Messiah Programme

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Messiah: G F Handel

PART ONE: The prophesy of the coming of the Messiah and His nativity.

1. Sinfonia (Overture)
2. Recitative (Tenor) Comfort ye my people Isaiah 40:1-3
3. Air (Tenor) Ev'ry valley shall be exalted Isaiah 40:4
4. Chorus And the glory of the Lord Isaiah 40:5
5. Recitative (Bass) Thus saith the Lord Haggai 2:6-7; Malachi 3:1
6. Air (Bass) But who may abide the day of His coming? Malachi 3:2
7. Chorus And He shall purify Malachi 3:3
8. Recitative (Alto) Behold, a virgin shall conceive Isaiah 7:14; Matthew 1:23
9. Air (Alto) & Chorus O thou that tellest good tidings to Zion Isaiah 40:9; 60:1
10. Recitative (Bass) For behold, darkness shall cover the earth Isaiah 60:2-3
11. Air (Bass) The people that walked in darkness Isaiah 9:2
12. Chorus For unto us a Child is born Isaiah 9:6
13. Pifa (Pastoral Symphony)
14 a. Recitative (Soprano) There were shepherds abiding in the field Luke 2:8
b. Recitative (Soprano) And lo, the angel of the Lord Luke 2:9
15. Recitative (Soprano) And the angel said unto them Luke 2:10-11
16. Recitative (Soprano) And suddenly there was with the angel Luke 2:13
17. Chorus Glory to God Luke 2:14
18. Air (Soprano) Rejoice greatly, O daughter of Zion Zechariah 9:9-10
19. Recitative (Alto) Then shall the eyes of the blind Isaiah 35:5-6
20. Air (Alto) He shall feed His flock Isaiah 40:11
Air (Soprano) Come unto Him Matthew 11:28-29

I n t e r v a l 20 M i n s

PART TWO: The suffering, death, resurrection and ascension of Jesus, the spread of His Gospel and mankind's defeat when trying to oppose the power of the Almighty.

22. Chorus Behold the Lamb of God John 1:29
23. Air (Alto) He was despised Isaiah 53:3; 50:6
24. Chorus Surely He hath borne our griefs Isaiah 53:4-5
25. Chorus And with His stripes we are healed Isaiah 53:5
26. Chorus All we, like sheep, have gone astray Isaiah 53:6
27. Recitative (Tenor) All they that see Him laugh Him to scorn Psalms 22:7
28. Chorus He trusted in God Psalms 22:8
29. Recitative (Tenor) Thy rebuke hath broken His heart Psalms 69:20
30. Air (Tenor) Behold, and see if there be any sorrow Lamentations 1:12
31. Recitative (Tenor) He was cut off out the land of the living Isaiah 53:8
32. Air (Tenor) But Thou didst not leave His soul in hell Psalms 16:10
33. Chorus Lift up your heads, O ye gates Psalms 24:7-10
38. Air (Soprano) How beautiful are the feet Romans 10:15
40. Air (Bass) Why do the nations so furiously rage together? Psalms 2:1-2
42. Recitative (Tenor) He that dwelleth in heaven Psalms 2:4
43. Air (Tenor) Thou shalt break them Psalms 2:9
44. Chorus Hallelujah! Revelation 19:6; 11:15; 19:16

PART THREE: A Hymn of Thanksgiving celebrating the gift of resurrection and eternal life offered to all through Christ’s victory over Death

45. Air (Soprano) I know that my Redeemer liveth Job 19:25-26; I Corinthians 15:20
48. Air (Bass) The trumpet shall sound I Corinthians 15:52-53
53. Chorus Worthy is the Lamb and Amen Revelation 5:12-13

Programme notes

Messiah

It's Christmas time and, not surprisingly, thoughts musical turn to Handel's cultural icon Messiah. The oratorio shows a genius working at his highest capability, composing a work of extraordinary logic and evangelical fervour. But that fact, of course, is due not only to Handel, but also to Charles Jennens, Handel's librettist, whose brainchild the entire project was, and who had fostered Handel's career by giving the non-English speaker a succession of English texts to set.

Between February and November 1741, Handel, suffering from various ailments, both financial and physical, withdrew increasingly from public life. At some point that year, the composer received from the Lord Lieutenant of Ireland and the governors of Dublin's three major charitable institutions an invitation to travel to that city to aid the charities through the performance of his music. Handel was well known in Dublin as a church-music composer, and his works were often played there to benefit charities. It may thus have been this invitation that provided the incentive for Handel to compose “a new sacred oratorio”.

On August 22nd, Handel began to set Jennens' text to music. He finished the first part of his new oratorio (which deals with the prophecy of Christ's coming and his nativity) in six days, the second part (which describes Jesus' suffering, death, resurrection, and ascension, the spread of his gospel, the resistance of the heathen, and the vision of the ultimate triumph of the gospel in the establishment of God's kingdom) in nine days, and the third part (which celebrates the gift of resurrection and eternal life offered to all through Christ's victory over death) in six more days, with two or three additional days for completing the orchestration. Regarding Handel's state of mind during Messiah's composition, musician and writer Christopher Hogwood admits that "The turbulent state of Handel's manuscript, the blots, erasures and emendations that litter the page right to the final bars give enough evidence of tempestuous creation to tempt any romantic biographer." But there is little doubt, in any event, that this enduring masterpiece, completed in 24 days on September 14th, 1741, will remain among the greatest compositional feats in the history of music.

In the autumn of 1741, Handel accepted the invitation to visit Dublin, arriving there on November 18th with the completed score of Messiah in his travelling bags, but it was not until April 13th, 1742, that the oratorio was premiered. Seven hundred people were able to squeeze into Dublin's Music Hall in Fishamble Street to hear the work performed by the choirs of Dublin's two cathedrals (totalling fewer than forty men and boys) and the string band (reinforced occasionally by trumpets and timpani — oboe and bassoon parts were written later), all directed from the keyboard by Mr. Handel himself. The work created a sensation: “Words are wanting to express the exquisite Delight it afforded to the admiring crowded Audience.” exulted Faulkner's Journal. “The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic and moving Words, conspired to transport and charm the ravished Heart and Ear.” Handel divided his share of the proceeds (about £400), as did the other performers, among Dublin's three most important charities.

Messiah's London premiere took place on March 23rd, 1743, at the Covent Garden Theatre, entitled "A New Sacred Oratorio." It was at one of the first London performances that King George II, who was in the audience, reportedly leapt to his feet upon hearing the majestic "Hallelujah" chorus. Because no person was permitted to stay seated while the King stood, the entire audience rose with him. Thus began the tradition of standing during the singing of the "Hallelujah" chorus, and of the standing ovation itself.

Messiah's London popularity grew primarily through annual Easter performances to benefit Handel's favourite charity, the Foundling Hospital. Handel continued to conduct performances of Messiah in the last decade of his life, even after he began to go blind and it is believed that Messiah was one of the last performances he attended.

G. F. Handel (1685 – 1759)

Georg Friederich Händel was born in Halle (Germany), on February 23rd, 1685. In his later years he preferred the anglicised form of his name George Frederick Handel. He died on April 14th, 1759 and was buried in Westminster Abbey.

His father intended him for the law, but his own musical inclinations soon prevailed. Following his studies in Germany, Handel went to Italy where he spent more than three years, in Florence, Rome, Naples and Venice. This visit was significant; baroque music, like that of any period, has its musical clichés, and much that is typical of baroque music can be traced back to Italy. Handel left Italy early in 1710 and went to Hanover, where he was appointed Kapellmeister to the Elector, George Louis, later the same year he visited England; he never resumed his Hanover position.

Ironically, in 1714 his former Hanover employer became King George I of England: The Royal Houses of Britain and Europe had always been closely inter-related, and the Act of Settlement of 1701 which secured the Protestant succession to the Crown, made George's mother heiress-presumptive to the throne of Great Britain. In 1705 George had already been naturalized by Act of Parliament, and in August 1714 the death of Queen Anne made him King. Handel was to follow the Elector in adopting British nationality, and indeed part of Handel's success in London was due to the royal patronage of George I.

Handel became deeply involved in the growing London opera scene. Later, during the 1730s he would lean more to the English musical forms, the oratorio, ode and the like, and indeed the Messiah belongs very much to the Anglican anthem tradition. In his association with royalty and royal occasions, Handel followed a tradition set by Purcell, and is still regarded as one of England's greatest composers.

“Handel was the greatest composer that ever lived. I would remove my cap and kneel at his tomb. I can still learn from him.” Beethoven

Charles Jennens (1700-73)

Handel was fifty-six years old when he sat down in his London home on August 22nd, 1741 to start work on Messiah. He had in front of him a remarkable libretto, compiled from both Old and New Testaments by Charles Jennens, a Leicestershire squire whose seat was at Gopsall. Handel was a frequent guest at Gopsall and commemorated the name in a hymn tune.

From what we know of him, Jennens was a conceited figure of no special ability and was unlikely to have been the author of any work of artistic sensibility. Although not a great poet, he was an astute man-of-letters and was very clever at adapting biblical stories. “His selection of scriptural texts for the 'book' of Messiah amounts to little short of a work of genius” (Watkins Shaw). He gave us not only Messiah but also the wordbooks of Saul, Israel in Egypt and L'Allegro, il Penseroso et il Moderato.

It seems that theirs was a genuine case of collaboration, though Jennens (as might be expected) overrated his own part in the proceedings, and is quoted as saying "He murdered my manuscript!"

Listen to the performance and judge for yourself.

Soloists and Biographies

Edward-Rhys Harry: Conductor

Dr Harry is an award-winning conductor and composer from Penclawdd on The Gower Peninsula, the geography and history of which influences and informs his compositional output.

He has established himself both nationally and internationally as a choral clinician with a passion for vocal music of all genres regardless of whether that is at an amateur or professional level and has conducted at concert halls, opera houses, palaces, churches and cathedrals the world over.

His original compositions and arrangements can be heard on radio stations and streaming services throughout Europe and beyond and can be downloaded or bought from most music retailers.

He has multiple degrees from universities and conservatoires and is currently undertaking a second doctorate in musicology at Miami State University, USA. He was the first Welshman to obtain a degree in Choral Conducting (Royal Welsh College of Music and Drama).

He is in demand as a workshop leader and conference speaker across the UK and is devoted to the training and development of emerging choral conductors through his mentorship with several educational organisations, as well as championing new music and conducting education for choirs of lower voices.

He has been awarded fellowships of: The Fraternity of Saint Cecilia, the Royal Society of Musicians, the Royal Society of the Arts, the Guild of Musicians and Singers and the Worshipful Company of Musicians.

In August 2022 Edward was the winner of the coveted Tlws Y Cerddor – the musicians’ medal at the National Eisteddfod of Wales (Tregaron) for his Welsh language chamber opera, Yr Islawr – The Basement – a murder mystery set in the basement of a high street department store!

His music is published by Oxford University Press, Boosey & Hawkes, Oriana Publications and Curiad Cyf., amongst others.

Also in August 2022, London Welsh Male Voice Choir were selected as the only choir in a group of 7 winners of the Classic FM Queen’s Platinum Jubilee Competition, with their recording of Dr Harry’s composition ‘A Blessing for Bendigeidfran’ – part of a larger work for male voices entitled ‘Four Welsh Psalms’ with bilingual words by Dr Grahame Davies.

In 2020 Edward was recognised for his ‘Outstanding Contribution to the Music of Wales’ by the Welsh Music Guild who awarded him the Glanville Jones Award.

Edward is an ambassador for the men’s mental health charity, ‘blOKes’.

Meinir Wyn Roberts: Soprano

Welsh Soprano Meinir Wyn Roberts is originally from Caernarfon in North Wales and currently lives in London. She graduated from the Royal Academy of Music with an Advanced Diploma in Opera and a Distinction for her Master of Arts in Performance Degree. Before then she received a First-Class Honours Degree from the Royal Northern College of Music in Manchester.

Most recently she was a Guest Soloist with the renowned International Welsh Baritone Sir Bryn Terfel, performing on his UK Songs and Arias Tour. She also covered the role of the First Lady in The Magic Flute for Welsh National Opera. She took on the lead role of Madga in Puccini’s La Rondine for the newly formed IF Opera (Formely Iford Arts Opera.) Other recent engagements include: Cover Musetta for Mid Wales Opera, Soprano soloist on the Scottish Opera - Opera Highlights Tour and the role of Jini on the soundtrack of a new Operatic Welsh Film of the novel Un Nos Ola Leuad for OPRA Cymru with the orchestra of Welsh National Opera.

Other roles include The Milliner Der Rosenkavalier and cover Melissa Amadigi (Garsington Opera), Helena A Midsummer Night’s Dream (Nevill Holt) cover Noémie Cendrillon (Glyndebourne), Donna Elvira Don Giovanni and Micaëla Carmen (Opra Cymru) Agilea Teseo (London Handel Festival), title role in Alcina, Tina Flight, Minerve Orphée aux enfers and Polly Peachum Die Dreigroschenoper (Royal Academy Opera).

She is a very popular concert artist and has won numerous prizes including the Voice of the Future Competition at the Llangollen International Musical Eisteddfod and the prestigious W. Towyn Roberts Scholarship and Osborne Roberts Blue Riband at the National Eisteddfod of Wales. Whilst at the Royal Northern, she was a finalist in the Gold Medal competition and the Frederic Cox Award for Singing, and she also took away a prize in the Elizabeth Harwood Prize and the Isabel Jay Scholarship.

Growing up in Wales, Meinir was a keen Musical Theatre performer, staring in the first Welsh production of Les Miserables at the Welsh Millenium Centre. She was also a member of Ysgol Glanaethwy Performing Arts School who came second on BBC One’s Last Choir Standing Competition.

Eirlys Myfanwy Davies

Welsh Mezzo-Soprano Eirlys Myfanwy Davies was born in Trimsaran, Carmarthenshire. A Samling Artist and London Welsh Young Singer of the Year winner, Eirlys is a recent Young Artist graduate from the National Opera Studio, after previously studying at the Alexander Gibson Opera School at the Royal Conservatoire of Scotland, The Royal Academy of Music, and the Royal Welsh College of Music and Drama, Cardiff.

Recent operatic performances include the role of Madame de la Haltiere in Cendrillon, Third Lady (Cover) The Magic Flute, Mother in Madama Butterfly, Annina (Cover) La Traviata, all for Glyndebourne Festival Opera, Maddalena (Cover) Rigoletto for Glyndebourne Touring Opera, and Portia (Cover) The Merchant of Venice for Welsh National Opera. Pompea in Dove’s The Little Green Swallow for British Youth Opera, Dido Dido and Aeneas, Mistress Ford in Vaughan Williams’ Sir John in Love and Penelope in Monteverdi’s Il Ritorno d’Ulisse all for the Alexander Gibson Opera School.

Henry Laird: Tenor

Henry Laird was raised in North Yorkshire, where his passion for singing began as a chorister with the Choir of Ampleforth Abbey. He later became a choral scholar with the Choir of St. John's College, Cambridge, under the esteemed direction of Andrew Nethsingha, from 2017 to 2020. Prior to this, Henry sang at Truro Cathedral under Christopher Gray.

Today, Henry regularly performs with renowned ensembles such as the choirs of Westminster Abbey, Westminster Cathedral, and Continuum. Notably, he participated in the internationally televised Commonwealth Service at Westminster Abbey. As a soloist, Henry is particularly acclaimed for his interpretations of works by J.S. Bach and Handel. Recent highlights of his solo career include tenor roles in Handel's Messiah, Bach's St. John Passion and St. Matthew Passion, Handel's Brockes Passion, and Rossini's Petite Messe Solennelle.

On the side, Henry is a trainee solicitor at RW Blears LLP, a corporate finance firm in the city. Before joining the firm, he earned his Graduate Diploma in Law and completed the Legal Practice Course at BPP University. He previously studied Theology at the University of Cambridge. At RW Blears, Henry focuses on a broad range of corporate matters, with a particular specialisation in venture capital, including mergers and acquisitions, funding rounds, and analysis of EIS, SEIS, and VCT investments.

Owain Rowlands: Baritone

Welsh baritone Owain Rowlands' highlights include performing and touring in China with Cardiff University Chamber Choir, in Alabama with the Yr Urdd Choir and more recently as a soloist as part of the St David’s Celebrations in New York City, Philadelphia and Washington DC.

Recently Owain was a finalist in the prestigious Sir Bryn Terfel Scholarship competition, a runner up at Llangollen Eisteddfod in the Pendine International Voice of the Future, winner of ‘Llais Llwyfan Llanbed', a finalist in the Dunraven Young Singer of the Year competition, winner of the London Welsh Young Singer Competition and more recently winner of the W Towyn Roberts Scholarship competition.

Owain is currently studying on the David Seligman Opera School at the Royal Welsh College of Music and Drama, Cardiff where he has performed the roles of Simone in Puccini’s Gianni Schicchi and Il Re in Respighi’s Sleeping Beauty under the baton of Maestro Carlo Rizzi. Recently Owain performed the role of Bottom in Britten’s A Midsummer Night’s Dream with the college and Brikbrak in Gazzaniga’s Alcina’s Island with Bampton Classical Opera.

Owain’s studies are generously supported by the Sir Geraint Evans Centenary Scholarship and the Ryan Davies Scholarship.

Aeron Preston: Organ

Welsh pianist Aeron Preston read Music at St John’s College, Cambridge, and worked as a secondary Music teacher for a number of years. He also accompanied a number of choirs in mid Wales, including Montgomery County Music Festival Choir, Kington Choral Society, and Brecon Singers.

In 2019, he attended the Wales International Academy of Voice in Cardiff to train as a repetiteur, gaining a PGDip with Distinction. He continued his training the following year at the National Opera Studio in London. He now works as a freelance accompanist and repetiteur, working with choral societies, opera companies, and schools. Recently, he has worked with Harlow Chorus, Beckenham Chorale, Kingston Choral Society, Mid Wales Opera, Garsington Opera, and Streatham and Clapham High School. He is organist of St Paulinus' Church in Crayford, and holds the Associateship of the Royal College of Organists.

Friends of the Chorale

The Chorale has for many years enjoyed the support of a wide group of Friends. We are delighted to have Lord Thomas of Gresford as the Honorary President of The Friends, with Vice-Presidents, Owain Arwel Hughes CBE, Dr Rhiannon Mathias & Prof Paul Mealor

Even a sell-out concert rarely covers the cost incurred in putting it on. Over an average year the Chorale promotes three major concerts in central London, giving work to many professional singers and orchestral players and enabling us to promote Welsh music and performance in the capital. There are three types of Friends Membership:

Supporter £75
Associate £15
Benefactor £350 and over

Friends receive free and discounted tickets, free programmes and acknowledgment of your support in every programme. If you attend at least three concerts in a year it is more cost effective to be a friend than not! You are also entitled to two free tickets if you successfully encourage someone else to become a Friend, or for a successful introduction to a LW Camerata engagement.

The London Welsh Chorale is a registered charity, so sponsors are able to benefit from gift aid on each donation. Registered Charity No.1014214.

Benefactors:
Emma Davies
Joseph Dudley
Paul Foster
Anonymous

Associates:
Michael Ashdown & Damian Innes
Maggie Carney
Sandy Hawkings
John & Sally Leighton Williams
Colin and Eileen Mitchell
Andrew Simmonds
Peter Tew

Supporters:
Sian Hendrie
Robin Roberts
Clare Winstanley

Life Members:
Dilys and Tony Thomas

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