The transportation began as the first notes were played, and throughout the piece the crowd remained entirely enraptured -- and rightfully so. It is by no means an accident that this piece is as respected or as cherished as it is, and the fact that Handel's work had been re-arranged from the original to include a full modern orchestra did not detract from or degrade the original beauty or clarity of the piece in the slightest. Though it would be impossible to compare the original arrangement of the Messiah to the one played in concert that night without hearing them both in the same hall, and with the same basic surrounding of such a rapt and appreciative audience, one might even go so far as to say that the piece is dramatically improved by the larger and fuller sound that the orchestra provides. The singing was also quite powerful and quite beautiful, and the international mix of these singers (and of the orchestra) was another fitting tribute to Handel's multinational background. The blend of voices and the range of some of the singers was literally breathtaking at moments, and the fact that one could feel the rest of the audience holding their breath at the same time made the sense of shared inspiration instilled by the music itself that much stronger. When it comes to clarity and richness of tone, it is difficult to imagine a more perfect sound than these voices in this hall.

As has been noted by several scholars and aficionados of Handel's and the Messiah in particular, the words that come out of the singers' mouths hardly seemed to matter given the beauty of the notes themselves and the harmonies they formed with each other and with...

The fact that the words are in English is interesting from an historical and a social perspective, and it is especially interesting given the extra emendations and cultural updating that occurred when the piece was rearranged in 1959, but sitting in the concert hall and letting the voices of the singers and the instruments alike wash over and through the ears like an unknowable and elusive liquid, all of these more cerebral analyses melted away until only the music was left. This is how the piece ought to be appreciated; academic reflection before and after is fine and even perhaps adds to the enjoyment of remembering the experience, but in the moment such knowledge could hardly be processed, let alone adequately applied to an analysis. Handel might have been both a musical wizard and a politically savvy operator, but when it comes to the auditory experience of his compositions it is all about the heart (Lang, 1996).
Conclusion

Understanding music can undoubtedly lead to its deeper appreciation. When it comes to attending a live performance, however, nothing matters more than listening with an open mind. That way, the body and soul can be filled with their own type of knowledge, too.

References

Burrows, D. (1991). Handel, Messiah. New York: Cambridge University Press.

Lang, P. (1996). George Frideric Handel. Mineola, NY: Dover.

Luckett, R. (1995). Handel's Messiah: A Celebration. San Diego, CA: Harcourt.

Stapert, C. (2010). Handel's Messiah: Comfort for God's People. Grand Rapids, MI: Wm.

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