Every year, as the Christmas season draws near, there are many thousands of English speaking people the world over, who hear at least part, if not all of that well known Oratorio, “The Messiah”.
In town and country, churches and halls, the work is given by trained choirs and noted soloists, or the lesser experienced but enthusiastic amateur singers, often with skilled leaders’ guidance and help; and some of the favourite numbers will be included in Radio programmes. For some with a first or only slight acquaintance, the words and music will mean but little more than approved and appealing song items in the Christmas spirit, but many others will appreciate the repetition of words and melodies that have now become a traditional Christmas custom after the two hundred years of their existence.
That there is a unique appreciation and esteem for this Oratorio among our ecclesial members of today, is shown by their support and attendance at the recitals given during recent years at either Sydney, Melbourne, or Adelaide. These were presented by the groups of practised singers from among the larger ecclesias who, with their capable conductors, gave most creditable and long remembered preformances. Some more recent recitals are reported in the “Ecclesial News” columns, which tell of the occasion when it was given before a large and approving audience in the Sydney Town Hall during last October, and of the well received presentation in Adelaide by the local ecclesial singers on 23rd November. On that occasion the instrumental accompaniment by piano and pipe organ together was particularly effective and enjoyable.
Sometimes we hear about the listeners impressions, as when a lady kindly intimated that she always came to hear The Messiah, “as the Christadelphians can really sing it”. This comment we modestly accept as an indication that our belief in the Scriptural meaning adds more expression to the words the singers use and keep firmly held in heart and mind; unlike an accomplished soloist who, when asked by one of our leaders if she knew what was meant by the words of her part—”I know that my Redeemer liveth”—said, “Well—no, I’ve often wondered what they do mean”.
The success of these occasions has now led to the extension of the singers’ efforts into the field of public proclamation of The Truth in nearby country centres where they present selections from the Oratorio. These serve to introduce the subjects for the speaker to explain to the good number of visitors who attend; an instance of bringing the Gospel in song.
This great musical work was composed by G. F. Handel who began on 22nd August and finished on 14th September of the year 1741. His purpose was to express a theme that would be compiled from only selected passages of The Scriptures. The text that Handel used was given to him in its complete form, as it has been thought, by some unknown person; but this is now rejected, because according to authorities Handel, in a letter, acknowledged the honour of compiling the words to one named Jennens, who helped with the working-out of texts for other oratorios also, Handel being, it is claimed by some writers, co-responsible in the final production.
But in any case, it is of little consequence for in his completed work Handel has shown his understanding and mastery of the Scriptural doctrine that forms the basic idea in the construction that has every part consecutively united in their proper order; to be acclaimed by critical writers on the words and music as “the crowning achievement of the gifted musical genius” and is due, not so much to the special excellence of the musical attributes, but as they affirm—to “the grandeur of conception and unity based on a central idea”.
A study of “The Messiah” text will show that the basic idea is not, as popularly supposed, about a number of scenes from the Life of Jesus linked together, and was certainly not designed originally as a Christmas “Nativity” feature. Handel does not include any words from the gospel records about the birth of the Child Jesus. All that aspect of the Messiah’s life is subdued, both in the character of the music and brevity of word selections that are used to announce . . . “Unto us a son is born . . .”; then it leads directly on to that delicately beautiful chorus of the angelic hymn of praise . . . “Glory to God . . .” Some have altogether missed this point and even assumed that Handels selection of text is “out of balance” and might be much improved! We note with interest here that the first performances were given by Handel at Dublin in April and June of 1742, obviously not a Christmas presentation in the middle of the year.
The real meaning of the basic idea in the structure of the oratorio (and reason for its pleased acceptance by believers in the Truth) is to give a “Representation of the fulfilment of redemption through the Redeemer, Messiah. “. . . which divided into three parts, can be summarized as follows:
1.The prophecy and realization of God’s plan to redeem mankind by the coming of the Messiah;
2.The accomplishment of redemption by the sacrifice of Jesus, mankind’s rejection of God’s offer and mankind’s utter defeat when trying to oppose the power of the Almighty;
3.A hymn of thanksgiving for the final overthrow of death. 1
In the unfolding of the basic theme on those lines the nature of the final consummation of the Divine Plan is not disclosed, although inherent in the text, until the precise and most fitting point is reached; then in the great chorus of powerful simplicity with vitality the proclamation is made:
“HALLELUJAH—The Kingdom of this world is become the Kingdom of our Lord and of His Christ.”
The magnificent accompanying music, in form, tone, movement and harmony, is the setting to depict the lofty thought, and carry through with it the “Ever and ever” idea of continuity in closing on the sustained repeating note with which the “Hallelujah” pattern opened. Without any reduction of time or tone, or closing chord, the surging volume of voices cease . . . but it is not Finis: a master touch of designing to indicate more to come. . . . “Only against the background of the preceding apostacy, of the revolt against Almighty God, does the specific position of the “Hallelujah” Chorus become clear. It is not merely a chorus finale, but a settlement of the preceding conflict between God and man. . . . Not until the announcement of God’s dominion can discord be fully and finally resolved.”2
From the gloom of the subdued tones of the overture, a “grey cloud-bank where no light breaks through” so like the human race without God or hope in the world, comes the Promise of God’s “Comfort” that moves on step by step in this great message of Redemption with a final application that cannot be misread, or fail to be understood when the placing of the personal pronouns in the selected texts is noted.
“I know that my Redeemer liveth . . .
“We shall not all sleep . . .
“We shall be changed . . .
“Thanks be to God, who giveth us the Victory . .
“If God be for us . . .
“Worthy is the Lamb that was slain, and hath redeemed us
The rolling tones of music fade; the message from the voices ends with the rise and falling waves of the last “Amen”. But always to remain as a fixed design in the memory of those who listened and heard. Then out of the background of remembered promises there rise into consciousness the oft-read words, which although not found in the oratorio designed for human voices, will still assuredly find their destined place and fulfilment . .. “My servants shall sing for gladness of heart”.3
REFERENCE
1 and 2 – “Handel’s Messiah”, J. P. Larsen.
3 – Isaiah 65, 14. R.S.V.
Fellowship with the Maker and Brethren