Messiah's Enduring Appeal: Theatricality, Agency, and Participatory Art - Episode Hero Image

Messiah's Enduring Appeal: Theatricality, Agency, and Participatory Art

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TL;DR

  • Handel's Messiah endures by marrying theatrical flair with sacred text, offering a philosophical journey that empowers listeners with agency to transform the world, not just find comfort.
  • The Messiah's premiere in Dublin was a charity fundraiser, raising significant funds for debtors and the poor, establishing a precedent for charitable musical events.
  • Baroque music, exemplified by Messiah, was a period of radical experimentation and rule-breaking, akin to modern jazz, where improvisation and unique performances were expected.
  • Charles Jennens, the librettist for Messiah, despite being largely forgotten, was crucial in shaping the work's theological argument, presenting a vision of a just world.
  • The enduring appeal of Messiah stems from its exquisitely crafted music and its democratic nature, encouraging active participation through singing along or performing.
  • Messiah was controversial for its secular performance in a music hall rather than a church, even drawing disapproval from Jonathan Swift, highlighting its novel approach.
  • The piece's profound emotional impact, even centuries later, is attributed to its ability to acknowledge suffering while simultaneously offering a vision of hope and transformation.

Deep Dive

George Frideric Handel's 18th-century oratorio "Messiah" endures not merely as a musical masterpiece but as a profound cultural artifact that offers a unique lens on hope and human agency, particularly resonant during times of societal upheaval. Its enduring popularity stems from its exquisite musical craftsmanship, its innovative fusion of sacred text with theatrical composition, and its inherent participatory nature, which allows listeners to engage with its themes on a deeply personal level.

The genesis of "Messiah" in 1742 Dublin, a city grappling with political division and widespread suffering akin to our own era, underscores its thematic core. The libretto, meticulously crafted by Charles Jennens, reorders biblical passages not chronologically but thematically, beginning with comfort and agency -- "Comfort ye my people" -- urging listeners to actively participate in transforming the world. This philosophical underpinning, embedded within Handel's operatic sensibility, allowed the oratorio to transcend its sacred origins, offering a secular message of hope and the capacity for human intervention in the face of adversity. The premiere itself, a charitable fundraiser, established "Messiah" as a piece intrinsically linked to societal betterment, a concept amplified by its subsequent use in various media, from films to advertisements, which, while occasionally risk-hacking its familiarity, ultimately points to its widespread cultural penetration.

The participatory aspect of "Messiah" is crucial to its longevity. Unlike purely performative works, it invites engagement, whether through singing along, attending communal performances, or simply internalizing its message. This democratic quality, where the audience is not merely a passive recipient but an active participant in the experience, fosters a deep connection. The "Hallelujah Chorus," its most recognizable movement, serves as a powerful, albeit sometimes overexposed, example of this. Yet, as musicologists and performers note, the true power of "Messiah" lies in experiencing its full narrative arc, from profound descriptions of suffering to visions of a transformed world. This journey, mirroring Handel's own life logic of overcoming hardship through creative endeavor, allows "Messiah" to function as a "message in a bottle" from a turbulent past, offering a timeless reminder that even amidst pervasive suffering, the creation and experience of art can fortify the human spirit and inspire action toward a better future.

Action Items

  • Audit Handel's "Messiah" libretto structure: Analyze Charles Jennens' thematic progression for lessons on narrative framing and emotional arc in complex works.
  • Track "Messiah" performance variations: Document 5-10 instances of audience reception (e.g., standing for Hallelujah chorus) to understand enduring appeal beyond musicality.
  • Measure listener engagement with "Messiah": Identify 3-5 specific musical passages that elicit strong emotional responses and analyze their structural or lyrical components.
  • Evaluate "Messiah" as participatory art: Assess 3-5 elements of the oratorio that encourage audience involvement and their impact on perceived value.
  • Analyze historical context of "Messiah" reception: Compare 2-3 documented audience reactions from the 18th century to modern interpretations to understand evolving cultural significance.

Related Episodes

Key Quotes

"The older I get, the more I realize that fear of the future is essentially a default condition of humankind. One thing I've learned from interviewing historians over the years is that the historical outcomes that seem obvious today were not always obvious in the moment."

The author, Stephen Dubner, observes that fear of the future is a common human tendency. He supports this by noting that historians reveal how seemingly inevitable historical events were often contingent on specific decisions or circumstances, suggesting that our present perspective can obscure the uncertainty of past outcomes.

"Charles King, a political scientist at Georgetown, recently published a book about Messiah called Every Valley. He argues that Messiah has a good claim to being the greatest piece of participatory art ever created."

This quote introduces Charles King's perspective on Handel's "Messiah," highlighting his argument that the oratorio stands out as the most significant example of "participatory art." This suggests that the work's enduring appeal lies not just in its performance but in its ability to engage the audience actively.

"You're very responsible for the well-being mentally, because all of these musicians in an orchestra, they're all trained to be flawless, and they've probably played the Beethoven 5th 900 times. Some young guy comes in and starts trying to lecture them, and that sends them off to a pub. So you're very responsible."

Prionnshios Ó Duinn, an Irish conductor, explains the crucial role of a conductor in managing an orchestra. He emphasizes that a conductor must maintain the musicians' mental state and trust their expertise, rather than imposing an overly didactic approach, which could be counterproductive.

"I have always thought it was a wonderful fact about this piece of music that it was from the very beginning associated with doing something in the world, which connects to this idea of our own power to change things."

Charles King, author of "Every Valley," connects the historical context of "Messiah" to its enduring impact. He posits that the oratorio's early association with charitable works underscores a broader theme of human agency and the capacity to effect positive change in the world.

"The baroque period was responding to the strictures of an earlier time. It was a time of great experimentation; new instruments were being created... people were breaking the rules and in a way that's sort of hard for us now if we think of baroque as really quite mannered. The rules were really being broken."

The speaker, likely a musicologist or historian, describes the Baroque era as a period of significant innovation and rule-breaking in music. This challenges the common perception of Baroque music as merely formal or overly structured, emphasizing its experimental and revolutionary nature.

"The theologians called it the problem of theodicy: how do you explain a just and good God who allows suffering in the world to continue? The easy answer to that is well, it's all a mystery. But I think Messiah begins with the idea of promise: 'Comfort ye,' that you have the power to be comforting in a deeply unjust world."

Charles King explains the theological challenge of theodicy, which grapples with the existence of suffering in the face of a benevolent God. He argues that "Messiah" addresses this by beginning with a message of promise and agency, suggesting that individuals have the power to offer comfort and transform an unjust world.

Resources

External Resources

Books

  • "Every Valley: The Desperate Lives and Troubled Times That Made Handel's Messiah" by Charles King - Discussed as a source for understanding the historical context and emotional impact of Handel's Messiah.

Articles & Papers

  • "Messiah" (Freakonomics Radio Episode 655) - The primary source of information for this analysis, exploring the history, meaning, and enduring appeal of Handel's Messiah.

People

  • George Frideric Handel - Composer of the oratorio "Messiah."
  • Charles King - Political scientist and author of "Every Valley," which examines the creation and impact of Handel's Messiah.
  • Charles Jennens - Collaborator who compiled the libretto for Handel's Messiah.
  • Stuart Kinsel - Handel enthusiast, tenor in the Irish Baroque Orchestra, and guide in Dublin who sang in outdoor performances of Messiah.
  • Prionnshios Ó Duinn - Renowned Irish conductor who organizes annual outdoor performances of Messiah in Dublin.
  • Eileen Casey - Resident of Henrietta Street, Dublin, whose family has lived in a historic house on Fishamble Street for generations.
  • Michael Casey - Husband of Eileen Casey, whose family home on Fishamble Street is one of the oldest surviving on the street; he is known for playing Messiah recordings from his window.
  • Katrine Sørensen - Danish broadcaster and "fellow Messiah maniac" who assisted with the exploration of Henrietta Street.
  • Jonathan Swift - Dean of St. Patrick's Cathedral in Dublin, who initially disapproved of lay vicars singing in secular performances of Messiah but later relented.
  • Sir Colin Davis - Conductor of the London Symphony Orchestra's 2006 recording of Messiah.
  • Mark Rainsinger - Music teacher with a PhD in musicology and a Handel specialist, interviewed about his personal connection to Messiah.

Organizations & Institutions

  • Freakonomics Radio - Podcast network that produced the episode "655. 'The Greatest Piece of Participatory Art Ever Created'."
  • Irish Baroque Orchestra - Orchestra in which Stuart Kinsel sings.
  • London Symphony Orchestra - Performed the 2006 recording of Messiah used in the episode.
  • St. Patrick's Cathedral - Cathedral in Dublin where Jonathan Swift was Dean.
  • Christ Church Cathedral - Cathedral in Dublin from which some gentlemen of the choir sang in Messiah.
  • Georgetown University - Institution where Charles King is a political scientist.

Websites & Online Resources

  • mintmobile.com - Website for Mint Mobile, mentioned in a sponsorship advertisement.
  • fedex.com/newpowermove - Website for FedEx, mentioned in a sponsorship advertisement.
  • linkedin.com/freakonomics - Website for LinkedIn Ads, mentioned in a sponsorship advertisement.
  • capitalone.com/bank - Website for Capital One Bank, mentioned in a sponsorship advertisement.
  • netsuite.com/freak - Website for NetSuite, mentioned in a sponsorship advertisement.
  • dell.com/holiday - Website for Dell, mentioned in a sponsorship advertisement.
  • toyota.com/bz - Website for the Toyota bZ, mentioned in a sponsorship advertisement.
  • capitalone.com/subscriptions - Website for Capital One, mentioned in a sponsorship advertisement.
  • mcdonalds.com - Website for McDonald's, mentioned in a promotional segment.
  • freakonomics.com - Website for Freakonomics Radio, where transcripts and show notes are published.

Other Resources

  • Messiah (Oratorio) - An 18th-century Christian oratorio by George Frideric Handel, discussed as a piece of participatory art and a source of hope.
  • The Creator Economy - A concept discussed in relation to Handel's entrepreneurial approach to his work.
  • The Enlightenment - Historical period discussed in relation to the creation of Messiah and its themes of reason, suffering, and agency.
  • The Baroque Period - Musical era of Handel's Messiah, described as a time of experimentation and rule-breaking.
  • Theodicy - The theological problem of explaining the existence of evil and suffering in the world.
  • Libretto - The text of an opera or oratorio, in this case, compiled by Charles Jennens for Messiah.
  • Hallelujah Chorus - The most famous movement from Handel's Messiah, discussed for its widespread recognition and varied uses.
  • The Glorious Revolution of 1688 - Historical event that led to the ousting of the Stuart dynasty and the rise of the Hanoverians in Britain.
  • Nonjurors - Individuals who refused to swear allegiance to the new Hanoverian monarchy after the Glorious Revolution.
  • The Problem of Theodicy - The theological question of how to reconcile the existence of a benevolent God with the presence of suffering.

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