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Celebrating Handel’s Messiah, April 1942

Celebrating Handel’s Messiah, April 1942

13 April, 1742 saw the first public performance of Handel’s Messiah in Neal’s Musick Hall, Fishamble Street, Dublin, in the shadows of Christ Church Cathedral. Given the strong religious nature of the oratorio, it is perhaps no surprise that its first performance drew so heavily from the two cathedrals in Dublin in particular, as well as the Established Church in general. This relationship between the Church and Handel’s masterpiece was marked by a special celebration on the 200th anniversary of its first performance, on 13 April 1942.

An image from the document in question, showing the signatures of the members of the cathedrals' choirs who performed in the 200th anniversary celebration of Handel's Messiah. From RCB Library C2/9/1
An image from the document in question, showing the signatures of the members of the cathedrals' choirs who performed in the 200th anniversary celebration of Handel's Messiah. From RCB Library C2/9/1

George Frideric Handel, was born in Halle, in Germany in 1685 but would eventually become a naturalised British subject in 1727. Handel always had close ties with the religious authorities where he resided, both in a personal and professional capacity. It is no surprise that upon his move to Great Britain, he developed strong ties with the Established Church and worked extensively with religious bodies to showcase his new works. In 1741, the decision was made to give a season of concerts in Dublin towards the end of this year, and in to early 1742. These were performed in the Musick Hall, Fishamble Street, but did not feature Messiah, nor any version of the oratio. These concerts proved phenomenally popular and Handel continued to work in Dublin during the spring of 1742. 

While Handel’s Messiah originated from his time in London, it matured and was appreciated in Dublin. Handel wrote the music for Messiah during a frenzied period of inspiration the previous year, in late August and early September, continuing to revise the work prior to its performance in Dublin in 1742. It is said that Handel, writing to the librettist of Messiah, Charles Jennens, during Christmas 1741, noted ‘the politeness of this generous nation cannot be unknown to you’. Handel himself was residing in a house on the corner of Abbey Street and Liffey Street, and used this premises as a residence and ticket–office.

By early March 1742, contact was made with St Patrick’s and Christ Church cathedrals to explore the use of their choirs for the forthcoming concert. Permission was granted to utilise the services of 16 men and 16 boy choristers from both cathedrals, with some of these men performing solo parts. It is a testament to the high standards associated with both choirs that so many were chosen to be part of such an eminent production. Despite the high reputation that Handel had throughout Europe at this time, there was some reticence on the part of the cathedral authorities to have their members associated with a performance in a secular venue.

It might be said that such concerns dimmed over the following 200 years, and on the occasion of such a momentous anniversary, the cathedrals decided to celebrate the event, by performing two concerts to be held on 13 April in St Patrick’s Cathedral and the following day in Christ Church Cathedral.

Notice from the Church of Ireland Gazette, 10 April 1942, about the forthcoming event.
Notice from the Church of Ireland Gazette, 10 April 1942, about the forthcoming event.

The RCB Library hold extensive collections with regards to both cathedrals, and there are detailed important accounts relating to the choirs. One such example is RCB Library C2/9/1, which is a booklet produced in the 20th century showing the original octavo edition of Handel’s Messiah in vocal score, edited by W. T. Best (London: Novello and Company). What makes this such a unique item is that the notice for the cathedral concerts in April 1942 is included, along with a full list of those who performed originally, as well as those performing in the 200th anniversary celebration.

Also saved is a page, on Church of Ireland Printing Co., Ltd., paper showing the signatures of those ‘gentlemen of the choir’ who performed in 1942.

 

You can read more about the history of the celebration of Messiah and the Church of Ireland, as well as a more detailed look at the cathedral records of the RCB Library, by clicking here: https://www.ireland.anglican.org/news/6363/messiah-and-the-choirs-of

The Revd Peter Hanna from the diocese of Cork, Cloyne and Ross has been kind enough to share this additional Messiah–anniversary story from that diocese:

On 6th December 1994 I participated in a rendering of the Messiah in St. Fin Barre’s Cathedral, Cork to mark the 250th anniversary of its first performance in an ecclesiastical building. As Diocesan Information Officer (DIO) at the time I was asked to write a short report as to why it took some 3 years after its composition before the first “church” performance. The research revealed that the Messiah was at first considered to be too secular which was one of the reasons its first performance in Dublin was in neither St. Patrick’s or Christ Church Cathedral. As to why Cork was the first I have not been able to ascertain. The cathedral in 1744 was not the present magnificent structure but a much more modest and smaller building just nine years old. Its predecessor was built in 1676 (at a modest cost of £560) in turn replacing a medieval structure erected in the 12th century. And this was by no means the first building on the site dedicated to Fin Barre. At the time of the centenary of the present cathedral in 1970 a well known Cork builder (Church of Ireland) claimed to have found the site of Fin Barre’s burial place in the grounds and had a stone cross made which he presented to the Dean and Chapter. It was accepted but never erected as the evidence could not be verified. The cross remained in the ambulatory at the back of the cathedral for many years. St Fin Barre died c.623 and a number of places have been claimed as his burial place, but there is no doubt that the current site is the place where St Fin Barre established a place of learning in the seventh century. For the 250th performance a number of choirs combined with the cathedral choir. There were so many that the entire body of the Cathedral was taken up with the pews turned to face across the main aisle in collegiate style, and there were two conductors! Those who turned up to hear the performance were literally crammed into the choir stalls and I have the abiding image of a family of 4 occupying the bishop’s throne!