The first performance of Handel's 'Messiah' in Dublin in 1742 is now legendary. Gentlemen were asked to leave their swords at home and ladies to come without hoops in their skirts in order to fit more people into the audience. Why then, did this now famous and much-loved oratorio receive a somewhat cool reception in London less than a year later? Placing Handel's best-known work in the context of its times, this vivid account charts the composer's working relationship with his librettist, the gifted but demanding Charles Jennens, and looks at Handel's varied and evolving company of singers together with his royal patronage. Through examination of the composition manuscript and Handel's own conducting score, held in the Bodleian, it explores the complex issues around the performance of sacred texts in a non-sacred context, particularly Handel's collaboration with the men and boys of the Chapel Royal. The later reception and performance history of what is one of the most successful pieces of choral music of all time is also reviewed, including the festival performance attended by Haydn, the massed-choir tradition of the Victorian period and today's 'come-and-sing' events.

In 1712, a young German composer followed his princely master to London and would remain there for the rest of his life. That master would become King George II and the composer was George Freidrich Handel. Handel, then still only twenty-seven and largely self-taught, would be at the heart of music activity in London for the next four decades, composing masterpiece after masterpiece, whether the glorious coronation anthem, Zadok the Priest, operas such as Rinaldo and Alcina or the great oratorios, culminating, of course, in Messiah. Here, Jane Glover, who has conducted Handel’s work in opera houses and concert halls throughout the world, draws on her profound understanding of music and musicians to tell Handel’s story. It is a story of music-making and musicianship, but also of courts and cabals of theatrical rivalries and of eighteenth-century society. It is also, of course the story of some of the most remarkable music ever written, music that has been played and sung, and loved, in this country—and throughout the world—for three hundred years.

Handel's Messiah is one of the most beloved musical works of the western world, playing an especially sentimental role in many people's Christmas traditions. The libretto of the work, taken directly from the King James text of fourteen books of the Bible, has turned many otherwise forgettable phrases into memorable, singable, cherished lines of Scripture. This gift-worthy book will delight and inspire classical music fans and those for whom Messiah is a beloved Christmas tradition with essays exploring the theological, historical, and pastoral implications of the Scriptures that make up Handel's Messiah. Forty reflections journey in order through the oratorio, taking the reader deeper into less-often studied texts like Malachi 3:3 and bringing new light to oft-recited passages like Luke 2:9-14. Each reflection offers the libretto from Messiah, the same passage in NRSV, and a brief commentary on the text, written by a respected scholar or pastor. Readers can peruse the book at leisure or examine one reflection per day throughout the Advent and Christmas seasons.

During his lifetime, the sounds of Handel’s music reached from court to theater, echoed in cathedrals, and filled crowded taverns, but the man himself—known to most as the composer of Messiah—is a bit of a mystery. Though he took meticulous care of his musical manuscripts and even provided for their preservation on his death, very little of an intimate nature survives. One document—Handel’s will—offers us a narrow window into his personal life. In it, he remembers not only family and close colleagues but also neighborhood friends. In search of the private man behind the public figure, Ellen T. Harris has spent years tracking down the letters, diaries, personal accounts, legal cases, and other documents connected to these bequests. The result is a tightly woven tapestry of London in the first half of the eighteenth century, one that interlaces vibrant descriptions of Handel’s music with stories of loyalty, cunning, and betrayal. With this wholly new approach, Harris has achieved something greater than biography. Layering the interconnecting stories of Handel’s friends like the subjects and countersubjects of a fugue, Harris introduces us to an ambitious, shrewd, generous, brilliant, and flawed man, hiding in full view behind his public persona.

God doesn't bless us to raise our standard of living. God blesses us to raise our standard of giving, and that's where true joy is found. The New York Times bestselling author of Chase the Lion challenges us not to settle for half of what God offers when it comes to blessings—we are BLESSED to BLESS. His discovery started with a simple experiment. Whenever Batterson received a blessing, he would give a similar blessing away. If someone paid him a compliment or gave him a gift or went out of their way to help him, he would return the favor by doing something similar for someone else. We flip the blessing by blessing others in the way God has blessed us. That’s how the blessing becomes a double blessing. It turns giving into a game—one we can’t win because God will always outgive us! It’s an ancient truth found within the Abrahamic covenant: “I will bless you . . . and you will be a blessing.” In other words, we are blessed to bless. The first blessing is receiving, but it doesn’t end there. The second blessing is giving it away! That’s the double blessing. And that’s where double joy is found. In a day and age where the idea of blessing has been reduced to a hashtag (#blessed), Batterson challenges readers to pursue true, God-glorifying blessing and experience an exponential impact by participating in the double blessing. Don’t settle for half of what God offers. Discover how you can both get it and give it . . . in Double Blessing.