Handel's "Messiah" for the Xmas Sedson

Radio Record, Volume III, Issue 22, 13 December 1929, Page 7

Handel's "Messiah" for the Xmas Sedson

Broadcast Arranged by 1YA, 2YA © and 3YA 7 é THE first broadcasts ushering in the Christmas season of 1929 will take ° pluce next week, when there will be presentations. in studio and: by relay, of Handel’s "Messiah." In all, there will be three broadcasts of this noble work. woos me gt On Sunday evening, December 15, 2YA is relaying from Lower Hutt the Methodist Church choir’s rendition of "Messiah." On Tuesday evening it ‘will be performed by the 1¥A Broadcasting Choir under Mr. Len Barnes. On Wednesday evening the Christchurch Royal Musical Society is giving a public performance in the Civic Theatre, and a relay by 3YA will be carried. out. In every instance first-class soloists have been engaged, and listeners who appreciate oratorio may look forward to very enjoyable performances. . A VERY interesting story is associated with Handel and."Messiah." "I _ did think I did’ séé all Heaven before me, and the great God himself !"- cried Handel when he had written the last notes of the "Hallelujah" chorus, thus. completing the second*part of "Messiah." Nearly two centuries after its composition it is generally regarded as Handel’s supreme achievement, and one of the greatest musical works in existence. When Handel set himself in the autumn of 1741. at the age of fifty-six, to ‘compose "Messiah," he was under a cloud of misfortune and bitter disappointment which must have overwhelmed any but the stoutest spirit. His last two operas had failed, largely, so we are told, through the plots of his opponents. In those days music was taken seriously, almost as seriously as football is now, and feeling between rival factions ran high. It is believed that Handel’s opponents even engaged hired ruffians to prevent people reaching the theatre where his operas were being given. He was in anything but good: health; his eyesight was beginning to fail him, and he was almost penniless. He shut himself in his house (he was living at Brook Street), and, seeing no one, hardly stopped even to touch the food which his faithful man brought to his room, he set himself to the composition of "Messiah" with such wholehearted zeal that the work was completed in little more than three weeks. But he had no prospect ofan immediate performance of it, and it was simply © laid aside for the time béing. "In November of the same year, the Lora Lieutenant of Ireland, the Duke of Devonshire, and the presidents of three big charitable societies, invited him to Dublin to organise concerts of his own music on behalf of the charities theyshad at heart. One was the provision of food for prisoners.,.. It was at one of these concerts that "Messiah" had its first performance, in April, 1742. The singers also went over from this country, Mrs. Cibber,’the-actress, being the contralto. The oratorio had a magnificent success, and it was repeated in the following June. So great was the crowd at the first performance that ladies of the audience were asked to come without hoops, and men without swords. When the work was first given in English, in the early part of 1748, at Covent Garden Theatre, it was practically a failure, although "Samson." given at eight performances just before then, had been a triumphant success, Only when it was performed by the Foundling Hospital;-in 1750, did it win its way to the hearts. of Londoners, and since then it is safe to say it has been the most popular of all ratorios. .

For a long time it was believed that the text for the oratorio had been arranged from Scripture for Handel by Charles Jennens, who was responsible for the libretti of a.number of the other works, both sacred and secular. .From recent researches. by:Mr. Newman Flower, however, it appears that the work was actually done by: an. assistant of Jennens, of the name of Poole. ° It is certainly done with taste and discrimination, and is no doubt partly responsible for the fact that "‘Messiah" is more shapely and consistent in design than any of Handel’s other: big sacred. works. The different parts of it lead one to another, with something of that inevitable significance which belongs to good drama, and the-chorus takes its place in building up the effect in a yang way that does a.good deal to enhance the power and menning of the story. , . ’