Both were asked to leave their respective adornments at home for an event in Dublin in 1742: the premier of George Fredric Handel’s oratorio “The Messiah,” arguably the most famous oratorio ever composed. Anticipation ran so high that promoters wanted to capitalize on space and not forfeit potential ticket sales for external frivolities. In fact, 700 people attended the performance in a theater designed to hold 600. And the rest, as they say, is history.
Handel’s historically significant masterwork reinvigorates the holiday season. For more than two centuries, countless performances of this beloved work spring up throughout much of the English-speaking world. (Easter performances of sections of “The Messiah” are also prolific.) Cortez will participate in that great tradition on Sunday, Dec. 6, when its fourth annual Messiah Sing-in takes place at the United Methodist Church on Park Street in Cortez at 6 p.m.
Organizer Patricia Faulkner extends a double invitation to the entire community: come and sing, or come and listen. But come and be part of an enduring ecumenical tradition and experience for yourself this classic oratorio which is sung all over the world.
“It’s a wonderful experience to be part of,” she says, stressing that participation is more important than perfection.
Faulkner and co-directors Ruth Wilson Francisco and Gwen Tanner have once again rallied the musical resources from Montezuma Valley and put together an impressive lineup of vocalists and instrumentalists. And they are inviting interested community members, trained or untrained, to help sing the choruses.
Soloists this year – some new, many familiar – include John Patton; Bobby Sitton, Matt Decker, Randy Jorgensen, Arrelia Jorgensen, Gloria Decker, Chandler Snyder, Carter Tanner, Thayer Plewe, Judy Stone, Marla Sitton, Brooke Snyder, Ruth Wilson Francisco, Ron Snyder, Chris Snyder, Jason Smith, Carolyn Witt, Gwen Tanner, Whitney Pack, and Howard Pack. Accompanists will include Nancy Thomas on piano and Brooke Snyder on organ.
A small instrumental ensemble will round out the piano and organ accompaniment: Cecilia Littleton and Joe Curry, violins; Dani Long and Howard Pack, cello; Mary McKean and Fawn Curtis, flute; Judy Barrett, clarinet; and Rodney Ritthaler, timpani.
The “Messiah” is a lengthy and challenging piece of music comprised of solos (recitatives and arias) that are challenging even to trained voices, instrumental overtures, and full throttle choruses, the voice of the people. It is the chorus which is the thrumming heartbeat of this musical tour-de-force; they help to proclaim the message of the biblical text.
A full-length “Messiah,” written in 3 parts, can take up to 3 hours to perform. Sunday’s performance will be shortened to include only the more popular and well-known choruses which narrate the Christmas story: And the Glory of the Lord; O Thou That Tellest Good Tidings to Zion; For Unto Us a Child is Born; Glory to God; Behold the Lamb of God; and, new this year, Lift Up Your Heads, O Ye Gates.
The famed blockbuster chorus, the “Hallelujah Chorus” concludes the second part of Handel’s “Messiah” and will be the final number in Sunday’s performance. This chorus often appears in a Christmas show, despite the fact that it is meant to conclude the section of the oratorio, Part 2, which examines Christ’s suffering and sacrifice on Earth. Even though textually inappropriate and chronologically out of place, the music’s popularity demands it be included. Therefore, Sunday’s concertgoers can expect the pensive, expectant quality of the music from Part 1 to be trumped by the pomp and bombast of the “Hallelujah Chorus.”
Those wanting to sing in the chorus should plan on arriving at the church by 5:30. The performance begins at 6. Organizers recommend that all people plan on getting there early; if past years are any indication, the space fills up fast. Bring your own score if possible. Music will be made available but is in short supply, so singers are encouraged to bring their own.
A curious alchemy happens when many voices combine: the whole becomes greater than the sum of its individual parts. An untrained chorus – mighty in number – can create a musical experience that belies its humble origins. While pleasurable for listening audiences, the experience for those who choose to participate can be nothing short of thrilling. And that is what is being offered on Dec. 6: a chance to immerse oneself in the transformative power of singing great music with many other voices.
Handel was a humanitarian as well as a prolific composer and often followed the premier of a new composition with a benefit concert. Indeed, the first performance of “The Messiah” raised enough money to free 152 men and women from debtors’ prison. Subsequent performances raised a small fortune for charity.
Handel played the organ at a London performance of the “Messiah” in April 1759 and died a week later. He is buried in England’s most sacred place: Westminster Abbey in London. Fortunately for the world, however, his music promises to be kept alive for a very long time. Come and be part of a great tradition. And please, gentlemen ... leave the swords at home.
