HANDEL’S Messiah - Adelaide Symphony Orchestra · PDF file4 ADELAIDE SYMPHONY ORCHESTRA...

27 & 28 NOVEMBER • ADELAIDE TOWN HALL

MessiahH A N D E L ’ S

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3ADELAIDE SYMPHONY ORCHESTRA GALA SERIES

Adelaide Town Hall 27 & 28 November 8pm

Siobhan Stagg SopranoChristopher Field CountertenorRichard Butler TenorChristopher Purves BassAdelaide Chamber Singers

Matthew Halls Conductor

Handel Messiah (HWV 56)

Part I

Part II

Part III

This concert runs for approximately 145 minutes including interval.

Interval

SE NADELAIDE SYMPHONY ORCHESTRA 2014

MESSIAH

4 ADELAIDE SYMPHONY ORCHESTRA GALA SERIES

welcome from matthew halls

Handel's Messiah is many things for many people, but first and foremost it is a work of extraordinary musical architecture. Bursting at the seams with infectious dance rhythms; full of noble and monumental sentiment; and displaying at all times a vivid and imaginative approach to dramatic word-painting, Handel's great oratorio has remained a watershed work in the history of western music. It is a piece that I first encountered as a young boy chorister and since then I've enjoyed numerous opportunities to explore the piece from many different perspectives - as a choral singer, soloist, keyboard continuo player and then as a conductor. The score of Messiah is never very far from my suitcase, as this great work tends to crop up in my diary with considerable regularity - like a recurring leitmotif, and always evoking the memories of past performances in beautiful and inspiring cities and venues.

It is a piece which, for me, never loses its magic. There is something so thrilling about the pacing and forward thrust of the work; an inexorable sense of tension slowly building and leading the listener towards those life-affirming final choruses. The almost unbearable spite and hatred portrayed by the chorus in 'He trusted in God'; the stillness and reassuring warmth of 'I know that my Redeemer liveth'; and of course the unforgettable soaring vocal arches of 'For the Lord God omnipotent reigneth' that eventually

emerge from the fast and furious fanfares of the iconic 'Hallelujah' chorus. Here is a work that, like all great works of art, never grows old. It was written during an extraordinarily condensed period of creative activity but its universal appeal will only continue to grow as more and more people come to discover the magic of Handel's Messiah. It is a very great pleasure for me to come to Adelaide and share my love of this timeless masterpiece with you all.

– Matthew Halls, Conductor


matthew halls conductor

Matthew Halls succeeded Helmuth Rilling as Artistic Director of the Oregon Bach Festival in 2013, and his inaugural festival included performances of Verdi's Requiem, the Monteverdi Vespers and his own reconstruction of Bach's St Mark Passion. Next year under his leadership the Oregon Bach Festival will launch the Berwick Academy for Historically Informed Performance, a new national training program for advanced students.

Recent and upcoming North American engagements include appearances with the Toronto Symphony Orchestra, National Symphony Orchestra, The Cleveland Orchestra, Houston Symphony, Indianapolis Symphony Orchestra, Los Angeles Chamber Orchestra, National Arts Centre Orchestra, The Philadelphia Orchestra and the Seattle Symphony. He has appeared in Europe with the BBC Scottish Symphony Orchestra, Bergen Philharmonic Orchestra, Bremen Philharmonic Orchestra, Frankfurt Radio Symphony Orchestra, Iceland Symphony Orchestra, Musica Viva, Royal Northern Sinfonia, RTÉ National Symphony Orchestra, Tonkünstler Orchestra, Salzburg Mozarteum Orchestra and Concentus Musicus Wien at the Internationale Barocktage Stift Melk. This season’s Australian appearances include performances of Handel’s Messiah with the Melbourne, Adelaide and West Australian Symphony Orchestras.

An established opera conductor, he has appeared at the Aalto-Musiktheater Essen, Händel-Festspiele Halle, Salzburg Landestheater and Central City Opera Colorado. His association with the Dutch National Opera and Bavarian State Opera have included productions of Verdi’s Luisa Miller, Britten’s Peter Grimes and Bellini’s Norma.

Matthew Halls was educated at Oxford University, where he subsequently taught for five years. Following his time in Oxford, he has held positions as Artistic Director of the King’s Consort and the Retrospect Ensemble.

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siobhan stagg soprano christopher field countertenor

Siobhan Stagg performed the roles of Pamina (Die Zauberflöte für Kinder) and Konstanze (Die Entführung aus dem Serail für Kinder) in the 2013 Salzburg Festival’s Young Singers Project. She then joined the Deutsche Oper Berlin where her roles have included Pamina and First Lady; Woglinde (Das Rheingold) and Waldvogel (Siegfried) with Sir Simon Rattle; Heavenly Voice (Don Carlo); and Frasquita (Carmen). She also sang Sophie (Werther) at the Berlin Philharmonie with Donald Runnicles and Cordelia (Lear) at the Hamburg State Opera with Simone Young.

Siobhan Stagg graduated from the Wales International Academy of Voice in Cardiff, having previously studied in Melbourne and on scholarship in Italy, New York and Austria. She has won the Stuart Burrows International Voice Award, Australian International Opera Award, Mietta Song Competition, Italian Opera Foundation Award, and was a Dame Nellie Melba Opera Trust Scholar. Her debut album Hymne à l'amour has been released on Move records.

Christopher Field is a graduate from the University of Melbourne and continued postgraduate studies at The Royal Academy of Music, London, where he obtained the DipRAM in Opera.

Roles with Opera Australia have included Tolomeo in Handel’s Giulio Cesare and Armindo in Partenope. He made his debut with the Komische Oper Berlin as Arkane in Handel's Teseo and debuted also with the Dresden Semperoper as Nireno in Handel's Giulio Cesare. In 2012, he was engaged for the first complete performance of Stockhausen’s Mittwoch aus Licht (at the Birmingham Opera Company).

Christopher has worked as soloist in concerts in Europe and Australia including his debut with the City of Birmingham Symphony Orchestra in Stravinsky's Threni and A Sermon, A Narrative and A Prayer, and with Musik Fabrik, Cologne on Ferneyhough’s Finis Terrae. He was a member of the acclaimed contemporary music ensemble EXAUDI and currently holds the position of Vicar Choral at St Paul’s Cathedral, London.


richard butler tenor christopher purves bass

Richard Butler was principal soloist for the 2013 Gramophone award-winning recording of A New Venetian Coronation, 1595 with the Gabrieli Consort. In Europe he has performed solo roles in a Purcell program at the Concertgebouw in Amsterdam and in Monteverdi's Vespers at the Berlin Philharmonie. More recently, he toured Europe in Handel's Acis and Galatea, and performed in Blow's Venus and Adonis at Wigmore Hall and Britten's Saint Nicolas in Cardiff.

Locally, he performed with the Australian Brandenburg Orchestra in their production of Monteverdi’s L’Orfeo, as well as their ‘Mozart the Great’ and 25th Anniversary concert series. Other Australian appearances include principal tenor for Monteverdi’s Vespers at St Mary's Cathedral in Sydney and St George's Cathedral in Perth; the title role in the Australian premiere of Caccini’s La liberazione di Ruggiero in Sydney; and the Evangelist in Bach's St John Passion for the Sydney University Graduate Choir, a role he will reprise with Melbourne’s Trinity College in 2015.

Christopher Purves has developed a highly successful career on both the operatic and concert stages, with highlights in 2014/15 including the Australian premiere of The Perfect American at the Brisbane Festival; Handel’s Messiah with the National Symphony Orchestra and the Melbourne, Adelaide and West Australian Symphony Orchestras; the title role in Gianni Schicchi at Opera North; St John Passion at the Concertgebouw, Amsterdam; St Matthew Passion with the Academy of Ancient Music; and Pelléas and Mélisande at Welsh National Opera. He ends the season with a return to Glyndebourne Festival Opera for the title role in Handel’s Saul.

Previous appearances include Beethoven’s Symphony No.9 with the Orchestra of the Age of Enlightenment; Handel’s Aci, Galatea e Polifemo and Acis and Galatea with the Gabrieli Consort; and Handel’s Alexander’s Feast and Haydn’s Nelson Mass with the Scottish Chamber Orchestra. He sang in the premiere of George Benjamin’s Written on Skin at the Aix-en-Provence Festival in 2012.

Christopher Purves’ debut solo CD, Handel’s Finest Arias for Base Voice was released in 2012.


Carl Crossin OAM Artistic Director & Conductor

Adelaide Chamber Singers has been a passionate and innovative contributor to music making in Adelaide for thirty years. Formed in 1985 by its Artistic Director and Conductor Carl Crossin, the ensemble comprises some of Adelaide’s best and most experienced ensemble singers, some of whom are also emerging artists or conductors in their own right. ACS is widely respected as one of Australia’s leading chamber choirs and was awarded one of SA’s premier Arts awards, the 2011 Ruby Award for “sustained contribution by an organisation”.

ACS has performed at the Adelaide, Melbourne and Perth International Festivals as well as at WOMADelaide in collaboration with Kronos Quartet. ACS has taken part in a range of regional festivals around Australia including: the Bundaleer, Coonawarra, Barossa and Coriole Festivals, the Port Fairy Spring Music Festival, the Brisbane Festival of Contemporary Sacred Music and the Musica Viva Huntington Estate Festival in NSW. ACS has also recently performed with Josh Groban and The Rolling Stones.

In 2013, ACS was awarded both the Gran Premio (Grand Prize) from the Musica Sacra a Roma in Rome and “Choir of the World at Llangollen 2013”. Other international tours and appearances include Britain, Canada, Norway, Japan, Singapore, France and the United States.

adelaide chamber singers


SopranosChristie Anderson Alexandra Bollard Emma Borgas Claire Burrell-McDonald Cassandra Humble Karina Jay Ella Moeck Phoebe Paine Brooke Window

AltosRachel Bruer-Jones Victoria Coxhill Penny Dally Carolyn Gale Courtney Green Charlie Kelso Stephanie Parr Olivia Sanders-Robinson Emma Thompson

TenorsDavid Hamer Andrew Linn Robin Parkin Martin Penhale Kit Tonkin Craig Weatherill Matt Winefield

BassesAndrew Bettison Jonathan Bligh Corin Bone Christian Evans Alan McKie Timothy Marks Jordan Rose Lee Thompson Timothy Wilson


Principal Guest Conductor and Artistic Advisor Arvo Volmer

Artist in Association Nicholas McGegan

Associate Guest Conductor Nicholas Carter

Concertmaster Natsuko Yoshimoto

Musical Chair sponsored by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

VIOLINS Natsuko Yoshimoto** (Concertmaster) Alison Rayner** (Guest Associate Concertmaster)Shirin Lim* (Principal 1st Violin)

Musical Chair in the memory of Dr Nandor Ballai

Lachlan Bramble~ (Acting Principal 2nd Violin)

Musical Chair supported in the memory of Deborah Pontifex

Julie Newman ~ (Acting Associate Principal 2nd Violin) Ann AxelbyGillian BraithwaiteJulia Brittain

Jane CollinsBelinda GehlertAlexis Milton

Musical Chair supported by Patricia Cohen

Alexander PermezelJudith PolainMarie-Louise Slaytor

VIOLAS Juris Ezergailis**

Musical Chair supported in the memory of Mrs JJ Holden

Carolyn Mooz~ (Acting Associate)Rosi McGowranMichael RobertsonCecily Satchell

CELLOS Simon Cobcroft**

Principal Cello Chair supported by Andrew & Gayle Robertson

Ewen Bramble~ Musical Chair supported by Barbara Mellor

Sherrilyn Handley Musical Chair supported Johanna and Terry McGuirk

David Sharp Musical Chair supported by Aileen Connon AM

DOUBLE BASSES David Schilling**

Musical Chair supported by Mrs Maureen Akkermans

Belinda Kendall-Smith~

(Acting Associate)

OBOES Renae Stavely** (Acting Section Leader)Peter Duggan

Musical Chair supported by Dr JB Robinson

BASSOONLeah Stephenson*

Musical Chair supported by Liz Ampt

TRUMPETS Matt Dempsey**

Musical Chair supported by R & P Cheesman

Martin Phillipson~ Musical Chair supported by Rick Allert AO

TIMPANI Robert Hutcheson*

Musical Chair supported by an anonymous donor

HARPSICHORD Glenys March*

CHAMBER ORGANPeter Kelsall*

** denotes Section Leader* denotes Principal Player~ denotes Associate Principal(Orchestra list correct at time of printing)

Adelaide Symphony Orchestra


ASO BOARDColin Dunsford AM (Chair) Jillian AttrillVincent Ciccarello Geoffrey CollinsCol Eardley Byron GregoryDavid Leon Chris Michelmore Michael Morley Andrew RobertsonNigel Stevenson

ASO MANAGEMENTExecutiveVincent Ciccarello - Managing DirectorMargie Corston - Assistant to Managing Director

ArtisticSimon Lord - Director, Artistic PlanningKatey Sutcliffe - Artistic AdministratorEmily Gann - Learning and Community Engagement Coordinator

Finance and HRBruce Bettcher - Business and Finance Manager Louise Williams - Manager, People and CultureKarin Juhl - Accounts/Box Office CoordinatorSarah McBride - PayrollEmma Wight - Administrative Assistant

OperationsHeikki Mohell - Director of Operations and CommercialKaren Frost - Orchestra Manager Kingsley Schmidtke - Venue/Production SupervisorBruce Stewart - LibrarianDavid Khafagi - Acting Orchestra Manager

Marketing and DevelopmentPaola Niscioli - General Manager, Marketing and DevelopmentVicky Lekis - Director of DevelopmentAnnika Stennert - Marketing CoordinatorKate Sewell - PublicistTom Bastians - Customer Service Manager

FRIENDS OF THE ASO EXECUTIVE COMMITTEEAlison Campbell - PresidentLiz Bowen - Immediate Past PresidentAlyson Morrison and John Pike - Vice PresidentsVacancy - Honorary SecretaryJohn Gell - Assistant Secretary MembershipJudy Birze - Treasurer


george frideric handel (1685-1759)

Messiah: An oratorio (HWV 56) Words selected from the Holy Bible by Charles Jennens (1700-1773)

In the town of Chester one November morning in 1741, a schoolboy observed a portly gentleman with a pronounced German accent smoking a pipe at the Exchange Coffeehouse. For the 15-year-old Charles Burney, later England’s great music historian, it was his first sighting of George Frideric Handel, at 56 the embattled erstwhile dean of London’s cut-throat opera world, and recently purveyor of a new and peculiarly English type of oratorio. Burney watched Handel ‘narrowly’ throughout his stay in Chester, while he waited until better weather allowed him to embark from Ellesmere Port for Dublin. Even thus stranded, Handel was probably happy merely to be away from London. Opera, his chief activity for 30 years, had brought him a share of commercial unhappiness recently, as a fickle public, following even more fickle patrons, effectively edged his previously successful company out of the market. By leaving London, Handel was denying the city the premiere of his new oratorio, Messiah, and the English capital would have to live down ever after the indignity of knowing that Dublin, instead, had been vouchsafed the first performance of the work that would come to be recognised as Handel’s magnum opus. Even Messiah’s librettist,

Charles Jennens, was in the dark over Handel’s plans for it. Not until December did Jennens belatedly discover that Handel had finished setting his ‘Scripture Collection’, admitting: ‘It was some mortification to me to hear that instead of performing it here he was gone into Ireland with it.’

Handel first turned his hand to oratorio in Rome. His La Resurrezione (1708) was a typically Roman product, a type of sacred music drama originally designed to fill in the gaps caused in public entertainment by the Church’s ban on opera performances on certain days of the ecclesiastical calendar. Thus, on Easter Day 1708, Resurrezione’s brilliantly costumed cast, including Mary Magdalene, the disciple John, and Lucifer, enacted human and heavenly responses to Christ’s rising-from-the-dead, in a series of declamatory recitatives broken up by arias, often overlaid with brilliant instrumental obbligati. Following this musical schema, but now adapted to English taste – and the English tongue – Handel’s sacred oratorios had recently reached a peak of perfection in Israel in Egypt (1738), a retelling of the Exodus story that further expanded the form’s musical resources with its sequences of vivid, fugal and anthemic choruses.

With this achievement only recently behind him, Handel arrived in Dublin on 18 November 1741. He discovered no shortage of talented


local musicians, choosing the best of them, the violinist Matthew Dubourg, Master of the State Music, to lead his orchestra. Most of the chorus singers belonged to the choirs of Dublin’s two cathedrals, St Patrick’s and Christ Church, to the disapproval initially of St Patrick’s Dean, the redoubtable Jonathan Swift. Sixteen years on from Gulliver’s Travels, the erratic septuagenarian (who admitted to knowing ‘music no more than an ass’) inveighed against his choir-men for frequenting Handel’s ‘club of fiddlers’ in Fishamble Street, and threatened punishment ‘according to the flagitious aggravations of their respective disobedience, rebellion, perfidy and ingratitude’. Some diplomatic gesture must have ensued, for Swift’s choristers sang for Handel again a few days later, and for the rest of his stay. And even Swift eventually conceded that Handel was ‘a German, and a Genius!’.

Possibly an attraction for the choir-men, and cause of Swift’s earlier disquiet, was Handel’s exotic entourage, centred on his soprano, Signora Avoglio, prima donna at the Messiah premiere. By coincidence, the popular actor Susanna Cibber, sister of composer Thomas Arne, was also in town fleeing London and the scandal of her failed marriage, and created such a favourable impression when she sang first for Handel in March, that he engaged her for Messiah, too.

A public rehearsal on 9 April heightened anticipation of the premiere on the thirteenth, of which the Dublin Journal commented:

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. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestick and moving Words, conspired to transport and charm the ravished Heart and Ear.

Handel was, as it transpired, wise to introduce Messiah first in Dublin. In London in 1743, it was

‘indifferently relish’d’ (as one eyewitness put it), drawing criticism from zealots who objected to biblical texts being given over to ‘base actors’. Further public animosity arose from the work being based on the person of Christ, rather than, as in Handel’s previous oratorios, on Old-Testament personalities like Esther and Saul.

In this, Jennens may well have drawn inspiration from Handel’s earlier Lutheran Brockes Passion, or La Resurrezione. However, his Messiah libretto was far more sweeping in scope, a scriptural survey of the entire Christian salvation history, from prophesies of Christ’s birth extracted from Jewish scriptures in Part 1 (hence its continuing popularity at Christmas), through reflections on Christ’s Passion and Resurrection in Part 2, to the Last Judgement and second coming in the third and final part.

Handel was keen to avert the potentially damaging (if today scarcely credible) charges of blasphemy that Messiah could earn him, and initially advertised the work in London not under its incendiary title, but blandly as ‘A NEW SACRED ORATORIO’. Nevertheless, Messiah also confused Londoners in that its absence of plot or recognisable named characters seemed deliberately un-dramatic. For once the story inhered only in the successive sentiments, from grave to jubilant, expressed in the words of each number, so perfectly mirrored in its music. Still, Londoners remained wary of Messiah until the early 1750s, and the establishment of annual Foundling Hospital performances, to benefit the society for Maintenance and Education of Exposed and Deserted young Children. According to the late 18th-century music historian John Hawkins, it was only then that ‘a change of sentiment in the public began to manifest itself; the Messiah was received with universal applause’.

Handel completed the full score of the work in three weeks in August-September 1741, a less


Handel by Thomas Hudson

The Musick Hall, Fishamble St Dublin

Messiah ticket, 'centenary' commemoration

Charles Jennens


extraordinary feat then than it sounds today, and typical of the speed at which Handel and his contemporaries composed. He was assisted, moreover, by a few notable instances of self-borrowing. Handel mined the scores of several blatantly erotic Italian cantatas he’d composed 30 years earlier to produce the triumphal last judgement duet-and-chorus, ‘O death, where is thy sting’, and four more of the new work’s breeziest and most distinctive choruses, ‘And he shall purify’, ‘All we like sheep’, ‘His yoke is easy’, and the great ‘For unto us a child is born’.

Yet even at the premiere, ‘divine inspiration’ was invoked, a Mr Whyte in the Dublin Journal suspecting none but the great messiah himself could ‘raise [Handel’s] soul to so sublime a Theme’. If so, Handel was not beyond seeking earthly second opinions, and responded to the vicissitudes of performing the work by making countless alterations to it over the years. Even in Dublin, he tampered with the score, cutting the second half of the bass aria ‘Why do the nations’, and, to give his seven soloists there (not the now usual four) more to do, recast his solo setting of ‘How beautiful are the feet’ as a duet and chorus. Handel’s own flexibility not only confirms Jennens’ description of Messiah as a ‘collection’, but renders ridiculous any search for a definitive version. Yet modern performances can still provide historically accurate insights into the stages in the work’s evolution, whether based on the original 1741 score, or the particular variants heard in, say, the 1742 Dublin first performance or the 1743 London premiere.

Dubourg’s small Dublin orchestra of strings, with trumpets and drums (added only as Messiah approaches its celestial conclusion), plus the chorus and soloists, numbered barely 50. Back in London, however, Handel expanded his forces, first adding oboes and bassoons, later even horns, and swelling strings and chorus considerably. By the end of his life, performances

with several hundred participants were becoming the norm.

As to the effect of the Dublin premiere on the work’s first audience of 700, Edward Synge, the upright bishop of Elphin judiciously summed up:

They Seem’d indeed throughly engag’d frome one End to the other. And, to their Great Honour, tho’ the Young & Gay of both Sexes were present in Great Numbers, their Behaviour was uniformly Grave & Decent, which Show’d that they were not only pleas’d but affected with the Performance. Many, I hope, were instructed by it, and had proper Sentiments inspir’d in a Stronger Manner on their Minds.

Abridged from a note by Graeme Skinner © 2008

The Adelaide Symphony Orchestra first performed Handel’s Messiah on 8, 10 and 11 December 1943 with the Adelaide Philharmonic Choir under the direction of Norman Chinner. The soloists were Amelia Scarce (soprano), Gwen Collett (alto), Fred Williamson (tenor) and Stanley Clarkson (bass).


Messiah a Sacred Oratorio by George Frederic Handel The words selected from Holy Scripture by Charles Jennens Part I Sinfony Comfort ye (Accompagnato: Tenor) Ev’ry valley (Song: Tenor) And the glory of the Lord (Chorus) Thus saith the Lord (Accompagnato: Bass) But who may abide (Song: Countertenor) And He shall purify (Chorus) Behold, a virgin shall conceive (Recit.: Countertenor) O thou that tellest (Song: Countertenor and Chorus) For behold, darkness (Accompagnato: Bass) The people that walked in darkness (Song: Bass) For unto us a child is born (Chorus) Pifa There were shepherds abiding in the field (Recit.: Soprano) And lo, the angel of the Lord (Accompagnato: Soprano) And the angel said unto them (Recit.: Soprano) And suddenly there was with the angel (Accompagnato: Soprano) Glory to God (Chorus) Rejoice greatly (Song: Soprano) Then shall the eyes of the blind (Recit.: Countertenor) He shall feed his flock (Duet: Countertenor and

Soprano) His yoke is easy (Chorus) Interval 20 minutes Part II Behold the Lamb of God (Chorus) He was despised (Song: Countertenor) Surely He hath borne our griefs (Chorus) And with His stripes (Chorus) All we, like sheep (Chorus) All they that see Him (Accompagnato: Tenor) He trusted in God (Chorus) Thy rebuke hath broken His heart (Accompagnato: Tenor) Behold and see (Song: Tenor) He was cut off (Accompagnato: Soprano) But Thou didst not leave (Song: Soprano) The Lord gave the word (Chorus) How beautiful are the feet (Song: Soprano) Why do the nations (Song: Bass) Let us break their bonds (Chorus) He that dwelleth in heaven (Recit.: Tenor) Thou shalt break them (Song: Tenor) Hallelujah (Chorus)

Part III I know that my Redeemer liveth (Song: Soprano) Since by man came death (Chorus) Behold, I tell you a mystery (Accompagnato: Bass) The trumpet shall sound (Song: Bass) If God be for us (Song: Soprano)

messiah


Worthy is the Lamb (Chorus) Amen (Chorus)

Part I Prophecy of Christ’s appearance on earth; the nativity. Sinfony

Comfort ye (Isaiah 40:1-3) Accompagnato: Tenor Ev’ry valley (Isaiah 40:4) Song: Tenor Comfort ye, comfort ye my people, saith your God; speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplish’d, that her iniquity is pardon’d. 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. Ev’ry valley shall be exalted, and ev’ry mountain and hill made low, the crooked straight, and the rough places plain. And the glory of the Lord (Isaiah 40:5) 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. Thus saith the Lord (Haggai 2:6-7; Malachi 3:1) Accompagnato: Bass

Thus saith the Lord, the Lord of Hosts; Yet once a little while, and I will shake the heav’ns 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 you 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. But who may abide (Malachi 3:2) Song: 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. And He shall purify (Malachi 3:3) Chorus And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. Behold, a virgin shall conceive (Isaiah 7:14; Matthew 1:23) Recit.: Countertenor O thou that tellest (Isaiah 40:9 and 60:1) Song: Countertenor, and Chorus Behold, a virgin shall conceive, and bear a son, and shall call His name Emmanuel, ‘God with us’. 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. O thou that tellest good tidings to Zion, arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. For behold, darkness (Isaiah 60:2-3) Accompagnato: Bass The people that walked in darkness (Isaiah 9:2) Song: 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. 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. For unto us a child is born (Isaiah 9:6) 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. Pifa (Pastoral Symphony) There were shepherds abiding in the field (Luke 2:8) Recit.: Soprano And lo, the angel of the Lord (Luke 2:9) Accompagnato: Soprano And the angel said unto them (Luke 2:10-11) Recit.: Soprano And suddenly, there was with the angel (Luke 2:13) Accompagnato: Soprano Glory to God (Luke 2:14) Chorus And there were shepherds abiding in the field, keeping watch over their flock by night. 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. 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. And suddenly there was with the angel a multitude of the heav’nly host, praising God, and saying … ‘Glory to God in the highest, and peace on earth, goodwill towards men.’ Rejoice greatly (Zechariah 9:9-10) Song: 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. Then shall the eyes of the blind (Isaiah 35:5-6) Recit.: Countertenor He shall feed his flock (Isaiah 40:11; Matthew 11:28-29) Duet: Countertenor and Soprano Then shall the eyes of the blind be open’d, And the ears of the deaf unstopped; then shall the lame man leap as a hart, and the tongue of the dumb shall sing. 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.

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.

His yoke is easy (Matthew 11:30) Chorus

His yoke is easy, His burthen is light.


Interval 20 minutes Part II The death, resurrection and ascension of Christ; the spreading of the Gospel Behold the Lamb of God (John 1:29) Chorus Behold the Lamb of God, that taketh away the sin of the world. He was despised (Isaiah 53:3 and 50:6) Song: 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. Surely He hath borne our griefs (Isaiah 53:4-5) Chorus And with His stripes we are healed (Isaiah 53:5) Chorus All we, like sheep (Isaiah 53:6) 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. And with His stripes we are healed. All we, like sheep, have gone astray, we have turned ev’ry one to his own way; and the Lord hath laid on Him the iniquity of us all. All they that see Him (Psalm 22:7 – Book of Common Prayer) Accompagnato: Tenor He trusted in God (Psalm 22:8 – BCP) Chorus

All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying: He trusted in God that He would deliver him: let Him deliver Him, if He delight in Him. Thy rebuke hath broken His heart (Psalm 69:21 – BCP) Accompagnato: Tenor Behold and see (Lamentations 1:12) Song: Tenor He was cut off (Isaiah 53:8) Accompagnato: Soprano But Thou didst not leave (Psalm 16:10) Song: Soprano 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. Behold, and see, if there be any sorrow like unto His sorrow! He was cut off out of the land of the living; for the transgression of Thy people was He stricken. But Thou didst not leave His soul in Hell, nor didst Thou suffer Thy Holy One to see corruption. The Lord gave the word (Psalm 68:11 – BCP) Chorus

The Lord gave the word: great was the company of the preachers. How beautiful are the feet (Isaiah 52:7-9) Song: Soprano How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things.


Why do the nations (Psalm 2:1-2 – BCP) Song: Bass Let us break their bonds (Psalm 2:3) Chorus He that dwelleth in heaven (Psalm 2:4 – BCP) Recit.: Tenor Thou shalt break them (Psalm 2:9) Song: Tenor 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 counsels together against the Lord and against His anointed. Let us break their bonds asunder, and cast away their yokes from us. He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision. Thou shalt break them with a rod of iron; Thou shalt dash them in pieces like a potter’s vessel. Hallelujah (Revelations 19:6; 11:15; 19:16) Chorus Hallelujah, for the Lord God Omnipotent reigneth, Hallelujah! The Kingdom of this world is become the Kingdom of our Lord and of his Christ; and he shall reign forever and ever, King of Kings, and Lord of Lords, Hallelujah!

There will be a short pause between Parts II and III, during which patrons are asked to remain in the auditorium.

Part III Victory over Death I know that my Redeemer liveth (Job 19:25-26; 1 Corinthians 15:20) Song: Soprano I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And tho’ 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. Since by man came death (1 Corinthians 15:21-22) 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. Behold, I tell you a mystery (1 Corinthians 15:51-52) Accompagnato: Bass The trumpet shall sound (1 Corinthians 15:52-54) Song: Bass Behold, I tell you a mystery: We shall not all sleep, but we shall all be chang’d, in a moment, in the twinkling of an eye, at the last trumpet. The trumpet shall sound, and the dead shall be rais’d incorruptible, and we shall be chang’d.

If God be for us (Romans 18:31, 33-34) Song: 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. Worthy is the Lamb (Revelation 5:12-13) Chorus Amen 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.

Proud Wine Sponsors of the ASO

In tune with the Adelaide Symphony Orchestra

KPMG has a 16-yearhistory of sponsoring the

ASO and is proud to be aWorld Artist Partner.

It’s tangible expressionof our commitment to

supporting the arts and communities in which

we live and work.We look forward

to celebrating music and hitting the right notes

together.

kpmg.com.au

© 2014 KPMG, an Australian partnership. All rights reserved. The KPMG name, logo and “cutting through complexity” are registered trademarks or trademarks of KPMG International. October 2014. NSW12335MKT.

In tune with the Adelaide Symphony Orchestra

KPMG has a 16-yearhistory of sponsoring the

ASO and is proud to be aWorld Artist Partner.

It’s tangible expressionof our commitment to

supporting the arts and communities in which

we live and work.We look forward

to celebrating music and hitting the right notes

together.

kpmg.com.au

© 2014 KPMG, an Australian partnership. All rights reserved. The KPMG name, logo and “cutting through complexity” are registered trademarks or trademarks of KPMG International. October 2014. NSW12335MKT.

For more information please contact Vicky Lekis, Director of Development on (08) 8233 6260 or [email protected]

musical chair players & donors

Concertmaster Natsuko Yoshimoto

Sponsored by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

Associate Principal Cello Ewen Bramble

Supported by Barbara Mellor

Associate Principal Viola Imants Larsens

Supported by Mr & Mrs Simon & Sue Hatcher

Principal Cello Simon Cobcroft

Supported by Andrew & Gayle Robertson

Principal 2nd Violin Michael Milton

Supported by The Friends of the ASO

Associate Principal 2nd Violin Lachlan Bramble

Supported in the memory of Deborah Pontifex

Principal 1st Violin Shirin Lim

Supported in the memory of Dr Nandor Ballai

Violin Hilary Bruer

Supported by Marion Wells

Violin Emma Perkins

Supported by Peter & Pamela McKee

Violin Alexis Milton

Supported by Patricia Cohen

Principal Viola Juris Ezergailis

Supported in the memory of Mrs JJ Holden

Violin Minas Berberyan

Supported by Merry Wickes

Cello Sarah Denbigh

Supported by an anonymous donor

Cello Chris Handley

Supported by Johanna and Terry McGuirk

Cello David Sharp

Supported by Aileen Connon AM

Cello Sherrilyn Handley

Supported byJohanna and Terry McGuirk

Principal Bass David Schilling

Supported by Mrs Maureen Akkermans

Bass Harley Gray

Supported by Bob Croser

Principal Bass Clarinet Mitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Bassoon Leah Stephenson

Supported by Liz Ampt

Principal Tuba Peter Whish-Wilson

Supported by Ollie Clark AM & Joan Clark

Principal Clarinet Dean Newcomb

Supported by Royal Over-Seas League SA Inc

Principal Flute Geoffrey Collins

Supported by Pauline Menz

Principal Cor Anglais Peter Duggan

Supported by Dr JB Robinson

Harp Suzanne Handel

Supported by Shane Le Plastrier

Principal Piccolo Julia Grenfell

Supported by Chris & Julie Michelmore

Bass David Phillips

Supported for "a great Bass player, with lots of spirit - love Betsy"

Principal Percussion Steven Peterka

Supported by The Friends of the ASO

Principal Oboe Celia Craig

Supported byPenelope & Geoffrey Hackett-Jones

Principal Bassoon Mark Gaydon

Supported by Pamela Yule

Principal Trumpet Matt Dempsey

Supported by R & P Cheesman

Principal Contra Bassoon Jackie Hansen

Supported by Norman Etherington & Peggy Brock

Associate Principal Trumpet Martin Phillipson

Supported by Rick Allert AO

Principal Trombone Cameron Malouf

Supported byVirginia Weckert & Charles Melton of Charles Melton Wines

Timpani Robert Hutcheson

Supported by an anonymous donor

Horn Sarah Barrett

Supported by Margaret Lehmann


our inspirational donors

Diamond Patron ($25,000+)

Platinum Patron ($10,000 - $24,999)

Gold Patron ($5,000 - $9,999)

Silver Patron ($2,500 - $4,999)

Dr Aileen F Connon AMThe Estate of the late David Malcolm Haines QC

Plus two anonymous donors

Richard Hugh Allert AOMr Donald Scott GeorgeGeoffrey & Penelope Hackett-JonesMr & Mrs Simon & Sue HatcherMr & Mrs Keith & Sue Langley & the Macquarie Group Foundation

Johanna & Terry McGuirkPeter & Pamela McKeeMrs Diana McLaurinMr & Mrs Norman & Carol SchuelerPlus two anonymous donors

Mrs Maureen AkkermansMs Liz AmptR & P CheesmanMr Ollie Clark AM & Mrs Joan ClarkMr Bob CroserLegh & Helen DavisMr Colin Dunsford AM & Mrs Lib DunsfordNorman Etherington & Peggy BrockMr Robert KenrickShane Le PlastrierMrs Margaret LehmannMrs Barbara MellorMrs Pauline MenzMr & Mrs Chris & Julie Michelmore

Robert PontifexMr & Mrs Andrew & Gayle RobertsonDr Ben RobinsonRoyal Overseas League South Australia IncorporatedMr Ian SmailesMr Nigel Stevenson & Mr Glenn BallDr Georgette StraznickyVirginia Weckert & Charles Melton of Charles Melton Wines

Mrs M W WellsDr Betsy Williams & Mr Oakley DyerMrs Pamela YulePlus two anonymous donor

A sincere thank you to all our donors who contributed in the past 12 months. All gifts are very important to us and help the ASO continue to provide Adelaide audiences access to world-class music. Your donation makes a difference.

Friends of the Adelaide Symphony OrchestraMr & Mrs Anthony & Margaret GerardMs Merry WickesKim Williams AM

Plus one anonymous donor

Maestro Patron ($1,000 - $2,499)

ASO as winner of Adelaide Critics Circle ACColade

Mr Neil ArnoldDr Margaret ArstallAustralasian Double Reed Society SA

Prof Andrew & Mrs Elizabeth Bersten

The Hon D J & Mrs E M BlebyDianne & Felix BochnerDr Ivan CamensMrs Patricia CohenTony & Rachel DavidsonMrs Lorraine DrogemullerIn Memory of Jim FrostRJ, LL & SJ GreensladeMr P R GriffithsMr Donald GrowdenRhys & Vyvyan HorwoodMrs M JanzowMrs Alexandra JarvisDr I KlepperMrs Joan LyonsMr & Mrs Peter & Rosalind Neale

Mrs Christine & The Late Dr Donald Perriam

Ms Marietta ResekMr Richard Ryan AO & Mrs Trish Ryan

Mr Roger SalkeldPhilip Satchell AM & Cecily Satchell

Larry & Maria ScottMr & Mrs H W ShortDr & Mrs Nigel & Chris Steele-Scott OAM

Ms Guila TiverDr D R & Mrs L A TurnerMr J W ValeDr Richard & Mrs Gweneth Willing

Plus eight anonymous donors

Soloist Patron ($500 - $999)

Dr E Atkinson & Mr J HardyMs Dora O'BrienBarbara BahlinMr John BakerMr & Mrs R & SE BartzMrs Susan BethuneLiz, Mike & Zoe BowenMr Rob BroughtonMr Vincent CiccarelloMr Bruce Debelle AOFr John Devenport

Dr Chrstopher DibdenMrs A E DowLady Mary DownerMrs Jane DoyleMr L J EmmettMr & Mrs Jiri & Pamela FialaMr Douglas FidockMr Otto FuchsDr Noel & Mrs Janet GrieveMrs Eleanor HandreckDr Robert HeckerMr & Mrs Michael & Stacy Hill Smith

Dr Douglas & Mrs Tiiu HoileDr Wilfrid JaksicMr & Mrs G & L JaunayMs Elizabeth Keam AMMrs Joan LeaMr Michael McClaren & Ms Patricia Lescius

Mr Melvyn MadiganMrs Skye McGregorMrs Caroline MilneDr D G & Mrs K C MorrisMs Jocelyn ParsonsMr Tom F PearceCaptain R S & Mrs J V PearsonMr Martin PenhaleMr & Mrs John & Jenny PikeJ M ProsserMr Mark RinneMrs Janet Ann RoverTrevor & Elizabeth RowanMr A D SaintMs Linda SampsonMr & Mrs W ScharerProffessor Ivan Shearer, AMBeth & John ShepherdMr W & Mrs H StacyMrs Verna SymonsThe Honourable Justice Ann Vanstone

Mr Nick WardenMrs Pamela WhittleMs Janet WorthHon David Wotton AM & Mrs Jill Wotton

Plus eight anonymous donors

Tutti Patron ($250 - $499)

Julie AlmondMr & Mrs Rob & Cathy Anderson

Mr & Mrs David & Elaine Annear

Mr Rob BaillieMr Brenton BarrittMrs Jillian Beare

Dr Gaby BerceDr Adam BlackMr & Mrs Andrew & Margaret Black

Mrs Betty A BlackwoodMr Mark BlumbergProf & Mrs John & Brenda Bradley

Dr & Mrs J & M BrooksMs Rosie BurnR W & D A ButtroseMr Stephen CourtenayMr Don R R CreedyMrs Betty CrossMs Barbara DeedDr Alan DownMrs Margaret DuncanDr Joan DurdinMr & Mrs Stephen & Emma Evans

Dr Laurence J FergusonMs Barbara FergussonMr J H FordMr William FrogleyMr John GazleyMr & Mrs Andrew & Helen Giles

Dr David & Mrs Kay GillThe Hon R & Mrs L Goldsworthy

Mr Neil HallidayMrs Jill HayMr John H Heard AMDr Robert & Mrs Margaret Heddle

Mrs Judith HeidenreichMr & Mrs Peter & Helen Herriman

Mrs N G HewettMs Rosemary HuttonMrs Rosemary KeaneMr Angus KennedyMrs Bellena KennedyLodge Thespian, No. 195 IncMr J H LoveMr Colin MacdonaldMrs Beverley MacmahonMr Ian MaitlandRobert MarroneMr & Mrs Rob & Sue MarshallDr Ruth MarshallMrs Lee MasonMrs Barbara MayMs Fiona MorganMr Alex NicolDr Kenneth and Dr Glenys O'Brien

Dr John OvertonThe Hon Carolyn Pickles

Mr & Mrs Michael & Susan Rabbitt

Mr & Mrs Ian & Jen RamsayMr A L ReadMr Richard RowlandMrs Jill RussellMr Frank and Mrs Judy Sanders

Mrs Meredyth Sarah AMDr W T H & Mrs P M ScalesChris SchachtMr David ScownDr Peter ShaughnessyMr Roger SiegeleMr & Mrs Antony & Mary Lou Simpson

Mr & Mrs Jim & Anne SpikerMr & Mrs Graham & Maureen Storer

Mrs Anne SutcliffeDr Anne Sved WilliamsDr G M Tallis & Mrs J M Tallis AM

Mr & Mrs R & J TaylorDr Peter TillettDr M G Tingay & Mrs A N Robinson

Mr & Mrs John & Janice Trewartha

Mr David TurnerMrs Neta Diana VickeryProf Robert WarnerMr & Mrs Glen & Robina WeirMrs Ann WellsDr Nicholas WickhamMrs Gretta Willis

Plus 16 anonymous donors

The ASO also thanks the 610 patrons who gave other amounts in the past 12 months.

Donations from 1 Nov 2013 to 11 Nov 2014 (does not include subscription donations).

As a lover of orchestral music, we invite you to enrich your musical interests, add beautiful low-cost concerts to your musical diary and widen your social network, while assisting in raising valuable funds to help ensure the future of the ASO. Why would you hesitate? Everyone wins!

become a friend

OF THE ASO Benefits of becoming a Friend of the ASO

• Supporting one of South Australia’s most valuable assets

• Opportunities to meet orchestra members

• Receptions to meet local and visiting international artists

• Access to rehearsals and education concerts

Friends of the ASO also receive discounts at the following businesses:

• ABC Shop Myer Centre, Rundle Mall, Adelaide, Phone 8410 0567 (10% on total bill)

• John Davis Music 6 Cinema Place, Adelaide, Phone 8232 8287

• Hilton Adelaide Hotel 233 Victoria Square, Adelaide, Phone 8217 2000 (10% Brasserie)

• Hotel Grand Chancellor - Bistro 65 65 Hindley Street, Adelaide, Phone 8231 5552 (10% on total bill)

• La Trattoria Restaurant 346 King William Street, Adelaide, Phone 8212 3327 (10% on total bill)

• Newman’s Nursery Main North East Road, Phone 8264 2661, Tea Tree Gully (10% plants)

• Rigoni’s Bistro 27 Leigh Street, Adelaide, Phone 8231 5160 (10% on total bill)

Note: Friends must produce Membership Cards as identification for discounts. So join now!

For information about joining, phone (08) 8233 6211. Hours: Wednesday and Friday, 10am to 12 noon.

MEMBERSHIP APPLICATION Please complete and send to: Secretary, Friends of the ASO, GPO Box 2121, Adelaide SA 5001

Name

Address

Postcode

Phone (home) Phone (work)

Mobile E-mail

Payment

Cheque made payable to FASO $ Please charge my credit card for $

Mastercard Visa Expiry: / Card No. _ _ _ _ /_ _ _ _ /_ _ _ _ /_ _ _ _

Name of card holder: Signature:

Please tick membership requirements

$35 - Individual Friend $30 - Individual Country Friend

$20 - Individual Concession Friend $45 - Joint Friends

$40 - Joint Country Friends $35 - Joint Concession Friends

$15 - Student Pension/Student Card Number:

Government Support

57 FilmsAbsorb – Paper Products Boylen – Website and Developmentcolourthinking – Corporate ConsultantCoopers Brewery Ltd Corporate ConversationHaigh’s Chocolates

Hickinbotham GroupM2 GroupNormetalsNova SystemsPeregrine TravelPoster ImpactThe Playford Adelaide

The ASO receives Commonwealth Government funding through the Australia Council; its arts funding and advisory body. The Orchestra continues to be funded by the Government of South Australia through Arts SA. The Adelaide City Council continues to support the ASO during the 2014–15 financial year.

thank youto our partners

When not unlocking Australia’s valuable energy resources, we’re behind the scenes supporting a wide range of cultural and community activities.

Santos has been the Principal Partner of the Adelaide Symphony Orchestra for 15 years, helping deliver popular community events such as the Symphony Under the Stars.

Not meaning to beat our own drum, but in 2012 alone, we backed South Australian community events and organisations to the tune of $6 million.

At Santos, we believe that contributing to the vibrant culture and diverse communities of South Australia is well worth the effort.

Because we’re not just an energy company, we’re a company with energy.

Standing behind our community

When not unlocking Australia’s valuable energy resources, we’re behind the scenes supporting a wide range of cultural and community activities.

Santos has been the Principal Partner of the Adelaide Symphony Orchestra for 15 years, helping deliver popular community events such as the Symphony Under the Stars.

Not meaning to beat our own drum, but in 2013, we backed South Australian community events and organisations to the tune of $9 million.

At Santos, we believe that contributing to the vibrant culture and diverse communitiesof South Australia is well worth the effort.

Because we’re not just an energy company,we’re a company with energy.

HANDEL’S Messiah - Adelaide Symphony Orchestra · PDF file4 ADELAIDE SYMPHONY ORCHESTRA...

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Transcript of HANDEL’S Messiah - Adelaide Symphony Orchestra · PDF file4 ADELAIDE SYMPHONY ORCHESTRA...