Messiah.

El Mesas es la obra coral ms conocida y que se toca con ms frecuencia de Handel y de

la msica occidental. Handel, alemn de nacimiento, fue un prominente y famoso
compositor barroco reconocido por sus operas, oratorios, himnos y conciertos de rgano.
Para 1730 los gustos del publico estaban cambiando y el genero de la opera italiana se
estaba dejando a un lado, Handel permaneci fiel al genero, no obstante empez a
introducir oratorios en ingles como alternativas a sus obras en escena. En 1739 estreno
Sal con una acalorada recepcin, seguido por Israel en Egipto que no tuvo mucho xito
En Julio del 1741 le enviaron un libreto, prometindole que la composicin de este
oratorio excedera todas sus composiciones anteriores por que el tema exceda cualquier
otro tema. El Tema era el Mesas.
La obra El Mesas de Handel fue compuesta en 24 das y al final escribi las iniciales
SDG, Soli Deo Gloria, a Dios se la gloria, esta inscripcin vista que fue hecha con
rapidez ha creado el cuento que Handel creo esta composicin en un fervor de inspiracin
divina. Esta habilidad de escribir obras rpidamente no era inusual de sus
contemporneos, Handel adapto varias composiciones existentes suyas para el Mesas.
El libreto del Oratorio fue escrito usando una compilacin de extractos de la versin
King james de la biblia y de los salmos incluidos en un libro llamado Book of
Common Prayers Hay quienes dicen que esta obra es un comentario de la natividad,
pasin, resurreccin y ascensin de Jess, comenzando por las promesas de Dios hacia
los profetas hasta la glorificacin en el cielo. La estructura es dividida en tres partes:
La primera parte habla sobre las profecas del Mesas en el antiguo testamento, la
anunciacin a los pastores y el nacimiento del cristo.
La segunda parte cubre la pasin, muerte, resurreccin y ascensin de cristo, los inicios
del esparcimiento del evangelio y la gloria de Dios.
La tercera parte habla sobre la promesa de redencin, la prediccin del da del juicio, la
resurreccin de los muertos, la victoria sobre la muerte y la aclamacin de cristo por
todas las naciones.

Definitivamente la obra del Mesas de Handel, fue un mesas para su carrera

convirtindola en una de las obras corales mas importantes de la humanidad.

In July 1741 Jennens sent him a new libretto for an oratorio, and in a letter dated 10 July
to his friend Edward Holdsworth, Jennens wrote: "I hope [Handel] will lay out his whole
Genius & Skill upon it, that the Composition may excell all his former Compositions, as
the Subject excells every other subject. The Subject is Messiah"
Jennens's intention was not to dramatise the life and teachings of Jesus, but to acclaim the
"Mystery of Godliness",[16] using a compilation of extracts from the Authorized (King
James) Version of the Bible, and from the Psalms included with the Book of Common
Prayer (which are worded slightly differently than their King James counterparts).

English composer of German birth. Though consistently acknowledged as one of the

greatest composers of his age, his reputation from his death to the early 20th century
rested largely on the knowledge of a small number of orchestral works and oratorios,
Messiah in particular. In fact, he contributed to every musical genre current in his time,
both vocal and instrumental.

Oratorio by Handel to a text compiled by Charles Jennens from the Bible and the Prayer
Book Psalter; it was first performed in Dublin in 1742. Handel revised it for subsequent
performances and in the 19th century it became customary to perform it with enormous
forces.
eventually becoming one of the best-known and most frequently performed choral works
in Western music
In 1735 Handel received the text for a new oratorio named Saul from its librettist Charles
Jennens, a wealthy landowner with musical and literary interests.[11] Because Handel's
main creative concern was still with opera, he did not write the music for Saul until 1738,
in preparation for his 173839 theatrical season. The work opened at the King's Theatre
in January 1739 to a warm reception, and was quickly followed by the less successful
oratorio Israel in Egypt (which may also have come from Jennens).[12] Although Handel
continued to write and present operas, the trend towards English-language productions
became irresistible as the decade ended, and after three performances of his last Italian
opera Deidamia in January and February 1741, he abandoned the genre.[13] In July 1741
Jennens sent him a new libretto for an oratorio, and in a letter dated 10 July to his friend
Edward Holdsworth, Jennens wrote: "I hope [Handel] will lay out his whole Genius &

Skill upon it, that the Composition may excell all his former Compositions, as the Subject
excells every other subject. The Subject is Messiah"