What You Should Know About Handel’s Messiah
Handel’s Messiah
George Frideric Handel’s Messiah is one of the most celebrated and enduring works in classical music.
This oratorio—a large-scale composition for orchestra, choir, and soloists—tells a story through music, often with religious themes.
Handel composed Messiah in 1741, and it premiered in Dublin in 1742. Since then, its profound spiritual themes and majestic music have captivated audiences for centuries.
Structured in three parts, the oratorio explores the prophecy, birth, passion, and resurrection of Jesus Christ, solidifying its place as a cornerstone of sacred music.
Handel’s Messiah remains a cultural touchstone, especially during the Christmas and Easter seasons.
This article explores the origins, structure, and enduring legacy of Messiah, highlighting its significance in music history and its continued relevance today.
The Creation of Handel’s Messiah
Handel composed Messiah in a remarkable burst of creativity that lasted between three to four weeks during August and September of 1741.
He would write tirelessly from morning until night,” notes Sarah Bardwell from the Handel House Museum in London.
The oratorio is celebrated for its dramatic and expressive music, blending choral and solo performances to create a captivating experience.
This section will explore the details of the composition and the librettist behind this renowned work.
Handel’s Messiah Libretto
Charles Jennens compiled the text for the oratorio Messiah from the King James Bible and the Coverdale Psalter.
A passionate supporter of Handel, Jennens financed the publication of every Handel score since Rodelinda in 1725.
By 1741, following their collaboration on Saul, Jennens and Handel had developed a close friendship, with Handel frequently visiting the Jennens family estate at Gopsall.
In a July 10, 1741, letter to Holdsworth, Jennens first mentioned Messiah, suggesting he had likely assembled the text earlier that summer.
A devout Anglican who believed in scriptural authority, Jennens aimed to challenge proponents of Deism, who denied divine intervention in human affairs.
Shaw characterizes the text as “a meditation on our Lord as Messiah in Christian thought and belief,” and despite criticizing Jennens’s character, acknowledges the final libretto as “little short of a work of genius.”
Unlike his involvement with Saul, no evidence suggests Handel actively participated in selecting or preparing the text for Messiah; he apparently felt no need to significantly alter Jennens’s work.
The Composition
The music for Messiah was composed remarkably quickly, completed in just 24 days.
After receiving the libretto from Charles Jennens sometime after July 10, 1741, Handel began his work on August 22.
His records indicate that he outlined Part I by August 28, finished Part II by September 6, and completed Part III by September 12.
He then spent two more days refining the piece, completing it on September 14th.
However, Jennens viewed this rapid composition not as an expression of creative fervor but as “careless negligence.”
This perception strained their relationship, as Jennens urged Handel to make improvements, while the composer resisted.
At the conclusion of his manuscript, Handel inscribed the letters “SDG”—Soli Deo Gloria, meaning “To God alone the glory.”
This inscription, along with the rapid pace of composition, has fueled the apocryphal belief that Handel created the music in a state of divine inspiration, during which he purportedly “saw all heaven before him” while composing the Hallelujah Chorus.
Manuscript and Orchestration of Handel’s Messiah
The autograph score, a 259-page manuscript, shows signs of haste, with blots, corrections, and incomplete measures.
Yet, music scholar Richard Luckett notes that the number of mistakes is surprisingly small for a work of this length.
The original manuscript of Messiah is now part of the British Library’s music collection. It is orchestrated for two trumpets, timpani, two oboes, two violins, viola, and basso continuo.
As was his custom, Handel incorporated elements from his previous works into Messiah. He drew from two recently composed Italian duets and one aria composed twenty years earlier.
For example, Se tu non lasci amore (HWV 193), composed in 1722, served as the basis for O Death, where is thy sting?
His yoke is easy and And he shall purify were adapted from Quel fior che all’alba ride (HWV 192), written in July 1741.
Similarly, Unto us a child is born and All we like sheep were derived from Nò, di voi non vo’ fidarmi (HWV 189), also composed in July 1741.
Musical Innovations and Techniques Used In Handel’s Messiah
Handel’s Messiah showcases his unparalleled ability to blend text and music.
The oratorio employs a variety of musical forms, including arias, recitatives, and choruses, each tailored to the emotional and narrative needs of the text.
Handel’s skill in word painting—using music to illustrate specific words or phrases—is evident throughout.
For example, in “Every valley shall be exalted,” the music rises and falls to reflect the text’s imagery.
The choruses are particularly noteworthy for their complexity and beauty. Handel uses contrapuntal techniques, such as fugue, to create rich, interwoven textures.
The “Hallelujah” chorus exemplifies this, with its layers of vocal lines building to an overwhelming sense of exultation.
Handel’s Messiah Revisions and Performance Practices
Prior to the inaugural performance, Handel made several revisions to his manuscript score, partly to accommodate the resources available for the 1742 Dublin premiere.
It is likely that the work was not performed exactly as Handel had originally envisioned during his lifetime.
Between 1742 and 1754, he continued to revise and recompose individual movements, occasionally tailoring them to meet the needs of specific singers.
The first published score of Messiah was released in 1767, eight years after Handel’s death; however, this edition was based on relatively early manuscripts and did not incorporate any of Handel’s later revisions.
Handel’s Messiah Synopsis
Charles Jennens meticulously crafted the text for Messiah, drawing inspiration from the King James Bible and the Coverdale Psalter, which is included in the 1662 Book of Common Prayer.
In Christian theology, “Messiah” signifies humankind’s savior. The Hebrew word Māšîaḥ, meaning “the Anointed One,” translates to the Greek Christos, or “Christ,” the title Jesus of Nazareth’s followers bestowed upon him, referring to him as “Jesus Christ.”
Early-music scholar Richard Luckett aptly describes Handel’s Messiah as “a commentary on [Jesus Christ’s] Nativity, Passion, Resurrection, and Ascension,” beginning with the prophets’ pronouncements of God’s promises and culminating in Christ’s glorification in heaven.
Musicologist Donald Burrows notes that Messiah‘s text is rich in biblical allusions, which can challenge listeners unfamiliar with scripture.
To enhance understanding, Jennens published a pamphlet explaining his scriptural selections, ensuring audiences could appreciate the depth of his choices.
Unlike most of Handel’s oratorios, Messiah forgoes dramatic roles and a single narrative voice.
Instead, it presents a mosaic of biblical texts with minimal direct speech or dramatic dialogue.
Jennens aimed not to dramatize Jesus’s life and teachings but to celebrate the “Mystery of Godliness,” skillfully interweaving extracts from the Authorized Version of the Bible and Psalms from the Book of Common Prayer.
Messiah unfolds in a three-part structure, mirroring Handel’s three-act operas. Jennens divides each part into “scenes,” comprising individual movements—recitatives, arias, and choruses—that collectively create a larger narrative.
The oratorio also features two instrumental pieces: the opening Sinfony, styled as a French overture, and the pastoral Pifa, often called the “pastoral symphony,” which appears midway through Part I.
Structure and Thematic Content of Handel’s Messiah
Handel’s Messiah is divided into three parts, each focusing on a different aspect of the Christian narrative.
While its structure resembles that of an opera, it is not a dramatic work in the traditional sense.
There are no characters or dialogue; instead, the text serves as a reflective meditation on the Messiah’s life and significance.
In Part I, the prophets of the Old Testament foretell the coming of the Messiah and the virgin birth, while the Gospel of Luke conveys the announcement of Christ’s birth to the shepherds.
Part II shifts its focus to Christ’s Passion, death, resurrection, and ascension, followed by the spread of the gospel and the triumphant proclamation of God’s glory in the Hallelujah chorus.
Part III opens with the promise of redemption, moves through prophecies of the Day of Judgment and the “general resurrection,” and culminates in the ultimate victory over sin and death, along with the acclamation of Christ.
Handel’s Messiah Part I: The Prophecy and Birth of Christ
This section begins with prophetic texts from Isaiah and other Old Testament sources, foretelling the coming of the Messiah.
It then transitions to the annunciation to the shepherds, the only narrative scene drawn from the Gospels.
The music in this part captures a sense of anticipation and joy, with highlights.
The music begins with the tenor’s recitative, “Comfort ye, my people,” and introduces the joyous anticipation of the Messiah’s coming.
Highlights include the exuberant aria “Every valley shall be exalted” and the iconic chorus “For unto us a child is born.”
The music captures both the solemnity of prophecy and the elation of fulfillment.
The pastoral symphony, known as “Pifa,” offers a serene moment of reflection, evoking the image of shepherds in the field.
Note:
Handel’s Messiah opens with a Sinfony in E minor, employing the French overture form—Handel’s first use of this style in an oratorio.
Although Charles Jennens criticized it as unworthy of Messiah, and Charles Burney called it “dry,” the piece transitions to E major for the tenor’s recitative “Comfort ye,” which features an independent vocal line.
The prophecies unfold through various keys, culminating in the G major chorus “For unto us a child is born,” a display of Handel’s dramatic prowess that draws on themes from his Italian cantatas.
The pastoral interlude begins with the Pifa, inspired by Roman shepherd bagpipers, and exists in both short and extended forms.
A series of recitatives leads to the introduction of the soprano soloist, followed by the D major chorus “Glory to God.”
Much of Part I focuses on the soprano in B-flat, maintaining tonal consistency.
The aria “He shall feed his flock” underwent multiple revisions before Handel reinstated its original soprano version in 1754.
The concluding chorus, “His yoke is easy,” is based on Italian source material, which has drawn criticism for its appropriateness, yet its choral arrangement is widely celebrated for its beauty and dignity.
Handel’s Messiah Part II: The Passion and Resurrection
This section shifts focus to the Passion of Christ, exploring themes of suffering, sacrifice, redemption, death, resurrection of Christ.
Part II forms the emotional heart of the oratorio and culminates in the iconic “Hallelujah” chorus.
This chorus, one of the most famous pieces of music ever written, concludes the section with a triumphant declaration of Christ’s kingship.
This declaration has inspired audiences to stand during its performance, a tradition said to have begun with King George II.
Its powerful message and soaring composition have made it one of the most recognized pieces in Western music.
Note:
Part II of Handel’s oratorio opens in G minor, establishing a “tragic presentiment” that pervades the Passion narrative.
The powerful chorus “Behold the Lamb of God” begins this section, followed by the extended alto solo “He was despised,” which uses unaccompanied passages to emphasize Christ’s abandonment.
The choral movements then portray Christ’s Passion, Crucifixion, Death, and Resurrection, employing key changes to reflect a range of emotions—from the solemnity of F minor to the brief respite of F major in “All we like sheep.”
The tenor recitative “All they that see him,” in the “barbarous” key of B-flat minor, evokes a sense of desolation.
This somber mood gives way to the Ascension chorus, “Lift up your heads,” where Handel creates dramatic choral contrasts, later adding horns for the 1754 performance.
Following the celebratory D major proclamation of Christ’s ascension, the “Whitsun” section shifts through diverse moods—remaining serene in “How beautiful are the feet” and adopting an operatic flair in “Why do the nations so furiously rage”—before culminating in the famous “Hallelujah” chorus.
While not the work’s dramatic climax, the “Hallelujah” chorus generates infectious energy, drawing on influences such as Corelli’s fugue theme and Nicolai’s Lutheran chorale, and culminates in triumphant trumpets heralding Christ’s eternal reign.
Handel’s Messiah Part III: The Promise of Redemption
The final section reflects on Christ’s resurrection and glorification, drawing heavily from Paul’s teachings in the New Testament.
It emphasizes the hope of eternal life and victory over sin and death.
It culminates in the majestic chorus “Worthy is the Lamb,” followed by a grand, resounding “Amen” fugue, celebrating the Messiah’s eternal triumph.
This conclusion leaves listeners with a sense of spiritual renewal and awe.
Note:
The E major soprano solo “I know that my Redeemer liveth” opens this section with its unison violin accompaniment and gentle rhythm, remaining faithful to Handel’s original composition.
Its simplicity deeply moves the audience. A soft chorus follows, leading into the bass’s bold D major declaration, “Behold, I tell you a mystery,” which then introduces the dignified aria “The trumpet shall sound.”
This aria features an extended trumpet solo and, though initially composed in da capo form, Handel later revised it to dal segno.
Critiques of Handel’s word setting, such as the awkward emphasis on “incorruptible,” point to occasional imperfections.
The alto and tenor duet “O death, where is thy sting?” adapts a melody from Handel’s earlier cantata and seamlessly transitions into the choral piece “But thanks be to God.”
The contemplative soprano solo “If God be for us,” which references a Luther chorale, follows.
This sets the stage for the climactic D major choral finale “Worthy is the Lamb,” culminating in the powerful “Amen.”
Enhanced by trumpet entries, this final section has been praised for its grandeur, even surpassing that of the “Hallelujah” chorus, and its delivery evokes the majestic acoustics of a cathedral.
Editions of Handel’s Messiah
The first published score of Handel’s Messiah appeared in 1767, documenting his adaptations and recompositions of various movements.
This score has since served as the basis for many performing versions of the oratorio.
Modern performances striving for authenticity largely draw from three major 20th-century editions, each with its own movement numbering system.
Watkins Shaw’s Novello Edition, first published as a vocal score in 1959 and revised in 1965, adopted the movement numbering introduced in the 1902 Prout edition.
The Bärenreiter Edition, edited by John Tobin and published in 1965, became a key reference, its numbering system later informing Bernd Baselt’s 1984 catalogue of Handel’s works (HWV).
Donald Burrows’s Peters Edition, with its vocal score released in 1972, used Kurt Soldan’s adapted numbering system.
Leonard Van Camp’s Van Camp Edition, published by Roger Dean Publishing in 1993, revised in 1995, and later acquired by Lorenz Publications, is another notable version.
More recently, Clifford Bartlett’s Oxford University Press Edition appeared in 1998, and Ton Koopman and Jan H. Siemons’s Carus-Verlag Edition, which uses the same HWV numbering as the Bärenreiter edition, was released in 2009.
Although Chrysander and Max Seiffert’s 1902 Deutsche Händel-Gesellschaft Edition was not intended for performance, it has significantly influenced scholarly research and analysis.
In addition to these editions, arrangements for larger orchestras have been created, most notably Mozart’s famous reorchestration.
Adaptations by Goossens and Andrew Davis, which feature expanded orchestral forces, have also been recorded, with versions available on the RCA and Chandos labels.
Music Organization and Numbering of Movements
Handel’s Messiah is a masterpiece of musical structure and thematic organization, meticulously crafted to convey its profound theological message.
The oratorio’s movements are carefully divided into three overarching parts, each containing distinct scenes and musical arrangements.
The numbering and division of these movements are based on specific editions and adaptations.
The movement numbering presented here follows the Novello vocal score (1959), edited by Watkins Shaw, which is an adaptation of the system devised by Ebenezer Prout.
Alternative editions, such as the 1965 Bärenreiter edition, may differ slightly in their approach, often excluding the recitatives from numbering and listing 47 movements in total.
The division into parts and scenes aligns with the 1743 wordbook prepared for the first London performance, and the scene headings reflect summaries by musicologist Donald Burrows.
Part I: The Prophecy and Birth of Christ
Scene 1: Isaiah’s Prophecy of Salvation
1. Overture (instrumental)
2. “Comfort ye my people” (tenor)
3. “Ev’ry valley shall be exalted” (tenor aria)
4. “And the glory of the Lord” (chorus anthem)
Scene 2: The Coming Judgment
5. “Thus saith the Lord of hosts” (bass accompanied recitative)
6. “But who may abide the day of His coming” (soprano, alto, or bass aria)
7. “And he shall purify the sons of Levi” (chorus)
Scene 3: The Prophecy of Christ’s Birth
8. “Behold, a virgin shall conceive” (alto recitative)
9. “O thou that tellest good tidings to Zion” (alto aria and chorus)
10. “For behold, darkness shall cover the earth” (bass recitative)
11. “The people that walked in darkness have seen a great light” (bass aria)
12. “For unto us a child is born” (duet chorus)
Scene 4: The Annunciation to the Shepherds
13. Pifa (pastoral symphony: instrumental)
14. “There were shepherds abiding in the fields” (soprano secco recitative)
15. “And lo, the angel of the Lord” (soprano accompanied recitative)
16. “And the angel said unto them” (soprano secco recitative)
17. “And suddenly there was with the angel” (soprano accompanied recitative)
18. “Glory to God in the highest” (chorus)
Scene 5: Christ’s Healing and Redemption
19. “Rejoice greatly, O daughter of Zion” (soprano aria)
20. “Then shall the eyes of the blind be opened” (soprano or alto recitative)
21. “He shall feed his flock like a shepherd” (alto or soprano aria)
22. “His yoke is easy” (duet chorus)
Part II: Christ’s Passion and Victory
Scene 1: Christ’s Passion
23. “Behold the Lamb of God” (chorus)
24. “He was despised and rejected of men” (alto aria)
25. “Surely he hath borne our griefs and carried our sorrows” (chorus)
26. “And with his stripes we are healed” (fugue chorus)
27. “All we like sheep have gone astray” (duet chorus)
28. “All they that see him laugh him to scorn” (tenor secco recitative)
29. “He trusted in God that he would deliver him” (fugue chorus)
30. “Thy rebuke hath broken his heart” (tenor or soprano aria)
31. “Behold and see if there be any sorrow” (tenor or soprano aria)
Scene 2: Christ’s Death and Resurrection
32. “He was cut off” (tenor or soprano aria)
33. “But thou didst not leave his soul in hell” (tenor or soprano aria)
Scene 3: Christ’s Ascension
34. “Lift up your heads, O ye gates” (chorus)
Scene 4: Christ’s Reception in Heaven
35. “Unto which of the angels” (tenor aria)
36. “Let all the angels of God worship Him” (chorus)
Scene 5: The Beginnings of Gospel Preaching
37. “Thou art gone up on high” (soprano, alto, or bass aria)
38. “The Lord gave the word” (chorus)
39. “How beautiful are the feet” (soprano, alto, or chorus)
40. “Their sound is gone out” (tenor or chorus)
Scene 6: The World’s Rejection of the Gospel
41. “Why do the nations so furiously rage together” (bass aria)
42. “Let us break their bonds asunder” (chorus)
43. “He that dwelleth in heaven” (tenor aria)
Scene 7: God’s Ultimate Victory
44. “Thou shalt break them with a rod of iron” (tenor aria)
45. Hallelujah (anthem and fugue chorus)
Part III: The Resurrection and Triumph of the Messiah
Scene 1: The Promise of Eternal Life
46. “I know that my Redeemer liveth” (soprano aria)
47. “Since by man came death” (chorus)
Scene 2: The Day of Judgment
48. “Behold, I tell you a mystery” (bass aria)
49. “The trumpet shall sound” (bass aria)
Scene 3: The Final Conquest of Sin
50. “Then shall be brought to pass” (alto recitative)
51. “O death, where is thy sting?” (alto and tenor duet)
52. “But thanks be to God” (chorus)
53. “If God be for us, who can be against us?” (soprano aria)
Scene 4: The Acclamation of the Messiah
54. “Worthy is the Lamb” (anthem and fugue chorus)
55. Amen (anthem and fugue chorus)
This detailed breakdown highlights Handel’s meticulous organization, blending profound theological themes with masterful musical composition.
Recordings of Handel’s Messiah
The recorded history of Handel’s Messiah reveals the evolution of performance practices, from early large-scale productions with slow tempos and reorchestrations to more authentic interpretations using period instruments and historically informed techniques.
As the 20th century progressed, particularly in the 1960s and 70s, conductors increasingly favored smaller ensembles, faster tempos, and closer adherence to Handel’s original intentions.
This shift reflected both evolving musical tastes and a growing commitment to historical accuracy, yielding a rich array of recordings that balance tradition and innovation.
Each version of Messiah contributes to the ongoing discourse about its optimal interpretation.
Early Large-Scale Recordings
From the earliest days of recording, Messiah reflected the dominant performance styles of the time: grand ensembles, slow tempos, and elaborate reorchestrations.
Sir Henry Wood’s 1926 recording, featuring a massive choir and orchestra of 3,500 voices and players at the Crystal Palace Handel Festival, exemplifies this approach.
Around the same time, a rival recording from the Royal Choral Society under Sir Malcolm Sargent at the Royal Albert Hall showcased a similar large-scale sound.
Beecham’s Revolutionary Interpretation
Sir Thomas Beecham produced the first near-complete recording of the oratorio in 1928. While it retained standard cuts, Beecham consciously sought to align the performance more closely with Handel’s original vision.
He reduced the orchestra’s size and increased tempos, aiming for a sharper, more energetic interpretation.
His contralto soloist, Muriel Brunskill, praised Beecham’s daring tempi, noting they “entirely revitalised” the work.
Despite Beecham’s pioneering efforts, Sargent continued the grand tradition, producing four large-scale recordings for HMV between 1946 and the 1960s, always with the Huddersfield Choral Society and Liverpool Philharmonic Orchestra.
Beecham’s 1947 recording, however, further advanced the pursuit of authentic rhythms and tempos, earning acclaim as one of the finest Messiah recordings ever made.
The Shift Toward Authenticity
In 1954, Hermann Scherchen produced the first recording based on Handel’s original orchestration for Nixa, followed by Sir Adrian Boult’s version for Decca, considered a scholarly achievement at the time.
However, both recordings still employed slow tempos and lacked the vocal ornamentation now considered essential for historically informed performances.
By the late 1960s, a revolution in Messiah performance began, with Colin Davis (Philips) and Charles Mackerras (HMV) offering fresh interpretations.
These recordings embraced smaller forces, faster tempos, and vocal embellishments, helping define the modern approach to the oratorio.
Mackerras’s 1967 recording with the Ambrosian Singers and English Chamber Orchestra even earned a Grammy nomination.
Continued Use of Traditional Approaches
Alongside these innovations, older-style recordings persisted. Beecham’s 1959 recording with Eugene Goossens’s orchestration, Karl Richter’s 1973 Deutsche Grammophon version, and David Willcocks’s 1995 recording, based on the 1902 Prout edition, all maintained the large-scale tradition.
The Emergence of Period-Instrument Performances
By the late 1970s, a new wave of authenticity emerged: performances using period instruments and historically informed practices became the norm.
Christopher Hogwood (1979) and John Eliot Gardiner (1982) spearheaded this movement with pioneering recordings that established a new standard for Messiah.
While these authentic approaches gained prominence, conductors like Sir Georg Solti (1985) and Sir Andrew Davis (1989) continued to favor modern instruments.
Notable recordings from this era include Trevor Pinnock’s 1988 performance and Richard Hickox’s 1992 version, both of which used smaller ensembles to more closely approximate Handel’s original forces.
Reconstructing Early Performances
Recordings of reconstructed early performances have also appeared. Scherchen recorded the 1742 Dublin version in 1954 and again in 1959, followed by Jean-Claude Malgoire in 1980.
In 1976, Neville Marriner recorded the 1743 London version for Decca, featuring alternative music, different orchestrations, and a distinctive approach.
The 1754 Foundling Hospital version has been recorded by Hogwood (1979), Andrew Parrott (1989), and Paul McCreesh.
Other unique recordings include David Willcocks’s 1973 version, where the boys of King’s College Choir sang all soprano arias in unison, and Charles Mackerras’s 1974 recording of Mozart’s reorchestrated Messiah, performed in German for Deutsche Grammophon.
Final Note
Handel’s Messiah is more than a musical masterpiece—it is a cultural phenomenon that has inspired audiences for nearly three centuries.
Its timeless themes, profound musicality, and adaptability have ensured its place as one of the most frequently performed choral works in history.
From its humble beginnings in Dublin to its global renown, Messiah stands as a testament to Handel’s genius and the enduring power of music to uplift and inspire.
This work, with its rich history and universal appeal, reminds us of the possibility of greatness when creativity meets purpose and conviction.
Messiah is more than a performance—it is an experience, one that connects us to something far greater than ourselves.
Its legacy endures as a beacon of hope, joy, and redemption, inviting listeners to reflect on the timeless truths it so beautifully expresses.
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