And He shall reign for ever and ever…
George Friderich Handel
“I did think I did see all Heaven before me, and the great God Himself seated on His throne, with His company of Angels.”
Χριστός ἀνέστη! – Ἀληθῶς ἀνέστη!
Christus surréxit! - Surréxit vere, allelúja
Christ is risen!” - “He is risen indeed, Alleluia!”
At the risk of repeating myself from post to post: A very happy and blessed Easter to all! Oh what joy is overflowing in this time: Haec dies quam fecit Dominus: exultemus et laetemur in ea, alleluia! (This is the day which the LORD hath made; We will rejoice and be glad in it, Alleluia!)
And really, the emphasis is on that last word: Alleluia! For us westerners, it has been banned since first Vespers of Septuagesima, seemingly so very long ago. Yet now it springs forth all over the liturgy: Alleluia! Alleluia! Every introduction: Alleluia! Every versicle: Alleluia! Introits and dismissals galore: Alleluia! Alleluia!
So, in the joy of Alleluia!, we have to look at the most famous Alleluia! now known to man. Look, I know it’s basic, I know it’s overplayed and we’re all probably sick to death of Handel’s Messiah, but come on, its the Alleluia! Chorus. Even a grumpy and crotchety old curmudgeon like myself still can’t help but crack a smile at this. Indeed the whole Messiah is worth listening to, but the Easter sections are especially poignant for this season and offer great food for reflection. Aside from this now famous chorus, some of my favourite bits are the airs 43: I know that my Redeemer liveth and 46: The trumpet shall sound, as well as the duet 48: O death where is thy sting?
But what is it about the Alleluia! that has captivated so many over the years? I think part of the secret lies in the simplicity. There really isn’t a lot going on here, but it’s loud and bombastic and grabs your attention in its glorious D Major. Following the initial burst of the brilliant Alleluia! you have but simple repititions: King of kings! Forever and ever! and then again Lord of lords! Alleluia! Alleluia!. Then Handel repeats the phrases, but takes it higher…and higher. This finale of part 2 of the work is essentially the climax of the entire piece, and Handel uses this ascension to get you there. Throughout the few overlapping lines converge to one more giant: Alleluia! The word Alleluia is used some 47 times in this chorus alone, such that you cannot get the joyful exclamation out of your head.
Perhaps it is a shame that this is the piece of Handel’s that has garnered so much attention, as there is much more he composed that is worth listening to. However, don’t just take the modern obsession with this chorus to be indicative of his greatness. The great Mozart stated that he was "humble in the face of Handel's genius. Handel knows better than any of us what will make an effect. When he chooses, he strikes like a thunderbolt." How true those words apply to this piece, for it is like thunder. And in reference to the Messiah itself, Beethoven called Handel the "greatest composer who ever lived. I would uncover my head and kneel before his tomb.” So, rather than complain about the overplayed and outdated Alleluia! of Handel, let us rejoice. Rejoice, firstly, that the Lord is risen: Alleluia! And rejoice, that indeed Handel did give us this gift, and anyone can enjoy it and bring joy to this Paschaltide. Alleluia!
Happy Listening!
Sancta Caecilia, ora pro nobis!