| Messiah | |
|---|---|
| (Part II) | |
| byGeorge Frideric Handel | |
 The last page of theHallelujah chorus,ending Part II, in Handel's manuscript | |
| Year | 1741 (1741) |
| Period | Baroque |
| Genre | Oratorio |
| Text | Charles Jennens, a compilation from theKing James Bible and theBook of Common Prayer |
| Composed | 22 August 1741 (1741-08-22) – 14 September 1741 (1741-09-14): London |
| Movements | 23 in seven scenes |
| Vocal | SATB choir and solo |
| Instrumental | |
Messiah (HWV 56), the English-languageoratorio composed byGeorge Frideric Handel in 1741, isstructured in three parts. This listing covers Part II in a table and comments on individual movements, reflecting the relation of the musical setting to the text.Part I begins with the prophecy of theMessiah andhis birth, shows theannunciation to the shepherds and reflects the Messiah's deeds on earth. Part II covers thePassion in nine movements including the oratorio's longest movement, anair foraltoHe was despised, then mentions death, resurrection,ascension, and reflects the spreading of the Gospel and its rejection. The part is concluded by a scene called "God's Triumph" that culminates in theHallelujah chorus.Part III of the oratorio concentrates onPaul's teaching of theresurrection of the dead and Christ'sglorification in heaven.
Thelibretto byCharles Jennens is entirely drawn from the Bible, mostly from theKing James Bible, whereas severalpsalms are taken from theBook of Common Prayer.[1][2] The librettist commented: "... the Subject excells every other Subject. The Subject is Messiah ...".[3]Messiah differs from Handel's other oratorios by telling no story, instead offering reflections on different aspects of the ChristianMessiah.Christopher Hogwood comments:
Messiah is not a typical Handel oratorio; there are no named characters, as are usually found in Handel's setting of the Old Testament stories, possibly to avoid charges of blasphemy. It is a meditation rather than a drama of personalities, lyrical in method; the narration of the story is carried on by implication, and there is no dialogue.
The oratorio's structure follows theliturgical year; Part I corresponding withAdvent, Christmas and the life of Jesus, Part II withLent, Easter,Ascension andPentecost, Part III with the end of the church year, dealing with the end of time, theResurrection of the dead and Christ'sglorification in heaven. The sources are drawn mostly from theOld Testament.[2] Even the birth and death of Jesus are told in the words of the prophetIsaiah, the most prominent source of the libretto. The only true scene of the oratorio is taken from theGospel of Luke, theannunciation to the shepherds.[5] The imagery of shepherd and lamb features prominently, 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". Occasionally verses from different biblical sources are combined in one movement, but more often a coherent text section is set in different consecutive movements, such as the first "scene", the annunciation ofChristian salvation, as a sequence of three movements,recitative,aria andchorus.
When Handel composedMessiah in London, he was already a successful and experienced composer of Italian operas. He had started in 1713 to also compose sacred music on English texts, such as theUtrecht Te Deum and Jubilate. He set manyoratorios on Englishlibretti. InMessiah he used practically the same musical means as for those works, namely a structure based on chorus and solo singing. Only a few movements are aduet or a combination of solo and chorus. The solos are typically a combination of recitative and aria. The arias are called Air or Song, some of them haveda capo form, but rarely in a strict sense, repeating a first section after a sometimes contrasting middle section. Handel finds various ways to use the format freely, in order to convey the text. The movements marked "Recitative" (Rec.) are "secco", only accompanied by thebasso continuo. Recitatives marked "Accompagnato" (Acc.) are accompanied by additional string instruments. Handel uses four voice parts in both solo and chorus,soprano (S),alto (A),tenor (T) andbass (B). Only once is the chorus divided in an upper chorus and a lower chorus, it isSATB otherwise. The orchestra scoring is simple:oboes,strings and basso continuo ofharpsichord,violoncello,violone andbassoon. Two trumpets andtimpani highlight selected movements, such as the closing movements of Part II,Hallelujah. Handel uses acantus firmus on long repeated notes especially to illustrate God's speech and majesty, such as "King of Kings" in theHallelujah chorus.[6]
The following table is organized by movement numbers. There are two major systems of numbering the movements ofMessiah: the historicNovello edition of 1959 (which is based on earlier editions and contains 53 movements), and theBärenreiter edition of 1965 in theHallische 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 (ob) and the rarely used trumpets (tr) and timpani (ti) play, the summary below does not mention the regular basso continuo and the strings in movements. Details on the development ofkeys, differenttempo markingstimes within a movement are given in notes on the individual movements.
| Nov | Bär | Title / First line | Form | Tempo marking | Scoring | Time | Key |
|---|---|---|---|---|---|---|---|
| 22 | 19 | Behold the Lamb of God | Chorus | Largo | ob |  | G minor |
| 23 | 20 | He was despised | Air, alto | Largo | | E-flat major | |
| 24 | 21 | Surely, He hath borne our griefs | Chorus | Largo e staccato | ob | | A-flat major |
| 25 | 22 | And with His stripes we are healed | Chorus | Alla breve, moderato | ob |  | F minor |
| 26 | 23 | All we like sheep | Chorus | Allegro moderato | ob | | F major |
| 27 | 24 | All they that see Him, laugh | Accompagnato, tenor | Larghetto | | B-flat minor | |
| 28 | 25 | He trusted in God | Chorus | Allegro | ob | | C minor |
| 29 | 26 | Thy rebuke hath broken His heart | Accompagnato, Tenor | Largo | | various | |
| 30 | 27 | Behold, and see | Arioso, Tenor | Largo e piano | | E minor | |
| 31 | 28 | He was cut off out | Accompagnato, tenor or soprano | | B minor | ||
| 32 | 29 | But Thou didst not leave his soul | Air, tenor or soprano | Andante larghetto | | A major | |
| 33 | 30 | Lift up your heads | Chorus SSATB | A tempo ordinario | ob | | F major |
| 34 | Unto which of the angels | Recitative, tenor | | D minor | |||
| 35 | 31 | Let all the angels of God | Chorus | Allegro | ob | | D major |
| 36 | 32 | Thou art gone up on high | Air, alto, soprano, or bass | Allegro larghetto | 3 4 | D minor (alto and bass) / G minor (soprano) | |
| 37 | 33 | The Lord gave the word | Chorus | Andante allegro | ob | | B-flat major |
| 38 | 34 | How beautiful are the feet | Duet, alto or soprano & alto Chorus or Air, soprano or alto | Andante | ob | | D minor (duet and chorus) / G minor (soprano) / C minor (alto) |
| 39 | 35 | Their sound is gone out | Arioso, tenor or chorus | Andante larghetto | | F major (tenor) / E-flat major (chorus) | |
| 40 | 36 | Why do the nations so furiously rage | Air, bass | Allegro | | C major | |
| 41 | 37 | Let us break their bonds asunder | Chorus | Allegro e staccato | ob | 3 4 | C major |
| 42 | He that dwelleth in heaven | Recitative, Tenor | | A major | |||
| 43 | 38 | Thou shalt break them | Air, tenor | Andante | 3 4 | A minor | |
| 44 | 39 | Hallelujah | Chorus | Allegro | tr ti ob | | D major |
Scene 1 is the longest scene of the oratorio and reflects the Passion, in Jennens' words "Christ's Passion; the scourging and the agony on the cross", in nine individual movements, including the longest one, the Air for alto "He was despised".[3] Part II is the only part opened by a chorus, and continues to be dominated by choral singing. Block observes that the emphasis on the Passion differs from modern western popular Christianity, which prefers to stress the nativity of the Messiah.[4]
Behold the Lamb of God
The opening chorus "Behold the Lamb of God" begins like aFrench overture inG minor, a key of "tragic presentiment", according toChristopher Hogwood.[7] The continuo drops anoctave, then the violins rise an octave, to express "Behold". After only three instrumental measures the voices proclaim the Testimony ofJohn the Baptist,John 1:29, which recallsIsaiah 53.[4] The alto begins, followed after half a measure each by the soprano, the bass, and finally the tenor. After the initial rise, the melody falls in dotted rhythms, but rises on "that taketh away the sin of the world". The melody shows similarity to the beginning of "He shall feed his flock", but "sharpened" frommajor tominor, fromtriplets to dotted rhythm, and by the octave leap in the beginning.
He was despised
The text in this movement comes from Isaiah'sfourth song about theMan of Sorrows: "He was despised, rejected of men, a man of sorrows, and acquainted with grief" (Isaiah 53:3), indicating that "the Messiah will play a substitutionary sacrificial role on behalf of his people".[4] Handel gives the pitiful description to the alto solo in the longest movement of the oratorio in terms of duration.[3] It is ada capo aria, showing two contrasting moods, set inE-flat major in the first section,C minor in the middle section. The vocal line begins with an ascendingfourth on "he was" and adds another one on "despi-sed", ending as a sigh. The signal of a fourth has been observed by musicologistRudolf Steglich as a unifying motif of the oratorio.[5] Handel breaks the beginning of the text up to a stammering "He was despised, – despised and rejected, – rejected of men, ... – despi-sed – rejected", the words interspersed with rests as long as the words, as if exhausted. Soft sighingmotifs of the violins, an echo of the singing, drop into these rests. Hogwood interprets the unaccompanied passages as emphasizing "Christ's abandonment".[7] The middle section is also full of dramatic rests, but now the voice is set on a ceaseless agitated pattern of fast dotted notes in the instruments, illustrating the hits of the smiters in text from thethird song (Isaiah 50:6), where the words appear in the first person: "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."
Surely, He hath borne our griefs
The dotted rhythm returns in instruments and voices in the chorus "Surely, He hath borne our griefs and carried our sorrows", the continuation of Isaiah's text, set inF minor. The chorus continues with the remainder of Isaiah 53:5 and ends on the words "the chastisement of our peace was upon him".
And with His stripes we are healed
In the same key the chorus continues with afugue "And with His stripes we are healed". The theme begins with a sequence of five long notes, which Mozart quoted in theKyrie-fugue of hisRequiem. The characteristic ascending fourth opens the countersubject. The word "healed" is later stressed by both longmelismas and long notes.
All we like sheep
Still continuing Isaiah's text, "All we like sheep, have gone astray" is set as a fast chorus in F-major on a walking bass with irregular patterns and leaps. The voices utter twice together "All we like sheep", then two voice parts move simultaneously in different directions on "have gone astray", with the last syllable extended to eleven notes. The next bit of the text "we have turned" is illustrated by fast coloraturas, lacking direction. In a dramatic sudden adagio, full ofchromatic tension, the movement ends on "and the Lord hath laid on Him the iniquity of us all". Myers comments about the chorus, which seems out of place at first sight: "In Handel's famous chorus sin glories in its shame with almost alcoholic exhilaration. His lost sheep meander hopelessly through a wealth of intricate semi quavers, stumbling over decorous roulades and falling into mazes of counterpoint that prove inextricable. A less dramatic composer than Handel would scarcely have rendered his solemn English text with such defiance, for the discrepancy between the self-accusing words and his vivacious music is patent to any listener emancipated from the lethargy of custom."[8] The movement is based on the final section of the duet for two sopranos "Nò, di voi non vo' fidarmi" (translation: No, I don’t want to trust you) (HWV 189, July 1741).[9]
All they that see Him, laugh Him to scorn
The thought "All they that see Him, laugh Him to scorn" is taken fromPsalm 22 (Psalms 22:7), the psalm from which Jesus quoted on the cross, according toMark andMatthew. The text is set as a short tenor accompagnato, again based on a pattern of dotted notes in the instruments. The strings through in violent figures after "laugh Him to scorn" and "shoot out their lips", similar to an outburst of laughter. The key ofB-flat minor is termed "remote and barbarous" by Hogwood.[7]
He trusted in God, that He would deliver Him
What they say is given to the chorus as a strict fugue inC minor: "He trusted in God, that He would deliver Him, if He delight in Him" (from Matthew 27:43).Jonathan Keates observes that Handel depicts the mocking, menacing crowd here, comparable to the turbae inBach's Passions.[10]
Thy rebuke hath broken His heart
The tenor returns to sing a verse of the Psalm 69: "Thy rebuke hath broken His heart" (Psalms 69:20). Aching chromatic chords picture the broken heart. The accompagnato begins inA-flat major, shifts without stability and ends inB major. The tenor voice, going to report death and resurrection in scene 2, is comparable to theEvangelist in thePassions of Bach.[10]
Behold, and see if there be any sorrow
The tenorarioso "Behold, and see if there be any sorrow" (Lamentations 1:12) is based on text from theBook of Lamentations which is frequently associated withGood Friday, both Jesus and his motherMary, although it originally lamented thedestruction of Jerusalem. In the short movement inE minor, the accompaniment pauses rather regularly on the first and third beat of a measure.
Scene 2 covers death and resurrection in two tenor solo movements.
He was cut off out of the land of the living
In a restrained way, the death of the Messiah is told in another tenor accompagnato, as foretold by Isaiah, "He was cut off out of the land of the living" (Isaiah 53:8). Long chords begin inB minor and end inE major.
But Thou didst not leave his soul in hell
His resurrection is again told by the tenor in an Air according toPsalm 16, "But Thou didst not leave his soul in hell" (Psalms 16:10).
Scene 3 refers in a chorus to the ascension.
Lift up your heads
"Lift up your heads" is a line fromPsalm 24 (Psalms 24:7–10). Since the text has questions ("Who is the King of Glory?") and answers ("He is the King of Glory"), Handel divides the choir in the first section to a high, announcing group (sopranos I and II, alto) and a low, questioning group (alto, tenor, bass).
Scene 4 covers the Messiah's position in heaven, following the teaching from theEpistle to the Hebrews in two verses,Hebrews 1:5–6.
Unto which of the angels said he at any time
In a short recitative the tenor renders the first verse, quotingHebrews (Hebrews 1:5), "Unto which of the angels said he at any time", about the Messiah as the begottenSon of God.
Let all the angels of God worship Him
The second verse "Let all the angels of God worship Him" (Hebrews 1:6) is a festive chorus inD major.
Scene 5 alludes toPentecost and the beginning of preaching the Gospel.
Thou art gone up on high
Pentecost is referred to rather indirectly, without naming the Holy Spirit. "Thou art gone up on high" fromPsalm 68 (Psalms 68:18) reflects "gifts for men" and "that God might dwell among them", expressed in swinging3
4 time. Originally written for bass, Handel rewrote the Air in London in 1750 for the castratoGaetano Guadagni.[10] However, the earlier editions (Novello, Best and Prout) all give this air to the Bass, in D minor; the current Novello edition by Watkins Shaw, as well as the Bäreneiter edition by John Tobin and the CF Peters edition by Donald Burrows all give the air to Alto (in D minor), and they provide transpositions for Soprano and Bass as well.
The Lord gave the word
The thoughts are continued in an earlier verse from the same psalm (Psalms 68:11) as a chorus inB-flat major. "The Lord gave the word" is sung by just two voice parts, "Great was the company of the preachers" expanded for four parts with long coloraturas on "company".
How beautiful are the feet of Him
The preachers are described tenderly in a duet in D minor and3
4 time, as written first by Isaiah (Isaiah 52:7) and quoted by Paul in hisEpistle to the Romans (Romans 10:15: "How beautiful are the feet of Him". Two alto voices begin and are joined by the choir, stressing "good tidings", "break forth into joy" and culminating on acantus firmus of one repeated note: "Thy God reigneth!" Block, quotingGenesis 18:2, reflects that you see the feet of a messenger if you "fall prostrate before a superior. In the Bible, when people are confronted by a heavenly messenger (angel) the natural response is to fall down on one's face before the messenger."[4] Handel's original version, a duet in D minor for two altos and chorus or soprano, alto and chorus, was later rewritten by him in 1749 as an aria for soprano in G minor and12
8 time and in 1750 transposed for alto in C minor.
Their sound is gone out into all lands
Based on a number of Bible references, a tenor arioso describes the preachers further: "Their sound is gone out into all lands" (Romans 10:18,Psalms 19:4). In another Handel's version (so called version B), which is commonly preferred by performers now, the same text is set to new music and scored for chorus.
Scene 6 shows the difficulties and rejection of the preaching, based on four consecutive verses fromPsalm 2,Psalms 2:1–4. It is the first text in the oratorio actually referring to the Messiah, the "anointed one" (verse 2).[4]
Why do the nations so furiously rage together
An Air for bass inC major, accompanied by an orchestra in continuous motion, tells of the difficulties. "Why do the nations so furiously rage together". Several terms, such as "Rage", are expressed by long melismas intriplets. Handel originally wrote a long 96-bar version of this air, skipping the da capo repeat. In an alternate version, he removed the last 58 bars and replaced them with a recitative setting of the second verse of the scripture.
Let us break their bonds asunder
The choir continues the thought; the intention "Let us break their bonds asunder" is expressed in a fast succession of entries of the voices.
He that dwelleth in heaven
The text continues in a short tenor recitative: "He that dwelleth in heaven".
Scene 7 is called "God's triumph" by Jennens.
Thou shalt break them with a rod of iron
A forceful Air for tenor tells of God's power against enemies, again taken from Psalm 2: "Thou shalt break them with a rod of iron" (Psalms 2:9).
Hallelujah
Part II closes with theHallelujah chorus which became famous as a stand-alone piece, set in the key ofD major with trumpets and timpani. The choir introducesHallelujah, repeated inhomophony, in a characteristic simplemotif for the word, playing with the interval of asecond, which re-appears throughout the piece. Several lines from theBook of Revelation (Revelation 19:6,16,Revelation 11:15) are treated differently, as in amotet, but unified by "Hallelujah" as a conclusion or as a countersubject in a fugal section. The line "for the Lord God omnipotent reigneth" is sung by all voices, first inunison, then in imitation with Hallelujah-exclamations interspersed. (The melody is based on the fugue theme from Corelli's "Fuga a Quattro Voci".) The second line "The kingdom of this world is become" is sung in a four-part setting like achorale. The third idea "and He shall reign for ever and ever" starts as a fugue on a theme with bold leaps, reminiscent in sequence ofPhilipp Nicolai'sLutheran chorale "Wachet auf".[7] As a countersubject, the words "for ever – and ever" assume the rhythm of the Hallelujah-motif. The final acclamation "King of Kings...and Lord of Lords" is sung on one note, energized by repeated calls Hallelujah and "for ever – and ever", raised higher and higher in the sopranos and trumpets, up to a rest full of tension and a final solemn Hallelujah.
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George Frideric Handel'sMessiah (1741) | |
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