Handel

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New York Times digs into 'The Messiah' and finds emotions, art, politics and very little Christianity

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Gentle readers, please allow me a second moment of reflection on the challenges of secular journalists attempting to cover news stories centering on great works of sacred choral music. I have, after all, been a choral musician since I was 6-years-old and I didn’t jump into journalism until I discovered that it’s hard to major in music at a major university if one cannot play the piano.

The other day, I took a look at a New York Times feature about the unsuccessful efforts at the KIng’s College at Cambridge University to carry on — damn the coronavirus, full speed ahead — with its world-famous Christmas Eve performance of “The Festival of Nine Lessons and Carols.”

As you can tell from my snarky headline, I thought it was strange that the Times team didn’t include anything about the contents of this Anglican worship service, including the fact that the “lessons” are, in fact, lengthy passages of scripture. Thus, the headline: “New York Times asks: Did COVID shut down live festival of content-free lessons and carols?”

I didn’t expect a religion-beat story. However, I still thought it was strange (or, alas, not so strange) to completely skip over the religious intent and message of a worship service held in a chapel. After all, as noted in this Cambridge essay about the rite:

Wherever the service is heard and however it is adapted, whether the music is provided by choir or congregation, the pattern and strength of the service, as Dean [Eric] Milner-White pointed out, derive from the lessons and not the music. ‘The main theme is the development of the loving purposes of God ...’ seen ‘through the windows and words of the Bible’. Local interests appear, as they do here, in the bidding prayer, and personal circumstances give point to different parts of the service. Many of those who took part in the first service must have recalled those killed in the Great War when it came to the famous passage ‘all those who rejoice with us but on another shore and in a greater light’. The centre of the service is still found by those who ‘go in heart and mind’ and who consent to follow where the story leads.

So might these Bible passages about life, death, suffering and new hope have been relevant during the COVID-tide of 2020? Apparently, that is not a topic one could expect to read about in The New York Times.

But what about the even more famous scripture passages, images and themes in “The Messiah” by George Frideric Handel?

Surely the Times team couldn’t produce a feature story — “Meet the People Who Can’t Bring You ‘Messiah’ This Year” — about why this work is so important to listeners and performers without discussing the content of this sacred classic? Maybe a tiny splash of digital ink, like one or two paragraphs?


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Want to see scholars fight? Ask if the book of Isaiah mentions a 'virgin birth'

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THE QUESTION:

Should Bibles speak of a “virgin” birth in Isaiah 7:14?

THE RELIGION GUY’S ANSWER:

No less than 38 U.S. orchestras featured Handel’s “Messiah” in annual Christmas concerts during the 2015-16 season, making it “the runaway most-performed work,” according to a Baltimore Symphony survey. The beloved 1741 oratorio about Jesus Christ is also perhaps the most-performed piece across all of musical history — if we exclude “Happy Birthday to You.”

In this COVID Christmas, audiences must make do without live performances, but they may recall Handel’s setting for one of the Bible’s most-debated verses: “Behold, a virgin shall conceive and bear a son,” from Isaiah 7:14. This Old Testament verse is quoted in the New Testament’s Matthew 1:23 as foretelling Jesus’s birth to the Virgin Mary.

In Isaiah’s account, the Southern Kingdom of Judah based in Jerusalem faced military peril from an alliance the rival Northern Kingdom of Israel forged with Syria. Through the prophet Isaiah, God reassured Judah’s faithless King Ahaz that the kingdom of David would survive, giving the “sign” that the woman’s newborn son would be named Immanuel, meaning “God is with us.”

Verse 16 then proclaims that before this boy would be old enough to tell right from wrong, Judah’s enemies would fall. That indicates the prophecy applied literally or symbolically to a birth in Isaiah’s own time, possibly the prophet’s own son although Scripture never specifies who it was. In Christians’ “double meaning” interpretation, this prophecy applied both to Isaiah’s day and the coming of Jesus Christ seven centuries later.

(In addition to Matthew, the separate New Testament tradition in Luke 1:26-35 also reports that Jesus was born of a virgin, without quoting Isaiah.)

However, is “virgin” the right translation of the Hebrew word almah in Isaiah 7:14?


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What explains the durable popularity of Handel’s 'Messiah' (especially at Christmas)?

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What explains the durable popularity of Handel’s 'Messiah' (especially at Christmas)?

THE QUESTION: Handel’s oratorio “Messiah” — the Easter cantata that is so frequently heard at Christmastime — is probably the most-performed and most-beloved piece of great music ever written. What explains this long-running appeal?

THE RELIGION GUY’S ANSWER:

Underlying this theme is the poignant reality that our culture and many of its churches are gradually losing historical moorings that include the excellent fine arts created in former times. So how and why does “Messiah,” which exemplifies the “classical” musical style and faith of 276 years ago, so hold its own today?

By most estimates, George Frideric Handel (1685-1759) does not quite equal a peerless fellow German composer and a contemporary he never met, J.S. Bach (1685-1750). But in terms of popularity and number of performances, not to mention seasonal sing-alongs, this one among Handel’s 30 oratorios overshadows Bach’s monumental Christian works such as the “Christmas Oratorio,” “Mass in B Minor,” “St. John Passion” and “St. Matthew “Passion.”

Handel biographer Jonathan Keates tells the remarkable story of the famed oratorio in his 2017 book “Messiah: The Composition and Afterlife of Handel’s Masterpiece” — a good gift suggestion.

In a fit of inspiration, Handel dashed off all of his oratorio’s 53 sections in just three weeks. (Of course tunesmith Bach was expected to turn out a new choral number almost every week.) The first performance in the Easter season of 1742 — in Dublin, Ireland, instead of England — was a triumph.

The London premiere the following March is remembered because King George II stood during the “Hallelujah Chorus” and was imitated by the audience. Listeners have done the same ever since, a tribute normally limited to patriotic anthems. George never officially explained his deed. But it has always been assumed he believed a Christian king should express obeisance to the eternal “King of Kings and Lord of Lords” per the text sung from the Book of Revelation.

There was some trouble with the London gig.

Bluenoses thought it faintly blasphemous that a Christian oratorio was being performed in the secular Covent Garden theater instead of a church.


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Famous church choirmaster and organist dies and, oh yeah, faith helped shape his work

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Let me confess, straight off, that this post is personal for me. I have, you see, been a church musician longer than I have been a journalist -- dating back to singing soprano in a classical boys choir. In college I was blessed to sing under the great Anglican choirmaster Robert H. Young (yes, at Baylor University) in his classical touring choir and I missed only two rehearsals in six years of undergraduate and graduate work. There is no way to express what sacred choral music means to me.

Thus, I know first hand the tensions that exist between the standards of classical performance and the singing done by normal church sanctuary choirs. I have known my share of elite choir snobs. At one point I was an elite choir snob.

So I read with great interest the New York Times piece on the recent death of the great organist and choirmaster John Scott, an Anglican who most recently was director of music at St. Thomas Episcopal Church on Fifth Avenue in New York City.

The article -- as it should -- emphasized his achievements as a performing artist on both sides of the Atlantic. He had just returned from recitals in Europe and was poised to begin the second leg of that tour. His second wife is expecting their first child in a few weeks. There is much to report about his life and career:

Mr. Scott played at the Boston Early Music Festival in June. His last American appearance was a Bach recital at St. Thomas on June 20.


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