Messiah
Papa Haydn, always generously praising the merits of other composers, called Handel “der Meister von uns allen,” or “the master of us all” at a performance of Messiah. But Beethoven, who was far more grudging with his approval, used almost the same words—“der unerreichte Meister aller Meisters,” “the unequalled master of all masters.”
Papa Haydn, always generously praising the merits of other composers, called Handel “der Meister von uns allen,” or “the master of us all” at a performance of Messiah. But Beethoven, who was far more grudging with his approval, used almost the same words—“der unerreichte Meister aller Meisters,” “the unequalled master of all masters.”
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Papa Haydn, always generously praising the merits of other composers, called Handel “der Meister von uns allen,” or “the master of us all” at a performance of Messiah. But Beethoven, who was far more grudging with his approval, used almost the same words—“der unerreichte Meister aller Meisters,” “the unequalled master of all masters.”
Papa Haydn, always generously praising the merits of other composers, called Handel “der Meister von uns allen,” or “the master of us all” at a performance of Messiah. But Beethoven, who was far more grudging with his approval, used almost the same words—“der unerreichte Meister aller Meisters,” “the unequalled master of all masters.”
Papa Haydn, always generously praising the merits of other composers, called Handel “der Meister von uns allen,” or “the master of us all” at a performance of Messiah. But Beethoven, who was far more grudging with his approval, used almost the same words—“der unerreichte Meister aller Meisters,” “the unequalled master of all masters.”
Papa Haydn, always generously praising the merits of other composers, called Handel “der Meister von uns allen,” or “the master of us all” at a performance of Messiah. But Beethoven, who was far more grudging with his approval, used almost the same words—“der unerreichte Meister aller Meisters,” “the unequalled master of all masters.”
Handel’s Messiah continues to exert a very real influence upon modern composers. Leonard Bernstein’s Mass, composed in 1971, brings together music, dance and diverse religious and secular traditions in a way that owes much to Handel. Andrew Lloyd Webber—like Handel, a master of theatrical craft in music—wrote a requiem mass as his only full- scale classical work. Paul McCartney, too, ventured into oratorio with his only classical work, The Liverpool Oratorio.
Messiah
