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Messiah
George Frideric Handel
(born: February 23, 1685, Halle;
died: April 14, 1759, London)
On Christmas night 1874, the Oratorio Society of New York inaugurated its second season; its program selection was
Messiah. Annual Christmas performances of Handel's masterpiece were already a more than 40-year-old tradition in New York, where choral societies were formed, flourished, and died in a city not yet secure in its cultural bearings. Indeed, one of the problems faced by the Society–now 100 strong from its original 18 members–was where to rehearse. It had already outgrown the storeroom at the Knabe piano factory and during this season would rehearse in a reading room at the YMCA. As for concert halls, it had moved from Knabe's recital hall to Association Hall at the Y to the magnificent Steinway Hall.
Undertaking the performance of a complete (or what then passed for complete) oratorio so early in its career was a daring action. Most "singing societies" restricted themselves to potpourri programs in their early years. The Society was undoubtedly encouraged by a review of its first (free) concert barely one year before: "These ladies and gentlemen sang with correct intonation, firm attack, and a great deal of expression; and if they continue in the road upon which they have entered with so much promise, they will do some capital work before many seasons have passed." Much to everyone's surprise, the general public offered to buy tickets to its second concert. By the end of its first season, the Society had felt ready to present its first oratorio, Handel's
Samson.
To nineteenth century audiences, oratorio performances took on a quasi religious aspect. During his stay in London, Richard Wagner noted "the feeling among the audience that an evening spent listening to an oratorio may be regarded as a sort of service, and is almost as good as going to church."
Among the oratorios, Messiah held a very special place. Even before its premiere in Dublin in April 1742, it had achieved almost mythic proportions. In a letter to a friend, librettist Charles Jennens stated that he hoped that Handel "will lay out his whole Genius & Skill upon it, that the Composition may excell all his former Compositions, as the Subject excells every other Subject. The Subject is Messiah." Handel seems to have accepted the challenge. After completing the "Hallelujah" chorus he is reported to have sobbed: "I did think I did see all Heaven before me, and the great God Himself," and after the final movement: "I think God has visited me." (Handel was a masterful recycler of music, his own and others. One wonders if he was moved to such an extreme of passion by the "Hallelujah" chorus in its original version, as a hymn to Bacchus in one of his operas.)
During Messiah's London premiere in 1743, King George II rose to his feet during the "Hallelujah" chorus and remained standing until its end. This outburst of royal emotion, or perhaps a more mundane reaction to a foot that had fallen asleep, has resulted in one of the most enduring
Messiah traditions, one normally reserved for national anthems.
In May 1774, 500 singers and instrumentalists performed
Messiah in honor of the 90th anniversary of Handel's birth. Too late, they realized they were a year early. Nevertheless, their performance began another enduring
Messiah tradition, that of massive performances. By 1791 there were 1,000 performers. In 1883, less than a decade after the Oratorio Society's first
Messiah, 4,000 performers presented it in London's Crystal Palace.
If the subject of Messiah excelled all others, so did everything else about it. Generally accepted rules and practices simply did not apply. And so it was that the very proper members of the fledgling Oratorio Society were enabled to give a public performance on no less than Christmas night. They were even permitted to charge admission and make money, for as nineteenth-century music historian H. E. Krehbiel described it, annual performances of
Messiah were a "beautiful duty."
The Oratorio Society has faithfully executed this "beautiful duty" ever since, but if finding suitable rehearsal space was a problem, finding an appropriate concert hall was a bigger one. The directors addressed this problem by creating a fund to help finance building such a hall. The problem was finally resolved when Andrew Carnegie, who became president of the Society in 1888, announced his decision to build a Music Hall. The Society has performed
Messiah at Carnegie Hall every year since its opening in 1891, except for 1960 when the Hall did not accept bookings because demolition seemed imminent.
In the early years, performances of Messiah were "improved" beyond what the master had written, adding what it was felt he had neither time (Handel composed
Messiah in 24 days) nor resources to add. In 1902 the Oratorio Society broke from this tradition and presented its first Messiah performance that reflected recent musicological advances, in this case removing all editorial "improvements" except Mozart's. The Society continued to keep pace with contemporary research, and in 1947 presented what may be the first uncut performance of
Messiah in the United States. Subsequent performances continued to respond to the ongoing research into Handel's autograph manuscripts and the practices of his time. Recent scholarship has restored questions of interpretation to the discretion of the performers. Such freedom has allowed the Society to approach this venerable and hallowed oratorio with the freshness and wonder Handel intended.
Although purists may object that the nearly 200 singers at tonight's performance are a far cry from the size chorus for which Handel composed, one suspects that he, the consummate showman, would have been delighted to marshal such forces, as long as they did justice to his music. One may even hope that he would be as pleased as the audience member at the premiere performance who, after hearing "He was despised" sung exquisitely by a contralto of questionable morals exclaimed, "Woman, for this, thy sins be forgiven thee!"
Tonight's performance of Messiah by the Oratorio Society continues, with affection for this beloved masterpiece, the tradition begun so long ago. Nineteenth century programs used to advise the audience on what time to have their carriages return after the performance. The Society regrets that this service is no longer available and wishes you good fortune in your quest for a way home.
Marie Gangemi
Part One
Sinfonia (Orchestra)
Arioso (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)
Air (Tenor)
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)
Recitative (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)
Air (Countertenor)
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)
Recitative (Countertenor)
Behold, a virgin shall conceive, and bear a Son, and shall call His name Emmanuel, "God with us."
(Isaiah 7:14; Matthew 1:23)
Air (Countertenor 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)
Arioso (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)
Air (Bass)
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 "Pastoral Symphony" (Orchestra)
Recitative (Soprano)
There were shepherds abiding in the field, keeping watch over their flock by night.
(Luke 2:8)
Air (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)
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 2:10,11)
Arioso (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)
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 9:9,10)
Recitative (Countertenor)
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)
Air (Countertenor and 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)
Air (Countertenor)
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)
Arioso (Tenor)
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)
Recitative (Tenor)
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)
Arioso (Tenor)
Behold, and see if there be any sorrow like unto His sorrow. (Lamentations 1:12)
Recitative (Tenor)
He was cut off out of the land of the living; for the transgressions of Thy people was He stricken.
(Isaiah 53:8)
Air (Tenor)
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)
Recitative (Tenor)
Unto which of the angels said He at any time, Thou art My Son, this day have I begotten Thee?
(Hebrews 1:5)
Chorus
Let all the angels of God worship Him.
(Hebrews 1:6)
Air (Countertenor)
Thou art gone up on high. Thou has led captivity captive, and received gifts for men; yea, even for Thine enemies, that the Lord God might dwell among them.
(Psalm 68:18)
Chorus
The Lord gave the word; great was the company of the preachers.
(Psalm 68:11)
Air (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)
Air (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)
Recitative (Tenor)
He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision.
(Psalm 2:4)
Air (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
Air (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)
Recitative (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)
Air (Bass)
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)
Recitative (Countertenor)
Then shall be brought to pass the saying that is written: Death is swallowed up in victory!
(1 Corinthians 15:54)
Duet (Countertenor 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)
Air (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. Amen.
(Revelation 5:12,13)
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