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George Frideric Handel (born, Halle, February 23, 1685; died, London, April 14, 1759)
Wolfgang Amadeus Mozart (born, Salzburg, January 27, 1756; died, Vienna, December 5, 1791)
Baron Gottfried van Swieten (1733–1803) was a career diplomat and librarian as well as an amateur musician. The combination of these interests led, ultimately, to tonight’s performance. Born in the Netherlands, he moved with his family to Vienna when his father was appointed personal physician to the Empress Maria Theresa, and subsequently director of the court library. The young van Swieten was educated for public service and posted to Brussels, Paris, and Warsaw. In 1770 he was appointed ambassador to the court of Frederick the Great in Berlin where he was introduced to the music of Bach and Handel. When he returned to Vienna in 1777 to become Prefect of the Imperial Library, he brought with him many of the scores he had come to admire.
Van Swieten fancied himself a composer. He was mediocre at best, but he had excellent taste in protégés, notably Haydn, Mozart, and Beethoven. He first met Mozart in 1768; they met again in 1781 shortly after Mozart moved to Vienna. By the following spring, Mozart had been introduced to van Swieten’s collection of baroque scores, transcribing some for instrumental ensembles and playing keyboard reductions of Handel oratorios—sometimes singing along—at small gatherings every Sunday. Van Swieten became so entranced by these performances that in 1786 he organized the
Gesellschaft der associierten Cavaliers, which provided the financial backing needed to mount large-scale productions of these works. Two years later, Mozart became the director of the group and was commissioned to prepare
Messiah for contemporary tastes; van Swieten arranged to have the libretto translated into German.
Nearly half a century had passed since
Messiah had premiered in Dublin in 1742. Handel himself had revised the score many times. By the 1780s performances in England had grown from Handel’s modest number of singers and musicians to 800. In Europe, the trend was to “modernize”
Messiah, bringing it in line with Classical ideals and compensating for what was perceived as Handel’s hurried work. (Although Handel composed
Messiah in 24 days, it was not an unusual pace for him.)
Van Swieten had a copyist prepare a score with Handel’s vocal and string parts, selecting his favorites from among Handel’s versions and adding blank staves for Mozart’s orchestration. Mozart eliminated the organ continuo and added additional woodwind, brass, and string parts; he copied the Handelian woodwind or brass parts that he wished to keep. He did not, however, interfere with Handel’s drama and pacing. Indeed, Mozart is said to have told a friend, "Handel understands effect better than any of us; when he chooses, he strikes like a thunderbolt. Although he often saunters, in the manner of his time, there is always something there.”
Additional woodwinds, brass, and tympani were added, especially to the Overture, the Pifa, and the final Amen. Solos were reassigned, notably “Rejoice Greatly” to the tenor and "All they that see Him” to the soprano. “Let all the angels” and “Thou art gone up” were cut, and he composed a new recitativo accompagnato to replace the soprano aria “If God be for us.”
A particularly striking change was made to “The trumpet shall sound.” Mozart faced several problems, beginning with the word “trumpet.” With the libretto translated into German, the last judgment was heralded by a trombone
(Posaune). Some have also argued that there were no high-quality musicians available to play the clarino, the small, valveless trumpet Handel had used. Whatever the reason, Mozart assigned the trumpet part to a horn ensemble and shortened the movement.
What resulted was a work unique enough to be given its own Köchel number. As Walter Damrosch described it, "It was as if one master had found a painting by another and had encircled it in a frame of such beauty as to enhance the value of the original painting.” Unfortunately, few audiences were to hear it as it Mozart presented it in the Great Hall of the Imperial Library on March 6, 1789. Beginning with the first published edition in 1803, alterations were added throughout the 19th century and not until the mid-20th century was an autograph score discovered.
When The Oratorio Society of New York gave its first performance of
Messiah in 1874, the Mozart arrangement would have sounded more familiar than Handel’s original. (Most likely, Robert Franz’s edition was used. This version, with “additional accompaniments” and unfortunate cuts, had been commissioned in 1875 by Boston’s Handel and Haydn Society.) Although Leopold Damrosch introduced the practice of having the audience stand during the “Hallelujah” chorus in 1874, not until 1892 did his son Walter conduct a performance using Handel’s original orchestration. Damrosch, however, felt that Mozart’s scoring of “The people that walked in darkness” was of “such transcendent beauty” that his “courage failed completely” and he retained it. On the other hand, he added, "the clarinets and bassoons of Robert Franz were thrown out by me with great gusto.” The performance was not well received—the New York
Times critic found it “interesting only from a historical point of view.”
Beginning with the Ebenezer Prout edition in 1902 (which restored some of Handel’s scoring), taste and scholarship moved closer and closer to Handel’s original. As a result, contemporary audiences are relatively unfamiliar with Mozart’s arrangement. The Oratorio Society of New York performed it in Warsaw in 1989, and is sublimely pleased to share it with you tonight.
—Marie Gangemi
George Frideric Handel
Messiah
Mozart Arrangement
Part One
Overture
Recitativo accompagnato and Aria (Tenor)
Comfort ye, 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 40:1-3)
Every valley shall be exalted, and every mountain and hill made low, the crooked straight, and the rough places plain. (Isaiah 40:4)
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 40:5)
Recitativo accompagnato and Aria (Bass)
Thus saith the Lord of Hosts: Yet once, a little while, and I shall shake the heavens, and the earth, the sea, and the dry land; and I will shake all nations, and the desire of all nations shall come. The Lord, whom ye seek, shall suddenly come to His temple, even the messenger of the covenant, whom ye delight in: behold, He shall come, saith the Lord of Hosts.
(Haggai 2:6,7; Malachi 3:1)
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 3:2)
Chorus
And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. (Malachi 3:3)
Recitativo (Mezzo)
Behold, a virgin shall conceive, and bear a Son, and shall call His name Emmanuel, "God with us."
(Isaiah 7:14; Matthew 1:23)
Aria (Mezzo 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! Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee.
(Isaiah 40:9; 60:1)
Recitativo accompagnato and Aria (Bass)
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 9:2,3)
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 9:2)
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 9:6)
Pifa
Recitativo (Soprano)
There were shepherds abiding in the field, keeping watch over their flock by night.
(Luke 2:8)
Recitativo 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.
(Luke 2:9)
Recitativo (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 2:10,11)
Recitativo accompagnato (Soprano)
And suddenly there was with the angel a multitude of the heavenly host praising God, and saying:
(Luke 2:13)
Chorus
Glory to God in the highest, and peace on earth, good will towards men.
(Luke 2:14)
Aria (Tenor)
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 9:9,10)
Recitativo (Soprano)
Then shall the eyes of the blind be opened, and the ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing.
(Isaiah 35:5,6)
Aria (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 40:11)
Come unto Him all ye that labor and 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 will find rest unto your souls. (Matthew 11:28,29)
Chorus
His yoke is easy and His burthen is light. (Matthew 11:30)
INTERMISSION
Part Two
Chorus
Behold, the Lamb of God, that taketh away the sin of the world!
(John 1:29)
Aria (Mezzo)
He was despised and rejected of men; a Man of sorrows, and acquainted with grief. He gave His back to the smiters, and His cheeks to them that plucked off the hair. He hid not His face from shame and spitting.
(Isaiah 53:3; 50:6)
Chorus
Surely He hath borne our griefs, and carried our sorrow; He was wounded for our transgressions; He was bruised for our iniquities; the chastisement of our peace was upon Him.
(Isaiah 53:4,5)
And with His stripes we are healed.
(Isaiah 53:5)
All we, like sheep, have gone astray; we have turned every one to his own way; and the Lord hath laid on Him the iniquity of us all.
(Isaiah 53:6)
Recitativo accompagnato (Soprano)
All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads saying:
(Psalm 22:7)
Chorus
He trusted in God that He would deliver Him; let Him deliver Him if He delight in Him.
(Psalm 22:8)
Recitativo accompagnato (Mezzo)
Thy rebuke hath broken His heart; He is full of heaviness; He looked for some to have pity on Him, but there was no man; neither found He any to comfort Him.
(Psalm 69:20)
Recitativo accompagnato (Soprano)
Behold, and see if there be any sorrow like unto His sorrow.
(Lamentations 1:12)
Recitativo (Soprano)
He was cut off out of the land of the living; for the transgressions of Thy people was He stricken.
(Isaiah 53:8)
Aria (Soprano)
But Thou didst not leave His soul in hell; nor didst Thou suffer the Holy One to see corruption.
(Psalm 16:10)
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, strong and 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. He is the King of Glory, the Lord of Hosts.
(Psalm 24:7-10)
Recitativo (Mezzo)
Unto which of the angels said He at any time, Thou art My Son, this day have I begotten Thee?
(Hebrews 1:5)
Chorus
The Lord gave the word; great was the company of the preachers.
(Psalm 68:11)
Aria (Soprano)
How beautiful are the feet of them that preach the gospel of peace and bring glad tidings of good things.
(Romans 10:15)
Chorus
Their sound is gone out into all lands, and their words unto the ends of the world.
(Romans 10:18)
Aria (Bass)
Why do the nations so furiously rage together, why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsel together, against the Lord and against His Anointed.
(Psalm 2:1,2)
Chorus
Let us break their bonds asunder, and cast away their yokes from us.
(Psalm 2:3)
Recitativo (Tenor)
He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision.
(Psalm 2:4)
Aria (Tenor)
Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.
(Psalm 2:9)
Chorus
Hallelujah; for the Lord God omnipotent reigneth. The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever, King of Kings and Lord of Lords.
(Revelation 19:6; 11:15; 19:16)
Part Three
Aria (Soprano)
I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth; and though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first fruits of them that sleep.
(Job 19:25,26; 1 Corinthians 15:20)
Chorus
Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.
(1 Corinthians 15:21,22)
Recitativo accompagnato and Aria (Bass)
Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trumpet.
(1 Corinthians 15:51,52)
The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality.
(1 Corinthians 15:52,53)
Recitativo (Mezzo)
Then shall be brought to pass the saying that is written: Death is swallowed up in victory!
(1 Corinthians 15:54)
Duet (Mezzo and Tenor)
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.
(1 Corinthians 15:55,56)
Chorus
But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
(1 Corinthians 15:57)
Recitativo accompagnato (Soprano)
If God be for us who can be against us? Who shall lay anything to the charge of God's elect? It is God that justifieth. Who is he that condemeth? It is Christ that died, yea rather, that is risen again, who is at the right hand of God, who makes intercession for us.
(Romans 8:31,33,34)
Chorus
Worthy is the Lamb that was slain and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honor, and glory, and blessing. Blessing and honor, glory and power be unto Him that sitteth upon the throne, and unto the Lamb for ever and ever.
(Revelation 5:12,13)
Amen.
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