Between May 26 and June 5, 1784, five concerts were given in Westminster Abbey and a West End entertainment palace to mark the death of George Frideric Handel twenty-five years before. The event became a legend in its own time. The scale of the commemoration festival of 1784 was unparalleled among musical events: 4,500 people gathered in the abbey to hear 525 performers render Handel's Messiah, and, as European Magazine put it, “so extraordinary a spectacle, we believe, never before solicited the public notice.” This novel festival to a German-born composer captured public attention all around the Western world but in Britain made Handel's music into a national tradition. The commemoration was indeed a political event. It came on the heels of constitutional crisis—the dispute over the authority of crown and Parliament, the Fox-North ministry of 1783, and the turbulent election of 1784. Nobody planned the commemoration for political reasons, but that is what it became, willy-nilly, celebrating the end of the crisis and the hope for a harmonious new order. The commemoration put in ritual form the culmination of the country's political development over the previous three decades. The new harmony seen in the grand event suggested the reunion of Tories with Whigs in government and the growth of a new political community—a kind of establishment—that, despite the conflict over the war and the constitution, was broad-bottomed in its inclusion of faction and opinion. Yet that does not mean that the commemoration was unanimously supported or was truly nonpartisan, any more than was this establishment itself.
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