In keeping with the compositional standards of the late Baroque, Messiah, as well as Handel's other oratorios, was comprised of three sections or acts, a convention adopted from Baroque Italian Opera, a style well known to Handel. Regarding the subject matter for Messiah, Jennens and Handel conceived the breakdown as follows:

• Part I- Prophecy of Salvation,
• Part II- Crucifixion and Death, and
• Part III- Resurrection.

A unique characteristic of Messiah as an oratorio was the absence of character parts. Most oratorios have distinct characters, including a protagonist or hero. In the case of Messiah, the protagonist ostensibly would be Jesus. It is thought that Handel and Jennens had decided to have scripture sung by unidentified entities in anticipation of accusations of blasphemy for having singers depict Jesus and the other major characters in Scripture. As it turns out, this was wise considering the poor reception the oratorio had when presented in London.

The first performance of Messiah was presented on April 13, 1742 at the New Music Hall in Fishamble Street in Dublin, Ireland as a charity fundraiser, where it was well received. Handel had been reluctant to present a sacred oratorio London theaters for fear of repeating angering the Bishop of London as he had 10 years previously when he employed Cathedral choristers in a performance of Esther. The first London performance was made to a mostly underwhelmed crown during Lent on March 23, 1743. The major criticism was whether the Theater was the appropriate place for a "Scared" Oratorio.

Over the next several years, Handel attempted several failed comebacks for Messiah. Finally in 1750, Handel directed the oratorio on the 1st and 15th of May in support of the Foundling Hospital of London, established by Captain Thomas Coram in 1740. At his death, Handel left the score and all-vocal parts to the Foundling Hospital, now the Thomas Coram Foundation, which continues today to benefit from performances of the sacred oratorio. This firmly established Handel as philanthropist and Messiah as a (or perhaps "the") canonical composition in the Western Musical Tradition.

There is no definitive musical text for Messiah. Handel, who personally conducted the oratorio some 36 times, retooled the oratorio throughout the later part of his life, tailoring the piece to the Season of its performance and for the singers performing at a given recital. While he typically employed an orchestra of about 40 and a chorus of about 16, Handel did make enough vocal changes to constitute different versions of the work. For simplicity, three main versions from Handel's lifetime can be said to exist (but, understand, there were as many versions as performances directed by Handel):

• The Original 1742 Dublin Version- Handel originally scored Messiah for 2 oboes, 2 bassoons (which were not used), 2 trumpets, tympani, string orchestra, basso continuo, soloist: S(oprano)A(lto)T(enor)B(ass). This score exists in an approximate reconstruction.
• The 1752 Version- This version is the only authentic conventional SATB version.
• The 1754 Version- This is commonly termed as "The Foundling Hospital Version." It was one of the last versions directed by Handel. It contained many later versions of arias, tailored to certain singers, for example pieces changed or newly composed as a virtuoso setting for the Italian alto castrato Gaetano Guadagni, but later recast for a second soprano. Five soloists (SSATB) sing the arias.

In addition to Handel's revisions to his oratorio, Mozart was charged with reorchestrating Messiah and several other Handel Oratorios. In 1788, at the behest of Baron van Sweiten, Mozart reorchestrated the oratorios for a series of private performances in the homes of the Vienna elite. Mozart made the changes he did for two major reasons. First, Mozart tweaked the orchestral style, including the phrase length, to make it more contemporary. Second, Mozart added new wind parts, complementing or replacing the original parts as composed by Handel. This was done to support the continuo organ, which was not available everywhere Mozart's arrangement was to be played. Mozart favored a larger chorus, most likely comprised of 30 men and boys, for performances of his arrangement, a larger group than that used by Handel. All of Mozart's changes were made to inject the "Classical" into this Baroque piece.

Most modern conductors have assembled the oratorio as inspired, freely incorporating elements of all three versions in inauthentic concert programs, fairly in keeping with Handel's own practice of tweaking his composition. After Handel's death, there have been many composers and conductors who felt they knew truly Handelian vision. This resulted in continual revision to the score and instrumentation and vocals, the majority with bad results.

To further complicate this picture, the erstwhile listener will have to contend with performance practices: modern instruments versus period instruments will have to be considered. Historically informed performance versus contemporary performances will also have to be addressed. This infusion of period practice is the result of a great deal of scholarship. The results are variable, but none of the results are truly bad. From my humble perspective, one performance is no better than the next, only different. Here is a smattering of some recent and not so recent treatments^{†} of Messiah for the listener's consideration (in no particular order):

The Scholars Baroque Ensemble (Naxos 8.550667, 1995)

A stripped-down orchestra and chorus give an amazingly full-bodied performance of the original 1742 composition. The soloists were also part of the chorus, in keeping with the standard practice in Handel's time. For the price, this well-received performance should not be ignored. One of a few recordings using the "original" version.

1742 Version on Period Instruments and historically informed performance.

The Sixteen Choir and Orchestra / Harry Christophers (Hyperion Dyad 22019, 1987)

Released in the midpriced Dyad Hyperion Series, Harry Christophers and The Sixteen provide a crisp period instrument performance. The tempi tend to be slightly fast and all of the soloists are excellent, if not fully up to the level of other recordings. This is a fine middle-of-the-road performance that has much to endorse it.

1754 Version on Period Instruments and historically informed performance.

Gabrieli Consort and Players / Paul McCreesh (Archiv / Deutsche Gramophone 453464, 1997)

Confident and swift, McCreesh and the gang turn in a Messiah for the 21st Century. Superbly executed, this thoughtful performance uses the SSATB soloist ensemble favored by Handel toward the end of his life. The sound and sonics are full and bright, even with the period instruments.

1754 Version on Period Instruments and historically informed performance.

Academy of Ancient Music / Christopher Hogwood (L'Oiseau-Lyre 30488, 1997)

The first Messiah recorded on period instruments with a choir of men and boys. This may be as close to the perfect Messiah in spirit, but the recording is distant, making the strings a bit weak. Still, a fine performance, Emma Kirkby and the rest of the Period Performance Mafia are present. This is essential because it is the Messiah that started it all.

1754 Version on Period Instruments and historically informed performance.

Concentus Musicus Wein and Stockholm Kammerkoren / Nickolas Harnoncort (Teldec 18952, 1983/1997)

This 1982 live recording continues to be well received. Harnoncort, an enfant terrible of period practice makes no attempt to finish Messiah under two hours. Harnoncort chooses the original SATB soloist ensemble as vehicle for a thoughtful, evenly paced performance. Transparent and beautiful even if the soloists are a bit accented.

1742 Version on Period Instruments and historically informed performance.

Boston Baroque / Martin Pearlman (Telarc 80322, 1992)

America's premiere period instrument ensemble, the Boston Baroque has made several notable recordings of Renaissance and Baroque favorites. None have been better than their Messiah. Opting for the 1942 "Dublin" version, Pearlman and his group (SATB) provide a rich and precise reading.

1742 Version on Period Instruments and historically informed performance.

Bach Collegium Japan / Masaaki Suzuki (BIS 891/892, 1997)

This shimmering, near perfect performance is provided by none other than a Japanese Ensemble. Maestro Suzuki learned his craft from Ton Koopman and learned it well. Perfect tempi and sonics. The Brilliant countertenor Yoshikazu Mera is on hand also. Check out BCJ/Suzuki's J.S. Bach Christmas Oratorio (BIS 941/942).

1753 Covent House Version on Period Instruments and historically informed performance.

Royal Philharmonic Orchestra / Sir Thomas Beecham (BMG/RCA 61266, 1997)

It is safe to say that the savvy period performance Messiah scholar will have never heard anything like this. Re-elaborated by Sir Thomas Beecham and Sir Eugene Goossens, this Messiah has all of the pre-1960s excesses one would expect from a predominantly Post-Romantic conductor. Beecham's version is performed by a cast of thousands and is loud and proud, just like the Saxon who composed the piece.

Beecham/Goossens orchestration on Modern Instruments and a splendidly historically uninformed performance.

Chicago Symphony Orchestra and Chorus / Sir Georg Solti (London 14396, 1997)

Always tasteful, Solti and the CSO coax a warmth from Messiah that only modern instruments can provide. Not overtly Romantic, Solti's performance is powerful without being overpowering. It is an excellent foil to Beecham's vision with more body than a period instrument performance. Dame Kiri Te Kanawa is wonderful.

John Tobin Edition on Modern Instruments and a sensible middle of the road treatment.

Atlanta Symphony Orchestra and Chorus / Robert Shaw (Telarc 80093, 1987)

Robert Shaw was America's premiere choral conductor. It should come as no surprise that his Messiah would be both tasteful and beautiful. Opting for smaller rather than larger, Shaw puts together a well-balanced Messiah where all parts are permitted to breath, providing a warm modern instrument sound coming from a historically-informed orchestra.

Modern Instruments, modern performance, on a smaller than modern scale.

English Chamber Orchestra / Sir Charles Mackerras (EMI 69449, 1967)

Mackerras is one of the few conductors to take on both Handel's original and Mozart's refurbished Messiah. His Handel original is thoroughly modern, like Shaw's, but with a larger orchestra. An interesting reading that is way above average. Fans of Mackerras will desire to have this fine performance..

Modern Instruments, modern performance, on a modern scale.

Trinity Choir and Orchestra / Owen Burdick (Naxos 554511, 1999)

Burdick's Messiah is brand spanking new. Owen Burdick is the organist/director of music at New York City's Trinity Church, where Messiah received its New World debut in 1770. This is a sumptuous sensual version of the oratorio. The solos and choruses are full and warm. The orchestration is handsomely and intelligently rendered on a reduced scale.

Modern Instruments, modern performance, on a historically informed scale. Superior sonics.

Bach Collegium Stuttgart / Helmuth Rilling (Hänssler 98975, 1999)

Rilling and his Bach Collegium Stuttgart may be best known for his recording of the complete Bach Cantatas. He is a certainly an avowed Baroque conductor in modern instruments. Fittingly, he chooses the Mozart arrangement in Mozart's original German. The sound is broad and expansive and the vocals are exceptional.

Mozart Orchestral Arrangement on Modern Instruments with Modern Performance.

Handel and Haydn Society / Andrew Parrott (Arabesque 6743, 1999)

Sung in English as opposed to Mozart's original German, this Messiah distinguishes itself by its pristine period instrument sound. Authentic right down to the use of a forte-piano continuo, this Mozart Messiah is very fine. Andrew Parrott makes a version as fine as his previous Handel version with his Taverner Orchestra and Chorus (Virgin Veritas Imports, 61330, 2000).

Mozart Orchestral Arrangement on Period Instruments and historically informed performance.

Messiah is one of the most visible of classical music compositions. Literally thousands of performances are given around the world, mostly at Christmas and Easter. It is a religious tradition firmly embraced by the secular tradition. Beautifully, some things transcend even politics. It has been interpreted, re-interpreted, considered, re-considered, studied and studied. It comes in as many different flavors as performances and because of this has something for everyone.

The theologian Stanley Hauerwas, when speaking of the Biblical Tale, wrote:

"God has entrusted us, His Church, with the best story in the world. With great ingenuity we have managed, with the aid of much theory, to make that story boring as hell. Theories about meaning are what you get when you forget that the Church and Christians are embattled by subtle enemies who win easily by denying that any war exists."

And it is so with Handel's Messiah. No less the divinely inspired word, Messiah and its scholarship and theory have a place in providing alternate ways of considering the oratorio, but these alternatives in themselves are not an end, the music is.

Which of the above do I recommend?

Simple—all of them.