March 23 George Friedrich Handel known for his - Handel's oratorio "Messiah". George Friedrich Handel's oratorio "Messiah" was first played in London on March 23, 1743. It was attended by King George II. The King who was so moved by the “Hallelujah” chorus that he rose to his feet and then everyone in attendance followed suit as not to be sitting when the King stood. A tradition ever since is observed whenever the "Hallelujah" chorus is played. After he wrote the "Hallelujah" chorus, Handel was quoted as saying, "I did think I did see all Heaven before me, and the great God Himself." George Frideric Handel was born on 23 February 1685 (the same year as Johann Sebastian Bach and Domenico Scarlatti) in Halle, Duchy of Magdeburg - Germany. His parents were Georg Händel and Dorothea Taust. His father was an eminent barber surgeon who served the court of Saxe-Weissenfels and the Margraviate of Brandenburg. The Thirty Years' War brought extensive destruction to Halle, and by the 1680s it was impoverished. From an early age, Handel longed to study music, but his father objected, doubting that music would be a realistic source of income. Infact, his father would not even permit him to own a musical instrument. George studied law until 1703, even though his father (who finally allowed his son to take music lessons at age 9) died when he was 11. His mother, however, was supportive, and she encouraged him to develop his musical talent. With her cooperation, Handel took to practicing on the sly. Handel attended the Gymnasium in Halle, where the headmaster, Johann Praetorius, was reputed to be an ardent musician. When Handel was still a young boy, he had the opportunity to play the organ for the duke’s court in Weissenfels. It was there that Handel met composer and organist Frideric Wilhelm Zachow. Zachow was impressed with Handel’s potential and invited Handel to become his pupil. Under Zachow's tutelage, Handel mastered composing for the organ, the oboe and the violin alike by the time he was 10 years old. By age 12, Handel was substituting for his organ teacher and had written his first composition. From the age of 11 to the time he was 16 or 17, Handel composed church cantatas and chamber music that, being written for a small audience, failed to garner much attention and have since been lost to time. In 1703, when Handel was 18 years old, he decided to commit himself completely to music, accepting a violinist’s position at the Hamburg Opera’s Goose Market Theater. During this time, he supplemented his income by teaching private music lessons in his free time, passing on what he had learned from Zachow. After musical studies in Germany and Italy, Handel worked as a composer in Hamburg and Italy. Handel moved to England in 1712 and became a naturalised British subject in 1727. He stayed for the rest of his life in London and became a composer for the Chapel Royal. By the 1730s, British audiences had grown tired of operas sung in German or Italian and preferred comedic performances in English. This was good for Handel, who struggled to keep his creditors away, and led him to push himself to the limit by composing four operas within the same year. As a result, Handel suffered a stroke in the spring of 1737 that paralyzed his right arm. The doctor who treated him said, “We may save the man—but the musician is lost forever. It seems to me that his brain has been permanently injured.” His fans worried that he would never compose again. But Handel refused to give up. After only six weeks of recuperation in Aix-la-Chapelle, Handel was fully recovered. He surprised everyone when he miraculously recovered his strength and declared, “I have come back from Hades.” He went back to London and not only returned to composing, but made a comeback at playing the organ as well. In 1741, swimming in debt and out of favor as a composer, Handel received a libretto from Charles Jennens, a poet and a scholar of Handel’s day with whom he had worked previously. The words to the piece are a distillation of Christian doctrine, using scripture references, the libretto detailed the life of Jesus Christ from His birth and ministry to His crucifixion and resurrection. Jennens wrote to counteract all of the secular thinking of the day and teach those who preferred concert halls to church pews the rudiments of the Christian message. He drew his text from the Bible and the Book of Common Prayer. For Jennens and Handel, "Messiah" would be an evangelistic tool to share the gospel with the masses. Handel lived at his rented house # 25 Brook Street, in the Mayfair district of London. On August 22, 56-year-old Handel sequestered himself in his London home and began to compose music to the biblical texts heralding the life of Jesus Christ. For more than a week, his servant faithfully waited on his employer Handel, and served appealing meals to the composer, and returned later to find the bowls and platters largely untouched. The servant knew his master Handel as an eccentric composer, who spent hour after hour isolated in his own room. One day the servant opened the door of the composer’s room and was startled to see tears streaming down his master Handle's face. The great composer turned to his servant and cried out, ‘I did think I did see all Heaven before me, and the great God Himself.’ In just 24 days the great composer Handel completed a 260-page oratorio. He titled the massive work "Messiah". Handel wrote the Messiah for the Easter holiday but the music got quickly pegged for Christmas performances. The Handel's Messiah oratorio tells three stories: the first part prophesied the birth of Jesus Christ; the second exalted his sacrifice for humankind; and the final section heralded his Resurrection. The first part is sung at Christmas and the second and final at Easter, with the Hallelujah Chorus being sung both times. Handel told the sponsors of the premier performance of Messiah in Dublin, Ireland, on April 13, 1742, that the proceeds from the performance should be donated to prisoners, orphans and the sick. “I have myself been a very sick man, and am now cured,” he said. “I was prisoner and have been set free.” Six years later that is in 1743, Handel suffered a second springtime stroke. However, he stunned audiences once again with a speedy recovery, followed by a prolific stream of ambitious oratorios. Handel’s three-act oratorio Samson, which premiered in London in 1743, reflected how Handel related to the character’s blindness through his own firsthand experience with the progressive degeneration of his sight: Total eclipse! no sun, no moon. All dark amidst the blaze of noon. Oh glorious light! no cheering ray To glad my eyes with welcome day. By 1750, Handel had entirely lost sight in his left eye. He forged on, however, composing the oratorio Jephtha, which also contained a reference to obscured vision. In 1752 Handel lost sight in his other eye and was rendered completely blind. As always before, Handel’s passionate pursuit of music propelled him forward. He kept on performing and composing, relying on his sharp memory to compensate when necessary, and remained actively involved in productions of his work until his dying day. Over the course of his musical career, Handel, exhausted by stress, endured a number of potentially debilitating problems with his physical health. He is also believed to have suffered from anxiety and depression. Yet somehow, Handel, who was known to laugh in the face of adversity, remained virtually undeterred in his determination to keep making music. On April 14, 1759, at the age of 74, Handel died on the day before Easter 1759, hoping to "meet his good God, his sweet Lord and Savior, on the day of his Resurrection. Handel was buried in Westminster Abbey a week after he died. Around 3000 people attended his funeral service. "A close friend remarked, "He died as he lived—a good Christian, with a true sense of his duty to God and to man, and in perfect charity with all the world." Handel was known for being a generous man, even in death. Having never married or fathered children, his will divided his assets among his servants and several charities, including the Foundling Hospital. He even donated the money to pay for his own funeral so that none of his loved ones would bear the financial burden. His music was admired by Classical-era composers, especially Mozart and Beethoven. Handel composed more than forty opera serias over a period of more than thirty years. The musicologist Winton Dean wrote that "Handel was not only a great composer; he was a dramatic genius of the first order." The works that associate Handel most closely with Westminster Abbey are the four anthems written for the coronation of George II in 1727. The best known, 'Zadok the Priest', has been used at every coronation since then, but all four continue to be regularly performed and recorded. A number of hymnal editors, including Lowell Mason, took themes from some of Handel's oratorios and turned them into hymn tunes; ANTIOCH is one example, long associated with “Joy to the World.” George Frideric Handel's Messiah was originally an Easter offering. It burst onto the stage of Musick Hall in Dublin on April 13, 1742. The men and women in attendance sat mesmerized from the moment the tenor followed the mournful string overture with his piercing opening line: "Comfort ye, comfort ye my people, saith your God." Soloists alternated with wave upon wave of chorus, until, near the midway point, Cibber intoned: "He was despised and rejected of men, a man of sorrows and acquainted with grief." So moved was the Rev. Patrick Delany that he leapt to his feet and cried out: "Woman, for this be all thy sins forgiven thee!" In most of Handel's oratorios, the soloists dominate and the choir sings only brief choruses. But in Messiah, says Laurence Cummings, director of the London Handel Orchestra, "the chorus propels the work forward with great emotional impact and uplifting messages." Some 40 years after Messiah’s premiere, English musicologist Charles Burney wrote, “This great work has been heard in all parts of the kingdom with increasing reverence and delight; it has fed the hungry, clothed the naked, fostered the orphan and enriched succeeding managers of the oratorios, more than any single production in this or any other country.” Handel placed a note on his original manuscript that read “To God alone the glory,” "He [Handel] would frequently declare the pleasure he felt in setting the Scriptures to music, and how contemplating the many sublime passages in the Psalms had contributed to his edification." —Sir John Hawkins Ludwig van Beethoven considered Handel was the greatest of all his predecessors; he said, "I would bare my head and kneel at his grave". Citing Messiah, Beethoven said Handel was the "greatest composer that ever lived." Handle's Hallelujah chorus is one of the best and all time played and sung across the churches. "Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! For the Lord God omnipotent reigneth. Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! For the Lord God omnipotent reigneth. Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! The kingdom of this world is become the kingdom of our Lord, and of His Christ, and of His Christ; And He shall reign for ever and ever, King of kings, and Lord of lords. King of kings, and Lord of lords. King of kings, and Lord of lords, and Lord of lords, and He shall reign, and He shall reign for ever and ever, for ever and ever, Hallelujah! Hallelujah! And He shall reign for ever and ever, for ever and ever. King of kings! and Lord of lords! King of kings! and Lord of lords! And He shall reign for ever and ever, King of kings! and Lord of lords! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah!" https://www.smithsonianmag.com/arts-culture/the-glorious-history-of-handels-messiah-148168540/ https://en.m.wikipedia.org/wiki/George_Frideric_Handel https://www.google.com/amp/s/www.biography.com/.amp/musician/george-handel https://philharmonia.org/learn-and-listen/baroque-composers/george-frideric-handel/ https://hymnary.org/person/Handel_GF https://www.westminster-abbey.org/abbey-commemorations/commemorations/george-frederic-handel https://www.christianitytoday.com/history/people/musiciansartistsandwriters/george-frideric-handel.html https://www.christianitytoday.com/history/people/musiciansartistsandwriters/george-frideric-handel.html http://onlinebooks.library.upenn.edu/webbin/book/lookupname?key=Handel%2C%20George%20Frideric%2C%201685%2D1759 https://youtu.be/IUZEtVbJT5c

March 21 Archbishop Thomas Cranmer. - Reformation Martyr Archbishop Thomas Cranmer was burnt at the stake during the reign of Bloody Mary on 21st March 1556 at the age of 66. Thomas Cranmer edited "The Book of Common Prayer" which has had a tremendous influence on the English language and on liturgical worship for over 400 years. Thomas Cranmer was born on July 2, 1489, at Aslockton, Nottinghamshire, England, 131 miles northwest of London, to parents of modest wealth. He attended Jesus College, Cambridge and received his bachelor and master’s degrees from in logic, classical literature and philosophy. From there, he studied theology, earned ordination by 1520 and obtained a Doctor of Divinity degree by 1526. His wife Joan, died in childbirth; and he married his second wife Margarete and blessed with two children Margaret and Thomas. Around this same time, The King of England, Henry VIII, wanted to annul his marriage to Catherine of Aragon, who had failed to produce a male heir for the throne. Henry sent ambassadors to the Pope regarding the annulment, but the Pope failed to grant it. Soon after, Henry broke away from the Catholic Church and declared himself the head of the Church of England. Henry’s marriage to Anne Boleyn, who had read the works of many Reformers, led to the appointment of Thomas Cranmer as the Archbishop of Canterbury. The church consecrated Cranmer as the archbishop on March 30, 1533. Henry’s motivations for separating from the Catholic Church were political, but Cranmer’s were more theological. Cranmer had met Reformers on the Continent and corresponded with them. As Cranmer became more convinced of Reformed theology, he organized work on a statement of faith that became the Thirty-Nine Articles, a document edited over 30 years that defined the theology of the Church of England in the 16th century. Cranmer also edited the Book of Common Prayer, which contained words for liturgical worship services (such as for baptisms, Communion, morning prayer, etc.), prayers for pastoral care, daily Bible readings, and later, the Thirty-Nine Articles. The Book of Common Prayer has had a tremendous influence on the English language and on liturgical worship for over 400 years. When Henry VIII died Edward VI became king in 1547 when he was just nine years old. Edward was raised Protestant, so the Church of England under Cranmer’s leadership flourished. When Edward died at age 15 in 1553, Henry VIII’s oldest child, Mary, became Queen, and she aggressively reinstated Roman Catholicism until her death in 1558. She accused the Archbishop Thomas Cranmer of heresy for his Protestant views. During the next few months he was subjected to continual pressure to abjure his theological opinions, and at length he was prevailed upon to sign a document acknowledging the Pope’s supreme authority. After two years in prison, and under great pressure from the authorities, and the promise of his former greatness if he would but recant, as well as the queen’s favor, even though they knew that his death was determined in council. To soften the path to apostasy, the first paper brought for his signature was conceived in general terms; this once signed, five others were obtained as explanatory of the first, until finally he put his hand to the following detestable instrument: I, Thomas Cranmer, late archbishop of Canterbury, do renounce, abhor, and detest all manner of heresies and errors of Luther and Zwingli, and all other teachings which are contrary to sound and true doctrine. And I believe most constantly in my heart, and with my mouth I confess one holy and Catholic Church visible, without which there is no salvation; and therefore I acknowledge the Bishop of Rome to be supreme head on earth, whom I acknowledge to be the highest bishop and pope, and Christ’s vicar, unto whom all Christian people ought to be subject. And as concerning the sacraments, I believe and worship in the sacrament of the altar the body and blood of Christ, being contained most truly under the forms of bread and wine; the bread, through the mighty power of God being turned into the body of our Savior Jesus Christ, and the wine into his blood. And in the other six sacraments, also, (alike as in this) I believe and hold as the universal Church holds, and the Church of Rome judges and determines. Furthermore, I believe that there is a place of purgatory, where souls departed be punished for a time, for whom the Church doth godly and wholesomely pray, like as it doth honor saints and make prayers to them. Finally, in all things I profess, that I do not otherwise believe than the Catholic Church and the Church of Rome holds and teaches. I am sorry that I ever held or thought otherwise. And I beseech Almighty God, that of His mercy He will vouchsafe to forgive me whatsoever I have offended against God or His Church, and also I desire and beseech all Christian people to pray for me. And all such as have been deceived either by mine example or doctrine, I require them by the blood of Jesus Christ that they will return to the unity of the Church, that we may be all of one mind, without schism or division.” The papists forced his full acceptance of the doctrines of purgatory and transubstantiation, and abjured all the beliefs he had formerly professed of a Lutheran or Zwinglian nature. His recantation was immediately printed and dispersed, only to discredit him in the public regard. However, the Queen refused any mercy saying Cranmer’s “iniquity and obstinacy was so great against God,” that “clemency and mercy could have no place with him." Imprisoned for almost three years, Cranmer awaited the verdict from Rome, since the trial was under the Pope’s jurisdiction. The Pope stripped Cranmer of his archbishopric and approved the death sentence. On March 21st he was brought once more to St. Mary’s Church where a platform had been set up for him in front of the pulpit. It was the day before Passion Sunday. A silent throng filled the nave and side aisles as the Provost of Eton climbed the pulpit steps to address them. He explained why Cranmer must die. Notwithstanding his acceptance of the full Romanist faith, and in spite of the fact that four Reforming bishops had already been burnt, Bishop Fisher was still insufficiently avenged. Only the death of the Archbishop could completely balance the account. The expectant congregation, the triumphant tribunal, waited for the solemn denunciation of his erstwhile Reforming opinions which must surely follow. What in fact came next electrified and confounded them. During the sermon Cranmer wept bitter tears: lifting up his hands and eyes to heaven, and letting them fall, as if unworthy to live: his grief now found vent in words: before his confession he fell upon his knees, and, in [prayer to God] unveiled the deep contrition and agitation which harrowed up his soul.... Then rising, he said he was desirous before his death to give them some pious exhortations by which God might be glorified and themselves edified. He then descanted upon the danger of a love for the world, the duty of obedience to their majesties, of love to one another and the necessity of the rich administering to the wants of the poor. He quoted the three verses of the fifth chapter of James, and then proceeded, Let them that be rich ponder well these three sentences: for if they ever had occasion to show their charity, they have it now at this present, the poor people being so many, and victual so dear. And now forasmuch as I am come to the last end of my life, whereupon hangs all my life past, and all my life to come, either to live with my master Christ for ever in joy, or else to be in pain for ever with the wicked in hell, and I see before mine eyes presently, either heaven ready to receive me, or else hell ready to swallow me up; I shall therefore declare unto you my very faith how I believe, without any color of dissimulation: for now is no time to dissemble, whatsoever I have said or written in times past. First, I believe in God the Father Almighty, Maker of heaven and earth, etc. And I believe every article of the Catholic [i.e. worldwide] faith, every word and sentence taught by our Savior Jesus Christ, His apostles and prophets, in the New and Old Testament. And now I come to the great thing which so much troubles my conscience, “I renounce and refuse, as things written with my hand, contrary to the truth which I thought in my heart, and written for fear of death and to save my life, all bills and papers which I have written or signed with my own hand since my degradation. And forasmuch as my hand offended, writing contrary to my heart, my hand shall first be punished therefore; for when I come to the fire it shall first be burned.” Cranmer regretted his decision and recanted his recant. And as for the pope, I refuse him as Christ’s enemy, and Antichrist, with all his false doctrine. Upon the conclusion of this unexpected declaration, amazement and indignation were conspicuous in every part of the church. The Catholics were completely foiled, their object being frustrated, Cranmer, like Samson, having completed a greater ruin upon his enemies in the hour of death, than he did in his life. He attempted to say more, to denounce the pretensions of the Pope, to re-assert his former denial of transubstantiation. But his outraged judges would allow him to speak no further. He was dragged from the platform and from St. Mary’s Church, to the spot near Balliol College where, only a few months before, he had seen Latimer and Ridley put to death. Here, before a vast concourse, he knelt in prayer and, after shaking hands with some of the bystanders, prepared himself for the stake. Then, in the words of an eye-witness, “when the wood was kindled and the fire began to burn, he put his right hand into the flame saying ‘ This hand hath offended.’” He was tied to the stake, the flaming faggots were piled around him, and “as soon as the fire got up he was very soon dead, never stirring or crying all the while.” The anonymous witness said Cranmer died with patience and courage. His eyes were lifted up to heaven, and he repeated “This unworthy right hand,” as long as his voice would suffer him; and using often the words of Stephen, “Lord Jesus, receive my spirit,” in the greatness of the flame, he gave up his spirit. Thus Thomas Cranmer was burned at the stake at Oxford on March 21, 1556. He was a man who changed the course of history in England forever. Thomas Cranmer was essentially a good man; irreproachable in his private life, devout and sincere in his religion, gentle and tolerant towards his fellow-men. He alone had interceded on behalf of Fisher, More and Cromwell, had pleaded for the monks of Sion, and had vainly opposed the rapacious Northumberland in his more outrageous plans of pillage and spoliation. And if at times he stretched his conscience almost to breaking-point in his desire to please and serve his King, it should ever be remembered to his credit that ultimately conscience triumphed over all. In theology he genuinely sought to return to a purer and more primitive faith, essentially orthodox yet purged of what he considered to be medieval accretions and abuses. He played no small part in laying the foundations of an Anglican theology and a doctrinal via media— foundations upon which Parker, Jewel, Hooker and the Caroline divines were afterwards able so notably to build. Of the seventy Collects in the 1552 Book of Common Prayer, Cranmer himself wrote about twenty-four, which are rightly described as 'remarkable pieces of devotion.' Here is the Collect to be prayed on the second Sunday in Advent. Blessed Lord, which hast caused all holy Scriptures to be written for our learning; grant us that we may in such wise hear them, read, mark, learn, and inwardly digest them; that by patience, and comfort of thy holy word, we may embrace, and ever hold fast the blessed hope of everlasting life, which thou hast given us in our Saviour Jesus Christ. On the importance of the word of God he wrote: "Dost thou not mark and consider how the smith, mason, or carpenter or any other handy-craftsman, what need soever he be in ... he will not sell nor lay to pledge the tools of his occupation ... for then how should he get a living thereby? Of like mind and affection ought we to be towards holy scripture. For as mallets, hammers, saws, chisels, axes and hatchets be the tools of their occupation, so be the books of the prophets and apostles, and all holy writ inspired by the Holy Ghost the instrument of our salvation" This explains Cranmer's efforts for much of his time as Archbishop of Canterbury to get the English Bible into the hands of the common person in England. As J. I. Packer rightly points out in this regard: 'To make the Church of England a Bible-reading, Bible-loving church was Cranmer's constant ideal.' The declaration that Christ's death is 'a full, perfect and sufficient sacrifice, oblation, and satisfaction' for sin undercuts the entire theological edifice of medieval Roman Catholicism. He wrote "Almighty God our heavenly Father, which of thy tender mercy didst give thine only Son Jesus Christ, to suffer death upon the cross for our redemption, who made there (by his one oblation of himself once offered) a full, perfect and sufficient sacrifice, oblation, and satisfaction, for the sins of the whole world, and did institute, and in his holy Gospel command us to continue, a perpetual memory of that his precious death, until his coming again; hear us O merciful Father we beseech thee..." Yet it was not in the field of dogmatics that Cranmer achieved his supreme distinction. His priceless legacy to posterity is the Book of Common Prayer. It has justifiably been said that as a compiler of prayers in our flexible English tongue Cranmer stands in a class by himself, as surely as Shakespeare stands alone as a poet. Many have achieved a lasting fame on less worthy and enduring merits. 'Few men,' Kenneth Brownell writes, 'did more to shape English Protestant spirituality and to drive into the soul of a nation the fundamentals of Protestant Christianity.' Within two years of Thomas Cranmer's martyrdom, Elizabeth I ascended the English throne and moved the church back in a Protestant direction, revising Cranmer's 42 Articles to 39, and adopting his Book of Common Prayer as the guide to worship. Today Anglicanism is the expression of faith for 51 million worldwide. 500 years ago Archbishop Thomas Cranmer was martyred for his Book of Common Prayer, after witnessing everything he had done in England be undone. He likely died believing he was a failure. Today, the entire world witnessed an event containing liturgy directly based on his words, from a prayerbook tradition he created. God is good. Soli Deo Gloria Coram Deo https://www.historytoday.com/archive/thomas-cranmer-1489-1556-archbishop-canterbury https://www.olivetree.com/blog/bio-thomas-cranmer/ https://www.christianitytoday.com/history/people/martyrs/thomas-cranmer.html https://www.worldhistory.org/Thomas_Cranmer/ https://en.m.wikipedia.org/wiki/Thomas_Cranmer https://www.christianstudylibrary.org/article/setter-forth-christ%E2%80%99s-glory%E2%80%99-remembering-life-and-martyrdom-thomas-cranmer https://christianhistoryinstitute.org/study/module/cranmer

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