A “word book” for the London premiere of this work began with the quote Majora Canamus, “Let us sing of greater things”

On the January 22, 2026, episode of Jeopardy, the Final Jeopardy clue challenged contestants with a reference to an important work in the history of classical music. The category was “18th Century Arts,” and the clue read: A “word book” for the London premiere of this work began with the quote Majora Canamus, “Let us sing of greater things.” Contestants were asked to identify the influential composition associated with this Latin phrase.

What is Messiah?

The correct response was What is Messiah?, referring to George Frideric Handel’s renowned oratorio Messiah. Premiering in Dublin in 1742 and later performed in London, Messiah is one of the most iconic works of the Baroque period. The quote “Majora Canamus,” meaning “Let us sing of greater things,” appeared in the printed wordbook for the London premiere and signaled the solemn and spiritual tone of the composition.

The phrase itself is taken from Virgil’s Eclogues and was often used in the 18th century to indicate a turn toward more serious subject matter. In the context of Messiah, it marked a significant shift from the entertainment-focused operas popular in London at the time to a sacred oratorio reflecting on Christian theology and the life of Jesus Christ. This was part of Handel’s broader turn toward English-language oratorios in the later part of his career.

Handel’s Transition from Opera to Oratorio

By the early 1740s, Handel’s career as an opera composer had begun to decline. Italian opera had fallen out of favor with London audiences, and Handel, always quick to adapt, shifted to composing oratorios in English. These oratorios combined musical drama with religious storytelling, often performed without the elaborate staging of operas. Messiah was a standout example of this new direction.

The libretto for Messiah was compiled by Charles Jennens, who selected passages directly from the King James Bible and the Book of Common Prayer. Jennens intended the work to be a serious theological meditation rather than entertainment, and Handel responded with some of his most inspired music. The work’s structure—three parts covering prophecy and birth, passion and resurrection, and redemption—reflected its ambitious theological scope.

The London Premiere and the Use of the Word Book

Although Messiah premiered in Dublin in 1742, its London debut in 1743 brought it to a much larger audience and helped secure its lasting legacy. For this performance, a printed wordbook was distributed to the audience so they could follow the text, a practice not uncommon at the time. The inclusion of the phrase “Majora Canamus” on the first page of this booklet set the tone for the performance, preparing listeners for the grand and sacred themes they were about to hear.

The use of such a Latin epigraph elevated the oratorio in both literary and religious terms. It was a deliberate move to distinguish Messiah from secular works and signal its serious moral purpose. This context was crucial to understanding the clue and why that particular phrase served as a marker of the oratorio’s intent.

A Lasting Impact on Music and Culture

Today, Messiah is most frequently associated with the Christmas season, particularly its famous “Hallelujah” chorus, though the entire work spans a much broader narrative. Its influence on Western music is profound, having become a staple of choral performance worldwide. At the time of its London premiere, however, it was a bold and somewhat controversial work, with some critics objecting to the theatrical presentation of sacred text.

Despite initial mixed reactions in London, Messiah ultimately became Handel’s most performed and beloved composition. The decision to open its printed libretto with “Majora Canamus” helped frame the oratorio as a higher artistic and spiritual undertaking. This detail, embedded in the clue on Jeopardy, underscored the depth of knowledge required to make the correct response—a recognition of both historical context and cultural significance.

Understanding the Clue’s Historical Layer

The clue on January 22 asked for more than just a name; it required an understanding of the artistic and literary conventions of 18th-century England. Latin mottos like “Majora Canamus” would have been familiar to educated audiences of the period and were often used to introduce works of serious moral or intellectual ambition. That Handel and Jennens chose this line to preface Messiah aligns with their intent to present the work not as entertainment, but as a profound reflection on divine themes.

Thus, the clue served not only as a test of classical music knowledge but also as a window into how composers of the time framed their works for public reception. In choosing Messiah, the writers of Jeopardy spotlighted one of the era’s most enduring masterpieces and invited contestants—and viewers—to reflect on the cultural and religious depth embedded in its presentation.