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Messiah (HWV 56, 1741), is an oratorio by George Frideric Handel. It is his most famous creation and is among the most popular works in the Western choral literature.


Contents

[hide]

1 Structure
2 Composition and premiere
3 Language
4 Hallelujah
5 Movement Listing and Media
5.1 Note
6 External links
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[edit] Structure

Much of the libretto comes from the Old Testament. The first section draws heavily from the book of Isaiah; that which prophesies the coming of the Messiah. There are few quotations from the Gospels; these are at the end of the first and the beginning of the second sections. They comprise the Angel going to the shepherds in Luke, two enigmatic quotations from Matthew and one from John: "Behold the Lamb of God". The rest of the second section is composed of prophecies from Isaiah and quotations from the evangelists. The third section includes one quotation from Job ("I know that my Redeemer liveth"), the rest primarily from First Corinthians.

Interesting, too, is the interpolation of choruses from Revelation. The well-known "Hallelujah" chorus at the end of Part II and the finale chorus "Worthy is the Lamb that was slain" ("Amen") are both taken from Revelation—a book of prophecies in the New Testament.

The libretto was compiled by Charles Jennens and consists of fragments of verses from the King James Bible. Jennens conceived of the work much as an opera with three acts, each comprised of several scenes:

I -- The Birth i -- The prophecy of Salvation ii -- The prophecy of the coming of the Messiah iii -- Portends to the world at large iv -- Prophecy of the Virgin Birth v -- The appearance of the Angel to the shepherds vi -- Christ's miracles II -- The Passion i -- The sacrifice, the scourging and agony on the cross ii -- His death, His passing through Hell, and His resurrection iii -- His Ascension iv -- God discloses His identity in Heaven v -- The beginning of evangelism vi -- The world and its rulers reject the Gospel vii -- God's triumph III -- The Aftermath i -- The promise of redemption from Adam's fall ii -- Judgment Day iii -- The victory over death and sin iv -- The glorification of Christ Looking at this breakdown, it becomes easy to determine which sections are deemed appropriate for Christmas, and which for Easter. Part I, numbers 1-18 correspond to scenes I i-v, and are primarily considered Christmas movements. Part I, numbers 19-20 and Part II, number 22 can be considered cross-over movements, with the rest being considered appropriate for Easter. In this schema, the "Hallelujah" chorus, considered by many to be a Christmas song, is firmly part of the Easter section. However, many choral societies perform the entire work at either time of year, much to the enjoyment of audiences.





[edit] Composition and premiere

In the summer of 1741 Handel, at the peak of his musical powers but depressed and in debt, began setting Charles Jennens' Biblical libretto to music at his usual breakneck speed. In just 24 days, Messiah was complete. However it was not performed until 1742, at a charity concert on Fishamble Street near Dublin's Temple Bar district on 13 April after production difficulties and last-minute rearrangements of the score. As Dean of St. Patrick's Cathedral, Jonathan Swift placed some pressure on the premiere and had it cancelled entirely for a period. He demanded that it be retitled A Sacred Oratorio and that revenue from the concert be promised to local hospitals for the mentally ill. Like many of Handel's compositions, it borrows liberally from earlier works, both his own and those of others.

It is said that while Handel was writing Messiah, his valet would often find him weeping silently at his desk, overcome by the beauty and majesty of the music that was flowing from his pen.<SUP class=noprint>[citation needed] The secondary source of this story is a pamphlet of the Choral Society at Trinity College Dublin.

The premiere of Messiah took place at the Music Hall in Dublin on 13 April 1742. Handel led the performance from the harpsichord, and Matthew Dubourg conducted the orchestra. Dubourg was an Irish violinist, conductor and composer. He had worked with Handel as early as 1719 in London.

Handel conducted Messiah many times, often altering it to suit the needs of the moment. In consequence no single version can be regarded as the "authentic" one, and many more variations and rearrangements were added in subsequent centuries—a notable arrangement was one by Wolfgang Amadeus Mozart, translated into German. Most modern performances employ orchestra, chorus, and four soloists: bass, tenor, contralto or counter-tenor, and soprano.

The house where Handel wrote Messiah is now open to the public as the Handel House Museum.





[edit] Language

This article or section may contain original research or unverified claims.
Please help Wikipedia by adding references. See the talk page for details.
Handel is famous for employing tone painting -- the musical technique of having the melody mimic its lyrics -- in many of his works. Perhaps the most famous and oft-quoted example of the technique is in Every valley shall be exalted, the tenor aria early in Part I of Messiah. On the lyric "...and every mountain and hill made low; the crooked straight and the rough places plain", Handel composes it thus:

The notes rise to the high F?on the first syllable of mountain to drop an octave on the second syllable. The four notes on the word hill form a small hill, and the word low descends to the lowest note of the phrase. On crooked, the melody twice alternates between C? and B to rest on the B through the word straight. The word plain is written, for the most part, on the high E for three measures, with some minor deviation. He applies the same strategy throughout the repetition of the final phrase: the crooked's being crooked and plain descending down on three lengthy planes. He uses this technique frequently throughout the rest of the aria, specifically on the word exalted, which contains several sixteenth note (semiquaver) melismas and two leaps to a high E:

As was common in English-language poetry at the time, the suffix -ed of the past tense and past participle of weak verbs was often pronounced as a separate syllable as in this passage from And the glory of the Lord:

The word revealed would thus be pronounced in three syllables: [r?'vi?l?d]. In many published editions, an e that is silent in speech but is to be sung as a separate syllable is marked with a grave accent, thus: revealèd.





[edit] Hallelujah

The most famous movement is the "Hallelujah" chorus, which concludes the second of the three parts. The text is drawn from three passages in the New Testament book of Revelation:

And I heard as it were the voice of a great multitude, and as the voice of many waters, and as the voice of mighty thunderings, saying, Alleluia: for the Lord God omnipotent reigneth. (Revelation 19:6) And the seventh angel sounded; and there were great voices in heaven, saying, The kingdoms of this world are become the kingdoms of our Lord, and of his Christ; and he shall reign for ever and ever. (Revelation 11:15) And he hath on his vesture and on his thigh a name written, KING OF KINGS, AND LORD OF LORDS. (Revelation 19:16) In many parts of the world, it is the accepted practice for the audience to stand for this section of the performance. Tradition has it that on first hearing the chorus, King George II was so moved that he rose to his feet. As is true today, when the King stands, so do all subjects also rise; thus engendering the tradition. However, modern scholarship holds its origins in doubt: the King may not have even been present at the premiere.

Occasionally, people unfamiliar with the work have been known to leave after this movement, assuming this to be the end of the oratorio when this is, as noted above, merely the conclusion of the second of the three parts.

It is also interesting to note that here, again, is seen a common titling mistake. The name of the chorus is Hallelujah, not "The Hallelujah Chorus". The word "chorus" simply refers to the type of movement and is not part of the title. It is not incorrect to refer to it as "the Hallelujah chorus"; it is, however, incorrect to title it as such.





[edit] Movement Listing and Media

Handel's Messiah, as sung by the MIT Concert Choir:
(NOTE: As mentioned above, Handel himself frequently changed the forces used in his oratorios. Today, most American choruses use the 1912 version edited by T. Tertius Noble, and the voicings and lyrics that follow are from this version. However, it is not uncommon for different voices to sing certain arias, for arias to be cut for time and difficulty constraints, and for some sections to be omitted entirely. This listing is by no means "official", simply that which is most commonly used today.)

PART I:

No. 1. Overture (file info) — play in browser (beta)
No. 2. Recit. accompanied (Tenor): Comfort ye my people (file info) — play in browser (beta)
Isaiah 40:1-3 Comfort ye, comfort ye my people, saith your God; speak ye comfortably to Jerusalem; and cry unto her, that her warfare is accomplishèd, that her iniquity is pardoned. The voice of him that crieth in the wilderness, Prepare ye the way of the Lord, make straight in the desert a highway for our God.
No. 3. Air (Tenor): Every valley shall be exalted (file info) — play in browser (beta)
Isaiah 40:4 Every valley shall be exalted, and every mountain and hill made low; the crooked straight, and the rough places plain.
No. 4. Chorus: And the glory of the Lord (file info) — play in browser (beta)
Isaiah 40:5 And the glory of the Lord shall be revealèd, and all flesh shall see it together; for the mouth of the Lord hath spoken it.
No. 5. Recit. accompanied (Bass): Thus saith the Lord (file info) — play in browser (beta)
Haggai 2:6, 7 Thus saith the Lord of Hosts: --Yet once a little while and I will shake the heavens, and the earth, the sea, and the dry land; and I will shake all nations, and the desire of all nations shall come. Malachi 3:1 The Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in; Behold, He shall come, saith the Lord of Hosts.
No. 6. Air (Bass): But who may abide (file info) — play in browser (beta)
Malachi 3:2 But who may abide the day of His coming, and who shall stand when He appeareth? For He is like a refiner's fire.<SUP class=reference id=_ref-0>[1]
No. 7. Chorus: And He shall purify (file info) — play in browser (beta)
Malachi 3:3 And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.
No. 8. Recitative (Alto): Behold, a virgin shall conceive (file info) — play in browser (beta)
Isaiah 7:14 -- Matthew 1:23 Behold, a virgin shall conceive, and bear a Son, and shall call His name EMMANUEL, God with us.
No. 9. Air (Alto) and Chorus: O thou that tellest good tidings to Zion (file info) — play in browser (beta)
Isaiah 40:9 -- Isaiah 60:1 O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, Behold your God! Arise, shine, for thy Light is come, and the glory of the Lord is risen upon thee.
No. 10. Recit. accompanied (Bass): For, behold, darkness shall cover the earth (file info) — play in browser (beta)
Isaiah 60:2, 3 For, behold, darkness shall cover the earth and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee, and the Gentiles shall come to thy light, and kings to the brightness of thy rising.
No. 11. Air (Bass): The people that walked in darkness (file info) — play in browser (beta)
Isaiah 9:2 The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.
No. 12. Chorus: For unto us a child is born (file info) — play in browser (beta)
Isaiah 9:6 For unto us a Child is born, unto us a Son is given, and the government shall be upon His shoulder: and His name shall be callèd Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace.
No. 13. Pastoral Symphony (file info) — play in browser (beta)
The "Pastoral Symphony", also known as the "Pifa", refers to a bagpipe tune. Handel characterizes the zampogna -- a type of bagpipe common to Italian shepherds made from sheep or goat skin -- with a droning element (pedal point) in the piece.
No. 14. Recitative (Soprano): There were shepherds abiding in the field (file info) — play in browser (beta)
Luke 2:8 There were shepherds abiding in the field, keeping watch over their flocks by night.
No. 14a. Recit. accompanied (Soprano): And lo! the Angel of the Lord came upon them (file info) — play in browser (beta)
Luke 2:9 And lo! the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.
No. 15. Recitative (Soprano): And the angel said unto them (file info) — play in browser (beta)
Luke 2:10, 11 And the angel said unto them, Fear not; for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord.
No. 16. Recit. accompanied (Soprano): And suddenly there was with the angel (file info) — play in browser (beta)
Luke 2:13 And suddenly there was with the angel a multitude of the heavenly host praising God, and saying:
No. 17. Chorus: Glory to God (file info) — play in browser (beta)
Luke 2:14 Glory to God in the highest, and peace on earth, good will towards men.
No. 18. Air (Soprano): Rejoice greatly, O daughter of Zion (file info) — play in browser (beta)
Zechariah 9:9, 10 Rejoice greatly, O daughter of Zion; Shout, O daughter of Jerusalem: behold, thy king cometh unto thee. He is the righteous Saviour, and He shall speak peace unto the heathen.
No. 19. Recitative (Alto): Then shall the eyes of the blind be opened (file info) — play in browser (beta)
Isaiah 35:5, 6 Then shall the eyes of the blind be opened, and the ears of the deaf unstoppèd; then shall the lame man leap as an hart, and the tongue of the dumb shall sing.
No. 20. Air (Alto and Soprano): He shall feed his flock like a shepherd (file info) — play in browser (beta)
Isaiah 40:11 Alto: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 Soprano:Come unto Him, all ye that labour and are heavy laden, and He shall 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.
No. 21. Chorus: His yoke is easy, and His burthen is light (file info) — play in browser (beta)
Matthew 11:30 His yoke is easy and His burthen is light.

PART II:

No. 22. Chorus: Behold the Lamb of God (file info) — play in browser (beta)
John 1:29 Behold the Lamb of God, that taketh away the sin of the world.
No. 23. Air (Alto): He was despised (file info) — play in browser (beta)
Isaiah 53:3 He was despisèd and rejected of men: a man of sorrows, and acquainted with grief. Isaiah 50:6 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.
No. 24. Chorus: Surely He hath borne our griefs (file info) — play in browser (beta)
Isaiah 53:4, 5 Surely He hath borne our griefs, and carried our sorrows; He was wounded for our trangressions; He was bruised for our iniquities; the chastisement of our peace was upon Him.
No. 25. Chorus: And with His stripes we are healed (file info) — play in browser (beta)
Isaiah 53:5 And with His stripes we are healèd.
No. 26. Chorus: All we like sheep have gone astray (file info) — play in browser (beta)
Isaiah 53:6 All we like sheep have gone astray; we have turnèd every one to his own way; and the Lord hath laid on Him the iniquity of us all.
No. 27. Recit. accompanied (Tenor): All they that see Him laugh Him to scorn (file info) — play in browser (beta)
Psalm 22:7 All they that see Him, laugh Him to scorn, they shoot out their lips, and shake their heads saying,:
No. 28. Chorus: He trusted in God that He would deliver Him (file info) — play in browser (beta)
Psalm 22:8 He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him.
No. 29. Recit. accompanied (Tenor): Thy rebuke hath broken His heart (file info) — play in browser (beta)
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.
No. 30. Air (Tenor): Behold, and see if there be any sorrow (file info) — play in browser (beta)
Lamentations 1:12 Behold, and see if there be any sorrow like unto His sorrow.
No. 31. Recit. accompanied (Tenor): He was cut off out of the land of the living (file info) — play in browser (beta)
Isaiah 53:8 He was cut off out of the land of the living: for the transgression of Thy people was He stricken.
No. 32. Air (Tenor): But Thou didst not leave His soul in hell (file info) — play in browser (beta)
Psalm 16:10 But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption.
No. 33. Chorus: Lift up your heads, o ye gates (file info) — play in browser (beta)
Psalm 24:7-10 Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is the King of glory? The Lord strong and mighty, the Lord mighty in battle. Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is the King of glory? The Lord of Hosts, He is the King of Glory.
No. 34. Recitative (Tenor): Unto which of the Angels said He (file info) — play in browser (beta)
Hebrews 1:5 Unto which of the angels said He at any time, Thou art my Son, this day have I begotten Thee?
No. 35. Chorus: Let all the angels of God worship Him (file info) — play in browser (beta)
Hebrews 1:6 Let all the angels of God worship Him.
No. 36. Air (Bass): Thou art gone up on high (file info) — play in browser (beta)
Psalm 68:18 Thou art gone up on high, Thou hast led captivity captive, and receivèd gifts for men; yea, even for Thine enemies, that the Lord God might dwell among them.
No. 37. Chorus: The Lord gave the word (file info) — play in browser (beta)
Psalm 68:11 The Lord gave the word: great was the company of the preachers.
No. 38. Air (Soprano): How beautiful are the feet of them (file info) — play in browser (beta)
Romans 10:15 How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things.
No. 39. Chorus: Their sound is gone out into all lands (file info) — play in browser (beta)
Romans 10:18 Their sound is gone out into all lands, and their words unto the ends of the world.
No. 40. Air (Bass): Why do the nations so furiously rage (file info) — play in browser (beta)
Psalm 2:1, 2 Why do the nations so furiously rage together? [and] why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take consel together against the Lord, and against His Anointed.
No. 41. Chorus: Let us break their bonds asunder (file info) — play in browser (beta)
Psalm 2:3 Let us break their bonds asunder, and cast away their yokes from us.
No. 42. Recitative (Tenor): He that dwelleth in heaven (file info) — play in browser (beta)
Psalm 2:4 He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision.
No. 43. Air (Tenor): Thou shalt break them (file info) — play in browser (beta)
Psalm 2:9 Thou shalt break them with a rod of iron; Thou shalt dash them in pieces like a potter's vessel.
No. 44. Chorus: Hallelujah (file info) — play in browser (beta)
Revelation 19:6; 11:15; 19:16 HALLELUJAH! for the Lord God omnipotent reigneth. The kingdom of this world is become the kingdom of our Lord, and of His Christ: and He shall reign for ever and ever. KING OF KINGS, and LORD OF LORDS, HALLELUJAH!
Problems playing the files? See media help.

PART III (not recorded by MIT at Christmas):

No. 45. Air (Soprano): I know that my Redeemer liveth Job 19:25, 26 I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth: And though worms destroy this body, yet in my flesh shall I see God. I Corinthians 15:20 For now is Christ risen from the dead, the first-fruits of them that sleep. No. 46. Chorus: Since by man came death I Corinthians 15:21 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. No. 47. Recit. accompanied (Bass): Behold, I tell you a mystery I Corinthians 15:51, 52 Behold, I tell you a mystery: We shall not all sleep; but we shall all be changed in a moment, in a twinkling of an eye, at the last trumpet. No. 48. Air (Bass): The trumpet shall sound I Corinthians 15:52, 53 The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality. No. 49. Recitative (Alto): Then shall be brought to pass I Corinthians 15:54 Then shall be brought to pass the saying that is written: Death is swallowed up in victory. No. 50. Duet (Alto and Tenor): O death, where is thy sting? 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. No. 51. Chorus: But thanks be to God I Corinthians 15:57 But thanks be to God, who giveth us the victory through our Lord Jesus Christ. No. 52. Air (Soprano): If God be for us, who can be against us? Romans 8:31, 33, 34 If God be for us, who can be against us? who shall lay any thing to the charge of God's elect? It is God that justifieth, who is he that condemneth? It is Christ that died, yea, rather, that is risen again, who is at the right hand of God, who makes intercession for us. No. 53. Chorus: Worthy is the Lamb that was slain Revelation 5:12, 13 Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen.

[edit] Note
^ But who may abide is a particularly noteworthy example of the aforementioned variation in voicings. While the original, simpler version of this piece was, indeed, written for a bass, Handel produced the aria in its present form specifically for Italian castrato singer Gaetano Guadagni, and afterwards assigned it to female altos or even sopranos. The currently common practice of using a bass for that aria is thus without precedent in Handel's own performances, and of later origin. [1] In the 1999 film by William Klein, the aria was sung by Czech mezzo-soprano Magdalena Kožená.



[edit] External links


Wikimedia Commons has media related to: Messiah



Handel's Messiah Through the Centuries
Messiah (at gfhandel.org)
Complete scores and sources in wiki format at Choral Public Domain Library
An unusual performance of the Hallelujah Chorus (transposed for one-person choir)
The bass solo "Who may abide"
The house where Handel composed the Messiah is now a museum Retrieved from "http://en.wikipedia.org/wiki/Messiah_%28Handel%29"
Categories: Articles with unsourced statements | Articles which may contain original research | Oratorios | Compositions by George Frideric Handel | Handel's Messiah