Messiah Performances in Germany and Austria in Mozart's Lifetime--Part I

[dennis]

We are entering the season of choral groups and churches putting on performances of Georg Frideric Händel's Messiah. These performances in many cases bring in the lion's-share of income of these groups and determine whether the group will be able to continue for another year. We can hear Messiah ranging from small amateur church groups to large choruses (sometimes with audience participation in the Hallelujah chorus so we have thousands singing!!). The Oratorio had been popular in Mozart's lifetime, and what follows is a history of the Oratorio in Mozart's time in Germany and Austria.

As the posting is too long for the MozartForum discussion page to accept in one post, there is a part one and part two.
============================

Non-Händel Messiah's in Germany
The German poet Friedrich Gottlieb Klopstock (1724 - 1803) published the first three cantos of his great religious epic "Der Messias" in 1748. [He published the last, and 21st, in 1773.] His poem was inspired by Milton's Paradise Lost. It created a literary storm when it first appeared in Bremen. The poem has the merit of being the first major modern work by a distinctively German poet, but the poem as a whole is weak, for Klopstock's genius was lyrical rather than epic.

Due to the Klopstock German poem, "Messias" music writing became popular. Many composers wrote some type of "Messias" composition that had nothing to do with Händel's oratorio.

George Philipp Telemann wrote an Oratorio in the 1750s using two sections of Klopstock's Messias poem--"Sing, unsterbliche Seel" and “Mirja und deine Demut". The "1st Cantata" contains 5 vocal numbers and an instrumental interlude, while the "2nd Cantata" contains 3 vocal numbers and two instrumental numbers. Telemann's Messias premiered in Hamburg, in the Drillhause, on March 27 and 29, 1759; and at least the second section was given again in 1761 and 1766. [Telemann’s Messias has been recorded by cpo with Ludger Rémy conducting the Telemannisches Collegium Michaelstein; detailed notes by Ralph J. Reipsch give an excellent history and description of the oratorio.]

In the Schwerin music collection is found a Messias-composition of Gottfired August Homilius (1714-1785), likewise with a 1780 printed word book. The New Grove dates this work "by 1776". Homilius was employed in Dresden since May 1755, and since 1760 was director of Frauenkirche in that city. He is called one of the most important Protestant church composers of his day.

Johann Friedrich Hugo Dalberg (1760 - 1812) , a German author, aesthetician and composer composed a declamation on Klopstock's 'Messias' entitled Eva's Klagen bei dem Anblick des sterbenden Messias. Eine Deklamazion mit musikalischer Begleitung, published by Bössler in Speyer in 1783-84. Unfortunately I could not pinpoint where this was composed. The New Grove writes Dalberg received his theological training at Göttingen, but then became a canon at Trier, Worms and Speyer--however no dates for these changes are given.

Ute Schwab in a paper published in 2000 writes that the German composer Johann Friedrich Reichardt (1752-1814) had produced a Messias composition in Berlin in 1784. In The New Grove it is stated in 1783 Reichardt founded the Berlin Concert Spirtuel in imitation of the Paris institution that that name, featuring his own music and that such composers as Haydn and Händel. He also is listed as having composed a Cantata Der Sing des Messias with text by H.J. Tode in 1784. This no doubt would have nothing to do with Händel's Messiah. However in 1785 in London Reichardt wrote an Ode in Praise of G.F. Händel (consisting of a Recitative, Aria, Choral-Fuge) which referred to Händel's "Hallaluja" at the conclusion.

However for most contemporaries Klopstock's Messias was a "Christian Epic Poem" and not an expression "of the Humanitarian Ideals of the age". The libretto that Charles Jennens wrote for Händel to compose his Messiah was coming into favor. The poet J.G. Herder wrote of it: "And however is all so simple! And only words from the Bible! No beautifully rhyming Cantata". So German poets began to translate the English libretto of Jennens. But as the words were originally set to the English bible passages, various changes had to be made to place the text closer to the Luther bible translation. Of course then musical directors began to put on Händel's Oratorio. Eventually the work was brought into the German musical fashion of the time by these directors.

What follows are the performances of Händel's Messiah in Germany during Mozart’s lifetime, and what information I could find from various sources. One note here--I try to use the word "Messiah" for a performance in English, and the German word "Messias" for those sung in German. As will be seen some performances were in Italian, and “Messiah” is used for these.


Hamburg, 1772—
One of the earliest performances of a Händel Oratorio in Germany was Alexander's Feast in Hamburg, put on by Michael Arne (1740-1786), son of the the famous English composer Thomas Arne. During 1771-72 Michael Arne was touring in Germany with his student, the Soprano Ann Venables--who Arne would marry after the tour. Arne presented Alexander's Feast in Hamburg with Venables as soloist on September 30, 1771, apparently with a German text according to a notice in a Hamburg newspaper. Arne also played a "Flugel-Concerto", and Venables sang an Aria with obligato Trumpet from the opera Artaxerxes of Arne's father.

In 1772 Arne followed up with two performances of Messiah in Hamburg. Josef Sittard in Geschichte des Musik- und Concertwesens in Hamburg (1890) cited a notice of the second public concert in the "Neuen Zeitung", along with identical notices appearing in the "Relations-Courier" of May 11, 1772, and in the "Hamburgischen unparteyischen Correspondenten" of May 9, 1772: "By numerous requests of the connoisseurs and friends of music, Hr. Arne on Thursday the 14th [of May] will once again perform for the public in the Drillhause the Oratorio Der Messias, which is so famous as a masterpiece of Händel, and on April 15 in the private concert of Hrn Arne was performed in the Bösselhofe with much approval. The grandest Arias will be sung by Miss Venables, and will conclude with the large Coronation Anthem of Handel, which likewise already was performed in the Bösselhofe...". This public concert was moved from May 14 to May 21 due to an "unfortunate indisposition of Miss Venables."

From these notices it has to be assumed only portions of Messiah were performed, probably the instrumental music, along with selected choruses and Soprano Arias. Sittard, citing the notice for Alexander's Feast, concluded this Messiah performance was sung in German. Others believed as Ann Venables was English, the Oratorio was sung in English. Magda Marx-Weber believes it is conceivable that Venables sang in English, but the chorus sang in German translation. However in 2000 Ute Schwab reported of a word-book found in the estate of F.G. Klopstock with English and German text. Schwab believes this word-book might relate to the 1772 Hamburg performances. However the German text translation is largely the text of the Lutheran Bible, and hardly possible to perform as a singing text. It perhaps only served as a type of orientation for the listener--thus the belief the performance was in English perhaps is correct.

Whatever language it was sung in, it is likely that two of Hamburg's great literary men participated, from whom the first German translation of Händel's Messiah-libretto originated: Friedrich Gottlieb Klopstock and Christoph Daniel Ebeling. Michael Arne had most probably brought along with him the full score printing of Randall and Abell (of 1767), which served as his model.

Unfortunately no score or parts material for these 1772 Hamburg performances are known.


Hamburg, 1775--
On December 21, 1775, a "Private Concert" was given in the Handlungsakademie by the Professor Christoph Daniel Ebeling (1741-1817). The musical director at the time was Carl Philipp Emanuel Bach. As this was a private concert no advance announcements appeared for it. It is also known that the poet F.G. Klopstock's future wife, Johanna Elisabeth von Winthem, sang the Soprano role.

In a letter of November 12, 1775, Matthias Claudius gives a list of the "Musiquen" that will be given in Ebeling's concerts that winter and Messias is found. We also know from letters that this Messias was sung in German, in a translation of Klopstock and Ebeling, as Klopstock wrote in a letter of May 22, 1776, of this performance: "Ebeling and I had made a German text...". However it is unclear if they translated the entire piece for this or only portions. Ute Schwab concludes Klopstock eliminated at least 8 numbers (Nrs. 5, 6, 7, 19, 22, 23, 32, 36, 37, 38, 46--as well as shortening Nr.43 "The Trumpet shall sound".) After hearing this performance the poet Johann Voss wrote to his fiancee: "Oh Händel, Händel! Who is there among the singers of this world who can produce such magical sounds in bold flight as you?". He also cited passages of the German text sung, which differed from the later published Klopstock/Ebeling version, but are closer to the passages in the Lutheran bible. Thus it is possible this performance represented an earlier version of the Klopstock/Ebeling translation of Messiah.



Hamburg, 1777--
Josef Sittard provided evidence of a performance of Messias under CPE Bach's direction in one of the Hamburg Masonic lodges on February 23, 1777. In his 1890 book cited above he quoted a notice in the February 26, 1777 "Hamburgischen unparteyischen Correspondenten": "Last Sunday the concert series organized for charity by the city's four united Masonic lodges came to an end. Non-Freemasons were also admitted to these concerts, in which Herr Kapellmeister Bach directed some excellent vocal works, chief among them his own Die Israeliten in der Wuste, St. Elena by Hasse, Klopstock's Erscheinung in settings by Gluck, Pergolesi and Zoppis, and the Messias by Händel.... The company was always large and dazzling, for many members of the nobility in this region, from the Council, and from the Church, honored the occasion with their presence. The finale concert ended with Händel's Messias". From the number of pieces given, one has to believe only selections of Messias were sung.


Mannheim, 1777--
Messiah was first performed in Mannheim on November 1, 1777, under the direction of Georg Joseph Vogler (1749-1814). Wolfgang Mozart attended a rehearsal the day before, but left after Vogler's Magnificat was rehearsed, not hearing Messiah. Mozart did not attend the concert performance.

Vogler himself reported on this performance (Report of the Mannheim Music School of 1778,) with the following outpouring:

"The first of November of last year was the day in which the connoisseur had the opportunity to pass judgment on the simplicity of Händel. By our best singers and instrumentalists the so highly praised Oratorio, Messiah, was performed. From everything the emulation was rather evident that the approval of the court would certainly be earned: but what happened? All listeners yawned. Was this a sign of spoiled voices: so have we Mannheimers all this misfortune with each other in common. That it was not any lacking in the performance might be proved by the unanimous testimony of all who know our orchestra.

What other than the unbearable dullness, not noble simplicity of the music, that made us sink to this fatal apathy! How striking was the contrast, of a Psalm-Magnificat, that was composed by our second Capellmeister--and which immediately followed that incomplete performance--which not only brought life to us again, but excited us with a delightful sensation that I am not capable of describing".

In the next issue of this same journal Vogler explained more about "that incomplete performance:"

"The Händel choruses...were performed by us, but only the first part of the Oratorio; the second could not follow as the audience would not endure this dull music".

Thus on November 1, 1777, Mannheim experienced only a partial performance of Messiah, and certainly this resulted in a flat rejection of the work. Since the mid-1800's Vogler has been blamed for the Messiah failure in Mannheim, generally due to Mozart's poor opinion of him. Also some German scholars (notable Max Seiffert) took Vogler to task for not giving Messiah in "the energetic language of the (German language) Lutheran bible", instead of a "stale, feeble Italian opera" text.

In the very beginning of the 20th Century a handwritten full score of this performance was discovered that had belonged to a student of Vogler. From the title "Il Messias, Oratorio, Musica di M. Händel" we can surmise the soloists and chorus sang in a text translated into Italian, which most likely was made by the court poet Mattia Verazi. The Oratorio for Mannheim was reduced to two parts from Händel's three.

First Part
Overture
Arioso und Recitative for Tenor: "Confortati" ("Comfort ye")
Tenor Aria: "Ogni valle" ("Every valley")
Chorus: "E' la gloria allor del ciel" ("And the glory of the Lord")
Bass Arioso: "Coprira il mondo" ("For behold, darkness shall cover the earth")
Bass Aria: "Qual ehi fra l'ombre" ("The people that walked in darkness")
Chorus: "Ecco gia nato un pergoletto" ("For unto us a Child is born")
Pifa
Soprano Recitative: "Stavan sul campo" ("There were shepherds abiding in the fields")
Soprano Recitative: "L' angiolo dice lor" ("And the angel said unto them")
Accompanied Recitative: ""E in quel momento" ("And suddenly there was with the angel")
Chorus: "Gloria ed onor" ("Glory to God in the highest")
Soprano Recitative: "Saran gl' occhi del cieco" (“Then shall the eyes of the blind be opened")
Soprano Aria: "Sua greggia condurra" ("He shall feed His flock")
Chorus: "Alleluia" (“Hallelujah!")

Second Part
Chorus: "Gia vien l' agnel di Dio" ("Behold the Lamb of God")
Alto Aria: "Tormento atroce" ("He was despised")
Accompanied Recitative for Tenor: "Ogn' un, che il vide" ("All they that see Him, laugh Him")
Chorus: "In Dio confida ed a lui fida" ("He trusted in God that he would deliver Him")
Accompanied Recit. for Tenor : "L' acerba tua censure" ("Thy rebuke hath broken His heart")
Tenor Arioso: "Deh, dimmi o passagiero" ("Behold, and see")
Chorus: "Nubi rompeste" ("Lift up your heads")
Bass Aria: "Perche con fremito" ("Why do the nations so furiously rage together")
Tenor Recitative: "Quei che nel cielo" ("He that dwelleth in heaven")
Tenor Aria: "Del tuo flagello" ("Thou shalt break them with a rod of iron")
Bass Recitative: "Eccomi a decifrarvi" ("Behold, I tell you a mystery")
Chorus: "Degna e la vittima" (Worthy is the Lamb")

Max Seiffert had this to say about the Mannheim full score: "Vogler divided Händel's three sections into two with brutal lack of consideration. The delicate arranging of Händel's chain of thought fell a victim to meaningless destruction. The most crude contrasts, as the jumping of the Tenor Arioso "Behold and See" to the chorus "Lift up yours heads" did not trouble Vogler in the least. The most important pieces, as the Soprano Aria "I know that my Redeemer liveth", which stands as the most prominent symbol of Handel's intellectual greatness immortalized on his marble grave monument for all time, he pushed aside as insignificant. Most likely his main concern was to quickly get to the conclusion. Taken all in all Vogler displayed a musical judgment departure that no doubt stands unique in the history of the German Händel performance. The blame for this treatment falls on Vogler's pure egotistical nature".

Also the names of the participating soloists--all known Mannheim singers--were written into this full score at the place of their first entry. According to these entries the soloists were:

Soprano--Sigr Silvio Giorgetti
Alto--Sigr Caraucci
Tenor--Sigr Anton Raaff
Bass--Sigr Zonca

Part of the failure of the performance might be placed on these soloists. We might call on no less a witness than Mozart, who that very same morning had heard these same performers in the High Mass, and reported his impressions to his father on November 4. Both the Soprano and Alto were Castratos. Mozart said of them: "They have only two castrati, who are already old and will just be allowed to die off. The Soprano would actually prefer to sing Alto, as he can no longer take the high notes". As for the other two, we certainly are familiar with Anton Raaff--later to be Mozart's first Idomeneo--, but he was past his prime. Mozart would shortly write of the Tenor: "Raaff sang in such a fashion as to call forth the remark that his voice was the strongest reason why he sang so badly. Anyone who hears him begin an aria without at once reminding himself that it is Raaff, the once famous Tenor, who is singing, is bound to burst out laughing". Mozart mentioned Giovanni Battista Zonca (1728-1809) in a letter of December 27, 1780, writing to his father about the Aria "Vedrommi intorno" for Raaff: "When you hear it, you will say that it is good and beautiful--but if I had written it for Zonca it would have suited the words much better".

We do not know the exact size of the orchestra, but if we take Mozart's description of the Mannheim orchestra as a starting point, we can assume it was rather large: "The orchestra is excellent and very strong. On either side there are 10 or 11 Violins, 4 Violas, 2 Oboes, 2 Flutes and 2 Clarinets, 2 Horns, 4 Cellos, 4 Bassoons and 4 Double bases, also Trumpets and Drums. They can produce fine music...". However Mozart was far less enthusiastic about the Mannheim choristers: "You cannot imagine anything worse than the voices here. 6 Sopranos, 6 Altos, 6 Tenors and 6 Basses against 20 Violins and 12 Basses is just like 0 to 1...The few boys they have are miserable. The Tenors and Basses are like our funeral singers".

On speculating on what might have been the impetus for a Messiah performance in Mannheim, Max Seiffert disregarded the earlier Hamburg performances, assuming they would have had a ready made German text for performance. Seiffert thought perhaps the simplest connection would be with Johann Christian Bach's stay in Mannheim in the 1770's. Bach's descriptions of the London music life, in which Messiah certainly played a special role, might have been the driving force in the Court circle to also bring about this "so highly praised Oratorio" in Mannheim.



Hamburg, 1778--
On April 12, 1778 Messias was again performed in Hamburg, in the Freemason Lodge, directed again by Carl Philipp Emanuel Bach, reported in the Hamburg press on April 14, 1778. Also in this same concert Jakob Schuback (1726-1784)--a lawyer and composer--performed his work Die Junger zu Emaus. The New Grove states "he was a skilled choral conductor and directed one of the earliest performances in Hamburg of Händel's Messiah". If they refer to this April 12, 1778, performance is not clear.



Weimer, 1780 and 1781--
The philosopher and poet Johann Gottfried Herder (1744-1803), at the time employed at the Weimer court, arranged for a private performance of Messias at the Weimar Widow's estate palace 1780. It was apparently given in the Klopstock/Ebelin translation, Herder being a admirer of Klopstock. The director of the performance was Ernst Wilhelm Wolf (1735-1792). The great poet Goethe attended this performance and was seized by that admiration which repeatedly drew him back to the work during the rest of his long life.

The following year Messias was again given at Weimer, this time in a Herder translation of the text. Who conducted the music of these performances is unknown.


Mecklenburg or Schwerin or Ludwigslust, 1780--
As early as 1887 Otto Kade reported of a performance in 1780 in Schwerin, although he could not establish the exact date. The word book of the performance reads "Schwerin 1780." There also exists a written out full score with English and German text, in addition to written out parts for soloists, chorus and the orchestra. The solo parts carry the names of singers, all engaged in the Scherwin court. Some of the parts have more than one name indicated, so it would appear Messias was performed there more than once, even though more are not recorded. Whether this (or these) performance(s) took place in Ludwigslust, Mecklenburg or Schwerin could not be established by Kade. However in a 2000 article, Schwab writes that certainly the 1780 performance took place in Ludwigslust, as the court capelle had resided there since 1767. Nowhere could I find the director of this performance at the Schwerin court. Whoever it was, Walther Siegmund-Schültz (in the 1960 Händel-Jahrbuch) believes a very exact interpretation of Handel's work was attempted; this was probably the most faithful to the work of any of the German performances of the 18th Century.

Dennis Pajot