The glow of the messiah

The rust cannot sit upon his memory nor the centuries that speed by as his scores glow more lustrously, day by day. This is not my first visit to his musical treasure trove preciously preserved in his house, neither is it a museum but a living, loving celebration to all his opera, oratorio, concerti grossi and instrumental works.

The Handel Museum at Brook Street, London, possess a fantastic range of musical events throughout the day and alive with music just as it was in his days. The rehearsal and performance rooms are always packed with his admirers and students, especially young new composers.

Each day is dedicated to a Handel Recital and as my luck had it, the day belonged to the sacred Messiah with wondrous vocals in snippets. This sacred cantata written in 1714 included, ‘Every Valley shall be exalted’, ‘For un to us a Child is born’, ‘How beautiful are the feet’, ‘I know my redeemer liveth’ and ‘The trumpet shall sound’. The British Harpsichord and soprano, Lisa Wilson was at hand, on a tight, limited time of over an hour. It was only during the 20th and 21st centuries that the opera house discovered the attractions of Handel’s operas and ontarios, After his death in 1759, none of his performances were staged until 1920.

Many opera companies, festivals and the Gyndebourne has been a part of the re-emergence staging Handel production. Today’s event explores the works anchored by Glyndebourne, apart from the Messiah.

A new composition area has been set up at the museum since my last visit a couple of years ago. Here, the Composer-in-residence help novices compose their own music pieces using the Sibelius software.

The Composer-in residence is the highly talented Mark Bowden who holds a degree in music from the University of Huddersfield. A student of Royal College of Music, Mark is the recipient of many awards that includes the RPS composition Prize Winner for 2006 for young composers.

The Handel House Museum has full access to all visitors to view the exhibits and play his music other than during Rehearsel and Performances.

Then the door is closed for visitors. As the Museum contains original 18th century floors that are uneven, visitors are advised to wear sensible shoes when touring inside.

Stilletos and leather-soled shoes particularly are unsuitable. Some rooms are semi-dark while others have low lighting.

The Museum also exhibits rare and priceless paintings that belonged to the composer that are priceless today. I particularly fancied Venus and Cupib, done by Francois Boucher in 1754.

This painting is with Wallace Collection but displayed at the Museum on and off and loaned by its Trustees.

The well-preserved Harpsichord used by Handel is displayed in the Rehersal and Performance Room and visitors are given a moment of visual imagination how Handel would have played on this very harpsichord the works he scored.

The British Harpsichord Society is associated with the Handel Museum and in collaboration, promotes the composer’s lesser known music most of the time. But in major events, all his great scores are played for the public.

The Museum also plays the works of Handel’s contemporaries like Domenico Scarlatti, Jean-Baptist Senaille, John Galliard, Rameau, J.S. Bach, etc. Handel was greatly influenced by Purcell and Scarletti. Handel became the greatest keyboard instrumentalist of the day and this was done very quickly.

Handel’s essential works for this summer and played at the Handel House.

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