Every December thousands of people gather together in concert halls and sing-a-long choirs all over the world to take part in what has become a special and beloved holiday tradition; the Christmas performance of George Frideric Handel’s magnificent Oratorio, The Messiah.
And for many, like me, who consider this event the highlight of their Yuletide Season, Christmas wouldn’t seem like Christmas unless it included the inspiring music and message of this glorious masterpiece.
It has been said “that the spiritual impact of this music on the lives of its listeners has probably done more to convince mankind that there is a God about us than all the theological works ever written” (Myers, Handel’s Messiah, A Touchstone of Taste, op. cit., p. 238).
History’s consensus also has much to say about this work of musical genius. In the words of Sir Newman Flower, one of Handel’s many biographers, “Considering the immensity of the work, and the short time involved, it will remain, perhaps forever, the greatest feat in the whole history of music composition.”
But placing the talent and genius of this amazing composer aside, the most important story that needs to be told here is about the Heavenly manifestation and vision that Handel experienced while composing this great work.
Mine eyes did behold …
On August 22 of 1741, George Frideric Handel sequestered himself in his small London house on Brook Street, and set to work on a composition commissioned by a Dublin charity. He became so absorbed in his work that he often forgot to eat, rarely left his bedroom, and never left his house for three weeks. Completing a total of 260 pages of manuscript and orchestration in just 24 days!
Within moments of Handel completing the great “Hallelujah Chorus” his loyal and worried servant happened to enter the composer’s room in hope, once again, of getting him to eat something. There he found his astonished employer with tears streaming down his face, who immediately cried out “I did think I did see all Heaven before me, and the great God Himself.”
Later that day a close friend who had come by to check on him, found him overcome and sobbing with intense emotion. In trying to describe his earlier experience Handel stated “Whether I was in the body or out of my body when I wrote it I know not” (Hertha Pauli, Handel and the Messiah Story, New York: Meredith, 1968, p. 51).
To free the prisoners and succor the suffering
Messiah’s first performance took place on April 13, 1742, strictly as a charitable event. It raised 400 pounds freeing 142 men from debtor’s prison, a fate Handel himself narrowly escaped several times during his lifetime (see Charles Hazilip Webb, Handel’s Messiah: A Conductor’s View, p. 4).
But its widespread fame, prestige and financial payoff finally came one year later when the King of England––during a special royal performance––rose to his feet as the words and notes of the magnificent “Hallelujah Chorus” gloriously filled the air. Following royal protocol, the entire audience stood also.
News of this happening spread like wildfire throughout all of London and soon paying audiences were jammed into crowded concert halls and rising to their feet as soon as the first notes of the riveting “Hallelujah Chorus” began to ring out. Thus began the tradition of standing for this revered Chorus, which continues to this day.
Later, when the great master composer Franz Joseph Haydn finally heard the “Hallelujah Chorus,” he wept like a baby and exclaimed, “He is the master of us all” (Patrick Kavanaugh, The Spiritual Lives of Great Composers)!
Handel loved being present during the Messiah concerts and personally conducted more than 30 performances. Many of these concerts were benefits for the Foundling Hospital, a place dear to Handel’s heart, which he considered his blessing and duty to support.
It has been noted that the Messiah’s performances has done more to feed the hungry, cloth the naked and foster the orphan than any other single musical production. “Perhaps the works of no other composer have so largely contributed to the relief of human suffering than those of George Frideric Handel” (Percy M. Young, The Oratorios of Handel, London: Dobson, Ltd., 1949, p.100).
Many of the world’s greatest musicians, and musicologists, claim that the first few notes of the “Hallelujah Chorus” is the most recognizable piece of music in the world (see Jens P. Larsen, Handel’s Messiah, New York: W.W. Norton, 1972).
“I Know That My Redeemer Liveth”
George Frideric Handel died on April 14, 1759, at the age of 74 in debt and having never married. He died on Good Friday weekend, the fulfillment of his heart’s desire to die on Good Friday. His death came only eight days after he conducted his final performance of his beloved Messiah.
This kind-hearted man was well known throughout all of London for his charitable ways. Even in times when he was facing financial ruin and heavily in debt himself, he shared what little he had with the poor.
He was a deeply religious man, who placed his faith and trust in God to sustain him and see him through every difficulty.
He was also known for his humility, unassuming opinion of himself and talent, and a positive attitude. People were drawn to his kindness and colorful personality wherever he went.
His very close friend James Smyth wrote this about him. “He died as he lived––a good Christian, with a true sense of his duty to God and to man, and in perfect charity with the entire world” (Otto Erich Deutsch, Handel, A Documentary Biography, London: Adam and Charles Black, 1955, p. 819).
Handel was buried in Westminster Abbey, with more than 3,000 people attending his funeral. In his honor, a statue of him was erected in the Abbey holding the manuscript for the solo that opens Part Three of Messiah, the magnificent “I Know That My Redeemer Liveth.” How fitting that his fervent testimony of his beloved Lord and Redeemer, Jesus Christ, be cast in stone for the entire world to see.
If you have never attended a performance of The Messiah, or joined your voice to a Messiah sing-a-long choir (doesn’t matter how well you sing), perhaps this is the year to do so. I feel quite certain you will be very happy that you did, and that it will bless your Christmas celebration.
FORD BrianDecember 8, 2014
What a nicely researched article on a meaningful subject! Now, could you compare and contrast the inspiration of Handel, for Messiah, and Dickens, The Christmas Carol, in reference to the author's financial conditions at the time of their writings, their attitudes towards their fellow men, the success of their work, the effects of their works on the public at the time and subsequent, and include your interpretation of the possible reasons for such divine inspiration at that time? Show your work. :) Brian
Renee QueryDecember 7, 2014
One of Handel's conditions for performing The Messiah was there was never to be any money charged the audience for attending. How come the Utah Symphony and Choir charge the audience to participate