Program Book

Friday, December 10 and Saturday, December 11 at 7:30pm & Sunday, December 12 at 3pm
Calderwood Studio at GBH, Boston, MA

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Boston Baroque
Martin Pearlman, Music Director

Program Notes
by Martin Pearlman

One of the special challenges in performing Messiah year after year is to keep the work sounding fresh, as if one had just discovered it.  When Boston Baroque gave the first Boston period-instrument performances of the complete oratorio in 1981, the work was still normally heard in this country in the relatively heavy, reverential style of the nineteenth century.  It was thus a surprise to many listeners to hear a more detailed, articulate style and quicker tempos based on Baroque dance rhythms and speech patterns.  This kind of performance was perhaps less in the spirit of church music -- Handel never performed Messiah in a church -- and more in the spirit of the theater, or of a "fine Entertainment," as Handel's librettist Charles Jennens called it.

Today, such an interpretation is much more common among both period and modern orchestras, and it is no longer surprising.  Instead, a listener can focus on the drama of the work and how a particular performance presents it.  I personally have found it satisfying to return to the work each year not so much to perform different versions of it or to consciously try to  do something "different," but rather to discover more details and greater depth in the music.  For me, that is what makes it perpetually "new."  A work such as Messiah is inexhaustible.

The Italian love duets

Among the many avenues to explore in this work, are the original versions of some of the choruses.  Shortly before he composed Messiah, Handel wrote a small collection of Italian love duets for two voices and continuo, of which he used five as the basis for movements in his oratorio.  In Part I, these include the choruses "And He shall purify," "For unto us a child is born," and "His yoke is easy," and in Part II, "All we like sheep."  In Part III, the short duet, "O death, where is thy sting" is also based on one of his love duets, but it remains a duet with continuo in the oratorio.  It is fascinating to compare musical ideas in Messiah with those in the original Italian duets.  The musical emphasis on the first word of "For unto us" has struck some people as odd, but it originally came on the strong word "No!" in the Italian duet.   Similarly, the little rhythmic hiccup on the word "easy" in "His yoke is easy" may not sound particularly "easy," but it illustrated the word "ride" (laugh) in the original duet.  It can also be revelatory to realize that portions of these choruses are still duets -- i. e. that there are often only two voice parts at a time, with the full chorus sounding mainly at climactic moments.  

"Speaking" and "singing" music

The chorus has the greatest role of any actor in Messiah.  Its music constantly shifts between a kind of "speaking" music, which declaims speech patterns in the text, and a more lyrical "singing" music.  Much as dance rhythms can influence the tempo and character of a piece, the speech patterns of the text can often suggest a natural tempo.  But "speaking" music is not only rhythmic; it also has very flexible, detailed dynamics, as in actual speech, where the sound of even a single syllable may sometimes die away.  A more powerful type of spoken declamation often comes at climactic moments, such as at the words "Wonderful, counselor" in the chorus "For unto us a child is born."  The playing of the orchestra too can reflect the rhythmic quality and detailed dynamics of the speech patterns in the text, an effect that is perhaps more natural for Baroque instruments but that can be achieved on modern instruments, as well.

The libretto and the drama

In creating his libretto,  Charles Jennens interspersed texts from both the Old Testament prophets and the New Testament to depict in a general way the story of the messiah.  Although the oratorio is primarily contemplative, with no speaking characters and hardly any action, it does fall into several dramatic scenes, which demand a degree of continuity between movements in performance.  The first scene, running from the overture through the chorus "For unto us a child is born," prefigures the arrival of the messiah.  The second opens with an instrumental interlude depicting the shepherds' pipes (Pifa) and the angel announcing the birth of Jesus; it is the only truly narrative moment in the oratorio and ends with angels gradually disappearing as the music fades away.  Part I concludes with rejoicing.

Part II falls into two large scenes, the first reflecting on the suffering, death and resurrection of Jesus, and the second depicting the spread of the Gospel.  Part III is a section of contemplation and thanksgiving, based on the Anglican burial service.

In places, these scenes are unified by recurring figuration in the music:  the sharp, dotted rhythms representing the scourging of Jesus in Part II first appear in the middle section of the aria "He was despised", then again in the following chorus ("Surely, he hath borne our griefs"), and yet again in the recitative ("All they that see him laugh him to scorn").   Sometimes scenes are unified by pieces in related tempos or in similar affects.  An example of the latter occurs at the end of Part II, where  a string of violent images ("Why do the nations so furiously rage together", "Thou shalt break them with a rod of iron") is crowned with the chorus "Hallelujah."  In this context, "Hallelujah" becomes not only a shout of joy but also something of a war cry.

Historical background

When Charles Jennens presented Handel with his text for Messiah in 1741, Handel's fortunes were so low that he was considering leaving England.  Several years earlier, his opera company had collapsed and he had suffered a stroke.  In the years following his recovery, he had had great success with two English oratorios (Saul and L'Allegro), but his two Italian operas had been complete failures.  With the fashion for Italian opera apparently over, Jennens hoped to persuade Handel to write more English oratorios.

In the summer of 1741 came a fortuitous invitation to give a series of concerts in Dublin.  With these concerts in mind, Handel set to work on the music for Messiah on August 22, completing the enormous work on September 14, a mere three weeks later.  Jennens, never one to be overly modest, expressed disappointment that Handel had not spent a year setting his libretto.  "[Handel] has made a fine Entertainment of it, tho' not near so good as he might & ought to have done.  I have with great difficulty made him correct some of the grossest faults in the composition, but he retain'd his Overture obstinately, in which there are some passages far unworthy of Handel, but much more unworthy of the Messiah."

Messiah was premiered on April 13, 1742 in Dublin for the benefit of charity and drew so many people that ladies were requested not to wear hoops, in order to accommodate a larger audience.  The series of concerts was a triumph.  According to Faulkner's Journal, "The best judges allowed it to be the most finished piece of Musick.  Words are wanting to express the exquisite Delight it afforded to the admiring crowded Audience."

But Handel was wary about presenting his new oratorio in London.  Several years earlier, Israel in Egypt had failed, partly due to a controversy over using a biblical text in the theater.  When he did finally introduce Messiah there in 1743, it was not well received, partly indeed because of its biblical text, but also partly because there were so many choruses and no characters playing out a story.  The work did not become widely accepted until he began presenting it in his annual charity performances for the Foundling Hospital in 1750.  Between that time and Handel's death in 1759, Messiah attained the exalted stature it has held to the present day, a musical tradition unparalleled in the English-speaking world. 

Performing versions

In Messiah, as in many of his other works, Handel made numerous changes for later performances.  Many of these alterations, such as moving an aria from one voice range to another, were made simply to accommodate a new singer and do not necessarily reflect his final preference for how a movement ought to go.  Other changes, however, appear to be attempts to improve the work and must be taken into account in a modern performance.  There is no definitive version.  A modern performer must look at the various versions presented in the different manuscripts (sometimes there is more than one version in the same manuscript), try to understand the reasons for the changes, and make decisions about the best version to use.

Handel's autograph score survives, and, while it contains the original version of the work, he seems to have changed his mind about certain pieces even before the first performance.  At least as important as the autograph is a score which Handel apparently used in Dublin and in certain later performances.  It is in the hand of Handel's copyist, but Handel himself has made many changes and marginal notes, including writing in names of singers.  A third important version is a manuscript, again by a copyist, bequeathed by Handel in his will to the Foundling Hospital, for which he had given benefit concerts.  This Foundling Hospital score appears never to have been used, but with it there is a valuable set of orchestral and vocal parts which formed the basis for many of his later performances.  There are other sources, but these three -- the autograph, Dublin and Foundling Hospital -- have the greatest authority from Handel's own performances.

Program Text

Part I

SYMPHONY

RECITATIVE (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 XL: 1-3)

AIR (TENOR)
Ev'ry valley shall be exalted, and ev'ry moutain and hill made low; the crooked straight and the rough places plain.  
(Isaiah XL: 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) 

RECITATIVE (BASS)
Thus saith the Lord, the Lord of hosts: Yet once a little while and I will 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.  
(Haggai II: 6-7)

The Lord, whom ye seek, shall suddenly come to His temple, even the messenger of the Covenant, whom you delight in; behold, He shall come, saith the Lord of hosts.  
(Malachi III: 1) 

AIR (ALTO)
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) 

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)  

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) 

Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. 
(Isaiah LX: 1)

RECITATIVE (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 LX: 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 IX: 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, Counselor, the mighty God, the Everlasting Father, the Prince of Peace.  

(Isaiah IX: 6)

PIFA

RECITATIVE (SOPRANO)
There were shepherds abiding in the field, keeping watch over their flocks by night.  
(Luke II: 8)

ARIOSO (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 II: 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 II: 10-11)  

RECITATIVE (SOPRANO)
And suddenly there was with the angel, a multitude of the heavenly host, praising God, and saying:  
(Luke II: 13) 

CHORUS
Glory to God in the highest, and peace on earth, good will towards men. 
(Luke II: 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.
(Zecharaiah IX: 9-10)

RECITATIVE (ALTO)
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 XXXV: 5-6) 

AIR (ALTO 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 XL: 11) 

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) 

CHORUS
His yoke is easy, and His burden is light.  
(Matthew XI: 30)

Part II

CHORUS
Behold the Lamb of God, that taketh away the sin of the world.  
(John I: 29)

AIR (ALTO)
He was despised and rejected of men, a man of sorrows and acquainted with grief.  
(Isaiah LIII: 3) 

He gave His back to the smiters, and His cheeks to them that plucked off His hair: He hid not His face from shame and spitting.
(Isaiah LIII: 6)

CHORUS
Surely He hath borne our griefs, and carried our sorrows!
He was wounded for our transgressions, He was bruised for our iniquities; the chastisement of our peace was upon Him.  
(Isaiah LIII: 4-5)  

CHORUS
And with His stripes we are healed. 
(Isaiah LIII: 5) 

CHORUS
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 LIII: 6) 

RECITATIVE (TENOR)
All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying:  
(Psalm XXII: 7)  

CHORUS
He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him.
(Psalm XXII: 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 LXIX: 20)  

ARIOSO (TENOR)
Behold, and see if there be any sorrow like unto His sorrow. 
(Lamentations I: 12) 

RECITATIVE (TENOR)
He was cut off out of the land of the living: for the transgressions of Thy people was He stricken. 
(Isaiah LIII: 8) 

AIR (TENOR)
But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption.  
(Psalm XVI: 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, the Lord mighty in battle. The Lord of Hosts, He is the King of Glory.  
(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 I: 5) 

CHORUS
Let all the angels of God worship Him.  
(Hebrews I: 6)

AIR (ALTO)
Thou art gone up on high; Thou hast led captivity captive, and received gifts for men; yea, even from Thine enemies, that the Lord God might dwell among them.  
(Psalm LXVIII: 18)  

CHORUS
The Lord gave the word; great was the company of the preachers.  
(Psalm LXVIII: 11)  

AIR (SOPRANO)
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things.
(Romans X: 15)

CHORUS 
Their sound is gone out into all lands, and their words unto the ends of the world.  
(Romans X: 18) 

AIR (BASS)
Why do the nations so furiously rage together, and 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 II: 1-2)

CHORUS
Let us break their bonds asunder, and cast away their yokes from us. 
(Psalm II: 3)

RECITATIVE (TENOR)
He that dwelleth in Heav'n shall laugh them to scorn; The Lord shall have them in derision. 
(Psalm II: 4)

AIR (TENOR)
Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.  
(Psalm II: 9) 

CHORUS
Hallelujah: for the Lord God omnipotent reigneth.  
(Revelation XIX: 6) 

The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever. 
(Revelation XI: 15) 

King of Kings, and Lord of Lords. Hallelujah.
(Revelation XIX: 16)

Part III

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.  
(Job XIX: 25-26)

For now is Christ risen from the dead, the first fruits of them that sleep. 
(I Corinthians XV: 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. 
(I Corinthians XV: 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.  
(I Corinthians XV: 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.
(I Corinthians XV: 52-53)  

RECITATIVE (ALTO)
Then shall be brought to pass the saying that is written: “Death is swallowed up in victory.” 
(I Corinthians XV: 54) 

DUET (ALTO 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.  
(I Corinthians XV: 55-56)  

CHORUS
But thanks be to God, who giveth us the victory through our Lord Jesus Christ.  
(I Corinthians XV: 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 condemneth? 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 VIII: 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 honour, and glory, and blessing. Blessing and honour, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen. 
(Revelation V: 12-14)

Boston Baroque

The orchestra performs on period instruments.

Livestream Director
Matthew Principe