<P> In 1735 Handel received the text for a new oratorio named Saul from its librettist Charles Jennens, a wealthy landowner with musical and literary interests . Because Handel's main creative concern was still with opera, he did not write the music for Saul until 1738, in preparation for his 1738--39 theatrical season . The work, after opening at the King's Theatre in January 1739 to a warm reception, was quickly followed by the less successful oratorio Israel in Egypt (which may also have come from Jennens). Although Handel continued to write operas, the trend towards English - language productions became irresistible as the decade ended . After three performances of his last Italian opera Deidamia in January and February 1741, he abandoned the genre . In July 1741 Jennens sent him a new libretto for an oratorio; in a letter dated 10 July to his friend Edward Holdsworth, Jennens wrote: "I hope (Handel) will lay out his whole Genius & Skill upon it, that the Composition may excell all his former Compositions, as the Subject excells every other subject . The Subject is Messiah". </P> <P> In Christian theology, the Messiah is the saviour of the Jewish people and humankind . The Messiah who is called Christ, is identified with the person of Jesus, known by his followers as the Christ or "Jesus Christ". Handel's Messiah has been described by the early - music scholar Richard Luckett as "a commentary on (Jesus Christ's) Nativity, Passion, Resurrection and Ascension", beginning with God's promises as spoken by the prophets and ending with Christ's glorification in heaven . In contrast with most of Handel's oratorios, the singers in Messiah do not assume dramatic roles; there is no single, dominant narrative voice; and very little use is made of quoted speech . In his libretto, Jennens's intention was not to dramatise the life and teachings of Jesus, but to acclaim the "Mystery of Godliness", using a compilation of extracts from the Authorized (King James) Version of the Bible, and from the Psalms included in the 1662 Book of Common Prayer . </P> <P> The three - part structure of the work approximates to that of Handel's three - act operas, with the "parts" subdivided by Jennens into "scenes". Each scene is a collection of individual numbers or "movements" which take the form of recitatives, arias and choruses . There are two instrumental numbers, the opening Sinfony in the style of a French overture, and the pastoral Pifa, often called the "pastoral symphony", at the mid-point of Part I . </P> <P> In Part I, the Messiah's coming and the virgin birth are predicted by the Old Testament prophets . The annunciation to the shepherds of the birth of the Christ is represented in the words of Luke's gospel . Part II covers Christ's passion and his death, his resurrection and ascension, the first spreading of the gospel through the world, and a definitive statement of God's glory summarised in the "Hallelujah". Part III begins with the promise of redemption, followed by a prediction of the day of judgment and the "general resurrection", ending with the final victory over sin and death and the acclamation of Christ . According to the musicologist Donald Burrows, much of the text is so allusive as to be largely incomprehensible to those ignorant of the biblical accounts . For the benefit of his audiences Jennens printed and issued a pamphlet explaining the reasons for his choices of scriptural selections . </P>

Messiah opens with an instrumental number in the form of a(n)