'Iotal BIS,.CD.89I/892STIiREO tseE playingtime: 140'00 HANDEL, GeorgFriedrich (toss-rzsq)

MeSSiah (rext:compil.rr by CharlesJennens from the Bible andPrayer Book Psalter) BIS.CD-891 Total playing time: 69'14 Part the First ' 53'52 t! MajoraCanamus (narralor) ... . . Andwithoutcontroversy...... 0'36 tr Symphony 3'07 tr Accompagnato (tenor) . . . . Comfort ye my people. . 2'55 tr Air (tenor) . . . . Ev'ry valley shall be exalted. ..t'15 Lll Chorus . . . . And the glory ofthe Lord shall be revealed .2',48

L!i AccompaBnalo(ba:s). . . Thus saiththe Lord . t'27 tr Air (a1to) But uho ma1abrde the duy ol Hiscori;g...... 4',20 EI Chorus. And He shall purify the sons of Levi .2'27 LYI Recitrtivelaltor... Behold, a virgin shall conceive. .0'29 @ Air andChoru: O Thou thartellest good tidings to Zion...... 5'36 E Accompagnatofbas:). . . For behold,darkness shall cover the earth ...... 2'02 @ Air (bass) . The peoplethat walked in darkness. . .3'47 tr Clhorus...... Foruntousachildisborn. .3'46 tr Pifa .2',48 tr Recitative(soprano)...... Therewereshepherdsabiding...... 0'15 tr Accompagnato(soprano). .Andlo,theangeloftheLord ...... 0'17 tr Recitative(soprano)...... Andtheangelsaiduntothern...... 0'32 @ Accompagnato(soprano) . . And suddenlythere was with the angel ...... 0' i 6 Chorus...... GlorytoGodinthehighest...... 1'47 @ Air (soprano) . . . Rejoicegreatly, O daughterof Zion ...... 4'12 n Recitative(alto)...... Thenshall theeyes ofthe blindbe open'd...... 0'31 @ Duet (alto, soprano) ...... He shall feed His flock 4'49 tr Chorus...... Hisyokeiseasy.Hisburlhenislight...... 2'15

Part the Second (opening) 52'39 @ Chorus...... BeholdtheLambofGod...... 3'11 tr Air(alto) ...... Hewasdespisedandrejectedofmen...... ll'04

BIS.CD-892 Totalplaying time: 72'00 Part the Second (conclusion) E Chorus Surely,He hath bome our griefs ...... 1'19 tr Chorus...... Andu'ithHisstripeswearehealed...... 1'31 tr Chorus...... Allwelikesheephavegoneastray...... 3'51 tr Accompagnato(tenor).. ..AlltheythatseeHimlaugh...... 0',+6 tlt Chorus...... HetrustedinGodthatHewoulddeliverHim...2'18 tr Accompagnato(tenor).. .. Thyrebukehath brokenHisheart. ... - l'47 tr Arioso(tenor). ..Behold,andseeiftherebeanysonow...... 1'41 tr Accompagnato(soprano). .Hewascutoffoutoftheland...... 0'17 tr Air (soprano) . . . But thou didst not leaveHis soul in Hell ...... 2'I0 @ Chorus...... Liltupyourheads,Oyegates ...... 2'59 E Recitative(tenor)...... UntowhichoftheangelssaidHe...... 0'22 @ Chorus...... LetalltheangelsofGodworshiphim...... I'26 @ ,q.ir(alto) ....Thouartgoneuponhigh ...... 2'53 @ Chorus . TheLordgavetheword...... 1'll tr Air (soprano) . . . How beautifulare the feet of Him ...... 2'18 @ Chorus...... Theirsoundisgoneout. ....1'44 tr Air(bass) ...... Whydothenationssofuriouslyragetogether...1'22 @ Chorus...... Letusbreaktheirbondsasunder. .... '1'46 @ Recitative(tenor)...... Hethatdwellethinheaven ...... 0'12 @ Air (tenor) . . . . . Thou shalt break them with a rod of iron . ' . . ' . 2'07 E Chorus Hallelujah! 3'29

l Part the Third 32'48 @ Air(soprano) ...IknowthatmyRedeemerliveth...... 5'31 Chorus...... Sincebymancamedeath...... 2'04 @ Accompagnato(bass)... .. Behold,Itell you amystery ...... 0'39 Ell Air (bass) . The trumpet shall sound 8'48 @ Recitative(alto)...... Thenshallbebroughttopass. 0'17 @ Duet(alto,tenor)...... ODeath,whereisthysting. 1'45 @ Chorus...... ButthanksbetoGod.. 2'09 @ Air (alto) . If God be for ever 4'21 @ Chorus. . Worhy is the Lamb that was slain ...... 7'01

Bach Collegium directedby Soloists: , soprano;Yoshikazu Mera, alto; John Elwes,tenor/narrator; David Thomas, bass |ffift Specialthanks to KobeShoin Women's University.

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4 Foreword by Masaaki Suzuki the merits of the singers and the characteristicsof In the history of music. how many other works the choir and orchestrathal were available to him have become so widely loved and known both in on each occasion. This recording is based on the the composer's day right through to modem times perfomance at Covent Garden in 1753 with four as the Messiahl C.PE. Bach. W.A. Mozart and soloists. a choir of the same size and an orchestra were all familiar with this with probably slightly tewer oboes and bassoons work, either as listener, performer or arranger. than at the time. 'Messiah' 'the and they all held its composer in high esteem.Al- in the Old Testament means ready in the l8th century, enthusiasticHandelians anointed'. In those days, kings, priests and created a major event of performances of the prophets were anointed before they took up their Messiah, and the festive atmosphere increased special posts. This word later came to mean'the 'Christos' each year. In 1859, the centenary of Handel's Saviour'. and was its Greek translation. death. the work was pefformed by a choir com- Therefore, this oratorio actually deals with the prising 2.765 singers and an orchestra of 460 quintessential issue of Christianity. The text by players, and in 1883, by 4,000 singers and 500 Jennens deserues high praise. It is constructed in a players. Interestingly, however, George Bernard wondertul manner incorporating all the Christran Shaw commented ironically that'If I were a doctrines including the prophecy, birth, passion, member of the House of Commons, I would pro- resunection and immortality of Christ with direct pose a law making it a capital offence to perfbm quotations from the Bible. What is more, Han- an oratorio by Handel with more than eighty del's music is filled with such innocence and nat- perfonners in the chorus and orchestra, allowing uralness.without aspiring to deal with the whole lbrty-eight singers and thirty-two instrumental- Bible. This transparency is one of the reasons ists.' Handel. although he did not actually con- why the Messiah has been loved by so many duct any perfomances after 1754 because of an people to this day. eye disease, was involved in 36 performances Sometimes the words of the Bible are set to during his lifetime. music with deep religious insight in a way that The difficulty of perfoming Messiah. in sin- purifies the soul, as in Bach's ,but in the cerity, lies in the fact that Handel himself changed Messiah, the words reach the heart with direct the instrumentalion and the vocal pans each time appeal through its highly attractive music. I sin- he performed it, and consequently he never per- cerely hope that the listener filled with the music fomed it the same way as in the 1741 premidre. of the Messiah will appreciale the messages that In short, one has to face the problem of which are sung. version one should revive today, when even the Blessing and honour. glory and pow'r, be mlto composer's performances let fte work evolve like him that sitteth upon the throne, and unto the a living creature. In his day, Handel probably Lamb,Jbr ever attd et'er.Anten chose the most appropriate way, bearing in mind Masaaki Suzuki, Handel's Messiar, Nevenheless, Messiah has several individual Handel's Messiah rs one of the most widely and traits. Firstly, whereas in the other oratorios the long loved works in the history of westem music. main character is a hero from the Old Testament, Its populiLrity is due not only to the grand scale of in Messiah it is Christ himself. Secondly, in the the work, taking on the theme of the Messiah, but other oratorios the main character takes charge of also to the diversity of the music, with choruses the dramatic action, but in this work Christ him- and arias full of passionate appeal, so that one can self does not appeal Thirdly, as opposed to the enjoy it regardless of ideology or religion. Ever other oratorios in which opera-style texts are since its premidre, there has been a debate on used, the texl of Messiah puts together extracts whether Messlal is a sacred work in the real from the Bible. The fourth point is that Messiah sense or more of a dramatic work. However. since was not premidred in London, but at a theatre in it is now widely considered that religion is the uni- Dublin. The fact rhat it became a tradition to per- versal legacy of values, one need no longer hesi- form this oratorio in churches and chapels is also tate in placing this work among the most essential unique. sacred works. This performance by Masaaki The text was assembled by Charles Jennens Suzuki and Bach Collegium Japan also stands on (1700-\'773) from extracts refening to Christ in the belief that this work is deeply religious. the Authorised Version of the Bible. It is master- Handel, bom in Halle, Gemmy in 1685, be- fully constructed and the content is explicit, but came an opera composer and then trained in ltaly. inevitably the relationship between the pieces is After he settled in London in 1710. his activities not especially strong, and one does not feel that it centred on composition and Italian opera. How- intends to convey a particular theological argu- ever- because of the decline in the fortunes of the ment. The important things are to express the feel- aristocracy who were his main patrons, it became ing of praise, and to appeal to the listener with its impossible to maintain his opera ventures and, dramatic effects. The world of Messialr is lucid from the late 1730s onwards. Handel shifted his and humane, in contrast with works such as Bach's energy to the composition of English oratorios. Passions. Thus, works such as .Saa1(1739), Israel in Thus Handel, with an invitation from the Go- Egypt (1739) and L'Allegro, il Penseroso ed il Mo- vemor-General of lreland, went to Dublin, and on derato (174O) were bom. Although these oralorios 13th April 1742, premidred this work at a benefit were perfomed on the theatrical stage, their sub- concert held in the theatre. The result was a great jects were mainly taken from the OId Testament, success. The first London performance took place and the sound content as well as the simplicity of almost a year later, on 23rd March 1743. On this performance appealed to the new rising bour- occasion, a controvesy broke out conceming the geoisie. Following this line of oratorios, Messlalr appropriateness of performing a work with Christ was composed in 1741 when Handel was 56. as the main character in the theatre, and it is said that the general view was quite hostile. The work had to wait until its perfomance in tinuo (orgm, , bassoon). On hearing the 1750 at the Foundling Hospital, conducted b1' Tokyo perfomance, I was deeply impressed with Handel himself, to be fully appreciated. Handel its energetic and Bach-like intensity and found continued to take pan in the annual perfomances such a lively and appealing performance quite at this institution until his death in 1759. At the exceptional. The participation of the two English same time, the number of performances in ordin- singersmade the e\pressionmore convincing. ary venues increased, and the work finally gained Messiah comprises three parts. A poem of understanding and populrity. One need not men- praise from Virgil is placed at the beginning of tion the posthumous fame of the Messiah and the the text, and in this recording this is recited before rise in frequency of perfomances. the overture. There are many difficult problems conceming Part the Flr-sr, which opens with a typical the performance of Messiah. In part this is be- French overture, Sltmphony, treats the prophecy cause, each time he performed it, Handel changed and the birth of Christ. The tenor begins with the scoring and the vocal parts, and added or cut Comfort ye, the famous prophecy from the Book some numbers, which makes it is very difficult to of Isaiah announcing the liberation of the people sa1u hich versionis the original. and the anival ofJohn the Baptist. The first half of ln those days, it was customary to adapt Pan I proceeds with prophecies from the Books of works to the circumstances,and every composer Isaiah and Malachi, building up ro O thou that did this in one way or another, not excluding tellest good tidings to Zion. Finally, the birth of Bach. But when compared with Bach, Handel Christ is announced in For unto us a child is horn. seems to have been more flexible: he was not so The instrumental interlude placed here (Pliz, 'Pastoral intent on finalizing or fixing a work. or Symphony') has a Christmas touch, In any case, when performing Messtah, one depicting the pastoral scenes of shepherds. From needs to decide which version to use. In the past, here to the end of Part I, the text is based mainly it was popular to combine favoured sections from on the Gospel according to St. Luke, and describ- each version, but recently it has become common es the joyful scene of the mgel bringing tidrngs of to base perfomances on one or other of Handel's Christ's binh to the shepherds in the open. Near own. The present recording is based on the 1753 the end of Part I. there is a beautrful duet filled Covent Gtrden version, refening to the new edi- with pastoral peace, He shall feed his.flock like a tion by Donald Bunows. shepherd. There is also a soprano solo version as This recording was made in the chapel of well as an alto solo version of this piece, but Shoin women's University, after four concert per- Masaaki Suzuki has chosen ilris duet velsion (the formances in Tokyo, Yokohama, Nagoya and soprano takes over from the alto) lrom a later . It is perfomed by four soloists including a period for this recording, and he comments that in countertenor, a chorus of 2l singers, and an orch- this version the freedom of salvation is profound- estra of oboes, trumpets, timpani. strings and con- lv exnressed. Put the Second of Messiah deals with the The Shoin Women's University Chapel, in which Passion and Glory of Christ. First, the words from this CD was recorded, was completed in March the Gospel according to St. John, Behold the 1981 by the Takenaka Corporation. It was built Lamb of God thot taketh away the sin of the world with the intention that it should become the venue are sung in a chorus in serious style, followed by for numerous musical events, in particular fo- the alto aria He u,as despised, which leads to deep cusing on the organ, and so special attention was feelings about the Passion. It is said that Handel given to the creation of an exceptional acoustic. was in tears when he composed this aria. And The average acoustic resonance of the empty hereafter, many short pieces depicting the passion chapel is approximately 3.8 seconds, and part- are heard. icular care has been taken to ensure that the lower The latter half of Pan II deals with the Ascen- range does not resound for too long. Containing sion, Glory and Second Coming of Christ, and the an organ by Marc Garnier built in the French music gradually builds up. Several of the texts are baroque style, the chapel houses concerts regu- taken from Psalms. The well-known bass aria lrly, with the 100th series concert being held in Wh1, do the nations so furiously rage together September 1995. sings of the disorder on earth at the Coming of The Bach (BCJ) was founded Christ. Finally Part II reaches the Hallelujah Collegium Japan in 1990 by Masaaki Suzuki, who remains its Chorus, taken from the Book of Revelation prais- music director, with the aim of introducing Japan- ing the enrhronedLord. Here the lrumpet5join in. ese audiences to great works of the baroque era on and the climax is constructed gloriously. period ensemble Part the l/rlrd consists of thoughts on the instruments. As the name of the indicates. its main focus has been on the works of Resunection. At the beginning, the prophecy of and those composers of the Resunection from the Book of Job is set in a Protestant who preceded and in- profound soprano aria (l knou' that my Redeemer German music luenced him, such as Buxtehude, Schiitz, Schein liveth). The scene of the Last Judgement that Bdhm. comes with the Resurrection is sung in the bass and The Bach comprises both aria accompanied by the sounding of the solo Collegium Japan and its major acti- trumpet (Ifte trumpet shall sarnd). Finally this and chorus, oratorio, a work that tells of the defeat of death vities include an annual four-concert series of and the victory of the people of God, is magni- Bach's cantatas and a number of instrumental programmes. presents ficently brought to a close by the highly emotion- In addition, the BCJ major al last chorus praising the Lamb of God (Worthy works such as Bach's Passiotts. Handel's Messialr 'Amen prog- is the Lamb that v,as slain, called the and Monteverdi's Vespers, and smaller Chorus' since the final part is a fugue on the word rammes for soloists or small vocal ensembles. 'Amen') The BCJ is based in Tokyo and Kobe but per- @ Tadashi Isoyama 1997 foms throughout Japan, and for many of its pro- jects it has been pleased to welcome European ranging fiom Gregorian Chant to the renaissance anists such as Max von Egmond, Nancy Argenta. and baroque periods with Dr. Rebecca Stewart at Christoph Pr6gardien, Peter Kooij, Monika Brabants Conservatorium. She received her diplo- Frimmer, , Kai Wessel, Gerd ma in 1995. Midori Suzuki has given concerts in Tiirk, Michael Schopper and Concerlo Palatino. various countries in Europe and in Japan. She appears as a soloist in cantatas and oratorios, as a Masaaki Suzuki, conductoq was bom in 1954 at member of vocal ensembles. and sometimes in a play Kobe, Japan. At the age of 12, he began to contemporary music group as well. In 1994, she the for organ church services every Sunday. After u on a prize at the fe\tival of contemporarlmusic graduating from the Tokyo National University of in Belgrade. Midori Suzuki often perfoms solo wirh Fine Ans and Music a degreein compo.irion pans for the Bach Collegium Japan. and organ perfbmance, he continued to study the harpsichord and organ at the Sweelinck Con- Yoshikazu Mera, countertenor, was born in servatory in Amsterdam under Prof. Ton Koop- Miyazaki in 1971. During his third year in college man and Prof. Piet Kee. he changed his principal subject from tenor to Having obtained Soloist Diplomas in both of countertenor. In October 1992 he sang the solo his instruments in Amsterdam. he was awarded part in Rossini's Petite messe solennelle, and in second prize in the Harpsichord Competition March 1994 he sang the counteftenor solo pafi in (basso continuo) in 1980 and third prize in the Bemstein's Sf,1/arl under the baton of Kazuyoshi Organ Competition in 1982 at the Vlaanderen Akiyama. Mera is a winner of the highest prizes Festival at Bruges, Belgium. at the eighth Early Music Competition Yamanashi Masaaki Suzuki enjoys an outstanding reputa- in May 1994 and the sixth Tochigi Music Festival tion not only as an organ and harpsichord soloist. Award. His keen interest in Japanese Art Song led but also as a conductor. Since 1990 Suzuki has to third prize at the sixth Sohgakudou Japanese also been the Musical Director of the Bach Art Song Competition in 1995. Mera appears Collegium Japan. As a professor of organ and frequently as a soloist for the Bach Collegium harpsichord, he teaches at the Tokyo National Japan. Universitl of Fine An" and Music. The British tenor John Elwes is well known as one Midori Suzuki, soprano, was born in Kobe. She of the world's leading interpreters of the Baroque graduated from the Kyoto City University of Ans repenoire. He has a very extensive discography with an award from the Kyoto Music Society. In which includes both the major works of the period l99l she travelled to the Netherlands to study as well as recordings of mmy previously neglected 'early' baroque singing with Prof. at works. Besides his career in music, John fte Academy for Early Music, Amsterdam, and to Elwes is known for his committed perfomances of study aspects of vocal ensemble technique music from our own century. David Thomas began singing as a boy chorister Vorwort von Masaaki Suzuki in the choir of St. Paul's Cathedral in London and Wie viele Werke sind im Laufe der Musikge- won a choral scholarship to King's College Cam- schichte sowohl in der Zeit des Komponisten als bridge. Although he is best known for his contri- auch heute so geliebt und bekannt geuesen wie bution to , his repertoire also in- Hiindels Messias? C.Ph.E. Bach. W.A. Mozart cludes the Classical period as well as works by und Ludwig van Beethoven waren alle mit diesem twentieth century composers. David Thomas has Werk vertraut und schatzten dessen Komponisten appeared on innumerable records and sings regu- sehr hoch. Bereits im 18. Jahrhundert gab es be- larlv all over the world. geisterte Hiindel-Fans, die Aufftihrungen des Messias n groBen Ereignissen machten, und die Atmosphdre wurde von Jahr zu Jahr festlicher. Zum hundertsten Jahrestag von Hlindels Tod wurde das Werk 1859 von einem Chor von 2.765 Sdngern und einem Orchester von 460 Spielem aufgefiihrt; bei einer Auffiihrung 1883 wirkten 4.000 Siinger und 500 Instrumentalisten mit. Inte- ressanterweise machte aber George Bemard Shaw den ironischen Kommentar, daB ,,wenn ich Mit- glied des House of Commons wdre, wiirde ich ein Gesetz vorschlagen, demzufolge es ein Kapital- verbrechen ware. ein Oratorium von H:indel mit mehr als 80 Mitwirkenden im Chor und Orchester aufzufiihren: 48 Siinger und 32 Instrumentalis- ten." Hdndel selbst leitete zwar nach 1754 auf- grund seiner Augenkrankheit keine Auffiihrungen mehr, aber er wirkte insgesamt bei 36 Auf- fiihrungen mit. Die Schwierigkeiten bei einer Auffi.ihrung des Messias liegen prinzipiell darin, daB Hiindel selbst die Orchestration und die Singstimmen bei jeder Auffiihrung anderte, und das Werk somit kein zweites Mal so auffiihrte wie bei der Urauf- fiihrung 1741. Kurz gesagt miissen wir uns mit dem Problem befhssen, welche Fassung wir heute wiederbeleben sollen, angesichts dessen, daB sogar die eigenen Anweisungen des Komponisten das Werk sich wie ein Lebewesen entwickeln Blessing and honour, glort and pow'r, be unto lieBen. Seinerzeit diirfte Hlindel den geeignetsten hint that sitteth upon the throne, and unto the Weg gewahlt haben, indem er bei jeder Gelegen- Lamb, for eyer and eyer. Amen heit die FAhigkeiten und Charakreristika der je- Masaaki Suzuki, Bach Collegium Japan weiligen Mitwirkenden berticksichtigte. Die vor- liegende Aufnahme basien auf der l753er Auf- Hindels Messias fiihrung in der Covent Garden, mit vier Solisten, Hiindels Messias ist eines der beliebtesten Werke einem Chor, der gleich groB wie damals war, und in der Geschichte der abendliindischen Musik. einem Orchester mit vermutlich etwas weniger Der Grund fiir diese Beliebtheit ist nicht nur die Oboen und Fagotten. GroBskaligkeit des Werkes, sondern auch die Vielfalt der Musik, mit leidenschaftlichen ,,Messias" bedeutet im Alten Testament ,,der und Gesalbte". In der damaligen Zeit wurden Kcinige. reizvollen Chriren und Arien, der Umstand, daB Priester und Propheten gesalbt, bevor sie ihr Amt man sie ungeachtet seiner ldeologie oder Religion antraten. Spiiter erhielt das Won die Bedeutun_e geniefJen kann. Bereits seit der Zeit der Urauf- ftihrung gab ,,der Erlijser", und ,,Christos" war die griechische es eine Debatte, ob der Messlas ein Ubersetzung. Somit behandelt dieses Oratorium sakrales Werk im eigentlichen Sinn oder eher ein in Wirklichkeit die grundlegenden Fragen des dramatisches Werk ist. Da man aber heute allge- Chrislentums. Der Text von Jennens verdient mein der Meinung ist, daB die Religion die uni- groBes Lob. Er ist auf wundervolle Weise aufge- verselle Erbschaft der Werte ist. muB man nicht baut und bezieht sdmtliche christliche Lehren mit mehr zijgern, dieses Werk unter die wichtigsten ein: Christi Prophezeiung, Geburt, Passion, Auf- sakralen Werken einzureihen. Die vorliegende erstehung und Unsterblichkeit, mit direkten Zi- Aufftihrung durch Masaaki Suzuki und das Bach taten aus der Bibel. Noch dazu ist Hiindels Musik Collegium Japan basiefi auch auf der Auffassung, so unschuldig und natiirlich, ohne Anspruch dar- duBdiese. Werk sehrreligidr isr. auf, sich mit der gesamten Bibel zu befassen. Der 1685 in Hallc geborene Hindel wurde Diese Durchsichtigkeit ist einer der Gri.inde, aus Opemkomponist und lieB sich dann in Italien aus- welchen der Messlas bis heute von so vielen bilden. Nachdem er sich 1710 in London nieder- Menschen geliebt worden ist. gelassen hatte, konzentriene er sich auf Kompo- Manchmal werden die Worte der Bibel mit nieren und ein italienisches Opemuntemehmen. jener tiefem religirisem Verstiindnis auf eine Weise ver- Aufgrund des Niedergangs Aristokratie, in tont, die die Seele reinigt, wie in Bachs Kantaten, welcher seine wichtigsten MAzene zu finden aber im Messlas erreichen die Worte das Herz waren, wurde es unmciglich, das Opernunter- durch die direkte Anziehungskraft seiner so reiz- nehmen aufrechtzuerhalten, und mit Beginn in vollen Musik. Ich hoffe aufrichtig, daB der Hrirer den spriten 1730er Jahren wandte sich Handel durch die Musik des Messias die sesunsenen Bot- dem Komponierenenglischer Oratorien zu. schaften verstehen wird. zu ver- So entstanden Werke wie Saul (1739), Israel Wichtig ist, ein Gefiihl der Lobpretsung dramatischen in Agypten (1739) und L'Allegro, il Penseroso ed mitteln. und den Hdrer durch die Welt ly'prsiarist il Moderato (1740). Obwohl diese Oratorien auf Effekte anzusprechen.Die de. Werken wie der Theaterbiihne aufgefiihrt wurden, waren ihre klar und menschlich. im Kontrast zu Themen in der Hauptsache dem Alten Testament Bachs Passionen. des entnommen, und ihr klanglicher Inhalt, sowie die So fuhr also Hiindel mit einer Einladung Dublin, wo Schlichtheit der AutTtihrungen i.ibten auf das neue Generalgouvemeurs von lrland nach Wohl- Biirgefium eine beachtliche Anziehungskraft aus. er am 13. Aprll 1742 das Werk bei einem Der Messras wurde 1741 als eines in dieser Reihe tAtigkeitskonzert im dortigen Theater mit einem von Oratorien komponien. Hiindel war damals 56 sehr groBen Erfolg zur Urauffilhrung brachte. Die Jahre alt. erste Londoner Auffi.ihrung fand ein Jahr spiter, Der Messias hat dennoch eine Reihe indivi- am 23. Mdrz 17.13statt. Bei dieser Gelegenheit dueller Ziige. Erstens: wdhrend die Hauptperson entstand ein Streit beziiglich der Angemessenheit, der anderen Oratorien ein Held aus dem Alten ein Werk mit Christus als Hauptgestalt in einem Testament ist. ist sie im Messias Christus selbst. Theater aufzufiihren, und angeblich soll die allge- Zweitens: in den anderen Oratorien leitet die meine Auffassung ziemlich feindselig gewesen Hauptperson das dramatische Geschehen, aber in sein. diesem Werk erscheint Christus selbst gar nicht. Das Werk mufite bis zu einer von Hiindel Drittens: im Gegensatz zu den anderen Oratorien. selbst dirigierten Auffiihrung 1750 im Foundling wo Texte im Opemstil verwendet werden, besteht Hospital warten, bevor es vollends geschatzt der Tert des Mcrrlu.' au\ /u\ammengestelllen wurde. Bis zu seinem Tod 1759 beteiligte sich Auszi.igen aus der Bibel. Viertens: die Urauf- Hiindel weiterhin an den alljiihrlichen dortigen fthrung des Messias fand nicht in London, son- Auffiihrungen. In der Zwischenzeit wurde das dern in einem Theater in Dublin statt. Der Um- Werk immer hiiuliger in anderen Lokalen aufge- stand. daB es Tradition wurde, dieses Oratorium fiihrt. es wurde irnmer besser verstanden und im kirchlichen Milieu aufzufiihren, ist ebenfalls beliebter. Es ist kaum notwendig, den postumen einziganig. Ruhm des Messias zu erwdhnen, oder die stei- Charles Jennens (1700-73) stellte den Text gende Zahl der Auffiihrungen. aus auf Christus bezogenen Abschnitten zu- Aufftihrungen des Messlas bieten stets schwie- sammen, die der Autorisierten Fassung (Authorized rige Probleme, aufgrund der Tatsache, daB Hiindel Version) der Bibel entnommen wurden. Er ist selbst bei jeder Aufftihrung die Orchestration und meisterhaft aufgebaut, und der Inhalt ist klar, aber die Singstimmen verdnderte. und verschiedene unvermeidlicherweise ist der Zusammenhang Nummem strich oder hinzufiigte, so daB es wirk- zwischen den Stiicken nicht so stark. und man lich schwierig ist zu sagen, welche Fassung als bekommt nicht das Geftihl, daB es die Absicht ist, Original zu bezeichnen ist. Damals war es iiblich, eine bestimmte theologische Frage zu vermitteln. die Werke den jeweiligen Umstanden anzupassen, und jeder Komponist tat es auf irgendeine Weise. fieiung des Volkes und die Ankunft Johannes des so etwa Bach. Im Vergleich mit Bach scheint aber Tliuf'ers ankiindigt. Die erste HAlfte des ersten Hlindel flexibler gewesen zu sein, ohne die feste Teils umfa8t weiters Prophezeiungen aus den Absicht, eine endgiiltige oder fixierte Fassung Biichem Jesaja und Maleachi, und wird aufgebaut eines Werks festzustellen. zt O clu. der uns frohe Botst'haft verkiindet. Bei einer Auffiihrung des Mes.slas mu8 nran SchlielJlich wird Christi Geburt angekiindigt: Denn sich daher fiir eine Fassung entscheiden. Frtiher es ls1xr.r ein Kind geborn. war es beliebt. sch6ne Teile aus verschiedenen Das dann fblgende, instrumentale Zwischen- Fassungen zu kombinieren, aber heute ist es eher spiel (Pfa. oder Pastoralsinfonia) schildert eine gebrAuchlich, sich nach einer der eigenen Auf'- pastorale Szene mit Hirten in weihnachtlicher fiihrungen Hdndels zu richten. Die vorliegende Stimmung. Von hier weg bis Ende des ersten Teils Aufnahme von Suzuki und dem Bach Collegium basiert der Text hauptsiichlich auf dem Evange- Japan ist ein Versuch, die Fassung aus dem Co- lium des Lukas. Er beschreibt die freudenreiche vent Garden 1753 wiederzubeleben. unter Ver- Szene. in der der Engel den Hirten die Nachricht wendung der Neuausgabe durch Donald Burows. der Gebun Christi bringt. Gegen Ende des ersten Diese Aufnahme wurde in der Kapelle der Teils folgt ein schijnes, pastoral friedliches Duett FrauenuniversitatShoin gemacht, nach vier Kon- (Er u'eidet die Herd' wie ein Hirte). Von diesem zertauffiihrungen in Tokio, Yokohama, Nagoya Stiick gibt es auch Solofassungen fiir Sopran bzw. und Kobe. Die Mitwirkenden sind vier Solo- Alt. aber Suzuki wiihlte fiir diese Aufnahme die sanger (darunter ein Countertenor), ein Chor mit vorliegende Duettfassung (der Sopran iibernimmt 21 Mitgliedern und ein Orchester mit Oboen. Yom Alt) aus einer spateren Zei1, mit dem Trompeten, Pauken, Continuo (Orgel, Cembalo Kommentar, daB in dieser Fassung die Freiheit und Fagott) und Streichern. Beim Anhtjren der der Erl

MESSIAH El Accompagnato Thus saith the Lord, the Lord of Hosts: Yet once a CD 1 (Brs-cD-89r) little while and I will shake the heavensand the earth, the sea and the dry land, and I will shake all Part the First nations; and the desire of all nations shall come. (Haggai II,6-7) E Majora Canamus The Lord, whom ye seek, shall suddenly come to And without controversy His temple;ev'n the messengerof the Covenant Greatis the mysteryof Godliness: whom ye delight in: behold. He shall come, saith the God was manifested in the flesh, Lord of Hosts. Justified by the Spirit, seenof angels, (Malachi III, 1) Preachedamong the Gentiles, Believed on in the world. E Air Received up in glory. But who may abidethe day of His coming, and who In whom are hid all the treasuresof shall stand when He appeareth?For He is like a Wisdom and knowledge. (Vi'gil, Eclogue 1) refiner'sfire. (Malachi III,2) E Symphony E Chorus And He shall purify the sons of Levi, that they may E Accompagnato offer unto the Lord an offering in righteousness. Comfort ye my people, saith your God. Speak ye (Malachi lll, 3 ) comfortably to Jerusalemmd cry unto her, that her warfare is accomplish'd, that her iniquity is pudon'd E Recitative The voice of him that crieth in the wildemess: Behold, a virgin shall conceive, and bear a son, and 'God Prepare ye the way of the Lord, make straight in the shall call his name Emmanuel, with us'. desert a highway for our God. (lsaioh XL, 1-3) (lsaiahVII, ll)

El Air @ Air and Chorus Ev'ry valley shall be exalted,and ev'ry mountain O thou that tellest good tidings to Zion, get thee up and hill made low, the crooked straight and the into the high mountain.O thou that tellestgood rough placesplain. (lsaiahXL, I ) tidings to Jerusalem,lift up thy voice with strength, lift it up, be not afraid.Say unto the cities ofJudah: E Chorus Behold your God! (I saiqhXL, 9) And the glory of the Lord shall be revealed. And all O thou that tellestgood tidingsto Zion. Arise. shine, flesh shall see it together, for the mouth of the Lord for thy light is come, and the glory of the Lord is hath spoken it. (lsaiah XL, 5 ) risen upon thee. (lsaiah LX, I ) E Accompagnato Ei Accompagnato For behold, darkness shall cover the earth, and gross And suddenly there was with the angel a multitude darknessthe people: but the Lord shall aise upon of the heav'nly host,praising God, and saying: thee, and His glory shall be seenupon thee. And the (LukeII, l3) Gentiles shall come to thy light, and kings to the brightness of thy rising. B Chorus (lsaiahLX,2-3) Glory to God rn the highest, and peace on earth, good will towards ment (Luke IL 14) E Air The people that walked in darknesshave seen a great E] rtir light. And they that dwell in the land of the shadou, Rejoicegreatly, O daughterofZion, shout,O of death, upon them hath the light shined. daughterof Jerusalem,behold, thy King cometh (lsaiahlX,1) unto thee. He is the righteous Saviour, and He shall speakpeace unto the heathen.(Zechariah IX,9-10) @ Chorus For unto us a child is bom. unto us a Son is given, E Recitative and the government shall be upon His shoulder, and Then shall the eyesof the blind be open'd, and the His name shall be called: Wonderful, Counsellor, ears of the deaf unstopped; then shall the lame man The Mighty God, The Everlasting Father, The Prince leap as an heart, and the tongue of the dumb shall ofPeacel (lsaiah IX,6) sing. tr pita @lDuet He shall feed His flock like a shepherd,and He shall E Recitative gather the lambs with His dm and cany them in His There were shepherdsabiding in the lield, keeping bosom.and gently lead thosethat are with young. watch over their flocks by night. (Luke II,8) (lsqiqh XL. ll ) Come unto Him all ye that labour,come unto Him @ Accompagnato that are heavy laden, and He will give you rest. Take And lo, the angel of the Lord came upon them, and His yoke upon you, and leam of Him, for He is the glory of the Lord shone round about them and meek and lowly of heart, and ye shall find rest unto they were sore afrard. (Luke II, 9 ) your souls. (Matthew,XI, 28-29 )

E Recitative E Chorus And the angel said unto them: Fear not, tbr behold, I His yoke is easy.His burthenis light. bring you good tidings of greatjoy, which shall be to (Martheu Xl. 30) all people.For unto you is bom this day in the city of David, a Saviour,which is Christ the Lord. lLuke II. I0-12) Part the Second E chorus He trusted in God that He rvould deliver Him: let B Chorus Him deliver Him, if He delight in Him! Behold the Lamb of God, that taketh away the sin of (Psaln XXII,8) the world. (John I, 29 t E Accompagnato E Air Thy rebuke hath broken His heart; He is full of He was despised and rejected of men, a man of heaviness.He looked for someto have pity on Him, sonows. and acquaintedwith grief. (lsaiah Llll,3) but there was no man. neither found He any to He gaveHis back to the smiters,and His cheeksto comfort Him. (Psaln LXIX,20) them that plucked off the hair, He hid not His tace from shameand spitting.(lsaiah L,6) E Arioso Behold, and see if there be any sonow like unto His sofrowl (Lamettqtions of .leremiah l, 12 )

CD 2 (Brs-cD-892) E Accompagnato He was cut off out of the land of the living, for the El Chorus transgressionsof Thy people was He stricken. griefs our Surely. He hath borne our and canied (lsaiah Ll11,8) sorrows: He was wounded fbr our transgressions,He was bruisedlbr our iniquities;the chastisementof E Air ( our peace was upon Him. lsqiqh LIll , 1-5) But thou didst not leaveHis soul in Hell; nor didst Thou.uffer Th) Holy Oneto \ee comption. El Chorus (PsalnXVI.l0) And with His stripes we are healed. (lsaiah LIII,5) @ Chorus E Chorus Lift up your heads,O ye gates,and be ye lilt up. ye gone we have A11we like sheephave astray. turned everlasting doors, and the King of Glory shall come way. (lsaiah LIII,6) ev'ry one to his own in. Who is this King of Glory? The Lord strong and mighty, the Lord mighty in E Accompagnato battle. Lift up your heads,O ye gates, and be ye lift All they that seeHim laugh Him to scom; they shoot up, ye ever lasting doors, and the King of Glor1' out their lips, and shaketheir heads.saying: shall come in. Who is this King of Glory? The Lord (Psalm XXII, 8) of Hosts, He is the King of Glory. (PsqlmXXIV,7-14) E Recitative @ Chorus Unto which of the angelssaid He at any time: Thou Let us break their bonds asunder,and cast away their art My Son,this day haveI begottenthee? yokes from us.(Psaln II,3) (Epistle ro the Hebrews 1,5) El Recitative E Chorus He that dwelleth in heavenshall laugh them to Let all the angels of God worship Him. scom: the Lord shall have them in derision. (Epistle to the Hebrev,s L 6) (P salnt II, 1 ) @ Air @ air Thou art gone up on high, Thou hastled captivity Thou shaltbreak them with a rod of iron. Thou shalt captive, and received gifts for men, yea, even lbr dashthem in pieceslike a potter'svessel. Thine enemies,that the Lord God might dwell (Psalnt IL 9) among them. (Psaln LXllll, l9) E Chorus E Chorus Hallelujah! For the Lord God Omnipotent reigneth! The Lord gave the word; great was the company of Hallelujahl (Apocalypse XIX, 6 ) the preachers.(Ps1lm LXIllll, 12) The Kingdom of this world is become the Kingdom of our Lord and of His Christ,and He shall reign for E Air ever and ever (Apocalypse XI, I5) How beautiful are the feet of Him that bringeth glad King of Kings and Lord of Lords. tidings of salvationl that saith unto Zion, Thy Cod (Apocalypse XIX, l 61 reignethl Break forth into joy, glad tidings, Thy God reignetht (Psulm X, I 5 ) E Chorus Part the Third Their soundis gone out into all the lands,and their words unto the ends of the world. (Romons X, I 8 ) @ Lir I know that my Redeemer liveth and that He shall E air stand at the latter day upon the eafih. And tho' Why do the nations so furiously rage together, why woms destroy this body, yet in my flesh shall I see do the people imagine a vain thing? The kings of the God. (Joh XIX,25-26) earth dse up, and the rulers take counsel together For now is Christ risen from the dead, the lirst fruits against the Lord and against His anointed. of them that sleep. (Psaln II, 1-2) (First Epistleto the Cuintltidns XV.201 E Chorus that justifieth, who is he that condemneth? It is Christ that died, yea rather, that is risen again. who is Since by man came death. by man came also the at the ight hand of God, who maketh intercession resurection of the dead. For as in Adam all die, even for us. (Epl.v1eto the Romans VIII , 33 -31 ) so in Chri.t rhallall be madealive. (First Epistleto the CorinrhiqnsXV,2l-22) @ Chorus El Accompagnato Worthy is the Lamb that was slain. and hath redeemedu. to God by His blood. to recei\e power. Behold, I tell you a mystery;we shall not all sleep, and riches, and wisdom, and strength, and honour, and we shall all be chang'd,in a moment,in the and glory and blessing. Blessing and honour, glory twinkling of an eye, at the last trumpet. and pow'r be unto Him that sitteth upon the throne (First Epistleto the CorinthiqnsXV,5l-52) and unto the Lamb tbr ever and ever Amen. E.qir (RevelationV,l2-13) The trumpet shall sound, and the dead shall be raised, inconuptible. and we shall be chang'd. For this conuptible must put on inconuption, and this mofial must put on immortality. (First Epistleto the CorinthiansXV, 52-53)

E Recitative Then shall be brought to pass the saying that is wdtten, deathis swallow'd up in victory. (Fit'stEpistle to the CorinthiansXV, 51) E Duet O Death, where is thy sting, O grave, where is thy victory? The sting of death is sin, and the strength of sin is the law. (First Episrleto the CorinthiansXV, 55-56) E Chorus But thanks be to God. who giveth us the victory throughour Lord JesusChdst! (Fi'st Epistle to the Corinthiqns XV, 57) @ air If God be for us, who can be againstus? Who shall lay anything to the charge of God's elect? It is God (lhi-rir: Orchestra

Sopranos: MidoriSuzuki Lead€r: Aki Yanagisawa Violins: Natsurni Wakamatsu Tamiko Hoshi Azumi Takada Sachiko Muratani Yuko Takeshima Naoko Hompo Makoto Akatsu Megumi Fukuda Mari Ono Altos: Yuko Anazawa Violas: Yoshiko Morita Tamaki Suzuki Ryoko Moro-oka Ikuko Mizugaki Kell)' Baxler Violoncellos: ClaudiaSchrnitz Norizumi Moro-oka

Tenors: Makoto Sakurada Violone: Shigeru Sakurai Akira Takizawa Oboes: N,[asamitsuSannomiya Tadashi Miroku Koji Ezaki Takenori Ohnishi Trumpets: Toshio Shimacla Basses: YoshitakaOgasawara YoshioKobayashi TetsuyaOdagawa Timpani: ShigemitsuEiso Jun Hagiwara Bassoon: Seiichi Futakuchi Seiji Yoshikawa YoshivaHida Organ: Itsuko Noto Harpsichord: Minako Tatsumi ::r:li:lllrl:r:;i.:i ii i;tr:rta:::.1::i::i .,:iilr:!:i:r:.rtl

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