Messiah: Themes and variations…

9 December 2017: Holy Trinity Church, Stratford-upon-Avon

On 9 September 1742, George Frideric Handel wrote a letter to his close friend (and greatest fan), Charles Jennens, enclosing a glowing review – by “no less than the Bishop of Elphim (A Nobleman very learned in musick)” – of the extremely successful first performance of an oratorio in Dublin. This premiere had actually taken place five months earlier, on 13 April 1742: so it seems that Handel was perhaps a little tardy in informing Jennens just “how well Your Messiah was received”.

Yes… – “Your” Messiah. For it was Jennens who not only compiled the text; but also convinced Handel of the merits of such a work in the first place. It seems, as well, that the composer trusted his collaborator’s knowledge of music, and musical forms, well enough to have asked him for feedback on the final article: as later, he would write to Jennens, asking him to “point out these passages in the Messiah which you think require altering”.

Unfortunately, Jennens doesn’t appear to have considered Messiah one of Handel’s greatest hits (an opinion also held by the first London audiences for the work) – as he wrote to his friend Edward Holdsworth that…

I shall show you a collection I gave Handel, called Messiah, which I value highly. He has made a fine entertainment of it, though not near so good as he might and ought to have done. I have with great difficulty made him correct some of the grossest faults in the composition; but he retained his overture obstinately, in which there are some passages far unworthy of Handel, but much more unworthy of the Messiah.

There is no mention in either of my (extremely well-used) scores of Messiah of the librettist’s name; and it would be easy to dismiss – as many have done – its lyrical content as just a collection of random verses from the Bible loosely stitched together. Additionally – especially for those of us who need more than our hands and feet to count the number of performances we have either attended or taken part in – the words have become so utterly familiar, anyway, that we perhaps take little (if any) notice of their meaning – either as individual movements, or overall.

I would argue, though, that Jennens’ knowledge of scripture; his grasp of dramatic literature (he was the first person to produce scholarly editions of individual Shakespeare plays), and of dramatic music; all come together to produce a cohesive, intelligent, and, in many ways, a quite startling narrative. We have to remember that nothing like this had been produced before (excepting Jennens’ own text for Handel’s Saul, in 1739); and that the first edition of Alexander Cruden’s Complete Concordance To the Old and New Testaments had only just been published (in 1736). But, even then, it has to be acknowledged that Jennens must have known the 1611 King James Version of the Bible – and the versions of the psalms as printed in The Book of Common Prayer of 1662 – inside-out. Indeed, musicologist Watkins Shaw – in The story of Handel's ‘Messiah’ – asserts that the libretto “amounts to little short of a work of genius”. As a writer, I have to agree!

The storyline that Jennens weaves can be seen in more than one light, too – hence its effectiveness. As religious propaganda, it reflects his own feelings concerning religion and society. In structure, it follows the liturgical year: Part I corresponding with Advent and Christmas; Part II with Lent, Easter, the Ascension, and Pentecost; and Part III with the year’s end (as well as ‘The End of Days’). Of course, its main thrust is the rehearsal of the life of Jesus: from Isaiah’s prophecies of a longed-for saviour – of his birth and death – to their fulfilment (in effect, from the First Coming to the Second). However, despite its title, this “life” is only ever really implied – apart from the appearance of the angels to the shepherds (in movements 13 to 17), events are written well and truly between the work’s lines.

As you listen to Handel’s glorious music, tonight, please, therefore, pay attention to those wonderful words, as well as – perhaps more than you would normally – to their meaning, their significance and power. And remember that, to all intents and purposes, without Jennens, there would be no music to hear. Without Charles Jennens, there would be no Messiah.

My colours are as red…

It was as if they were precisely as I had left them: serene shapes bathed in blazing sodium – a tinge flattering of the redwings, particularly as they settled; although the companion fieldfares and thrushes likewise glowed with the radiance painting the village’s warmed brick chimneys (some, like ours, wisped with telltale drifts of light smoke). But now the sunken sun shone westwards – not from the west – although my suspicion was the same: that, perched as high in the skyclad oak as its topmost thin fingers would hold, these returning travellers were relishing this tepid coloration; were making the most of the new winter’s protective evanescent light, of its ebbing eight-hour span.

Anniversary (a)musings…

Just a little set of amuse-bouches – of hastily-scribbled, reasonably relevant, limericks… – to celebrate four years of blogging! (Photo courtesy of the wonderful people at Dr C P Grey Opticians.)

Read ’em and weep

The Bard of the village of Tysoe
Did wonder and worry just why so
     Few views were logged
     Of the words he had blogged
The paucity making him cry so

Hot off the press

There once was a brilliant Bard
Who typed so exceedingly hard
     That his fingers were numb
     (As was his poor bum)
And the keyboard he hammered was charred

Did Cicero say anything?

The Orchestra’s Writer-in-Residence
Loves using his words to set precedence
     With notes so unique
     They could well be in Greek
Ή ακόμα και για τους γούνιους ελέφαντες†

“This section does not make sense as drafted…”

I’m sorry so little is happening on this blog at the moment: but serious issues with my health mean that other things must take priority. However, if you’re interested in the progress (or otherwise) of the “Pre-consultation draft” of the Neighbourhood Development Plan, I’d like to point you to Stratford-on-Avon District Council’s gritty response – from 31 July 2017. It may not be quite as detailed as mine – but it certainly is pithy! Thanks to Duke Senior, as always, for the heads-up!

The Wastage of the Willows – Branch II; Leaf V

Lone pilgrim…

Unlike most of the local creatures – who never ventured far from where they were born, throughout their lives – the Badger (at night) and the Water Rat (of a day) had both been keen explorers: the Badger knowing every copse, hedgerow, track, bump and lump, for miles around; and the Rat being acquainted with every inch of every stream, brook, source, and, of course, the River itself – the waters’ heights in every season; the currents that would catch others out; whether they were good to drink, swim or sail in; or just suitable for a good paddle!

The Mole, he felt, proudly, had been getting there gradually – not bad for someone who had spent most of his existence happily underground, before… – becoming an able navigator on land and by rowing boat; and being able to work his way back to most places from all the other ones: albeit sometimes by unexpected, but happy, diversions. The trees – should you spend long enough with them: learning their names, and their distinctive shapes; their histories… – were the most amenable guides: and he would often spend hours, resting against their trunks, between habituated, enfolding roots, reading; or lying flat beneath their summer shade, doing nothing much other than the occasional bit of thinking, or humming, or snoozing, of course; occasionally sketching the most distinctive ones – the pollarded willows, reinforcing the River’s banks; the stools of coppiced ash, just inside the Wild Wood; the stag-headed field-oaks – or just an individual leaf, twig, branch or fruit. “Not forgetting Badger’s small-leaved lime,” whispered the Mole, sadly.