655. “The Greatest Piece of Participatory Art Ever Created”

Key Takeaways

Handel's 'Messiah' debuted in Dublin in 1742, offering a powerful message of hope.
The oratorio integrates Old and New Testament texts, creating broad appeal across diverse audiences.
'Messiah's' lasting influence stems from its innovative Baroque music and themes of human agency.
The work's charitable purpose at its premiere aligned with Enlightenment ideals of collective action.

Handel's 'Messiah' premiered in Dublin in 1742, a period when his popularity was reportedly waning.
Political scientist Charles King identifies 'Messiah' as the greatest participatory art, attributing its enduring appeal to its core theme of hope.

The original Music Hall on Fishamble Street, where 'Messiah' premiered on April 13, 1742, has been largely redeveloped, though a plaque commemorates the event.
Local establishments like Handel's Hotel and the Chorus Cafe honor 'Messiah's' legacy on Fishamble Street.
An annual outdoor performance of 'Messiah' is held on Fishamble Street, with audience members often bringing their own scores, a tradition initiated in 1992.

The podcast introduces a three-part series exploring the musical, religious, and political meanings of Handel's 'Messiah', highlighting Handel as a pioneer in the creator economy.
The iconic Hallelujah Chorus is noted for its use in popular culture, including films like 'Dumb and Dumber' and 'Mel Brooks' History of the World, Part 1'.
The London Symphony Orchestra's 2006 recording, conducted by Sir Colin Davis, serves as the primary musical version featured in the episode.

'Messiah' is defined as an 18th-century Baroque oratorio, similar to opera but performed as a concert piece without dramatic staging.
Its text comprises Old Testament prophecies about the Messiah and New Testament passages on Jesus's birth and Christian significance.
The Hallelujah Chorus is identified as the most famous movement, often recognized from media, though some musicians find it routine due to overuse.

Author Charles King was motivated to write 'Every Valley' by seeking comfort in an old 'Messiah' recording during the COVID-19 pandemic, Black Lives Matter protests, and the January 6th Capitol attack.
King, raised on an Ozarks cattle farm with a Pentecostal background, developed a love for the King James Bible and early exposure to Baroque music.
He describes 'Messiah' as a democratic piece that encourages audience engagement, contributing to its longevity.

The Baroque period was a time of experimentation, breaking from earlier musical strictures, likened to the 'punk' or 'jazz' music of its era.
This era introduced new instruments and improvisational performance practices, with artists like Handel creating without knowing they were part of a 'Baroque' movement.
The enduring emotional power of 'Messiah' is attributed to Handel's theatrical background and librettist Charles Jennens' controversial use of sacred text in a concert setting.

Charles Jennens, 'Messiah's' forgotten librettist, was a wealthy, eccentric, and deeply religious non-juror who compiled the text from his own manuscripts.
Jennens, though a patron, complained about Handel's 'laziness and obstinacy,' highlighting collaboration challenges.
Their partnership spanned significant political and religious divides, with Handel serving Hanoverian kings and Jennens supporting the ousted Stuart dynasty, excluded from public office.

During its 1742 Dublin debut, choristers from Christchurch Cathedral, despite some disreputable tendencies, were permitted to sing in 'Messiah' after initial opposition from Jonathan Swift.
18th-century Dublin performances of 'Messiah' often supported charities, such as the Charitable Musical Society for the Relief of Distressed Families and Imprisoned Debtors.
The premiere raised over £1,200 (approximately $300,000 today) for charity, freeing 142 debtors and reflecting the era's growing philanthropic efforts.

Charles King argues 'Messiah' solidified the Enlightenment by presenting a philosophical and theological journey that emphasizes human agency and the individual's power to transform the world.
The libretto acts as a 'ladder out' of suffering, reflecting both a theological interpretation and a deeply human need for collective action and hope.
'Messiah' confronts the problem of theodicy—explaining a good God amidst suffering—by offering a promise of comfort and a vision of a more just world.