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Handel, Messiah

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Handel, Messiah in 2016 Saturday 23 April at 7.00pm to celebrate HM The Queen’s 90th birthday A CONCERT OF GREAT BRITISH CLASSICS including works by Parry, Walton and Elgar with the Choristers of Wells Cathedral Southern Sinfonia Matthew Owens conductor Saturday 11 June, from 9.30am to 6.00pm Come and Sing Day with Matthew Owens MOZART VESPERS in St Thomas’s Church, Wells Saturday 12 November at 7.00pm MOZART VESPERS HAYDN NELSON MASS Music for Awhile Orchestra (on period instruments) Matthew Owens conductor Saturday 3 December at 7.00pm HANDEL MESSIAH Music for Awhile Orchestra Matthew Owens conductor 2 George Frideric Handel (1685-1759) Messiah (1741) A Sacred Oratorio, words by Charles Jennens _________________________________________ Susan Hamilton soprano James Neville counter tenor Edward Goater tenor David Shipley bass __________________________________________ Wells Cathedral Oratorio Society __________________________________________ Music for Awhile Orchestra (on period instruments) Margaret Faultless leader __________________________________________ Matthew Owens conductor __________________________________________ This concert takes place in the Cathedral by kind permission of the Chapter of Wells Cathedral. The use of mobile telephones, photography, or recording of any kind is forbidden except by express permission of the Chapter. Printed music supplied by Somerset Libraries, Arts, & Information. Wells Cathedral Oratorio Society is affiliated to Making Music. 3 Programme Notes Handel has enjoyed a privileged position Handel's music when he said, “Go to him in the musical life of our country for over to learn how to achieve great effects, by 250 years. It was not always so. Although such simple means.” Mozart said of him: Messiah was well received at its first per- “Handel understands affect better than formances in Dublin in 1742, in London at any of us. When he chooses, he strikes Covent Garden it like a thunder bolt.” was greeted by the hostility of the In 1712 Handel critics who de- settled in England plored the presen- and in 1727 be- tation of sacred came a naturalised music in a theatre. British subject. Although the work Within fifteen years was conceived for he worked with, or a secular theatre started, three and was first per- opera houses. Be- formed during tween 1711 and Lent, it has be- 1739 more than 25 come common of Handel’s operas practice since were premiered at Handel’s death to the Queen’s Thea- perform Messiah tre alone (now Her during Advent, the Majesty’s Theatre) preparatory peri- and Handel wrote a od of the Christ- total of 42 Italian mas season. operas. Born in 1685, Han- In 1737, aged 52, del was 56 when he composed Messiah. Handel suffered a stroke which left him He had received his training in his native with a disabled right hand and some con- Germany, in Halle and Hamberg, and then fusion. It was not expected that he would in Italy. His influences were the German play again. However, after a stay at the polyphonic and the Italian Baroque com- spa in Aachen, he returned and turned his posers, especially Corelli and Scarlatti. He attention to oratorio. Public taste for was much admired by Bach who was born Italian operas had declined and oratorio a month after Handel and who had tried became popular, giving audiences a but failed to meet him in Halle. Beetho- chance to hear works in their own lan- ven said of Handel “the master of us all... guage. When Handel continued this trend the greatest composer that ever lived. I after writing Messiah he produced a se- would uncover my head and kneel before ries of 20 oratorios which helped him his tomb”. Beethoven emphasised above regain his title as the country’s favourite all the simplicity and popular appeal of composer. 4 In 1741 Handel was invited to visit Dublin meditation on Our Lord as Messiah. It to stage a series of concerts. Shortly after begins with the prophesies of Isaiah and receiving this request, and in the period other Old Testament writers. Christ’s of just over three weeks (with much of Nativity, Passion and Resurrection follow the music borrowed from his operas) he in a majestic procession of recitatives, created Messiah. It was probably with his arias and choruses, ending in the great visit to Ireland in mind. Every word is tak- hymn of praise from the Book of Revela- en from the King James 1611 version of tion. the Bible whilst the psalm excerpts are from the Tudor translation of Coverdale. Handel staged a dozen successful con- Credit for the ingenious way in which certs in Dublin and then announced with such widely scattered texts have been a fanfare that his new oratorio would welded into a perfect whole must go to receive its premiere on April 13, 1742. the compiler, a Leicestershire squire With 26 boys and 5 men, from St Patrick’s named Charles Jennens who was a close and Christ Church cathedrals—plus so- friend of Handel and had for a while tried prano and contralto soloists who also to persuade him to write such a work. His helped with the choruses—he arranged preface to the libretto expresses the idea for a public rehearsal to take place the which inspired it: ‘And without controver- day before. This caused a sensation and sy, great is the mystery of Godliness: God hundreds of eager listeners had to be was manifest in the Flesh, justified by the turned away from the first performance. Spirit, seen of Angels, preached among The first published score of Messiah was the Gentiles, believed on in the world, issued in 1767, eight years after Handel’s received up in Glory. In whom are hid all death, though this was based on relatively of the Treasures of Wisdom and early manuscripts and included none of Knowledge.’ Handel’s later revisions. This evening’s Messiah is unique among Handel’s orato- performance uses Watkins Shaw’s final rios in being entirely undramatic. The edition of 1992 that he had worked on soloists do not represent characters nor, between 1957 and 1965. He had access except for the short nativity section, is to many of Handel’s papers, including his there any narrative. The entire work is a conducting score from the first Dublin 5 performance. This edition of Messiah rev- He was so moved by the performance olutionised its interpretation, and has that he rose to his feet. been called ‘a landmark in what we now Out of tribute to the composer. know as the Early Music movement.’ He arrived late and the crowd rose as he finally made an appearance. King George II attended the first London His gout acted up at that moment and performance and as the first notes of the he rose to find relief. triumphant ‘Hallelujah’ chorus rang out he He mistook the first few notes in the rose to his feet and remained standing chorus for the national anthem and until the end of the chorus. The audience stood out of respect. and orchestra also stood, initiating a tradi- tion that has lasted for two centuries. The It is still the accepted practice for the audi- exact reason why the King stood at that ence to stand for the ‘Halleluiah’ chorus. point is not known, but the most popular explanations include: Programme by Neill Bonham Part One 1. Sinfonia (Overture) 2. Recitative Tenor 5. Recitative Bass Comfort ye, comfort ye my people, Thus saith the Lord, the Lord of hosts: saith your God. Speak ye comfortably Yet once a little while and I will shake to Jerusalem, and cry unto her, that the heavens and the earth, the sea and her warfare is accomplished, that her the dry land. And I will shake all na- iniquity is pardoned. The voice of him tions; and the desire of all nations shall that crieth in the wilderness; prepare come. The Lord, whom ye seek, shall ye the way of the Lord; make straight suddenly come to His temple, even the in the desert a highway for our God. messenger of the Covenant, whom ye (Isaiah 40: 1-3) delight in; behold, He shall come, saith the Lord of hosts. 3. Air Tenor (Haggai 2: 6-7) (Malachi 3: 1) Ev’ry valley shall be exalted, and ev’ry 6. Air Countertenor mountain and hill made low; the crooked straight and the rough places But who may abide the day of His com- plain. (Isaiah 40: 4) ing, and who shall stand when He ap- peareth? For He is like a refiner’s fire. 4. Chorus (Malachi 3: 2) And the glory of the Lord shall be re- 7. Chorus vealed, and all flesh shall see it togeth- And He shall purify the sons of Levi, er: for the mouth of the Lord hath spo- that they may offer unto the Lord an ken it. (Isaiah 40: 5) offering in righteousness. (Malachi 3: 3) 6 8. Recitative Countertenor were sore afraid. (Luke 2: 9) Behold, a virgin shall conceive and bear 15. Recitative Soprano a son, and shall call His name Emmanu- And the angel said unto them: el, God with us. “Fear not, for behold, I bring you good (Isaiah 7: 14; Matthew 1: 23) tidings of great joy, which shall be to all 9. Air and Chorus Countertenor people. For unto you is born this day in O thou that tellest good tidings to Zion, the city of David a Saviour, which is get thee up into the high mountain. O Christ the Lord.” (Luke 2: 10-11) thou that tellest good tidings to Jeru- 16. Recitative Soprano salem, lift up thy voice with strength; And suddenly there was with the angel, lift it up, be not afraid; say unto the a multitude of the heavenly host, prais- cities of Judah, behold your God! Arise, ing God, and saying: (Luke 2: 13) shine, for thy light is come, and the 17.
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