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HANDEL's MESSIAH Presented by the Robert Hekemian Family

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HANDEL's MESSIAH Presented by the Robert Hekemian Family 12-13 Messiah:Layout 1 12/5/11 11:38 AM Page 27 HANDEL’S MESSIAH Presented by the Robert Hekemian Family Foundation Tuesday, December 13, 2011, 7:30 p.m. 15,2 81st Concert Open rehearsal at 9:45 a.m. Wednesday, December 14, 2011, 7:30 p.m. 15,2 82nd Concert Thursday , December 15 , 2011, 7:3 0 p.m. 15,2 83rd Concert Friday, December 16 , 2011, 2:00 p.m. 15,284 th Concert Saturday, December 17 , 2011, 7:3 0 p.m. 15,286 th Concert Peter Schreier , Conductor (New York Philharmonic conducting debut) Ute Selbig , Soprano Nathalie Stutzmann, Contralto (New York Philharmonic debut) Steve Davislim, Tenor Global Sponsor (New York Philharmonic debut) Peter Rose, Bass Alan Gilbert, Music Director, The Yoko Nagae Westminster Symphonic Choir holds Ceschina Chair . Joe Miller, Director Guest artist appearances are made possible through the Hedwig van This concert will last approximately two and one-half hours, Ameringen Guest Artists which includes one intermission . Endowment Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic Exclusive Timepiece of the New York Philharmonic December 2011 27 12-13 Messiah:Layout 1 12/5/11 11:38 AM Page 28 New York Philharmonic Peter Schreier, Conductor (New York Philharmonic conducting debut) Ute Selbig, Soprano Nathalie Stutzmann, Contralto (New York Philharmonic debut) Steve Davislim, Tenor (New York Philharmonic debut) Peter Rose, Bass Westminster Symphonic Choir Joe Miller, Director HANDEL Messiah (1741) (1685–1759) Part I Sinfonia (Overture) Recitative (Tenor): Comfort ye, comfort ye my people Air (Tenor): Ev’ry valley shall be exalted Chorus: And the glory of the Lord Recitative (Bass): Thus saith the Lord of Hosts Air (Contralto): But who may abide the day of His coming? Chorus: And He shall purify Recitative (Contralto): Behold, a virgin shall conceive Air and Chorus (Contralto): O thou that tellest Recitative (Bass): For, behold, darkness shall cover the earth Air (Bass): The people that walked in darkness Chorus: For unto us a Child is born Pifa (“Pastoral Symphony”) Recitative (Soprano): There were shepherds abiding in the field Recitative (Soprano): And lo! the angel of the Lord came upon them Recitative (Soprano): And the angel said unto them Recitative (Soprano): And suddenly there was with the angel Chorus: Glory to God in the highest Air (Soprano): Rejoice greatly, O daughter of Zion Recitative (Contralto): Then shall the eyes of the blind Duet (Soprano and Contralto): He shall feed His flock like a shepherd Chorus: His yoke is easy, His burthen is light Intermission 28 New York Philharmonic 12-13 Messiah:Layout 1 12/5/11 11:38 AM Page 29 Part II Chorus: Behold the Lamb of God Air (Contralto): He was despised Chorus: Surely, He hath borne our griefs Chorus: And with His stripes we are healed Chorus: All we like sheep have gone astray Recitative (Tenor): All they that see Him laugh Him to scorn Chorus: He trusted in God Recitative (Tenor): Thy rebuke hath broken His heart Air (Tenor): Behold, and see if there be any sorrow Recitative (Tenor): He was cut off out of the land of the living Air (Tenor): But Thou didst not leave His soul in hell Chorus: Lift up your heads Recitative (Tenor): Unto which of the angels said He Chorus: Let all the angels of God worship him Air (Contralto): Thou art gone up on high Chorus: The Lord gave the word Air (Soprano): How beautiful are the feet of them Air (Bass): Why do the nations so furiously rage together? Chorus: Let us break their bonds asunder Recitative (Tenor): He that dwelleth in heaven Air (Tenor): Thou shalt break them with a rod Chorus: Hallelujah! Part III Air (Soprano): I know that my Redeemer liveth Chorus: Since by man came death Recitative (Bass): Behold, I tell you a mystery Air (Bass): The trumpet shall sound Chorus: Worthy is the Lamb that was slain EILEEN MOON , Cello ORIN O’BRIEN , Bass KIM LASKOWSKI , Bassoon PHILIP SMITH , Trumpet KENT TRITLE , Portative Organ Classical 105.9 FM WQXR is the Radio Station of The New York Philharmonic’s concert -recording the New York Philharmonic. series, Alan Gilbert and the New York Philhar - monic: 2011–12 Season, is available for download at all major online music stores. The New York Philharmonic This Week, Visit nyphil.org/recordings for more information. nationally syndicated on the WFMT Radio Network, is broadcast 52 weeks per year ; visit nyphil.org Follow us on Tumblr, Facebook, Twitter, and for information . YouTube. Please be sure that your cell phones and electronic devices have been silenced. December 2011 29 12-13 Messiah:Layout 1 12/5/11 11:38 AM Page 30 Notes on the Program By James M. Keller, Program Annotator The Leni and Peter May Chair Messiah the vicissitudes of his life on earth; and the third to the events surrounding the Resur - George Frideric Handel rection and the promise of redemption. Messiah was unveiled in an open re - When George Frideric Handel received an hearsal on April 9, 1742, and at two official invitation in 1741 to produce a series of con - performances, on April 13 and June 3. The certs in Dublin, the idea of an escape from premiere was given as a benefit, organized the failing fortunes of his operatic ventures in with the assistance of the Charitable Musical London appealed to him. He traveled to Society, “For Relief of the Prisoners in the sev - Dublin in mid-November 1741 and remained eral Gaols, and for the Support of Mercer’s until August 13, 1742. Without a doubt, the Hospital in St. Stephen’s-street, and of the highpoint of Handel’s Dublin season was the Charitable Infirmary on the Inns Quay” (as The premiere of his new oratorio, Messiah . He Dublin Journal announced it, a couple of had composed it while still in London during weeks in advance). After the open rehearsal, the summer of 1741, over the course of The Dublin News Letter pronounced that the about three weeks. His librettist, Charles new oratorio “in the opinion of the best Jennens, had been pressed into service to judges, far surpasses anything of that Nature, assemble a text for the new work . This he which has been performed in this or any other apparently did in the early summer of 1741, Kingdom.” The Journal concurred that it “was drawing creatively on Biblical passages from allowed by the greatest Judges to be the finest the books of Isaiah, Haggai, Malachi, Mat- In Short thew, Luke, Zechariah, Born: John, Job, Psalms, Lam- February 23, 1685, in Halle, Germany entations, Hebrews, Died: April 14, 1759, in London, England Romans, First Corinthi - ans, and Revelation to Work composed : 1741, in London cre ate a loose story World premiere: April 13, 1742, in a matinee at the Great Music Hall in Fishamble comprising historical Street, Dublin, Ireland (though an open rehearsal had been held four days earlier) narrative and reflec - tions about the life of New York Philharmonic premiere: December 28, 1878, Walter Damrosch Jesus. He organized conducting the New York Symphony (which would merge with the New York Philharmonic in 1928 to become today's Philharmonic), with Minnie Hauk, Anna the text into three dis - Drasdil, George Simpson, and Myron William Whitney, soloists crete sections: the first relating to the prophecy Most recent New York Philharmonic performance: December 14–18, 2010, of Christ’s coming and Bernard Labadie, conductor, Karina Gauvin, Marie-Nicole Lemieux, Tilman Lichdi, and Andrew Foster-Williams, soloists, with the New York Choral Artists the circumstances of his birth; the second to Estimated duration: ca. 120 minutes 30 New York Philharmonic 12-13 Messiah:Layout 1 12/5/11 11:38 AM Page 31 Composition of Musick that ever was heard, So Many Messiahs and the sacred Words as properly adapted for Following its Dublin premiere in 1742 and its London the Occasion.” It continued with a bit of advice premiere a year later, Messiah was revived in London for persons lucky enough to hold tickets for in 1745, in 1749, and again in 1750. By the 1750s Mes - the official premiere: siah was becoming widely performed, specifically as an Easter tradition. Handel revised his score for many of the early productions, largely to fulfill the practical Many Ladies and Gentlemen who are well- demands of differing soloists and instrumental en - wishers to the Noble and Grand Charity for sembles, although partly (many argue) to reflect his which this Oratorio was composed, request changing conception of the piece. Surely no work in the standard repertoire offers so vast a buffet of per - it as a Favour, that the Ladies who honour forming possibilities to choose from. From one ver - this Performance with their Presence sion to the next, we find variations involving which would be pleased to come without Hoops numbers are sung and in what order, which solo as it will greatly encrease the Charity, by pieces are assigned to which vocal soloist, and which versions of competing individual movements should making Room for more Company. be used. There are no easy answers, although per - formers should not discount that practical consider - To which it added in a follow-up article: “The ations may be as important today as they were in Gentlemen are desired to come without their Handel’s time. Some modern performances adhere to the documented practices of a specific Messiah Swords, to increase audience accommoda - performance that Handel oversaw. It is more com - tion yet further.” mon, however, to encounter modern, practical Messiah was an immense success, and its solutions to the conundrum of Messiah editions, pro - ductions that hew to a basic and quite defensible reputation spread quickly to London, which Messiah text while typically shedding a few of the had to wait nearly a year to hear it.
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