(#365AOTD celebrates a week of the letter M)
If you have been paying close attention to my #365AOTD blog this year, more specifically the 112th AOTD, you would know that if I was on a desert island and could only choose one song, it would be the Talking Heads’ This Must be the Place (Naïve Melody). I heart this song like no other. I also point out that my all-time fav record is the same band’s “Remain in Light,” that day’s featured album. But when it comes down to my number one choice for a piece of music or a composition, there is no competition; “Messiah” garners my top prize every day and about a dozen times on Sunday. Speaking of Sunday, as I type this I can imagine there must be hundreds of “Messiah” performances occurring at this very moment, well at least “Part One,” the Christmas section. One of the amazing things about this incredible oratorio is its age; it is 273 years old and as popular as ever, with good reason. For me, the “Messiah” is a marvel. The music is gorgeous, accessible and perhaps most importantly holy. Now for those who know me intimately, I am not what you would call a Biblical person. The libretto of “Messiah” is a scriptural text compiled by Charles Jennens from the King James Bible. It is one of the most compelling works in any form of art or literature depicting the life Christ. Even with this work’s subject matter, again not my favorite Jeopardy category, I am so moved by the music that I don’t mind singing the sacred words from the Good Book. Of course the composer of this masterpiece is Georg Friedrich Händel. Shame on me for just now mentioning his name. Even borrowing from many of the other works that he had composed, Händel wrote this epic piece in a little over three weeks. We forget in these more modern times that we live in how extraordinary the classical composers are. The level of skill to write this kind of music is mind blowing. “Messiah” consists of an orchestral score and several arias, recitatives and choral numbers. I have been fortunate enough to sing “Messiah” on many occasions. The wonderful intricacies between the four choral parts in “Messiah” are so enjoyable. I am an alto, and let me tell you, Händel wrote well for us. The altos are the first voices heard in the first choral number of the oratorio, And the Glory of the Lord, and often enter first in important places throughout. The parts are rich and not boring unlike some alto sections. Händel also has some fun with us as well. There is a measure in His Yoke is Easy where the tenors, basses and sopranos all sing an eighth note and the altos sing a sixteenth note. It is so fast and easy to be missed, but I love this measure every time. It’s the little things like this that make me love this Händel and this work even more. The solo pieces are also delightful; some exciting, beautiful and moving. And yes, I have my favs from the “Messiah.” Here are my top picks from “Part One:” Sinfony, Comfort ye my people (tenor), Ev’ry valley shall be exalted (tenor), And the glory of the Lord (chorus), And he shall purify the sons of Levi (chorus), For unto us a child is born (chorus), Rejoice greatly, O daughter of Zion (soprano), He shall feed his flock like a shepherd (alto and/or soprano), His yoke is easy (chorus). As is customary, Hallelujah (chorus), which concludes “Part Two,” is performed alongside the Christmas section. Even if the Hallelujah Chorus is simplistic compared to other great choral pieces, is there anything else really like it? I just got a little teary writing that sentence. Praise the powers above and higher. This song comes straight from the sunlight of the Spirit. And even with its secular celebration, really it’s a conformation, for me at least, of human life and the relationship we all have with the Universe. Amen.
I assure you that I listened to the entire “Messiah” today for the AOTD. I continue to be in awe of this grand work of divinity. I also know that in another 273 years, people of this planet will continue to sing and perform Händel’s “Messiah.” Let that sink in for a minute and then let it marinade. Imagine your music being performed for centuries and centuries after your death. Now that, my friends, is truly remarkable.
p.s. In more recent times, people performing “Messiah” have decided to go big and bigger, often using large choruses and symphonies. John Eliot Gardiner’s conducting of “Messiah” stays truer to Händel’s original intentions. Using period instruments, the English Baroque Soloists provide a light and thorough offering. The Monteverdi Choir uses few voices; this use of smaller groups better illustrates Händel’s phrasings and instrumentations. The five soloists on this recording are also all outstanding. Gardiner’s interpretations of pieces tend to be my most preferred. I highly recommend this stand-out recording. Last but not least, the alto part on this LP is sung by counter tenors! Now them some high man voices. The debut performance of “Messiah,” with the exception of two of the solo singers, used all male singers, boys for the soprano parts. Thankfully Gardiner brought in women for this album.
*”Handel: Messiah”
John Eliot Gardiner, Conductor,
English Baroque Soloists, Orchestra
Monteverdi Choir, Choir
Charles Brett, Counter Tenor (Vocal)
Robert Hale Bass (Vocal)
Anthony Rolfe Johnson Tenor (Vocal)
Margaret Marshall Soprano (Vocal)
Saul Quirke Soprano
Catherine Robbin Mezzo-Soprano
Phillips label, 1969
365, Album of the Day 2014 