George Frideric Handel

Messiah Part I

Messiah (HWV 56), the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts. The wordbook (also called libretto or text) was supplied by Charles Jennens.

Messiah, the oratorio#

The libretto by Jennens is drawn from the Bible: mostly from the Old Testament of the King James Bible, but with several psalms taken from the Book of Common Prayer. Regarding the text, Jennens commented: “…the Subject excells every other Subject. The Subject is Messiah …”. Messiah differs from Handel’s other oratorios in that it does not contain an encompassing narrative, instead offering contemplation on different aspects of the Christian Messiah:

Structure and concept#

The oratorio’s structure follows the liturgical year: Part I corresponding with Advent, Christmas, and the life of Jesus; Part II with Lent, Easter, the Ascension, and Pentecost; and Part III with the end of the church year—dealing with the end of time. The birth and death of Jesus are told in the words of the prophet Isaiah (the most prominent source for the libretto). The only true scene of the oratorio is the annunciation to the shepherds which is taken from the Gospel of Luke. The imagery of shepherd and lamb features prominently in many movements, for example: in the aria “He shall feed His flock like a shepherd” (the only extended piece to talk about the Messiah on earth), in the opening of Part II (“Behold the Lamb of God”), in the chorus “All we like sheep”, and in the closing chorus of the work (“Worthy is the Lamb”).

Music#

By the time Handel composed Messiah in London he was already a successful and experienced composer of Italian operas, and had created sacred works based on English texts, such as the 1713 Utrecht Te Deum and Jubilate, and numerous oratorios on English libretti. For Messiah, Handel used the same musical technique as for those works, namely a structure based on chorus and solo singing. Only two movements in Messiah are purely instrumental: the overture (written as “Sinfony” in Handel’s autograph) and the Pifa (a pastorale introducing the shepherds in Bethlehem); and only a few movements are a duet or a combination of solo and chorus. The solos are typically a combination of recitative and aria. The arias are called Airs or Songs, and some of them are in da capo form, but rarely in a strict sense (repeating the first section after a sometimes contrasting middle section). Handel found various ways to use the format freely to convey the meaning of the text. Occasionally verses from different biblical sources are combined into one movement, however more often a coherent text section is set in consecutive movements, for example the first “scene” of the work, the annunciation of Salvation, is set as a sequence of three movements: recitative, aria and chorus. The movements marked “Recitative” are “secco”, accompanied by only the continuo, whereas the recitatives marked “Accompagnato” are accompanied by additional string instruments. Handel used four voice parts, soprano, alto, tenor and bass in the solo and choral movements. The orchestra scoring is simple: oboes, strings and basso continuo of harpsichord, violoncello, violone and bassoon. Two trumpets and timpani highlight selected movements, for example in Part I the song of the angels Glory to God in the highest. Handel uses both polyphonic and homophonic settings to illustrate the text best. Even polyphonic movements typically end on a dramatic long musical rest, followed by a broad homophonic conclusion. Handel often stresses a word by extended coloraturas, especially in several movements which are a parody of music composed earlier on Italian texts. He uses a cantus firmus on long repeated notes especially to illustrate God’s speech and majesty, for example “for the mouth of the Lord has spoken it” in movement 4.

General notes#

The following table is organized by movement numbers. There are two major systems of numbering the movements of Messiah: the historic Novello edition of 1959 (which is based on earlier editions and contains 53 movements), and the Bärenreiter edition of 1965 in the Hallische Händel-Ausgabe. Not counting some short recitatives as separate movements, there are therefore 47 movements. In the table below, the Novello number (Nov) is given first and is the index for the notes to individual movements in the “movements” section, then the Bärenreiter number (Bär). To emphasise the movements in which the oboes and the rarely used trumpets play, the Scoring column lists instruments beyond the regular strings and basso continuo (harpsichord, violoncello, violone) that play throughout. Details on the development of keys, different tempo markings and times within a movement are given in notes on the individual movements. Typically a “scene” of recitative(s) and aria(s) is concluded with a choral movement.

1#

Sinfony The Sinfony, set for oboes and strings, is in two parts in the style of a French overture (a slow first part and a fugue). The fugue subject is presented by the unaccompanied violins, which is a feature that returns in the final Amen of the oratorio. The key of E minor has been interpreted as creating “a mood without hope”.

Scene 1#

Scene 1 deals with general prophecies of salvation. In three movements, five consecutive verses from the Book of Isaiah are treated—foretelling the return to Jerusalem () following the Babylonian captivity.

2#

Comfort ye, comfort ye my people The first vocal movement (a tenor accompagnato) is based on three verses—the words of God beginning with “Comfort ye, comfort ye my people”.

3#

Ev’ry valley shall be exalted The Air for tenor expands the words “Ev’ry valley shall be exalted”, which are frequently heard during Advent (preparing a way for the Lord). The voice illustrates the exaltation by long coloraturas, whereas “plain” is depicted with a long note. More word painting occurs in a low note for “low” and a complicated figure for “crooked”.

4#

And the glory, the glory of the Lord The chorus enters the work for the first time, and joined by the oboes, announces the revelation of God’s glory: “And the glory, the glory of the Lord”. The alto begins, the other voices answer (mostly homophonically), and gradually the music grows to a denser texture. The words “for the mouth of the Lord has spoken it” are set as a cantus firmus of solemn and repeated long notes, which appear first in single voices, and then after a long rest, conclude the movement in affirmative homophony.

Scene 2#

Scene 2 speaks in three movements of the apparition of God. An accompagnato is based on the words of the prophet Haggai, dealing with the splendor of the temple, and of Malachi who foretold the coming messenger. Malachi’s words are continued in an aria and a chorus.

5#

Thus saith the Lord The bass begins the accompagnato: “Thus saith the Lord”. Again the words of the Lord, as told by the prophet Haggai () are given to a single male voice. In “and I will shake all nations”, the “shake” is rendered several times in downward coloraturas of more than a measure, and in “and the desire of all nations shall come” the word “desire” is rendered once in upward coloraturas of more than two measures, accompanied by exited repetitions in the strings and continuo. The music then suddenly calms to an unaccompanied line on the words of the prophet Malachi: “The Lord, whom you seek, shall suddenly come to his temple” ().

6#

But who may abide The prophecy continues in two movements. The Air for soprano, alto, or bass, as a human reaction to the words of God, shows the trembling in the expectation of the Lord’s appearance twofold in a dramatic scene. The Air begins with the pensive question “But who may abide” and continues, in a sharp shift of time and tempo “Prestissimo”, with the statement “For He is like a refiner’s fire”. Forceful downward runs, leaps and trills of the voice are accompanied by fiery figuration in the strings. Like a da capo, the pensive question is repeated, but in a short version, giving way once more to a prestissimo section. The statement returns a final time after a rest, marked Adagio, giving the soloist the opportunity to express it in a cadenza. A prestissimo postlude concludes the dramatic scene. Handel rewrote this dramatic scene in London in 1750 for the castrato Gaetano Guadagni, after he had initially set the text as a recitative for bass.

7#

And he shall purify The chorus picks up the idea in the fugue “And he shall purify”, with coloraturas on “purify”, which may stand for a purifying fire. The movement is a parody of Quel fior che all’alba ride (HWV 192, July 1741).

Scene 3#

After the rather general introduction, Scene 3 addresses Isaiah’s specific prophecy about the virgin birth of a Messiah by expanding more verses from different chapters of the prophet.

8#

Behold, a virgin shall conceive “Behold, a virgin shall conceive” () is rendered in a short alto recitative, to be called “Emmanuel”, translated to “God – with us”, sung with a rest after “God”. This very prophecy is quoted in the Gospel of Matthew ().

9#

O thou that tellest good tidings to Zion As if the good news was spreading, the solo alto begins “O thou that tellest good tidings to Zion” (), and is taken over by the chorus. It is the first music in a swinging time. Coloraturas accent the words “mountain” and “glory”, and the words “God” and “Lord” are set in long notes. The choir voices enter in imitation, as if gathering, but soon sing together, starting with “arise” () on a pronounced “ascending fourth”—a signal observed by musicologist Rudolf Steglich as a unifying motif of the oratorio.

10#

For behold, darkness shall cover the earth In stark contrast, the bass sings the continuation in an accompagnato “For behold, darkness shall cover the earth” () on a background of the strings playing mysterious repeated motifs in major and minor seconds, until the text switches to “but the Lord shall arise” (which the voice presents as a melisma of two measures), followed by coloraturas on “glory” and an upward octave leap to proclaim in the end “and kings to the brightness of thy rising “.

Composer: George Frideric Handel