In our last year at university, my friend and I joined the University Singers, an amateur choral group supporting the more advanced singers within the School of Music. I think we saw a poster advertising the group’s plan to perform Handel’s Messiah that fall, and so we signed up. Thus began a lifelong love of this remarkable oratorio. I’ve since sung Messiah a dozen or so times, not including singing along at home or in the car, and still find the entire piece moving and majestic.
This book was another Christmas gift from my sister. Every Valley tells the story of the creation of Messiah within the history, politics, and culture of its time, including a biography of Handel and other important players in its genesis. We learn about: the life and interests of Charles Jennens, the librettist for Messiah who is little known or connected with his most well-known work; the actress and alto (and so a kindred spirit, as I am, too) Susannah Cibber, featured in the first performances of Messiah, whose reputation was redeemed through this association; and the philanthropist Thomas Coram, whose life’s work culminates in the fund-raising and attention made possible by Messiah.
Every valley shall be exalted, and every mountain and hill made low, the crooked straight and the rough places plain. (Isaiah 40: 4)
I enjoyed this deep dive into a lesser known (to me) period of history, and the intricate links between the politics and social issues of the day and the lives and successes of artists. This 18th century period is the height of the Enlightenment, and Handel and his contemporaries were exploring and expounding on revolutionary ways to consider the world, linking morality and religion with natural law and philosophy. As King presents Messiah’s development and delivery, he describes a culture and environment uniquely suited to Handel’s masterpiece.
Messiah is a strange musical construction. The words are various extracts of bible verses, with no discernible story. Rather, there is a thematic arc reflecting the Enlightenment – the world is in turmoil, then there will be order, progress, and salvation, culminating in “blessing, honour, glory”. To read the entire libretto is to experience an epic poem of human history. Handel’s composition may be derivative in places (he copied several melodies from his previous works), but the alignment of words and music is inspired.
All we like sheep have gone astray, we have turned everyone to his own way, and the Lord hath laid on Him the iniquity of us all. (Isaiah 53: 6)
King posits Messiah could not have happened in any other place or time, and the aim of describing the era and Messiah’s place in it is to engender a greater appreciation for the miracle of its creation. King succeeds in this mission, educating and enlightening the reader about this important work and time.
For the several weeks of reading it, I was humming or singing various pieces from Messiah, and remembering the times performing it, from the first in 1987 to the most recent sing-along concert I attended in the mid-2010s. Even the sections I haven’t performed myself, including many of the arias and the more complicated chorales, are words and melodies I know by heart. Now, with the rich historical background, I feel even more connected to Messiah.
Comfort ye, my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto hear that her warfare is accomplished, that her iniquity is pardoned.(Isaiah 40: 1-3)
Fate: I’ll hang on to this one, shelving it near my beloved copy of the choral score.
4 – published in 2024
25 – new author to me
27 – a gift
31 – history/politics
32 – art (music)
rclr 
Leave a comment