Messiah (HWV 56) by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the version of the Psalms included with the Book of Common Prayer, was first performed in Dublin on this date in 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.
Handel’s reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste. Works such as John Gay’s Beggar’s Opera (http://www.bookofdaystales.com/john-gay/ )signaled a general move away from Italian opera in England. Messiah was Handel’s sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens’ text is an extended reflection on Jesus Christ as Messiah. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only “scene” taken from the Gospels. In Part II, Handel concentrates on the Passion and ends with the “Hallelujah” chorus. In Part III he covers the resurrection of the dead and Christ’s glorification in heaven.
Charles Jennens was born around 1700, into a prosperous landowning family whose lands and properties in Warwickshire and Leicestershire he eventually inherited. His religious and political views—he opposed the Act of Settlement of 1701 which secured the accession to the British throne for the House of Hanover—prevented him from receiving his degree from Oxford University, or from pursuing any form of public career. His family’s wealth enabled him to live a life of leisure while devoting himself to his literary and musical interests. He was devoted to Handel’s music, having helped to finance the publication of every Handel score since Rodelinda in 1725. By 1741, after their collaboration on Saul, a warm friendship had developed between the two, and Handel was a frequent visitor to the Jennens’ family estate at Gopsall.
Jennens’ letter to Holdsworth of 10 July 1741, in which he first mentions Messiah, suggests that the text was a recent work, probably assembled earlier that summer. As a devout Anglican and believer in scriptural authority, part of Jennens’ intention was to challenge advocates of Deism, who rejected the doctrine of divine intervention in human affairs. There is no evidence that Handel played any active role in the selection or preparation of the text, such as he did in the case of Saul.
The music for Messiah was completed in just 24 days. Having received Jennens’ text some time after 10 July 1741, Handel began work on it on 22 August. His records show that he had completed Part I in outline by 28 August, Part II by 6 September and Part III by 12 September, followed by two days of “filling up” to produce the finished work on 14 September. The autograph score’s 259 pages show some signs of haste such as blots, scratchings-out, unfilled bars and other uncorrected errors.
At the end of his manuscript Handel wrote the letters “SDG”—Soli Deo Gloria, “To God alone the glory”. The effort of writing so much music in so short a time was not unusual for Handel and his contemporaries; Handel commenced his next oratorio, Samson, within a week of finishing Messiah, and completed his draft of this new work in a month. In accordance with his frequent practice when writing new works, Handel adapted existing compositions for use in Messiah, in this case drawing on two recently completed Italian duets and one written twenty years previously. Thus, Se tu non lasci amore from 1722 became the basis of “O Death, where is thy sting?”; “His yoke is easy” and “And he shall purify” were drawn from Quel fior che alla’ride (July 1741), “Unto us a child is born” and “All we like sheep” from Nò, di voi non vo’ fidarmi (July 1741). Handel’s instrumentation in the score is often imprecise, again in line with contemporary convention, where the use of certain instruments and combinations was assumed and did not need to be written down by the composer; later copyists would fill in the details.
Before the first performance Handel made numerous revisions to his manuscript score, in part to match the forces available for the 1742 Dublin premiere; it is probable that his work was not performed as originally conceived in his lifetime. Between 1742 and 1754 he continued to revise and recompose individual movements, sometimes to suit the requirements of particular singers. The first published score of Messiah was issued in 1767, eight years after Handel’s death, though this was based on relatively early manuscripts and included none of Handel’s later revisions.
Handel’s decision to give a season of concerts in Dublin in the winter of 1741–42 arose from an invitation from the Duke of Devonshire, then serving as Lord Lieutenant of Ireland. A violinist friend of Handel’s, Matthew Dubourg, was in Dublin as the Lord Lieutenant’s bandmaster; he would look after the tour’s orchestral requirements. Whether Handel originally intended to perform Messiah in Dublin is uncertain; he did not inform Jennens of any such plan, for the latter wrote to Holdsworth on 2 December 1741: “… it was some mortification to me to hear that instead of performing Messiah here he has gone into Ireland with it.” After arriving in Dublin on 18 November 1741, Handel arranged a subscription series of six concerts, to be held between December 1741 and February 1742 at the Great Music Hall, Fishamble Street. These concerts were so popular that a second series was quickly arranged; Messiah figured in neither series.
In early March Handel began discussions with the appropriate committees for a charity concert, to be given in April, at which he intended to present Messiah. He sought and was given permission from St Patrick’s and Christ Church cathedrals to use their choirs for this occasion. These forces amounted to 16 men and 16 boy choristers; several of the men were allocated solo parts. The women soloists were Christina Maria Avoglio, who had sung the main soprano roles in the two subscription series, and Susannah Cibber, an established stage actress and contralto who had sung in the second series. To accommodate Cibber’s vocal range, the recitative “Then shall the eyes of the blind” and the aria “He shall feed his flock” were transposed down to F major. The performance, also in the Fishamble Street hall, was originally announced for 12 April, but was deferred for a day “at the request of persons of Distinction”. The orchestra in Dublin comprised strings, two trumpets, and timpani; the number of players is unknown. Handel had his own organ shipped to Ireland for the performances; a harpsichord was probably also used.
The three charities that were to benefit were prisoners’ debt relief, the Mercer’s Hospital, and the Charitable Infirmary. In its report on a public rehearsal, the Dublin News-Letter described the oratorio as “… far surpass[ing] anything of that Nature which has been performed in this or any other Kingdom”. Seven hundred people attended the premiere on 13 April. So that the largest possible audience could be admitted to the concert, gentlemen were requested to remove their swords, and ladies were asked not to wear hoops in their dresses. The performance earned unanimous praise from the assembled press: “Words are wanting to express the exquisite delight it afforded to the admiring and crouded Audience”. A Dublin clergyman, Rev. Delaney, was so overcome by Susanna Cibber’s rendering of “He was despised” that reportedly he leapt to his feet and cried: “Woman, for this be all thy sins forgiven thee!” The takings amounted to around £400, providing about £127 to each of the three nominated charities and securing the release of 142 indebted prisoners.
Handel wrote Messiah for modest vocal and instrumental forces, with optional settings for many of the individual pieces. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified by (among others) Mozart. In the late 20th and early 21st centuries the trend has been towards reproducing a greater fidelity to Handel’s original intentions, although “big Messiah” productions continue to be mounted.
Here’s two of my favorite selections from a “period” performance led by Stephen Cleobury who at the time was the musical director at King’s College Cambridge. The full performance is here:
Whilst we are in the mood for recreating the feeling of Georgian music recitals, here’s a period piece in food – skirret pie. Sium sisarum, commonly known as skirret, is a perennial plant of the family Apiaceae once grown as a root vegetable. The English name skirret is derived from the Middle English ‘skirwhit’ or ‘skirwort’, meaning ‘white root’. In Scotland it is known as crummock. Its Danish name sukkerrod, Dutch name suikerwortel and German name “Zuckerwurzel” translate as ‘sugar root’. Skirret has a cluster of bright white, sweetish, somewhat aromatic roots, each approximately 15-20 cm in length. They were once commonly used as a vegetable in the same manner as the common salsify, black salsify and the parsnip, but eventually they were surpassed by potatoes. I have no idea if you could ever find skirrets for sale in a market, but you can buy the seeds online.
I’m giving two period recipes here. They are similar in that they are both quite sweet and laden with sweet spices and candied fruits, as was customary for Georgian savory dishes. The second recipe calls for another obsolete vegetable – eryngo. Eryngium campestre, known as field eryngo, is a species of Eryngium, which was used medicinally. The basal leaves are long-stalked, pinnate and spiny, and can be made into an herbal tea. The roots were usually candied.
Boil your biggest skirrets and blanch and season them with cinnamon, nutmeg, and a very little ginger and sugar. Your pye being ready lay in your skirrets; season also the marrow of three or four bones with cinnamon, sugar, a little salt and grated bread. Lay the marrow in your pye and the yolks of hard eggs, a handful of chestnuts boiled and blanched, and some candied orange-peel in slices. Lay butter on the top and lid your pye. Let your caudle be white wine and sugar, thicken it with the yolks of eggs, and when the pye is baked pour it in and serve it hot. Scrape sugar on it.
Eliza Smith, The Compleat Housewife, (1727)
A Skirret Pye
Take the largest skirrets you can get & parboyle them & peel them & season them with cinnimon & powder sugar & put them in a dish with a good deal of fresh butter & some sliced citron & candid orange peel & candid eringoroot, 3 spoonfulls of rose water, 4 of white wine, some Jerusalem hartichokes boyled & sliced. Make it with cold butter paste. When it coms out of the oven, have ready a caudle made of half a pint of sack, some sugar & nutmeg & the yolks of 4 eggs & a print of butter poured on it very hot & the lid laid on it again.
Cookbook of Unknown Ladies (c. 1761)