Son of a barber-surgeon, he early displayed musical talent and was sent to Friedrich Zachow, an organist and composer at Halle, for three years of training. After studying law at the Univ. of Halle (1703), he joined the opera orchestra at Hamburg. There his first two operas, Almira and Nero, were produced in 1705. The following four years were spent in Italy, where his operas Rodrigo (1707?) and Agrippina (1709) were staged, the latter very successfully. In Italy he met Alessandro Scarlatti and other masters and absorbed the Italian style and forms.
In 1710 Handel became musical director to the elector of Hanover but obtained leave to visit England in 1711, when his Rinaldo was produced in London. He returned to England in 1712 and took up permanent residence there. His employer, the elector, became George I of England in 1714. It was for the king that Handel composed his celebrated orchestral Water Music (1717).
In 1719 an opera company, the Royal Academy of Music, was formed under the musical direction of Handel, Attilio Ariosti, and Giovanni Battista Bononcini, all of whom composed operas for it. The company was dissolved in 1728, but Handel continued trying to present Italian opera in London until 1741, when his last opera, Deidamia, failed. Handel's 46 operas include much of his finest music; among them are Julius Caesar (1724), Atalanta (1736), Berenice (1737), and Serse (1738), which contains the tenor aria now known as Largo.
Handel's Messiah was presented in Dublin in 1742. An essentially contemplative work, it stands apart from the rest of his 32 oratorios, which are dramatically conceived, and its immense popularity has resulted in the erroneous conception of Handel as primarily a church composer. Other outstanding oratorios are Acis and Galatea (1720), Esther (1732), Israel in Egypt (1736-37), Saul (1739), and Judas Maccabeus (1747).
He also composed about 100 Italian solo cantatas; numerous orchestral works, including the Twelve Grand Concertos, Op. 6 (1739); two books of harpsichord suites (1720, 1733); three sets of six organ concertos (1738, 1743, 1760, the last published posthumously); and the anthem "Zadok, the Priest" (1727) for the coronation of George II, which has been used for all subsequent coronations. While composer to the duke of Chandos (1715-19), he wrote the 11 Chandos Anthems.
Handel's sight became impaired in 1751, and by 1753 he was totally blind, but he continued to conduct performances of his works on occasion. He is buried in Westminster Abbey. Handel's musical style exemplifies the vigor and grandeur of the late German baroque and at the same time has English and Italian qualities of directness, clarity, and charm. He strongly influenced English composers for a century after his death, and, following a period of relative neglect, he has again come to be recognized as one of music's great figures.
See his letters and writings, ed. by E. H. Müller (1937); J. Mainwaring, Memoirs of the Life of the Late George Frideric Handel (1760); biographies by H. Weinstock (2d ed. 1959), P. H. Lang (1966), P. H. Young (rev. ed. 1963, repr. 1975), and D. Burrows (1995); W. Dean, Handel and the Opera Seria (1970), Handel's Dramatic Oratorios and Masques (1959, repr. 1989) and, with J. M. Knapp, Handel's Operas, 1704-1726 (1987).
The name of the oratorio is taken from Judaism and Christianity's concept of the Messiah ("the anointed one"). In Christianity, the Messiah is Jesus. The work is a presentation of Jesus' life and its significance according to Christian doctrine.
Although the work was conceived and first performed for secular theatre during Lent it has become common practice since Handel's death to perform Messiah during Advent, the preparatory period of the Christmas season, rather than in Lent or at Easter. Messiah is often performed in churches as well as in concert halls. Christmas concerts often feature only the first section of Messiah plus the "Hallelujah" chorus, although some ensembles feature the entire work as a Christmas concert. The work is also heard at Eastertide, and selections containing resurrection themes are often included in Easter services.
The work is divided into three parts which address specific events in the life of Christ. Part One is primarily concerned with the Advent and Christmas stories. Part Two chronicles Christ's passion, resurrection, ascension, and the evangelization to the world of the Christian message. Part Three is based primarily upon the events chronicled in The Revelation to St. John. Although Messiah deals with the New Testament story of Christ's life a majority of the texts used to tell the story were selected from the Old Testament prophetic books of Isaiah, as well as Haggai, Malachi, and others.
The soprano aria "I know that my Redeemer liveth" is frequently heard at Christian funerals. It is believed that parts of this aria have been the basis of the composition of the Westminster Quarters. Above Handel's grave in Westminster Abbey is a monument (1762) where the musician's statue holds the musical score of the same aria.
Although Handel called his oratorio simply Messiah (without the "The"), the work is also widely but incorrectly referred to as The Messiah.
It was premiered during the following season, in the spring of 1742, as part of a series of charity concerts in Neal's Music Hall on Fishamble Street near Dublin's Temple Bar district. Right up to the day of the premiere, Messiah was troubled by production difficulties and last-minute rearrangements of the score, and the Dean of St. Patrick's Cathedral, Jonathan Swift, placed some pressure on the premiere and had it cancelled entirely for a period. He demanded that it be retitled A Sacred Oratorio and that revenue from the concert be promised to local hospitals for the mentally ill. The premiere happened on 13 April at the Music Hall in Dublin, and Handel led the performance from the harpsichord with Matthew Dubourg conducting the orchestra. Dubourg was an Irish violinist, conductor and composer. He had worked with Handel as early as 1719 in London.
Handel conducted Messiah many times and, as was his custom, often altered the music to suit the needs of the singers and orchestra he had available to him for each performance. In consequence, no single version can be regarded as the "authentic" one. Many more variations and rearrangements were added in subsequent centuries—a notable arrangement was one by Wolfgang Amadeus Mozart, translated into German.
Messiah is scored for SATB soloists, SATB chorus, 2 oboes, 2 bassoons, 2 trumpets, timpani, strings, and basso continuo. The Mozart arrangement expands the orchestra to 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, strings, and organ. In 1959, Sir Thomas Beecham conducted an larger arrangement by Eugène Goossens for the Royal Philharmonic Orchestra which expands the instrumentation to 3 flutes (one doubling on piccolo), 4 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings; this edition is most often heard today in recordings.
Much of the libretto comes from the Old Testament. The first section draws heavily from the book of Isaiah, which prophesies the coming of the Messiah. There are few quotations from the Gospels; these are at the end of the first and the beginning of the second sections. They comprise the Angel going to the shepherds in Luke, two enigmatic quotations from Matthew, and one from John: "Behold the Lamb of God". The rest of the second section is composed of prophecies from Isaiah and quotations from the evangelists. The third section includes one quotation from Job ("I know that my Redeemer liveth"), the rest primarily from First Corinthians.
Interesting, too, is the interpolation of choruses from the New Testament's Revelation. The well-known "Hallelujah" chorus at the end of Part II and the finale chorus "Worthy is the Lamb that was slain" ("Amen") are both taken from Revelation.
While performances of Messiah are most common during the Christmas season, it should be noted that the complete text of the work relates to both the Christmas (Part I - "the Birth") and Easter (Part II - "the Passion") seasons of the Christian calendar. It is interesting to note that the "Hallelujah" chorus, often associated with the Christmas season, is found in the middle of Parts II and III -- the "Easter" section. Because of the popularity of this association, it is common for Advent performances to include the first 17 numbers of the work and then follow immediately with the No. 44 "Hallelujah" chorus as a finale.
The notes climb to the high F♯ on the first syllable of mountain to drop an octave on the second syllable. The four notes on the word hill form a small hill, and the word low descends to the lowest note of the phrase. On crooked, the melody twice alternates between C♯ and B to rest on the B for two beats through the word straight. The word plain is written, for the most part, on the high E for three measures, with some minor deviation. He applies the same strategy throughout the repetition of the final phrase: the crookeds being crooked and plain descending on three lengthy planes. He uses this technique frequently throughout the rest of the aria, specifically on the word exalted, which contains several sixteenth note (semiquaver) melismas and two leaps to a high E:
As was common in English-language poetry at the time, the suffix -ed of the past tense and past participle of weak verbs was often pronounced as a separate syllable as in this passage from And the glory of the Lord:
The word revealed would thus be pronounced in three syllables: [rɪˈviːlɛd]. In many published editions, an e that is silent in speech but is to be sung as a separate syllable is marked with a grave accent, thus: revealèd.
It should, however, be noted that though Messiah is often pointed at as being rife with examples of text painting, Handel was particularly fond of plagiarizing himself and some of the arias and choruses in Messiah are taken directly from material he originally penned in other works (for example the Arcadian Duets). Thus the argument for text painting loses much of its validity because the music was originally composed with different texts set over it, and in many cases in languages other than English.
In many parts of the world, it is the accepted practice for the audience to stand for this section of the performance. Tradition has it that King George II rose to his feet at this point. As the first notes of the triumphant Hallelujah Chorus rang out, the king rose. Royal protocol has always demanded that whenever the monarch stands, so does everyone in the monarch's presence. Thus, the entire audience stood too, initiating a tradition that has lasted more than two centuries. It is lost to history the exact reason why the King stood at that point, but the most popular explanations include:
There is a story told (perhaps apocryphally) that Handel's assistant walked in to Handel's room after shouting to him for several minutes with no response. The assistant reportedly found Handel in tears, and when asked what was wrong, Handel held up the score to this movement and said, "I have seen the face of God".
Because this piece is so often heard separately from the rest of Messiah, it has become popularly known as "The Hallelujah Chorus", which, like "The Messiah", is not entirely correct usage. "(the) Hallelujah chorus" or "'Hallelujah' chorus from Messiah" is more appropriate.