St. Paul’s Music: Music in a Sacred Space

Through the language of music, St. Paul’s Music is a bridge between the secular and the sacred that creates community, connects people with the divine, and develops young musicians.

Now in its thirty-seventh year, St. Paul’s Music continues as a ministry of St. Paul’s Episcopal Church, where the human spirit speaks through the arts. Through generous supporters, St. Paul’s Music is able to offer a variety of events to the community, and continues to feature choral masterworks performed by St. Paul’s Choir with orchestra, as well as professional artists from the Indianapolis area and around the world. This organization also supports projects such as recordings and choir pilgrimages. St. Paul’s Music is an organization dedicated to sharing the arts with all people in our community.

St. Paul’s Music presents

MESSIAH A Sacred GEORG FRIDERIC HANDEL (1685-1759)

Part One and Excerpts

Sunday, December 13, 2015, at 4:00 p.m.

Indianapolis Pro Musica The Indianapolis Baroque Artists Orchestra Brad Hughley, Conductor

Samantha Dotterweich, soprano Mark Stoner II, alto Michael Day, Jonathan Bryan,

Messiah is not a typical Handel oratorio; there are no named characters, as are usually found in Handel's settings of Old Testament stories. This work is a meditation rather than a drama of personalities. The narration of the story is carried on by implication, and there is no dialogue. The chorus acts as a sounding board for the drama, rather in the style of a Greek chorus. The extraordinary text compilation is by the Reverend Charles Jennens, a wealthy English gentleman who is attributed as the prime moving force in this endeavor. Of the many changes Handel made over the years, he hardly felt the need to add or subtract a single word. The first performance was on April 13, 1742 in Dublin, Ireland. The work was enthusiastically received by the public. The Dublin Journal reported that this new work "was allowed by the greatest Judges to be the finest Composition of Musicik that ever was heard." Time has proved this great oratorio to be immortal. The work is in three parts, narrating the Nativity, the Passion, and the Resurrection of Jesus Christ. Today, as we prepare for the season of Advent, we hear the stories of the prophets and the realization of the coming of the Messiah.

PART I

1. Symphony

2. Accompagnato (Tenor) Comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness: Prepare ye the way of the Lord, make straight in the desert a highway for our God. (Isaiah XL, 1-3)

3. Air (Tenor) Ev'ry valley shall be exalted, and ev'ry mountain and hill made low, the crooked straight, and the rough places plain. (Isaiah XL, 4)

4. Chorus And the glory of the Lord shall be revealed. And all flesh shall see it together, for the mouth of the Lord hath spoken it. (Isaiah XL, 5)

5. Accompagnato (Basso) Thus saith the Lord, the Lord of Hosts: Yet once a little while, and I will shake the heav'ns and the earth, the sea and the dry land, and I will shake all nations; and the desire of all nations shall come. (Haggai II, 6-7). The Lord, whom ye seek, shall suddenly come to His temple; ev'n the messenger of the Covenant, whom ye delight in, behold, He shall come, saith the Lord of Hosts. (Malachi III, I)

6. Air (Basso) But who may abide the day of His coming, and who shall stand when He appeareth? For He is like a refiner's fire. (Malachi III, 2)

7. Chorus And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. (Malachi III, 3)

Recitative (Alto) Behold, a virgin shall conceive, and bear a son, and shall call his name Emmanuel, "God with us.” (Isaiah VII, 14)

8. Air (Alto) and Chorus O thou that tellest good tidings to Zion, get thee up into the high mountain, O thou that tellest good tidings to Jerusalem, lift up thy voice with strength, lift it up, be not afraid, say unto the cities of Judah: Behold your God! (Isaiah XL, 9) O thou that tellest good tidings to Zion. Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. (Isaiah LX, 1)

9. Accompagnato (Basso) For behold, darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to the brightness of thy rising. (Isaiah LX, 2-3)

10. Air (Basso) The people that walked in darkness have seen a great light. And they that dwell in the land of the shadow of death, upon them hath the light shined. (Isaiah IX, 1)

11. Chorus For unto us a child is born, unto us a Son is given, and the government shall be upon His shoulder, and His Name shall be called: Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace! (Isaiah IX, 6) 12. Pifa (Soprano) There were shepherds abiding in the field, keeping watch over their flock by night.

13. Accompagnato (Soprano) And lo, the angel of the Lord came upon them and the glory of the Lord shone round about them, and they were sore afraid.

Recitative (Soprano) And the angel said unto them: Fear not; for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day, in the city of David, a Saviour, which is Christ the Lord. (Luke II, 8-11)

14. Accompagnato (Soprano) And suddenly there was with the angel a multitude of the heav'nly host, praising God and saying: (Luke II, 13)

15. Chorus Glory to God in the highest, and peace on earth, good will towards men! (Luke II, 14)

16. Air (Soprano) Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem: Behold, thy King cometh unto thee. He is the righteous Saviour, and He shall speak peace unto the heathen. (Zechariah IX, 9-10)

Recitative (Alto) Then shall the eyes of the blind be open'd, and the ears of the deaf unstopped; then shall the lame man leap as an hart, and the tongue of the dumb shall sing.

17. Duet (Alto, Soprano) He shall feed His flock like a shepherd, and He shall gather the lambs with His arm and carry them in His bosom, and gently lead those that are with young. (Isaiah XL, II) Come unto Him all ye that labour, come unto Him that are heavy laden, and He will give you rest. Take His yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls. (Matthew XI, 28-29)

18. Chorus His yoke is easy. His burthen is light. (Matthew XI, 30)

from PART II

30. Chorus Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in! Who is this King of Glory? The Lord strong and mighty, the Lord mighty in battle. Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts, He is the King of Glory. (Psalm XXIV, 7-10)

Recitative (Tenor) Unto which of the angels said He at any time: Thou art My Son, this day have I begotten Thee? (Hebrews I, 5)

31. Chorus Let all the angels of God worship Him. (Hebrews I, 6)

33. Chorus The Lord gave the word: great was the company of the preachers. Psalm 68: 12

34. Air (Soprano) How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things. (Psalm X, 15)

35a. Chorus Their sound is gone out into all lands, and their words unto the ends of the world. (Romans X, 18) Indianapolis Baroque Artists

Violin I Viola Glen Kwok Melinda Odle Crystal Barrett Yon Joo Lee Nicole Brockmann Aryn Sweeney Nicole DeGuire Violoncello Bassoon Violin II Adriana Contino Kelly Swensson James Martin Laura Barcelo Violone Cembalo Joseph Everett Matthew Gerhardt

Indianapolis Pro Musica

Sopranos Altos Basses Kate Appel Pam Douglas Lee Barlow Rick Adams Jane Dunnivant Marian Fales Elwood Black John Carvey Sara Haisley Joyce Krauser Jose Espada Charles Good Susan Joiner Mary Robinson Tom Honderich Chris Gribble Candis Lang Diana Saltanovitz Gary Lowe Pat Havens Desiree Law Becky Stoner Thomas McCart Julie Query Nancy Utz Mary Beth Wott

Soloists

Samantha Dotterweich, a native of Sacramento, California, recently completed a Master of Sacred Music at the University of Notre Dame, where she studied under Stephen Lancaster and Georgine Resick. Samantha fluidly shifts among genres and vocal styles and is admired for her artistry in both solo and choral settings. In addition to her performance of new music (recently presenting works by Libby Larsen and appearing with the Kosmologia New Music Project in pieces by Shulamit Ran and Steve Reich) Ms. Dotterweich frequently performs in concerts of Baroque and earlier music, most notably singing the role of Maddalena in Handel's La Resurrezione and in Grant Herreid's original production of The Celestial Lyre at the Amherst Early Music Festival.

A member of St. Paul's Choir since age eight, Mark Stoner has served as alto staff section leader since 2006. He has been a featured soloist in several past performances at St. Paul's, as well as around the Indianapolis area. In addition to singing, Mark is a Historic Preservation Architect in Indianapolis and earned his Master of Architecture degree from the University of Illinois. He resides in Indianapolis with his wife Katie, their two daughters, and two energetic golden retrievers.

From Rockford, Illinois, tenor Michael Day is currently a masters student at the Indiana University Jacobs School of Music, where he studies vocal performance under Andreas Poulimenos and Gary Arvin. Michael has performed tenor solos in several , including the Mozart Requiem with St. Paul's Choir and Beethoven's Missa Solemnis with the Bloomington Chamber Singers. Next summer Michael will be performing with Theatre of St. Louis as a Gerdine young artist.

Jonathan Bryan is a 24 year-old baritone from Dallas, Texas, currently pursuing a Masters degree at Indiana University's Jacobs School of Music. He has appeared on the stage in many capacities, including operatic, musical theater, and concert appearances. Most recently, Jonathan took the stage as Owen Hart in IU Opera's production of Dead Man Walking. Upcoming engagements include Guglielmo in IU opera's 2016 spring production of Così fan tutte, and Junius (cover) in Wolf Trap Opera's 2016 summer production of The Rape of Lucretia. Program Notes

Although German by birth and upbringing, Handel’s adult career was largely spent working in London. He had made a name for himself musically by the age of twenty, working in Hamburg and then in Florence, Venice, and Rome. While in Italy he became acquainted with persons connected to Prince George, the Elector of Hanover, and they invited him to visit the court. Shortly after his twenty-fifth birthday, Handel accepted the post of Kapellmeister to the Elector. His acceptance carried the condition that he be granted an immediate 12-month leave of absence in London. Prince George stood next in line to succeed Queen Anne, the last of the Stuarts on the British throne, and by granting Handel the opportunity to become familiar with London he was not at risk of losing him. Handel spent much of the next four years in London, having obtained another leave after an interim year in Hanover.

At the time of Handel’s first visit, the Queen’s Theatre in Haymarket had just been built by Vanbrugh, and Handel collaborated with the theatre’s Italian librettist to produce , an Italian opera that met with great popularity. Handel left for Hanover, but after a year he returned to London and took up residence with Lord Burlington at his town house in Piccadilly. Burlington was a prominent patron of the arts and Handel’s circle of acquaintance grew. He composed several more Italian although none of them achieved the popularity of Rinaldo. In 1713, the Queen granted Handel a commission to write ecclesiastical and ceremonial music, and accompanied it with an annual salary.

Handel had overstayed his permission to be away from Hanover, and when in August 1714 Queen Anne died and Prince George arrived in London as King George I, Handel was afraid to see him. He was soon restored to favor however (his salary was doubled), and other than occasional excursions to the continent, he remained in England and became a naturalized citizen.

Handel is well-known for the coronation music he composed for George II in 1727 and for his Funeral Anthem for Queen Caroline in 1737. But his first love was the theatre and he composed many operas in the Italian style, which were financed by investors and performed by Italian singers. Unfortunately for the underwriters, public tastes were changing and Italian opera lost its popularity. The theatrical organizations of which Handel was a part were beset with losses, squabbles, and reorganizations. However, a new musical form was introduced to England in 1732: that year three private performances of , an oratorio, were produced with great success and performances for larger audiences followed. The original performances included action by the singers. That was soon changed so that in the larger performances, it was advertised, “there will be no Action on the Stage, but the House will be fitted up in a decent Manner for the Audience.” The motivating force was the Bishop of London’s prohibition of the stage representation of a sacred subject in the opera house.

Handel was most reluctant to abandon writing opera, despite its lack of popular potential, but he supplemented his activity with oratorio composition. was premiered in January 1739 and was followed in April by . The latter was innovative in that the entire libretto was scriptural; this was attacked in some quarters, and Israel in Egypt was not an initial success.

Handel’s fortunes improved following an invitation from the Lord Lieutenant of Ireland to mount a production in Dublin for the benefit of Dublin charities. He obtained a libretto, compiled entirely from scriptural sources, from Charles Jennens on the subject Messiah. Handel set the text to music in the space of 23 days. Messiah premiered in Dublin in April 1742; the audience was estimated at 700 and the work was enthusiastically received. Before Handel left Dublin he was prevailed upon for a repeat performance. In London, Messiah had a more tepid reception, with a recurrence of the criticism that it was blasphemous to perform sacred works in a playhouse. Messiah’s popularity in England didn’t flower until Handel began the custom of benefit performances in 1750. The beneficiary of the performances was the Foundling Hospital, of which Handel was a governor. Handel saw to it that Messiah was performed at least once annually for the benefit of the Foundling Hospital during the remainder of his lifetime, and each of these performances generated profit to the hospital estimated at £600. While Messiah is by far the best known oratorio today, it was not Handel’s most popular during his lifetime – that distinction belongs to Judas Maccabaeus, written to celebrate the English victory at Culloden and premiered in 1747.

Of all Handel’s vast legacy, his major innovation is considered the English oratorio, quite different from continental versions. The prohibition against stage performance and the middle class English public’s preference for Biblical subjects contributed to its evolution. Immediate advantages to the producer included avoiding the expense of costumes and scenery, and the extensive use of choruses reduced the expense of virtuoso singers. It has been observed that if the oratorios had been performed as operas, with staged action, they would contain fewer choruses due to the practical limits of choristers’ memories.

While most of Handel’s many oratorios are structured as dramas, the two entirely scriptural works Israel in Egypt and Messiah differ: they do not have plots in the usual sense. Messiah, in particular, embodies a fusion of Italian opera, the English anthem, and the German Passion, and in it can be seen the partnership of Handel’s personal faith and artistic creativity to express the aspirations of the Anglican religious spirit. Chuck Roemer

Future Events at St. Paul’s Church

December 19, Saturday at 1:00 p.m. St. Paul’s Choir School Recital St. Paul’s Choir School youth perform instrumental classical and seasonal selections.

December 24, Christmas Eve at 5:00 p.m. Festival of Lessons and Carols This beautiful service, based on the medieval vigil, was first held at Truro Cathedral in England and has become a favorite throughout the world. Lessons telling the story of Christ’s birth are read by choristers and members of the community, while carols and anthems resound the message of Christmas. An organ prelude begins at 4:30 p.m.

December 24, Christmas Eve at 11:00 p.m. Festival Choral Eucharist St. Paul’s Choir celebrates the Feast of the Nativity with brass and organ. A prelude with carols for choir and congregation begins at 10:10 p.m.

January 10, Sunday at 4:00 p.m. Epiphany Lessons and Carols St. Paul’s Choir sings a reflective candlelight service of scripture and song.

January 31, Sunday at 6:00 p.m. – NEW DATE AND TIME Icarus: A Jazz Ensemble This local ensemble is known for its eclectic sound, repertoire, and instrumentation. They are known for their performances of jazz, classical, pop and original compositions. Icarus is Peter Hansen on bass, Gary Walters on piano, Dean Franke on violin, and Jon Crabiel on drums—including including some ethnic percussion and Mark Ortwein, playing tenor saxes, bass clarinet and electric bassoon. They have performed frequently for Indianapolis audiences such as the venerable Jazz Kitchen and the Indianapolis Symphony Orchestra. Admission is free. Friends of St. Paul’s Music

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Saints ($1,000 and up) Archangels ($100 - $249), Cont. Angels (up to $99), Cont. Drs. Robert Alonso & Givan Judith Gustafson Eric Boes & Tatiana Foroud Col. A. D. Kneessy C. William Hanke Gail & Ron Bowler Harry R. Mamlin, III & Frank Boles Duke & Tammy Hardy Judith Culpepper Lois Pless Pat & Frank Hartman Kathleen George Dr. & Mrs. Robert Rudesill Cheri & Steve Irmscher in memory of Susan George Marilyn L. Vargo Tamara Jacques John & Judy Havens, in honor of Ron & Elizabeth Jobe Marilla Havens’ Baptism anniversary Seraphim ($500 - $999) Annette Johansson Herb & Melba Heller Simon Atkinson & Joan Duwve Drs. Patricia & Gerald Keener Joan L. Henderson Chad & Beth Brown Larry & Joyce Krauser Rachel G. Hildebrandt Sue Hale Gerry & Sue LaFollette Susan Joiner Ann Hinson Stephen & Candis Lang Carolyn Kanze Ruth J. Nelson Anne Lowe Marie E. Kingdon Chuck Roemer Melanie Manges Joie Kipka John & Elsa VanHekken The Rev. Thomas McCart Jeffrey Nicholls Margaret Yergler Mary Kay McCauley Ann R, Strong Joanna & Michael Menke Anne C. Traynor Cherubim ($250 - $499) Beverly Milgate Mary Jo Wallace Rick & Becky Adams Timothy S. Needler Tony & Kelli Zabel Brad & Amy Hughley Stephen R. Nelson John & Liz Jenkins John Vernon Oaks St. Paul’s Music Foundation Larry & Betsy Johnson Sally Miller Peck One Anonymous Mr. & Mrs. Langdon W. Kumler The Rev. David & Mrs. Donna Purvis Duke & Tammy Hardy Fred & Bev Ruebeck Robert & Kathryn Riester Cheri & Steve Irmscher Mary Anne & Ken Winslow Diana Saltanovitz Col. A. D. Kneessy Carol Wissman & Phyllis Nolen The Rev. Robert & Mrs. Rita Schilling Melanie Manges Steven Pettinga & Michael Byrum Robert & Susan Schlifke Mary Kay McCauley Ace & Beth Yakey Barbara Schubert Ruth J. Nelson The Shea Carpenter Family The Rev. David & Mrs. Donna Purvis Archangels ($100 - $249) John A. Seest Chuck Roemer Two Anonymous Mary M. Sutherland Barbara Schubert Elizabeth Anton, in memory of Bill & Jan Tindall James Anton Erin Walls Tom & Anna Beczkiewicz Peter Whitten Scholarships Martha Bowman Timothy & Mary Beth Wott One Scholarship in memory and Gina Bremner Jeffrey A. Young, in memory of honor of many generations of Nancy Burke Floyd Powell Carvey Family musicians by the Allison Cox Mike & Donna Zierdt Carvey Family. Jan Douglas Pamela Douglas Angels (up to $99) One Scholarship given by Joanna Giesek Two Anonymous Marilyn L. Vargo, in thanksgiving Charles Goodlett & Joan Brandt Armen Avakian for the life of Edward G. Vargo

Promotions for this Concert are thanks in part to WFYI Public Radio.