EarRelevant Staff | 11 DEC 2024
As the season of Advent unfolds, a time of anticipation and preparation for the Christian celebration of birth of Jesus Christ, one musical work has become almost synonymous with this period of reflection: George Frideric Handel’s Messiah.
Composed in the astonishing span of 24 days in 1741, Messiah was not originally intended as a Christmas work, but rather as a meditation on Christ’s life, death, and resurrection.
The complete oratorio’s structure mirrors the Christian liturgical year, with each of its three parts aligning with specific seasons and themes. Part I addresses Advent and Christmas, focusing on the prophecies of the Messiah’s coming, the annunciation to the shepherds, and the nativity itself. Part II moves through the events of Lent, Easter, the Ascension, and Pentecost, depicting Christ’s suffering, resurrection, and ultimate victory. Part III shifts to the end of the Church year — the culmination of time, exploring the promise of salvation and the final judgment.
However, the Part I themes of prophecy, the promise of a savior, and the joyful announcement of his birth have made it a fitting companion for Advent, which in the Christian liturgical calendar leads up to Christmas.
Particularly in the Anglophone world, performing Part I of Messiah, with its themes of prophecy, the promise of a savior, and the joyful announcement of his birth, has become an Advent tradition. The “Hallelujah” chorus, which, though from Part II, has become emblematic of the season and is appended to performances of Part I during Advent. The custom of standing during this chorus, purportedly started by King George II, adds a layer of communal participation, symbolizing the readiness to welcome the divine.
Handel himself recognized the oratorio’s potential for charity, often conducting performances to raise funds for various causes, including the Foundling Hospital in London. This spirit of giving back aligns with the Advent themes of preparation and service, making Messiah not just a musical event but a communal act of generosity and reflection.
Today, as we delve into the heart of Advent, Messiah serves as more than entertainment; it’s a spiritual journey. Each note, each chorus, is a reminder of the waiting, the hope, and the eventual joy that Christmas brings. Through its Advent performances, Handel’s masterpiece invites us to look forward not only to the celebration of birth but also to the profound changes that the coming of Christ signifies in Christian theology.
In these performances, we find a bridge between the Old Testament’s promise and the New Testament’s fulfillment, a musical enactment of waiting and watching. Messiah during Advent is both a preparation and a celebration — a musical pilgrimage that leads us gently toward the light of Christmas, teaching us patience, hope, and the joy of anticipation. ■
EXPLORE RECORDINGS OF HANDEL’S MESSIAH:
Here is a curated list of a dozen highly regarded recordings of Handel’s Messiah, offering diverse interpretations, from major symphonic performances to period-instrument renditions. The selections highlight renowned ensembles, showcasing full modern orchestral treatments, historically informed approaches, and specialty recordings. The entries are presented in alphabetical order by performing ensemble.
- Atlanta Symphony Orchestra & Chamber Chorus
Robert Shaw, conductor
Telarc CD-80154, (1983)
– Renowned for its clarity, balance, and lush choral sound. - Choir of Westminster Abbey
Simon Preston, conductor
Deutsche Grammophon (Archiv) 410 030-2, (1977)
– Combines cathedral acoustics with Baroque precision. - Dunedin Consort
John Butt, conductor
Linn Records CKD 285, (2006)
– A reconstruction of Handel’s original 1742 Dublin premiere version. - The English Concert
Trevor Pinnock, conductor
Deutsche Grammophon (Archiv) 419 060-2, (1988)
– A classic period-instrument rendition, emphasizing Baroque authenticity - Gabrieli Consort & Players
Paul McCreesh, conductor
Deutsche Grammophon (Archiv) 471 704-2, (1997)
– Known for vibrant energy and a smaller, historically accurate choir. - Houston Symphony
Nicholas McGegan, conductor
PentaTone Classics PTC 5186358, (2015)
– Combines modern instruments with historically informed techniques. - King’s College Choir Cambridge
Stephen Cleobury, conductor
EMI Classics 7243 5 57347 2 4, (2009)
– Features one of the world’s most famous choirs, with angelic vocal tones. - Les Arts Florissants
William Christie, conductor
Harmonia Mundi HMX 2901902.04, (1994)
– A leading historically informed ensemble delivers an elegant interpretation. - New York Philharmonic
Leonard Bernstein, conductor
Sony Classical SM2K 60205, (1998 – remastered)
– Dramatic and emotional interpretation, blending grandeur with spirituality. - Royal Philharmonic Orchestra
Sir Thomas Beecham, conductor
EMI Classics 0946 3 67610 2 3, (1959)
– A Romantic-era take, employing a full orchestra and larger choir. - The Sixteen and the Academy of Ancient Music
Harry Christophers, conductor
Coro COR16016, (2008)
– Features exquisite vocal precision and historically informed performance. - Toronto Symphony Orchestra and Mendelssohn Choir
Andrew Davis, conductor
Chandos CHSA 5119, (2016)
– A modern, full-orchestra performance with rich choral textures.
Have a favorite recording of Messiah that isn’t one the above list? Share it as a comment on our Facebook page, under our post that includes a link to this article: facebook.com/EarRelevant.Journal. ■
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