Handel's Messiah: Comfort for God's People

Calvin Institute of Christian Worship Liturgical Studies

by Calvin R. Stapert

Handel's oratorio Messiah is a phenomenon with no parallel in music history. No other work of music has been so popular for so long. Yet familiarity can sometimes breed contempt and also misunderstanding. This book by music expert Calvin Stapert will greatly increase understanding and appreciation of Handel's majestic Messiah, whether readers are old friends of this remarkable work or have only just discovered its magnificence.

Stapert provides fascinating historical background, tracing not only Messiah's unlikely inception but also its amazing reception throughout history. The bulk of the book offers scene-by-scene musical and theological commentary on the whole work, focusing on the way Handel's music beautifully interprets and illuminates the biblical text. For anyone seeking to appreciate Handel's Messiah more, this informed yet accessible guide is the book to have and read. (Handel's Messiah: Comfort for God?'s People is the newest volume in the Calvin Institute of Christian Worship Liturgical Studies Series, edited by John D. Witvliet.)

Genres: Music, History, Nonfiction, Biography, Christmas, Audiobook, Theology

187 pages, Paperback

First published September 15, 2010

Reviews

[Jeremy · Rating 5 out of 5]

Includes excerpts from the oratorio. I was going to give it four stars, but it concludes with audio of "Worthy is the Lamb" and "Amen," so, I mean, c'mon.

Introduction
Hallelujah Chorus

Three Histories
Ch. 1: Oratorio before Handel
Dublin premier in 1742
origin of oratorio (late 16c / early 17c)
Handel was German/Lutheran (Heinrich Schütz, Bach)
Handel spent most of his creative life in England.
Puritan opposition
Handel basically invented English oratorio.

Ch. 2: Handel
1685–1759
opera arose out of the masque
theaters (but not secular music) closed by Puritans in 1642 [100 years before the premier of the Messiah]; private masques continued; opera was a way to do theater during the ban
1st public English opera (during Puritan Interregnum): William Davenant's 1656 The Siege of Rhodes Made a Representation by the Art of Prospective Scenes, And the Story sung in Recitative Musick [hilarious that this is not technically a play, just, y'know, REPRESENTATION BY THE ART OF PROSPECTIVE SCENES]
Restoration (1660) may have hindered advancement of opera, because people preferred spoken dialogue—when ban was lifted, opera dwindled, because it had just been a makeshift while theater was banned (see Grout's A Short History of Opera)
1710: Handel arrived in London; Italian opera was popular (Addison didn't get it)
1712: made his home in London for the rest of his life
1727: became citizen (under George I, his former patron in Germany; George became king because of 1701 Act of Settlement, which said that no Catholic relative could become monarch)
received a pension from Queen Anne
1740: musical setting for Milton's "Il Penseroso" and "L'Allegro"

Ch. 3: Messiah
libretto by Shakespeare scholar Charles Jennens (Samuel Johnson didn't like him)
1743 controversy: putting sacred oratorio in a secular theater makes a Heaven out of Hell
Haydn was a huge fan of Handel's work.
ballooning choir/orchestra (contemporary attempts to get back to the original performance, although large choirs are nice for participation)

Purpose
Ch. 4: To Teach and Delight
Horace, Sidney, Johnson
Handel wanted both entertainment and devotion
Ben Jonson (dedication to Volpone): good poet must be a good man [cf. Quintilian on rhetoric: good man speaking well]

Ch. 5: Messiah vs. Deism
opera seria: changed immoral endings to fit a moral order (the way it should have ended); example: Handel's Jephtha ends well (see here)
Enlightenment and Deism

Commentary
Ch. 6: Before We Begin
recitations, arias, choruses
madrigalism
Jennens sent Handel mottos for the title page of Messiah (one was from Virgil's Fourth Eclogue); reference to Pope's translation of Virgil's Fourth Eclogue

Ch. 7: Part the First: The Coming of the Messiah
overture: style indicates royal pomp
"And the glory of the Lord" goes up, but "shall be revealed" goes down (indicated in the Incarnation)
comfort vs. terror (I will shake)
Pifa: cf. Italian shepherds playing bagpipes at Advent (see here)

Ch. 8: Part the Second: Lamb of God, King of Kings
Scene 6: not everyone responds to the comfort of the gospel; some throw off the yoke, despite its lightness; text is Ps. 2:1–4; Stapert mentions the non serviam of Jer. 2:20 and connects this to Satan's "Better to reign in Hell than serve in Heaven" (PL 1.263)
Scene 7: Edwards's "Sinners" sermon was preached (July 8, 1741) two days before Jennens wrote to a friend saying that he hoped to convince Handel to write an oratorio on the Messiah; "Thou shalt break them" movement could be considered the Jennens/Handel musical version of Edwards's "Sinners" sermon; the harsh (although accurate) movement and sermon should be taken within the broader contexts of other movements/sermons (hope/love/gospel)
"Hallelujah Chorus" is placed after Christ's victory over his enemies.

Ch. 9: Part the Third: Resurrection of the Dead, Worship of the Lamb
Yancey: "The Incarnation did not usher in the end of history—only the beginning of the end" (p. 142; from The Bible Jesus Read, p. 216) —> [The Incarnation inaugurates the "already" part of the already / not yet, regarding the Kingdom of God.]

[Donald Owens II · Rating 4 out of 5]

In this warm little volume, Calvin Stapert demonstrates the 3 keys to writing biography: he can write, he knows his subject, and he loves it. This is really the biography of a piece of music, complete with the history of its composer, the development of sacred and secular music before and since, and an analysis of each movement. This would be a reliable friend to spend time with in the month leading up to Christmas, with a recording of The Messiah at hand to hear each part as he discusses it.

[Jennifer · Rating 5 out of 5]

Here is my (very strong!) suggestion of how to read this book...
get a print copy that you can mark up, then find THIS version of Messiah in concert: Christopher Hogwood director, choir of Christ Church Cathedral, Oxford. (I found it on Spotify.) If you listen to the music as you read the commentary in the book, you will get SO much more out of it than you will if you only read the book.

*The Audible version would be my second suggestion because it does have some examples of the music woven into the text - which means you can hear (musically) what is being said (verbally) - but it's very limited.*

If you don't listen as you read, it will be almost impossible to fully appreciate.

Having said all that, fair warning: the book is 151 pages of text and the commentary on the music itself doesn't start until page 80. So there is a lot of "background info" to wade through, which includes a history of opera and oratorio, as well as a brief biography of Handel the composer and also Charles Jennens, the compiler of the text. I think it's interesting (I knew next to nothing about any of that) but you just have to be patient!

Lastly I want to say that I started this book immediately after reading a 900ish page book on the Reformation in Europe. I am still processing what it means that this amazing work of musical artistry was written and performed in the midst of all of that turmoil and instability in the world and in the Church. That fact flew in the face of many assumptions I had made about "culture" during times like the ones Handel lived in... and that really made me stop and think! The fact that skill and brilliance and the arts can thrive in those conditions gives me hope.

Here at Christmas (the season in which I was reading this book) we hear a lot about hope. Jennens and Handel intentionally delivered a message of hope; they wanted to very clearly and powerfully communicate the life-changing truth of the life of Christ to their listeners. I think they were successful!
After reading about and listening to Handel's Messiah, I know that I am left thinking about some of the ideas and themes in it that I'd like to spend more time contemplating in the new year - HOPE definitely being one of them.

[James Smith · Rating 4 out of 5]

An accessible—if a tad pedestrian—and comprehensive introduction to Handel’s beloved work, including a brief history of the oratorio form, Handel’s transition from operas, and the religious and cultural situation at the time of composition. Includes detailed commentary in second half.

[Mason]

Stapert may have developed a new genre: Cozy Musical Criticism. Reading this is like sitting with an uncle who has spent too much time thinking about Handel and just finished drinking too much port.

This time of year, choirs give homage to this masterwork by racing through the familiar choruses. Stapert affords us an opportunity to stop yelling our parts, take a sip of something warm, and come to know what we are singing.

[Erika · Rating 4 out of 5]

I cannot remember not knowing the music of the Messiah. Long before I was a Christian, I listened to it with my dad. I wish I could share with him now what I read in this book, specifically the “We Like Sheep” of part II, which he always felt to be comical. Stapert sees it as a musical depiction of the silliness of our wandering away from the Shepherd and then the gravity of “The Lord hath laid on Him the iniquity of us all”
I appreciated the commentary on why the Messiah was laid out in each section. What is emphasized, the suffering of Christ is the longest section. The Hallelujah Chorus is magnificent but not the end because the complete story has not been told. The Incarnation did not usher the end of history only the beginning of the end. Holding onto the “already” aspect of the kingdom in the face of the “not yet” requires faith.
I enjoyed the history of Handel and what was going on musically in England at the time of its composition but the focus on the music was the best part. I listened to the Messiah performed in Grace Cathedral by the Bach Society while reading it

[John Gardner · Rating 4 out of 5]

In my mind, there is no greater example of musical genius than George Frederic Handel’s oratorio, Messiah. Last year, I wrote a series of blog posts (which you can find through a link in the upper-right corner of this page) looking at the musical, historical, and theological significance of this work. However, those were, admittedly, the product of my own reflections and observations rather than of any scholarly study.

I was very excited, then, to learn of a new scholarly look at the Messiah by Calvin Stapert, a professor of music at Calvin College. This book is everything I had hoped it would be! Through reading it, I have developed an even greater love for and understanding of Handel’s masterpiece.

Stapert begins with a history of the development of “oratorio” as a style of music, tracing its origins in opera, and the acceptance and opposition it faced from various sectors of Christendom. He then progresses into a biographical section about Handel, and how this German came to become a composer of English oratorio.

The third chapter is a history of the composition itself. Stapert details how Handel and Charles Jennens – Messiah’s librettist – came to be associated, and how their tenuous relationship nevertheless produced several brilliant oratorios. He traces the oratorio’s instant success and consistent popularity, along with the various re-orchestrations and performance trends (from a small, baroque orchestra with few singers, to the larger classical orchestrations by Mozart and others, to the huge Romantic-era mega-choirs of the 19th and early 20th centuries, to the neo-Baroque performances of today which often seek to remain faithful to Handel’s original conception).

In the following two chapters, the book investigates the tremendous impact Messiah has had on its audiences in the last two-and-a-half centuries. Though Handel said in so many words that he intended for his compositions to instruct others and “to make them better”, it is doubtful even he could have seen the way it would be used to forever stamp God’s Word on the minds of even the most stalwart opponents of the Christian faith.  In particular, Messiah stood intentionally and diametrically opposed to Deism, a heretical form of religion which was sweeping through the world at the time.

The final four chapters go movement-by-movement through the entire oratorio, analyzing the lyrics and music in painstaking detail. This is the real strength of the book, as it opened my eyes to musical subtleties and theological insights that I have missed through literally hundreds of listenings.

One last note (no pun intended) is on the audio-book version, which I received free from ChristianAudio.com . This book was read by James Adams. Though Adams read very well, his voice – a very scholarly-sounding British accent which to my American ears seemed to contain a hint of arrogance – took some getting used. Once I became acclimated to it, though, I found that I actually enjoyed it. Any potential disappointments with the reader’s voice, however, are offset by the audiobook’s inclusion of musical excerpts from Messiah, which are immensely helpful during Stapert’s exposition of the score. For those reading the paper copy, I highly recommend keeping a quality recording of Messiah close at hand as you read!

This book is a fine addition to any library, whether you are a lover of music, history, Handel’s Messiah, or, like me, of all three!

[ladydusk · Rating 3 out of 5]

I really wanted to love this book. And I did love parts. And it is one I would recommend, particularly to someone very familiar with The Messiah. It just felt like something was missing.

I know it was about The Messiah, but if you're going to include a section on Handel's musical influence, I really felt the lack of information regarding the influence of his faith. The other sections on the History of Oratorio and The Messiah itself were quite good, helpful, and interesting to this beginner.

The section of the Purpose of The Messiah was brilliant. Clear, crisp writing explaining why The Messiah was written the way it was, to who, and what it was combating (the deism of the day). I particularly appreciated the explanation of "entertainment" as opposed to "amusement" or "diversion."

I think the commentary on The Messiah, itself, is probably very good. There are gems of information to be mined here, not just about the music, but also about devotional thought and how that can be heard in the music. I think it would behoove me to listen to each piece individually, read the section on it, and listen again to it. My lack of music theory or knowledge of musical terms was a hindrance to my understanding and enjoyment of this section.

My final criticism is that there is no real concluding chapter to the book, although what Stapert could have said at this point is unclear to me.

Overall, a worthwhile read, I'm glad I read it, but I can't rate it higher than a 3 for my reading.

[Dave Johnson · Rating 2 out of 5]

personally, i think there's a way that you can write a biography that doesnt come across as a research paper. in fact, i think most biographies do well at the writing, for the most part. but this really reads like something out of an encyclopedia and was just way too boring. which is too bad, because i was really interested in the subject matter.

[Laurel Hicks · Rating 3 out of 5]

Most of this I could have gotten from Wikipedia. I finished it, though, and then turned to Messiah and was refreshed.

[Bennett Rogers · Rating 4 out of 5]

Outstanding musical and textual commentary on The Messiah for non-musicians and musicians alike. Listen, then read, then listen again.

[Nathan Ellzey · Rating 5 out of 5]

I read this book while participating in a large community chorus for a performance of the entire Messiah. It really helped open the oratorio up to me as I both learned about it and rehearsed it. I have a strong background in biblical studies, so the theology was nothing particularly new to me, though the author certainly does a fine job covering that. But the way that all of this was developed in the baroque style, along with the doctrine of affects, was practically all new to me.

The book is divided into two primary parts, one historical and the second analytical. both parts are very well done. In the analytical part, which goes piece by piece, there was hardly a page where I didn't learn something or wasn't deeply moved as the songs played in my head or in the background on my stereo. I highly recommend reading either this book or another excellent book like it if you are considering attending a performance of the entire Messiah, or especially if you are participating in the performance itself.

[Lori · Rating 3 out of 5]

Without a doubt Handel's "Messiah" is one of the most enduring and beloved musical works of all time. Stapert provides background on the oratorio form along with some insights into the composer Handel. He then goes on to describe the work's earliest and enduring performance. He discusses some of the truths taught in the oratorio in light of theology. The final section of the work offers a commentary on the work. Stapert's audience is decidedly an academic one. The writing is probably too stilted to be enjoyed by all but those obsessed with the work or musical form. Recommended only for music professionals with a strong interest in the classical tradition. Those interested in more contemporary forms of worship or wanting a devotional read on Handel's work will probably want to pass.

[John Coatney · Rating 4 out of 5]

I found this work immensely helpful for increasing my appreciation of Handel's Oratorio. The beginning was a little dry and perhaps a bit overlong (I don't think I needed that long and detailed a history of the oratorio as a genre, or of Handel's biography, but the history of the Messiah itself was quite interesting). The highlight of the book, though, is the scene-by-scene description of the work, providing insight into both the text and Handel's use of various techniques that allow the music to enhance and highlight different aspects of the text. I found it helpful to listen to a scene, read Stapert's commentary, and listen to the scene again.

[Michelle Lunsford · Rating 4 out of 5]

A brief historical account of Handel's career and one of his most famous works, The Messiah. The second half of the book takes a look at Messiah, offering commentary on the scriptural texts and themes, as well as analyzing Handel's compositional choices and how they helped communicate those themes. Overall, an enjoyable and interesting read. This audiobook version also includes a few musical excerpts from Messiah, which I found added to the narrative experience.

[LeAnne · Rating 4 out of 5]

This is a music lover’s look at one of the world’s favorite pieces of Baroque music. The background information is fascinating, but the book does assume a certain level of technical understanding of (and interest in) music. The devotional “comfort” (as in the subtitle) is there, but it is perhaps overwhelmed by the other information.

[Jo · Rating 4 out of 5]

A delight to read.

There's a brief history of contemporary music, a brief biography of Handel, and a really lovely tour of the Messiah; both musical features and theological meaning, solid stuff, but with a light touch.

It's probably best to listen to the music as you go along, but even though I couldn't this time through I still enjoyed the commentary.

[Benjamin · Rating 4 out of 5]

An excellent guide to the work. Stapert sets the work in the larger context of music history and of Handel's composition. Then he guides the reader through every part of Messiah, explaining what Handel is doing. I recommend listening to Messiah after reading this, and following the guide as you move through the music.

[Danette · Rating 3 out of 5]

I finally finished it! Although much of this was over my head, I am inspired to study the Messiah further. I enjoyed the pieces of music included in the audio book.

A book you have started but never finished.

[Judith · Rating 5 out of 5]

Well worth reading while listening to each section of The Messiah. I learned much about musical terminology and how different musical phrasings reveal the emotions that Handel hoped (and succeeded in) to create.

[TROND KNUDEGAARD · Rating 4 out of 5]

A very interesting and thorough read. Gives a view of the composer, music, faith and historical perspective of this iconic classical piece.

[Jeannine · Rating 5 out of 5]

Thorough detailed history of Handel's Messiah. Very interesting but a lot of the more technical discussion of music, music theory and composition was well over my head.

[Denise · Rating 5 out of 5]

Very helpful book outlining Handel's Messiah. This would be a great accompaniment to Cindy Rollins Hallelujah. There are pieces of music, so listen at normal speed.

[Nate Hansen · Rating 4 out of 5]

Really lovely

[Debbie Phillips]

This book by music expert Calvin Stapert will greatly increase understanding and appreciation of Handel s majestic Messiah, whether readers are old friends of this remarkable work or have only just discovered its magnificence. Stapert provides fascinating historical background, tracing not only Messiah s unlikely inception but also its amazing reception throughout history. The bulk of the book offers scene-by-scene musical and theological commentary on the whole work, focusing on the way Handel s music beautifully interprets and illuminates the biblical text. For anyone seeking to appreciate Handel s Messiah more, this informed yet accessible guide is the book to have and read.

[Alexis Neal · Rating 4 out of 5]

This. Book. Is. Incredible. The book gets off to a bit of a slow start with about 60 pages of history (not Stapert's strong suit, which makes sense since he's a music professor), then picks up a bit when Stapert delves into the deism Messiah was created to combat. The real strength of the book, however, is in the commentary on the music of Messiah. Stapert walks through each part, scene, and piece in the whole oratorio and points out the stylistic and symbolic choices Handel made in the music to drive home the content of the words. I've always loved Messiah--the words are powerful and the music delights the ears. But this book allowed me to interact on an intellectual level with the music itself, rather that just the words. I don't think I'll ever listen to Messiah in quite the same way ever again. I will definitely be re-reading this one.

NOTE: The audiobook, available as a free download at www.christianaudio.com this month, features a few (admittedly mediocre) recordings of notable pieces from Messiah. Also, the narrator is British. Then again, some of the musical discussions may be easier to follow on the written page, so choose your your own adventure.

[Brian Collins · Rating 4 out of 5]

Stapert begins this work by tracing the development of the oratorio and then the development of Handel as a musician. He also discusses the changes in the performance of Messiah over the years from the smaller choirs and orchestras to massive settings in the nineteenth century and then back toward more authentic performances. The latter part of the book examines the Messiah itself. Stapert examines the organization of texts in the libretto, and he discusses how Handel utilized various musical techniques to wed the text to music that enhances its meaning. This is the most fascinating part of the book as it explains how Handel harnessed both Baroque conventions and elements inherent in sound and music to communicate. The audiobook includes selections from the Messiah after some of the discussions. More selections would have been welcome Negatively, the reader of the book has an affected style of speech that made listening less enjoyable than it could have been. Thankfully, this was more pronounced at the beginning (when he was pronouncing many names in foreign languages) and less pronounced as the book went on.

[Eric Chappell · Rating 4 out of 5]

Preface: I know absolutely nothing about music.

Calvin Stapert does an extraordinary job of placing Handel and The Messiah in its cultural, religious, musical context. I listened to the audiobook version, so I'm sure there were many things I missed and stuff that went over my head. But on the whole, the book was enjoyable and stimulating. For one, I know a whole lot more about baroque oratorios generally, and about Handel's masterpiece in particular. The first couple chapters placed Handel in his historical and musical context. Some of this information was a bit tedious, and I would have appreciated a few more bigger picture summaries (esp since I know nothing about music theory or history). But beginning with chapter 4 concerning the purpose and religious apologetic of The Messiah, the book really gets interesting. The last three chapters are commentary on the three acts of the Messiah which I found quite delightful.

[Nicki · Rating 1 out of 5]

This had the potential to be a good listening experience as the subject matter is of interest to me. Unfortunately this has not been the case as the narrator made it really hard work. Although he is extremely clear, and its easy to understand what he is talking about, his manner came across as extremely pompous. His over-emphasis of German and Italian words, became really irritating in the end.
I did manage to extract some very interesting facts about Handel and his life story, but it was difficult. I didn’t enjoy the dissection of Messiah in Part 2, as I have already read through my CD notes many times, so this seemed very long winded to me.
I think that if you are new to this production you’d probably enjoy it a whole lot more.
Thanks to christianaudio.com Reviewer’s Program for this copy

[Coyle · Rating 4 out of 5]

Fascinating history and biography of both Handel and the work itself. I thought the analysis of the text and music of the Messiah dragged a bit more than I like, but I also am not familiar with/interested in musical technicalities, so that very well could have been me and not Stapert. His overall effort and writing style, however, were quite excellent.