Many people today equate Handel with “Messiah”, his most famous oratorio. In an amazing burst of creative activity in 1741, Handel followed the completion of “Messiah” with “Samson”, composed within five weeks of “Messiah”! It was an immediate success, receiving more performances in its first 1743 season (8) than any other Handel oratorio. It has never fallen out of favor since.
In this “oratorio of suffering, despair, seduction and ultimate self-sacrifice” (Harry Christophers, director Handel and Haydn Society), Handel brings his skills as an operatic composer to his endlessly inventive instrumental writing that so accurately reflects and illuminates the inner states of his characters. The libretto, a masterpiece in itself, draws on the biblical story from the Book of Judges as well as Milton’s poem “Samson Agonistes”, but librettist Newburgh Hamilton restructures elements from these sources to develop a story that follows the transformation within Samson, from the despairing, defeated, “blind” (physically and metaphorically) Israelite hero, into a resolved, deliberate and intentional instrument of retribution against those who have captured him and who oppress his nation.
The oratorio’s continuing appeal is based on many factors, including the way Handel unites the dramatic appeal of the stage (opera) with the serious and sophisticated technics of church music; the dramatic and fast-moving plot; the juxtaposition of contrasting characters, emotions and themes (joyous revelry/despair; darkness/light; one’s personal state/the national state, to name a few.] Ultimately, it deals with one’s choices and their consequences. Like characters in Shakespeare’s tragedies, the main character is aware of how his own actions have led to his downfall; in this oratorio, Samson is allowed the opportunity to redeem himself and his nation through an act of self-sacrifice.
The chorus plays the role of participant as well as observer in its many “crowd” numbers. They frolic and revel in the joyous, festive celebrations of the Philistines, as well as express despair of the sober, oppressed Israelites. Act two ends with a literal shouting match in which the two groups compete, championing their individual gods.
As in “Jephtha”, Handel’s final oratorio that Sounds of Stow performed in March, 2013, the subsidiary characters are important not just as they contribute to the plot or as foils for the main character, but for what they reveal of their own inner struggles and humanity. Delilah shows true remorse for her contribution to Samson’s defeat and must confront his utter rejection (“Out! thou hyaena!”). Samson’s father Manoa suffers as any parent when he sees his child suffer, and has some of the most insightful and moving music, as when he observes “How willing my paternal love the weight to share of filial care. And part of sorrow’s burden prove! Though wandering in the shades of night, whilst I have eyes he wants (lacks) no light.”
Micah reveals the importance of friendship in another’s journey from despair. The giant Harapha is a taunting bully, itching for a fight and an opportunity to humiliate and shame his opponent, not just defeat him. All of this is depicted through music that ranges from raucous revelry, to profound despair, graceful seduction, to gut-felt fear, the joyous, to the profoundly beautiful.
On a personal note: I have always been drawn to Handel’s music, even as a child when I was given some of his sprightly piano pieces, which I share with students to this day. My sister and I played selections from his “Water Music Suite” arranged for piano duet when we were kids. The very first LP I ever purchased was a recording of the Water Music. I can hear about two seconds of an orchestral lead-in, or an aria or recitative, and I am “in” the music. Perhaps it is because it is so character-based and not abstract at all, at least to me. How fortunate that we live near Boston, which supports many performances of Baroque music, and is well-supplied with artful performers of the highest level. Our soloists for the November 18 performance are all great singers, as well as actors. I was fortunate to attend Handel and Haydn’s superb performance of “Samson” in May, 2014, and was incredibly moved by it. While “Jephtha” has a special appeal for me, that performance of “Samson” inspired me to choose this work for explore for my 40th season with the chorus. I look forward to experiencing this great composer’s musical insights and fully participating in the emotional content of this work.
Barbara Jones, Artistic Director