of our Lord.
PART III
Job 19:25–26 I know that my Redeemer liveth... and that He shall stand at the latter day upon the earth.
I Corinthians 15:21–22 Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.
I Corinthians 15:51–53 Behold, I tell you a mystery... The trumpet shall sound, and the dead shall be raised incorruptible.
Revelation 5:12–14 Worthy is the Lamb that was slain... Blessing and honor, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen.
Appendix: Scriptural texts used in the complete work but omitted from today's performance
PART I
Matthew 11:30 His yoke is easy, and His burthen is light.
PART II
Isaiah 53:3, 50:6 He was despised and rejected of men, a man of sorrows, and acquainted with grief. He gave His back to the smiters, and His cheeks to them that plucked off the hair: He hid not His face from shame and spitting.
Psalm 22:7 All they that see Him, laugh Him to scorn; they shoot out their lips, and shake their heads.
Psalm 22:8 He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him.
Psalm 69:20 Thy rebuke hath broken His heart; He is full of heaviness; He looked for some to have pity on Him, but there was no man, neither found He any to comfort Him.
Lamentations 1:12 Behold, and see if there be any sorrow like unto His sorrow.
Isaiah 53:8 He was cut off out of the land of the living: for the transgression of Thy people was He stricken.
Psalm 16:10 But Thou didst not leave His soul in hell, nor didst Thou suffer Thy Holy One to see corruption.
Psalm 24:7–10 Lift up your heads, O ye gates... and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts, He is the King of Glory.
Hebrews 1:5 Unto which of the angels said He at any time, Thou art My Son, this day have I begotten Thee?
Hebrews 1:6 Let all the angels of God worship Him.
Psalm 68:18 Thou art gone up on high, Thou hast led captivity captive, and received gifts for men; yea, even for Thine enemies, that the Lord God might dwell among them.
Psalm 68:11 The Lord gave the word; great was the company of the preachers.
Isaiah 52:7; Romans 10:15 How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things!
Romans 10:18; Psalm 19:4 Their sound is gone out into all lands, and their words unto the ends of the world.
Psalm 2:1–3 Why do the nations so furiously rage together? ... The kings of the earth rise up... Let us break their bonds asunder.
PART III
I Corinthians 15:54 Then shall be brought to pass the saying that is written, Death is swallowed up in victory.
I Corinthians 15:55–56 O death, where is thy sting? O grave, where is thy victory? The sting of death is sin, and the strength of sin is the law.
I Corinthians 15:57 But thanks be to God, Who giveth us the victory through our Lord Jesus Christ.
Romans 8:31, 33-34 If God be for us, who can be against us? Who shall lay anything to the charge of God’s elect? It is God that justifieth. Who is he that condemneth? It is Christ that died... Who is at the right hand of God, Who makes intercession for us.
Appendix: List of all Musical Numbers
Messiah in total has 53 musical numbers, those sung today are in bold.
Part I
Scene 1: Isaiah's prophecy of salvation
1. Sinfonia (overture, instrumental)
2. Comfort ye my people (tenor)
3. Ev'ry valley shall be exalted (air for tenor)
4. And the glory of the Lord (anthem chorus)
Scene 2: The coming judgment
5. Thus saith the Lord of hosts (accompanied recitative for bass)
6. But who may abide the day of His coming (soprano, alto or bass)
7. And he shall purify the sons of Levi (chorus)
Scene 3: The prophecy of Christ's birth
8. Behold, a virgin shall conceive (alto)
9. O thou that tellest good tidings to Zion (air for alto and chorus)
10. For behold, darkness shall cover the earth (bass)
11. The people that walked in darkness have seen a great light (bass)
12. For unto us a child is born (duet chorus)
Scene 4: The annunciation to the shepherds
13. Pifa ("pastoral symphony": instrumental)
14. There were shepherds abiding in the fields (secco recitative for soprano)
15. And the angel said unto them (secco recitative for soprano) 16. And suddenly there was with the angel (accompanied recitative for soprano)
17. Glory to God in the highest (chorus)
Scene 5: Christ's healing and redemption
18. Rejoice greatly, O daughter of Zion (soprano)
19. Then shall the eyes of the blind be opened (secco recitative for soprano or alto)
20. He shall feed his flock like a shepherd (alto and/or soprano)
21. His yoke is easy (duet chorus)
Part II
Scene 1: Christ's Passion
22. Behold the Lamb of God (chorus)
23. He was despised and rejected of men (alto)
24. Surely he hath borne our griefs and carried our sorrows (chorus)
25. And with his stripes we are healèd (fugue chorus)
26. All we like sheep have gone astray (duet chorus)
27. All they that see him laugh him to scorn (secco recitative for tenor)
28. He trusted in God that he would deliver him (fugue chorus)
29. Thy rebuke hath broken his heart (tenor or soprano)
30. Behold and see if there be any sorrow (tenor or soprano)
Scene 2: Christ's Death and Resurrection
31. He was cut off (tenor or soprano)
32. But thou didst not leave his soul in hell (tenor or soprano)
Scene 3: Christ's Ascension
33. Lift up your heads, O ye gates (chorus)
Scene 4: Christ's reception in Heaven
34. Unto which of the angels (tenor)
35. Let all the angels of God worship Him (chorus)
Scene 5: The beginnings of Gospel preaching
36. Thou art gone up on high (soprano, alto, or bass)
37. The Lord gave the word (chorus)
38. How beautiful are the feet (soprano, alto, or chorus)
39. Their sound is gone out (tenor or chorus)
Scene 6: The world's rejection of the Gospel
40. Why do the nations so furiously rage together (bass)
41. Let us break their bonds asunder (chorus)
42. He that dwelleth in heaven (tenor)
Scene 7: God's ultimate victory
43. Thou shalt break them with a rod of iron (tenor)
44. Hallelujah (anthem and fugue chorus)
Part III
Scene 1: The promise of eternal life
45. I know that my Redeemer liveth (soprano)
46. Since by man came death (chorus)
Scene 2: The Day of Judgment
47. Behold, I tell you a mystery (bass)
48. The trumpet shall sound (bass)
Scene 3: The final conquest of sin
49. Then shall be brought to pass (alto)
50. O death, where is thy sting? (alto and tenor)
51. But thanks be to God (chorus)
52. If God be for us, who can be against us? (soprano)
Scene 4: The acclamation of the Messiah
53. Worthy is the Lamb (anthem and fugue chorus)
(c) 2024, 2025 by Steven Hollingsworth,
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