From the President: Handel’s Grand Music and Generous Spirit
by Joshua Waggener
Since his death in 1759, George Frideric Handel has been known for his ability to work hard, produce (or adapt) music quickly, and create works that surpassed all that had been heard before. For example, his Messiah was famously written in less than a month, incorporating material from several previous works. After some mixed reviews (largely due to its sacred subject matter in a work to be performed in theatres), Messiah increasingly contributed to the growing reception of Handel as a genius, one capable of producing original and expansive works of musical art.
You might say that, in Messiah, Handel was generous in his musical style, repeatedly giving his hearers more than they were owed, and more than they were expecting to hear. This generosity is perhaps most evident in the work’s final three-part chorus “Worthy Is the Lamb.” The chorus commences with stately Largo homophonic chords, with sopranos ascending to a high F-sharp in the second phrase. Then, an Andante section features descending strings accompanying the choir’s sevenfold doxology: “to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing.” After another round of Largo and Andante sections, the first fugue of the chorus commences: “Blessing and honour, glory and pow’r, be unto Him ….” Repetition after repetition evoke not just a large choir of human voices, but that of “every creature which is in heaven, and on the earth, and under the earth, and such as are in the sea, and all that are in them” (Rev 5:13 KJV). But Handel gives his most lavish musical gift in the final “Amen” fugue. Here extended melismatic phrases on this one word of affirmation continue in succession for (in some performances) almost five minutes, only interrupted by instrumental iterations of the same extended themes. Sopranos here ascend multiple times to high A’s, accompanied by resplendent brass, timpani, and organ. As John Mainwaring describes the three parts of the Messiah’s conclusion, “… we find [Handel] rising still higher in the three concluding Chorusses, each of which surpasses the preceding, till in the winding up of the Amen, the ear is fill’d with such a glow of harmony, as leaves the mind in a kind of heavenly extasy” (Memoirs of the Life of the Late George Frederick Handel [1760], spellings original). In a performance of the complete oratorio, after over two hours of recitatives, arias, and choruses featuring soloists and choir, “Worthy Is the Lamb” is truly a grand finale.
But Handel was also known for his financial generosity, particularly in relation to performances of Messiah. When he premiered the work in Dublin in 1742, the Dublin Journal reported that Handel “generously gave the Money arising from this Grand Performance, to be equally shared” by a debtors’ prison and two hospitals. Although the work’s 1743 London premiere took place at the rented Covent Garden Theatre, its real success came through annual performances for the benefit of the Foundling Hospital, a hospital for children “found” on doorsteps and other places where their mothers (often young and unmarried) had abandoned them. After the first such concert in 1749 featuring Handel’s Anthem for the Foundling Hospital (HMW 268) — which concludes with the “Hallelujah” chorus from Messiah — concerts in successive years featured the full oratorio. To facilitate these Messiah performances in the chapel of the hospital, Handel donated an organ for the performance space, thus providing an instrument necessary for the annual performances which also served the facility year-round. After several decades of Messiah benefit concerts at the Foundling Hospital, Charles Burney declared that Handel’s Messiah “has fed the hungry, clothed the naked, [and] fostered the orphan … more than any single musical production in this or any country” (An Account of the Musical Performances in Westminster Abbey, etc. [1785]). Thus, from its Dublin premiere to its London success, and continuing after the composer’s death, Messiah represents not just Handel’s musical generosity, but also his consideration of the basic needs of those least able to provide for themselves: orphans from the streets of London.
This connection of Messiah performances with the needs of others continues today. For example, at Campbell University’s 2008 Messiah Sing-a-long, concert attendees were “encouraged to bring canned food items for donation to an area food bank.” Likewise, just this month Grace Episcopal Church in Gainesville, Georgia advertised their Messiah performance with the notice that “Your ticket for admission is one non-perishable item for donation to the Gainesville-Hall Community Food Pantry.” These donations help people do something which Handel is known to have enjoyed — eating — and address the real need of food insecurity in their communities.
As you consider Handel’s generosity and the ongoing charitable activities related to performances of Messiah, you may be asking yourself, “What worthy cause might I contribute to?” Well, I’m glad you asked!
As we approach our March 3rd — 5th, 2022 Annual Meeting, taking place at Mercer University in Macon, GA, SCSM is seeking donations toward the SCSM Travel Fund. This fund was established in 2016 to offer some modest assistance toward conference travel costs to SCSM members who qualify for reduced rate membership. This includes conference participants (presenters, panelists, or committee members) who self-identify as students, members of religious orders, adjunct professors, and those who are retired, unemployed, or underemployed. The amount of funding for each such participant that applies for support is determined by their need, the number of applicants, and, crucially, the amount available in the Travel Fund. Thankfully, due to proceeds from the 2021 SCSM online annual meeting, and other generous donations, the Travel Fund currently has a healthy balance. However, after disbursements for the 2022 meeting, the Travel Fund will be needing some replenishment.
Won’t you consider being generous (like Handel) and contribute to the SCSM Travel Fund? Online gifts can be made towards the SCSM Travel Grant at this link, and can also be made in person at the March meeting. I look forward to seeing many of you in Georgia!
With anticipation,
Joshua A. Waggener, Ph.D.
SCSM President, 2021–2023
Joshua Waggener is Associate Professor of Music and Christian Worship at Southeastern Baptist Theological Seminary in Wake Forest, NC.
