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Topic: Messiah (Handel)

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	Handel's Messiah
		Messiah remains Handel's best known work, although this was not a status that it enjoyed until the last few years of his life, brought about by annual performances in Handel's oratorio seasons and charitable benefit concerts at the Foundling Hospital (an organisation for underprivileged children, and which still exists today as The Thomas Coram Foundation).
		Handel, arguably the most cosmopolitan and versatile theatrical composer of the baroque period, was born and trained in Germany, achieved mastery and success in every musical genre while in Italy, and then settled for nearly five decades in England, during which time he assimilated all those nation's musical styles and specialised in operas and oratorios.
		Tobin edited Messiah for the Hallische Handel Ausgabe (published by Barenreiter), and was one of the first conducters in the 20th century to use performing forces on a similar scale and layout to Handel.
	gfhandel.org /messiah.htm (2273 words)

	George Frideric Handel (Site not responding. Last check: 2007-10-08)
		Messiah was a hit from that first performance in Dublin (actually from a public rehearsal on April 9, 1974).
		Messiah was written for a charity and the performers in the premiere performed for free.
		Messiah was not as successful in London performances until 1749 when Handel organised a concert for the Floundling Hospital, a hospital for desserted young children.
	www.edinboro.edu /cwis/music/cordell/comp-handel2.html (368 words)

	Handel's Messiah
		Handel's Messiah is, first and foremost, an "oratorio", a kind of opera without the stage-set or the actions of the characters.
		After directing several performances of Messiah, Handel left the score, a set of the parts, and the "proprietary" or copyright property to the Foundling Hospital in England, a charity that benefits orphaned children; it is known today as The Thomas Coram Foundation.
		Handel's Messiah continues to be the most popular of all Handel's oratorios, even though its subject matter is sacred, and its format austerely non-theatrical.
	www.chorusniagara.ca /concerts/00-01/2-messiah.htm (716 words)

	PROGRAMME NOTES
		From 1706 to 1710 Handel was in Italy and by the time he left Italy at the age of 25 to become Music Director at the Court of Hanover, the basic foundation of his style had been developed.
		But Handel’s Messiah attempts something rather different: the picture frames are empty, their titles removed; Handel’s Messiah has no ‘plot’ as such; all it has is a chain of prophetic quotations (‘Behold the Lamb of God’, ‘the trumpet shall sound’), and beautiful, evocative music.
		Apart from the obvious reasons for this, Handel and Jennens are also having a go at some of their contemporaries: the rationalists (or deists) challenged Christian orthodoxy by wondering out loud whether sensible people needed to believe on prophecy, visions, miracles, and the power of prayer.
	www.geocities.com /martlet_choral_links/proglibhandelmessiahnote.html (1869 words)

	America's Messiah (Site not responding. Last check: 2007-10-08)
		Messiah is a concert work for the concert hall, and very much in the mold of the modern Protestant sermon, which entertains its listener for the purpose of edifying him.
		Messiah was the first piece of classical music I heard live, the first one I performed as an amateur singer, and the first one I conducted as a professional musician.
		Handel, a life-long bachelor, is proving to be fertile ground for a kind of airy scholarship that prefers virtuosic innuendo to unambiguous historic data.
	www.firstthings.com /ftissues/ft9712/opinion/linton.html (1393 words)

	Messiah (Handel) - Wikipedia, the free encyclopedia
		Messiah (HWV 56, 1741), is an oratorio by George Frideric Handel.
		Handel led the performance from the harpsichord, and Matthew Dubourg conducted the orchestra.
		Handel's Messiah, as sung by the MIT Concert Choir:
	en.wikipedia.org /wiki/Messiah_(Handel) (3873 words)

	Messiah - HighBeam Encyclopedia (Site not responding. Last check: 2007-10-08)
		MESSIAH [Messiah] or Messias [Heb.,=anointed], in Judaism, a man who would be sent by God to restore Israel and reign righteously for all mankind.
		The Christian ideal of the Messiah is fundamentally different from the early Jewish conception in the aspect of suffering; the common idea of Jesus' time was that the Messiah should reign in glory as an earthly king, a political figure sent by God, not a savior in the Christian sense.
		The idea of a messiah, a redeemer sent by God, is common among many different peoples throughout history and may reflect a universal psychological pattern.
	www.encyclopedia.com /doc/1E1-messiah.html (479 words)

	George Frideric HANDEL - Messiah [RH]: Classical CD Reviews- Oct 2003 MusicWeb(UK) (Site not responding. Last check: 2007-10-08)
		Handel’s usual method was to write for the soloists that he knew he would be likely to have available for the forthcoming season.
		The popularity of ‘Messiah’ (and the development of Handel’s real popularity late on in his career in London), seems to have developed from the annual performances that he instituted in aid of the foundling Hospital.
		There are, needless to say, many versions of ‘Messiah’ but the one recorded here is the traditional one, effectively based on the later performances from Handel’s career, but ignoring the fascinating variants that Handel created when he had both a castrato and a contralto available.
	www.musicweb.uk.net /classrev/2003/Oct03/Handel11_12Messiah.htm (1250 words)

	Handel's Messiah
		Handel was, by all accounts of the time, a typical creative eccentric.
		Known for varied mood swings, Handel was prone to excessive eating, a boisterous sense of humor and an intense sense of musical propriety.
		Handel's friend, Charles Jennens, who had supplied much of the text, wrote to another acquaintance: "His Messiah has disappointed me, being set in great haste, tho' he said he would be a year about it, and make it the best of all his compositions.
	mymerrychristmas.com /2005/messiah.shtml (947 words)

	Georg Frideric Handel
		Handel was very economical in the re-use of his ideas; at many times in his life he also drew heavily on the music of others (though generally avoiding detection) - such 'borrowings' may be of anything from a brief motif to entire movements, sometimes as they stood but more often accommodated to his own style.
		Handel died in 1759 and was buried in Westminster Abbey, recognized in England and by many in Germany as the greatest composer of his day.
		The wide range of expression at his command is shown not only in the operas, with their rich and varied arias, but also in the form he created, the English oratorio, where it is applied to the fates of nations as well as individuals.
	w3.rz-berlin.mpg.de /cmp/handel.html (1091 words)

	Handel and Messiah
		Handel was embraced by Italian nobility and cultural elite; his operas (Rodrigo, 1708 and Agrippina, 1709) and oratorios (La resurrezione, 1708 and Il Trionfe del tempo e del disinganno, 1708) showed him to be a composer of the first rank.
		Handel's stature grew, and he rose to a position of the highest eminence in the musical world.
		MESSIAH Handel composed Messiah in approximately three weeks in August and September 1741.
	www.edinboro.edu /CWIS/Music/cordell/messiah.html (831 words)

	Orchestra Seattle \| Seattle Chamber Singers
		Handel was born in Halle, Germany, on February 23, 1685, and died in London on April 14, 1759.
		Handel was well-known in Dublin as a church-music composer, and his works were often played there to benefit charities.
		Handel synthesizes the best elements of the three musical traditions in which he was steeped: the Italian, the German, and the English.
	www.osscs.org /notes/handel_messiah.html (640 words)

	Boston Cecilia: Handel's Messiah, Program Notes
		Handel's own Foundling Hospital performances in the years of his final decade prompted a number of revisions, including expanded or newly composed versions of some of the airs, and a general tightening of the overall structure.
		Handel's real church music, usually ceremonial, often celebrating a military victory or royal birth/wedding/death, can be full of attractive and/or stirring gestures, but often tends to lack the humanistic core of his dramatic works.
		Yes, like Handel's, they draw heavily on the prevailing Italian operatic models in terms of style, but the coloration, declamation, pacing, and tone are uniquely of the church, and specifically of the historic liturgical style of Lutheran Germany of his, and earlier times.
	www.bostoncecilia.org /prognotes/handel-messiah.html (1211 words)

	NPR's SymphonyCast: The Messiah (Site not responding. Last check: 2007-10-08)
		Except for the brief nativity scene in Part I, where the Angel speaks to the Shepherds, Messiah's libretto is constructed wholly from passages in the third person, thus avoiding the chief objection against oratorio in general and this subject in particular: the Messiah never actually sings.
		But Messiah's original version was scored only for strings and trumpets, perhaps because Handel was unsure of the forces he would find at its first performance in Dublin; the string parts were later reinforced with oboes and bassoons.
		Just as Handel's own speech was an eloquent mix of at least four languages, so too his musical discourse accommodates with ease the English anthem tradition, the Italian opera aria, the tumultuous crowd-scenes of German Lutheran Passions, and even the French opera overture (its first appearance in an oratorio).
	www.npr.org /programs/symphonycast/archives/messiah.notes.html (1055 words)

	REDISCOVERING HANDEL’S MESSIAH
		For Handel, the Messiah was an Easter event that told not merely of birth but also of death and resurrection.
		Handel’s father was a barber-surgeon who hated music and wanted his son to become a successful lawyer.
		Handel’s use of biblical words in a theatre was revolutionary, and those who opposed Handel went to great extremes to keep his oratorios from being successful.
	www3.telus.net /st_simons/cr9304.htm (1196 words)

	American Bach Soloists - Jeffrey Thomas, music Director (Site not responding. Last check: 2007-10-08)
		For Messiah he borrowed music from some of his Italian vocal duets for several of the choruses, and wrote as many rearrangements of the solo arias as can be imagined.
		This “Pleasure” that Handel had newly found in the composition of oratorios was something of an economic and spiritual windfall for the composer.
		There are strong indications that Handel had Dublin in mind while he composed the score, and therefore the relatively small forces required for Messiah are a reflection of what Handel expected would be available to him there.
	www.americanbach.org /seasons/04-05/MessiahNotes.htm (1845 words)

	handel: the messiah
		The Messiah is drama, pure theatre, premiered in a theatre, and somewhat controversial in its day for serving up Christianity as entertainment.
		There's no evidence that Handel was an especially religious man; more than anything, it's clear that he used the English taste for sacred oratorio as an excuse to continue his Italian operas after they had gone out of fashion.
		And his Messiah is a tour-de-force; a succession of non-stop hits, always direct and powerful, always accessible, and by turns moving, exciting and inspiring.
	www.plover.net /~bonds/messiah.html (725 words)

	Handel's Messiah Through the Centuries
		In Messiah, the three parts represent Christ's birth, death, and resurrection; each part breaking down into a series of arias and choruses, with a Biblical passage as their basis.
		Messiah was rediscovered and reinvented in Handel's adopted hometown of London, and England as a whole, during the 1820s continuing through the turn of the century.
		The greatest contribution Messiah made to English music of the Victorian period was the movement of music away from a pastime of the elite to a significant part of life for people of all classes (Smither 347).
	psg.com /~patf/handel/messiah.html (1508 words)

	Classical Net - Handel - Messiah Arranged by Mozart
		In 1789, a performance of "Messiah" that was to have a radical effect on the course of the oratorio's performance history was given in Vienna.
		Handel originally set this number as an aria for bass in 3/8 time without the vibrant prestissimo sections that distinguish the bravura rewrite for Gaetano Guadagni.
		After Guadagni returned to the continent in 1753, Handel assigned the setting of "But who may abide" that is now so familiar to a female alto or, as we have seen, to a soprano.
	www.classical.net /music/comp.lst/works/handel/messiah/mozart.html (2230 words)

	Handel Messiah
		Messiah was written in just 24 short days in 1741 by a composer who felt at a peculiarly low ebb.
		But from the time of its first performance in Dublin the following year Messiah became the most renowned work of English sacred music, the pre-eminent oratorio in performance and an emblem of the baroque aesthetic.
		McCreesh's 1997 interpretation of the 1754 version of Messiah is a super-charged, wide-throated performance of this oratorio.
	www.musica.co.uk /recordingsuk/handelmessiah.htm (89 words)

	INKPOT CLASSICAL MUSIC REVIEWS: HANDEL Messiah - An Inktroduction
		Handel’s oratorios, to which ticket-holders had paid to attend, were essentially the 18th-century equivalent of modern-day musicals.
		Handel combines the sheer grandeur and power of his Germanic roots with the colour of his Italian experience, joining this with the unique flavour of the English language.
		HANDEL Messiah The Scholars Baroque Ensemble/van Asch (Naxos)
	inkpot.com /classical/messiah.html (1471 words)

	NPR : Handel's 'Messiah' from Philadelphia
		The performance venues in which Handel's oratorios were originally presented, the performers who participated, and the audiences that attended were pretty much the same as those previously connected with his operas.
		Handel the dramatic composer, therefore, is still very much in evidence in his oratorios.
		(Handel had advertised the oratorio as a "musical entertainment.") It was only in 1750, when Messiah began to be presented in annual performances for a London charity at the local Foundling Hospital, that the public embraced the work.
	www.npr.org /templates/story/story.php?storyId=6581236 (1329 words)

	Messiah College: Current News
		The choir, accompanied by orchestra, will present Handel's "Messiah." Seating is general admission and tickets cost $12 for adults, $10 for senior citizens and $5 for students.
		In 1998, the chorus was renamed the Messiah College Choral Arts Society to reflect the group's rich heritage with the college.
		Messiah College, a private Christian college of the liberal and applied arts and sciences, enrolls more than 2,900 undergraduate students in 60 majors.
	www.messiah.edu /news/2004/MC-071-04.html (390 words)

	Order: Choral Singing Training for Handel Messiah
		Handel himself was a devout Christian, and the work is a presentation of Jesus's life and its significance according to Christian doctrine, with the text of the oratorio taken from the King James Bible.
		Messiah is Handel's most famous work (approached only by his Water Music) and remains immensely popular among concert-goers in the English-speaking world.
		Although Handel called his oratorio simply "Messiah" (without "The"), the work is also widely but incorrectly referred to as The Messiah.
	www.rehearsalarts.com /products/handel-messiah.html (695 words)

	George Frideric Handel - Oratorio THE MESSIAH (in English) - Maulbronn Monastery Edition
		Handel’s dynamic indications in The Messiah go beyond the usual forte, piano and pianissimo to include mezzo piano and un poco piano, markings by which he intended an even finer differentiation.
		Elsewhere, Handel’s senza ripieno indications appear to have been motivated more by consideration of the technical inadequacies of his ripienisti, and therefore were not observed in the Maulbronn performance.
		Handel may have countered the archbishops by asserting that “I have read my Bible very well and will choose for myself,” and he may have spurned Morell’s verses, but his conduct towards Jennens was, on the evidence of their correspondence, that of an artist towards his patron.
	www.kuk-verlagsanstalt.com /English/Maulbronn/SMessiah.html (2286 words)

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