Handel’s Miraculous Messiah
On this Second Sunday of Advent, when we read of Saint John the Baptist’s preparing the way, it is fitting to immerse oneself in at least the first part of Handel’s Messiah.
First performed on April 13th, 1742 (in Dublin of all places), the oratorio was composed by a German, who had become a naturalised Brit, with a libretto in English. So quite European. The Messiah is customarily connected with Christmas, even though the work recounts the whole life of the Saviour from His birth, through His Passion, to His glorious resurrection. George Frideric Handel wrote the score in 24 days (!) over the summer of 1741. That is 259 pages of multilayered music originally for 2 trumpets, timpani, 2 oboes, 2 violins, viola, and basso continuo, along with the four solo parts and the chorus. Handel’s hurried notes show very few corrections, ending with the magnificent Halleluiah chorus, glorifying the triumph of Christ over death. The legend, with the speed of composition, is that the music was divinely inspired, which, in a sense, all true art is.
Hence, the music is as much an Easter, and even Lenten, ode, as it is a Christmas one – even if it has become culturally connected to the celebration of Christ’s birth.
Readers may enjoy this article, on the Messiah’s enduring appeal, perhaps the most popular piece of classical music ever composed, filling concert halls for the past three centuries, and on, we may presume, until Christ does return again in that final Advent, in all His glory.
May God grant you all many graces in these days of Advent, as we prepare for the birth of Emmanuel – God-with-us.
Here is one of the best recent renditions of Handel’s great work, presented by Voces8 and the Academy of Ancient Music:
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