New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-12-23
T Iandel Had Nothing Of the
/ l Religious Temperament

OF recent years critics have uttered pro-
test after protest against the prevalent
misnterpretation Of 1.-The Messiah" The
loudest and most emphatic Of these have
come from the cradle and nursery Of the
oratorio, England, and in standardization
Of what has been said above on an his
torical basis few excerpts from them are
here given. The late John +. Runciman,
IN one of his essays entitled "Old Scores
and New Readings" wrote as follows:
Rightly to approach The Messiah or any
Of Handels sacred oratorios. 20 approach IT
in any sure hope Of approaching il, one must
remember that Handel had nothing OF the
religious temperament, that in temperament
ne was wholly secular, that he was an eigh-
teenth century pagan. He was perfectly sat-
isfed with the visible and audible world his
energy and Imagination created out or
things; about the why and wherefore OF
things ne seems never 10 have troubled; his
soul asked no questions, and he was never
driven 10 accept a religious or any other ex-
PLANTATION.
at is true he went 70 church with quite
commendable regularity, and wished 70 die on
Good Friday. and so nee. Jesus Christ on the
anniversary Of the resurrection. But he was,
nevertheless, as completely pagan as any
old Greek; the persons of the Trinity we're 20
him very solid entities. II he wished 20 die
on Good Friday, depend upon It, he fully
meant 10 enter heaven in his finest scarlet
coat, with ample gold lace and sword by
his side, to make a stately bow TO the as
sembled company. and then offer few ap.
posite remarks on the proper method Of tun-
ing harps.
"Of true devotional feeling, Of the ecstat:c
devotional feeling of Pslestrins, there is no
recorded saying OF his trace, and there IS
not trace OF IL in his music. When he was writ
/ ing the 'Hsllelujsh' chorus, ne imagined he
saw God on His throne, just as in writing
'Semele' he probably imagined he saw Jupiter
on his throne; and the fact proves only with
what intensity and power his imagination
was working, and how far removed he was
from the genuine devotional frame OF mind
There is not the slightest difference in style
between his sacred and secular music; he
treats sacred and secular subjects precisely
alike. In music his intention was never TO
reveal his own state Of mind, but always 70
depict some object, some scene.
Nov, never did he adhere with apparently
greater resolution TO this plan. never there
fore. did he produce more essentially secu-
only consider such numbers as All That See
+ Him and Behold the Lamb Of God' TO real
ize this; though, indeed, there is not a num-
ber in the oratorio that does not show il with
sufficient clesrness.
But fully 20 understand Handel and re-
alze his greatness. it is not enough 70 know
the spirit in which he worked. One must
I know his method OF depicting things and
scenes. lie was wholly an impressionist--in
/ hs youth, from choice. as when he wrote the
music OF 'Rinsldo' faster than the librettist
could supply the words; in middle age and
aftcrward from necessity. as he had never
/ time 20 write save when circumstances freed
+ him for few days from the active duties OF
an impressrio. lie tried 70 do, and succeeded
/ in doing, everything with a few powerful
strokes. few splsshes Of color. Theologi-
cal though the subject of The Messiah is,
the oratorio is as much of hymn TO joy as
the Ninth symphony; and there is in 1t far
more Of genuine JOY, Of sheer delight in liv-
ing"