PERSECUTED GENIUS

New Zealand Listener, Volume 1, Issue 25, 15 December 1939, Page 15

PERSECUTED GENIUS

Handel and the " Messiah"

(By

Arthur

O'Halloran

OW many of the thousands who H listen each year to Handel’s "Messiah" know that it was written in the remarkably short period of three weeks (August 22September 14, 1741). Three further days sufficed for orchestration. The "Messiah" was first performed in Dublin, where Handel confessed, he passed some time with "honour, profit and pleasure." He had gone to Dublin at the invitation of William Cavendish, Duke of Devonshire, and Lord-Lieuten-ant of Ireland. Faulkner’s Journal of March 27, 1742, gave notice of the premiere of the great oratorio, the proceeds of which were announced "For relief of the Prisoners in the several Gaols, and for

the Support of Mercer’s Hospital in St. Stephen’s Street and of the Charitable Infirmary on the Inn’s Quay." The performance took place on Monday, 13th April, at the " Musick Hall in Fishamble Street,’ the tickets being priced at half’a guinea. " Gentlemen of the Choirs of both Cathedrals assisted," and Handel, who was one of the great organists of his day, performed several of his Organ Concertos. Seven hundred people were present, and the sum of £400 was collected. London Disliked the Name The first London performance took place on the 23rd March, 1743, but no notice appeared in the London papers of the day. So narrow were the prevailing views of that time that it was deemed inadvisable to advertise the work under the title of " Messiah." It therefore appeared on the Play Bills as "A Sacred Oratorio." Even this concession did not satisfy some persons, who found the Play House an "unfit place for such a solemn performance." London was slow to recognise the grandeur and the noble simplicity of the " Messiah."

"This Upstart After the initial London performances in 1743 and one in the following year, five years passed before the great work was heard again. It is a lamentable fact of history that notwithstanding Handel’s outstanding musical achievements, and his gift to posterity of imperishable musical works, he was persecuted and harried by the English aristocracy. As Streatfeild says in his Life of Handel- " Handel was an incarnation of the spirit of revolt against the old system of patronage that had ruled the world of music." This was heresy in Court and Society circles. So, if they could not tame "this upstart musician," they could (and did) break him financially. The fine ladies of the land led the crusade,

and when "Mr. Handel" was about te give an oratorio they saw to it that balls and card-parties clashed with the concert. When his funds were exhausted, Handel was, for the second time, declared a bankrupt. The "Messiah" performances were revived again in 1749. On the ist May, 1750, Handel directed a performance of the work for the Hospital exchequer (Foundling Hospital). He continued to give at least one performance yearly in the Foundling Chapel for the Hospital Funds. The great musician was nothing if not charitable. Overtaken by Blindness Like our. own great poet Milton, Handel ended his life in blindness. In 1751 he lost the sight of one eye. Early in 1753, after bravely submitting to three operations, he completely lost his sight. He continued to play from memory, and to impress concert-goers ‘with his wonderful improvisations. He died in the night of the 13th or early morning of the 14th April, 1759, apparently alone. Now he lies in the Poets’ Corner, Westminster Abbey.