Messiah
George F Handel (1685 - 1759)
Handel composed Messiah in just twenty-four days, a remarkably short
space of time but not exceptional by his own extraordinary standards.
What is almost beyond comprehension, however, is how he was able
to create a work of such sustained inspiration, power and seemingly
inexhaustible invention in less than one month. More than 270 years
have passed since its first performance, yet Messiah’s status as one
of the great icons of European music remains undiminished, and it
continues to speak to millions of people of many cultures and faiths
around the world.
Handel had enjoyed enormous critical and financial success as a
composer of operas but by 1741 his fortunes had fallen. His operas
were regarded by many as scurrilous and the Covent Garden Theatre,
which he ran, a ‘den of rascals’. He was close to ruin and the debtors’
prison.
Quite unexpectedly, two letters arrived, which changed both Handel’s
position and the history of music forever. First came an invitation
from the Duke of Devonshire to come to Dublin and provide a series
of benefit concerts ‘For the relief of the prisoners in the several gaols,
and for the support of Mercer’s Hospital in Stephen Street, and of the
Charitable Infirmary on the Inn’s Quay.’
Then, a letter arrived from Charles Jennens, a literary scholar and
editor of Shakespeare’s plays, who had previously written libretti for
Handel. The letter contained Old and New Testament texts, which
Handel read and re-read. He was so moved by these texts that he
immediately embarked on writing a sacred opera using them.
Messiah premiered on April 13, 1742 in Dublin as a charitable benefit,
raising £400 and freeing 142 men from debtor’s prison. Interestingly,
Handel did not present Messiah in London until 1743. The work was
presented in December of that year (previous performances had been
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