MESSIAH G.F. Handel THE WINKLEIGH SINGERS DEVON BAROQUE Artistic Director Margaret Faultless George Frideric Handel (1685-1759) George Siona Stockel – soprano Stephen Harvey – counter tenor Nathan Vale – tenor Andrew Ashwin – bass Conductor – Roland Smith Saturday 27 November 2004 St Peter’s Church, Barnstaple Charles Jennens (1700-1773) PROGRAMME £1 MESSIAH time he assimilated all those nation’s Messiah was composed at Handel’s G.F. Handel; Libretto selected from musical styles and specialised in operas usual quick speed, but was premiered a biblical texts by Charles Jennens and oratorios. These oratorios were almost year later in Dublin without Jennens’s Composed: London 1741 always dramatic narratives, functioning involvement. Handel appears to have First Performed: Dublin 1742 like English operas composed for concert been reluctant to present such a sacred performances in theatres such as Covent subject matter in a London theatre, which The establishment of Messiah as a Garden. Most are based on Biblical or seems wise considering the Bishop of venerated English institution for religious stories, but some, such as Semele London’s outrage in 1732 when cathedral Christmas and Choral Societies has a and Hercules, are blatantly secular. Even choristers had sung in Esther. The theatre, long and complicated history. A few Messiah, which does not tell a story in and Handel’s music, were still perceived excerpts are familiar to almost everybody, conventional terms and is therefore unlike by many ecclesiastics as profane and unlike any other work by its prolific almost all other baroque oratorios, amply subversive. Even Dean Jonathan Swift, a and misunderstood composer. Messiah demonstrates Handel’s abilities as an cranky old man with Gulliver’s Travels remains Handel’s best known work, operatic composer. long behind him, almost prevented the although this was not a status that it The libretto for Messiah was designed Dublin performance by threatening to enjoyed until the last few years of his life, and selected from the New and Old forbid singers from St Patrick’s Cathedral brought about by annual performances in Testaments with utmost care by Charles to take part. Swift relented, but the Handel’s oratorio seasons and charitable Jennens (1700-73), a literary scholar contention Messiah aroused was still benefit concerts at the Foundling Hospital and editor of Shakespeare’s plays who considerable enough to persuade Handel (an organisation for underprivileged was educated at Balliol College, Oxford. that the London premiere, a year later, children, and which still exists today as However, despite his merit and ability, should be advertised under the title “A The Thomas Coram Foundation). It was Jennens never gained his Degree or much Sacred Oratorio”, thus avoiding any not originally envisaged as a Christmas recognition from society because he was charge of blasphemy. tradition, but its microcosm of Christian a non-juror, refusing to acknowledge the For this occasion Jennens used his doctrine and faith was intended as a Hanoverian dynasty as legitimate heirs influence to supervise the wordbook – the timely thought-provoker for Lent and to the throne of England. Yet Jennens 1743 equivalent of what you are reading Easter. could not be a Jacobite (i.e. a supporter now – and presents the work very much The popularity of the work grew of the deposed Catholic Stuarts) either as if it were an opera, organised into three through events such as the Handel because he was staunchly Protestant. Such distinct ‘Acts’ and subdivided into scenes: Centenary Commemoration figures are often forgotten by the over- I i) the prophecy of Salvation; (Westminster Abbey, 1784) and huge- simplification of history, but Jennens’s ii) the prophecy of the coming of scale Victorian epics typified by thousands upper-middle class background enabled Messiah and the question, despite of performers crammed into the Crystal him to live in some comfort at a fine (i), of what this may portend for Palace. All such events progressively house in Gospall, Leicestershire, and the World; strayed further from Handel’s musical devote his time to artistic pursuits in the iii) the prophecy of the Virgin Birth; world, attempting to make choirs and absence of a prominent public life. iv) the appearance of the Angels to orchestras ridiculously large, often with Jennens had been a known admirer the Shepherds; ‘new’ parts created for extra instruments. of Handel’s music since 1725, when v) Christ’s redemptive miracles on However, ill advised ‘improvements’ grew he commenced regular subscriptions earth; to such an extent that by the nineteenth for publications of Handel’s operas by II i) the redemptive sacrifice, the century editors and conductors had ordering a copy of Rodelinda. By the scourging and the agony on the distorted Messiah beyond its Handelian mid-1730s Jennens became personally cross; origin. It is such misunderstanding that acquainted with Handel, and before ii) His sacrificial death, His led Berlioz to describe Handel’s music Messiah had already furnished Handel passage through Hell and His as “a barrel of roast pork and beer” – with texts for the dramatic oratorio Saul Resurrection; the French innovator of romanticised (1738), the extensive masque L’Allegro, iii) His Ascension; orchestration obviously failed to recognise il Penseroso ed il moderato (1740), and iv) God discloses his identity in a kindred brilliance that radiates from later also provided the text for the striking Heaven; so much of Handel’s original score. The masterpiece Belshazzar (1744). It is also v) Whitsun, the gift of tongues, the overwhelming popularity of Messiah not now suspected that Jennens may have beginning of evangelism; only led to a misconception of Handel’s been involved with Handel’s only other vi) the world and its rulers reject the musical character and artistic intentions, scriptural oratorio Israel in Egypt (1738). Gospel; but also eclipsed almost every other work Despite a difficult working relationship vii) God’s triumph; he composed except the Water Music and – Handel later preferred to collaborate III i) the promise of bodily resurrection Fireworks Music – both also highly un- with lesser but more amiable writers – and redemption from Adam’s fall; typical of his orchestral abilities. Jennens remained a life-long admirer and ii) the Day of Judgement and general Handel, arguably the most supporter of Handel’s music. His own Resurrection; cosmopolitan and versatile theatrical personal library of Handel manuscripts, iii) the victory over death and sin; composer of the baroque period, was the ‘Aylesford’ Collection (now held at iv) the glorification of the Messianic born and trained in Germany, achieved Manchester Central Library), was copied victim. mastery and success in every musical genre by Handel’s assistants from the autograph Jennens’s own explanation of while in Italy, and then settled for nearly scores, and remains a priceless resource for Messiah, printed and distributed to five decades in England, during which Handel scholars. his contemporary audience, can also illuminate a modern audience. It explains Song: Tenor upon His shoulder; and His name shall be Jennens’s thought process in taking Ev’ry valley shall be exalted, and ev’ry called Wonderful, Counsellor, the Mighty seemingly random scriptures from the mountain and hill made low; the crooked God, the Everlasting Father, the Prince of Mosaic Old Testament and the more straight, and the rough places plain. Peace. (Isaiah 9:6) benign teachings of the New Testament, (Isaiah 40:4) Pifa reconciling apparent paradoxes, and Chorus Recitative: Soprano enhancing our appreciation and And the glory of the Lord shall be There were shepherds abiding in the field, understanding of Handel’s musical revealed, and all flesh shall see together; keeping watch over their flocks by night. settings. for the mouth of the Lord hath spoken it. (Luke 2:8) There is no definitive musical text for (Isaiah 40:5) Accompagnato: Soprano Messiah because of the many changes Accompagnato: Bass And lo, the angel of the Lord came upon Handel was obliged to make during Thus saith the Lord, the Lord of Hosts; them, and the glory of the Lord shone the seasons it was performed. Some Yet once a little while and I will shake round about them, and they were sore numbers were recomposed, such as But the heav’ns and the earth, the sea and the afraid. (Luke 2:9) who may abide, which is best known as dry land: And I will shake all nations; Recitative: Soprano the alto virtuoso piece composed for the and the desire of all nations shall come. And the angel said unto them: Fear not, castrato Guadagni in 1750. Others were (Haggai 2:6-7) The Lord, whom ye seek, for behold, I bring you good tidings of customised for the soloists available, such shall suddenly come to His temple, even great joy, which shall be to all people. For as another version of But who may abide the messenger of the Covenant, whom ye unto you is born this day in the city of transposed up for an additional soprano delight in: behold, He shall come, saith David a Saviour, which is Christ the Lord. soloist in 1754. the Lord of Hosts. (Luke 2:10-11) Therefore it can be bewildering to sort (Malachi 3:1) Accompagnato: Soprano out exactly which authentic version of Song: Counter Tenor And suddenly there was with the angel, a Handel’s Messiah – if any – to perform. But who may abide the day of His multitude of the heavenly host, praising The most satisfying historically accurate coming, and who shall stand when He God, and saying: reconstructions generally date from the appeareth? For He is like a refiner’s fire. (Luke 2:l3) early 1750s. Ironically the rarest version (Malachi 3:2) Chorus heard in modern performances is the Chorus Glory to God in the highest, and peace on 1742 Dublin original.