St. Paul’s Episcopal Church6050 North Meridian Street I Indianapolis, IN 46208 I 317.253.1277 I stpaulsindy.org

St. Paul’s Music: Music in a Sacred Space

Through the language of music, St. Paul’s Music is a bridge between the secular and the sacred

that creates community, connects people with the divine, and develops young musicians.

Now in its thirty-seventh year, St. Paul’s Music continues as a ministry of St. Paul’s Episcopal Church. Through generous supporters, St. Paul’s Music is able to offer a variety of events to the community, and continues to feature choral masterworks performed by St. Paul’s Choir with orchestra, as well as professional artists from the Indianapolis area and around the world. This organization also supports projects such as recordings and choir pilgrimages.

 

St. Paul’s Music presents

MESSIAH A Sacred Oratorio with text by Charles Jennens GEORGE FRIDERIC HANDEL (1685-1759)

Parts Two and Three

Sunday, April 17, 2016 at 4:00 p.m.

St. Paul's Choir with

The Indianapolis Baroque Artists Brad Hughley, Conductor

Sara Haisley, soprano

Mark Stoner II, alto Dan Ahlgren, tenor Pat Havens, bass

Messiah is not a typical Handel oratorio; there are no named characters, as are usually found in Handel's settings of Old Testament stories. This work is a meditation rather than a drama of personalities. The narration of the story is carried on by implication, and there is no dialogue. The chorus acts as a sounding board for the drama, rather in the style of a Greek chorus. The extraordinary text is by the Reverend Charles Jennens, a wealthy English gentleman who is attributed as the prime moving force in this endeavor. Of the many changes Handel made over the years, he hardly felt the need to add or subtract a single word. The first performance was on April 13, 1742, in Dublin, Ireland. The work was enthusiastically received by the public. The Dublin Journal reported that this new work "was allowed by the greatest Judges to be the finest Composition of Musicik that ever was heard." Time has proved this great oratorio to be immortal. The work is in three parts, narrating the Nativity, the Passion, and the Resurrection of Jesus Christ.

PART II CHORUS Behold the Lamb of God, that taketh away the sin of the world! (John I, 29) ARIA - 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 the hair, He hid not His face from shame and spitting. (Isaiah L, 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 everyone to his own way; and the Lord hath laid on Him the iniquity of us all. (Isaiah LIII, 6) RECITATIVE AND ARIA – 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) RECITATIVES AND ARIOSOS –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) Behold and see if there be any sorrow like unto His sorrow! (Lamentations of Jeremiah I, 12) He was cut off out of the land of the living; for the transgressions of Thy people was He stricken. (Isaiah LIII, 8) 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. 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 of Hosts, He is the King of Glory. (Psalm XXIV, 7-10) ARIA - Bass 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 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 AND ARIA - Tenor He that dwelleth in heaven shall laugh them to scorn, the Lord shall have them in derision. (Psalm II, 4) 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. (Revelation XIX, 16)

PART III ARIA - 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. (1 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. (1 Corinthians XV, 21-22) RECITATIVE AND ARIA – 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. (1 Corinthians XV, 51-52) 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. (1 Corinthians XV, 52-53) RECITATIVE AND DUET – Alto and Tenor Then shall be brought to pass the saying that is written, death is swallowed up in victory. (1 Corinthians XV, 54) 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. (1 Corinthians XV, 55-56) CHORUS But thanks be to God, who giveth us the victory through our Lord Jesus Christ! (1 Corinthians XV, 57) ARIA – 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 maketh intercession for us. (Romans VIII, 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, forever and ever. Amen. (Revelation V, 12-14)

You are cordially invited to a reception in the Lilly Room, located down the hall to your left.

Indianapolis Baroque Artists

Violin I Austin Hartman Davis Brooks Deborah Rodin Tom Watkins Violin II Alfred Abel Yon Joo Lee Nicole DeGuire Trumpet John Rommel Dan Golando Tympani Murray Mast

Viola Kathy Hershberger Colette Abel Cello Adriana Contino Marjie Hanna Organ Matthew Gerhardt

Oboe Leonid Sirotkin Aryn Sweeney Bassoon Libby Doublestein Cembalo Tom Gerber Double Bass David Murray

St. Paul’s Choir

Matthew Gerhardt, Interim Associate Organist and Choir Director Brad Hughley, Organist and Director of Music The Reverend John Denson, D.Min., Rector

Trebles Ivy Beam Callie Carpenter Dawit Cronin Jacques Cronin Mirlene Cronin Nigel Cronin Sarah Cummings Katie Fox Bella Gould Emily Gould Grace Haisten Margaret Hotopp Jacob Hughes Katharine Hughley Audrey Johns Fiona Keith Destiny Law Evan Law Dupe Ogunbekun Caressa Redd Abby Schollenberger Margaret Thuesen Joanna Thuesen C.J. Walls

Sopranos Bethany Bockrath Samantha Dotterweich Pam Douglas Sara Haisley Janet Hock Susan Joiner Desiree Law Erin Walls Pamela Walters-Boley

Altos Pam Coates Deborah Givan Ann Hinson Amy Hughley Joyce Krauser Tracie Lowe Noah Menke Diana Saltanovitz Patti Shea-Carpenter Melanie Sokhey Becky Stoner Mark Stoner II Nancy Utz

Tenors Rick Bernhardt Elwood Black Michael Day Jose Espada Brandon Lowe Gary Lowe Brian Pawlak Isaac Thuesen

Basses Rick Adams Robert Alonso Rusty Broxterman John Carvey Pat Havens Jay Heath Andrew Richardson Mark Stoner

 

Program Notes Although German by birth and upbringing, Handel’s adult career was largely spent working in London. He had made a name for himself musically by the age of twenty, working in Hamburg and then in Florence, Venice, and Rome. While in Italy he became acquainted with persons connected to Prince George, the Elector of Hanover, and they invited him to visit the court. Shortly after his twenty-fifth birthday, Handel accepted the post of Kapellmeister to the Elector. His acceptance carried the condition that he be granted an immediate 12-month leave of absence in London. Prince George stood next in line to succeed Queen Anne, the last of the Stuarts on the British throne, and by granting Handel the opportunity to become familiar with London he was not at risk of losing him. Handel spent much of the next four years in London, having obtained another leave after an interim year in Hanover.

At the time of Handel’s first visit, the Queen’s Theatre in Haymarket had just been built by Vanbrugh, and Handel collaborated with the theatre’s Italian librettist to produce Rinaldo, an Italian opera that met with great popularity. Handel left for Hanover, but after a year he returned to London and took up residence with Lord Burlington at his town house in Piccadilly. Burlington was a prominent patron of the arts and Handel’s circle of acquaintance grew. He composed several more Italian operas although none of them achieved the popularity of Rinaldo. In 1713, the Queen granted Handel a commission to write ecclesiastical and ceremonial music, and accompanied it with an annual salary.

Handel had overstayed his permission to be away from Hanover, and when in August 1714 Queen Anne died and Prince George arrived in London as King George I, Handel was afraid to see him. He was soon restored to favor however (his salary was doubled), and other than occasional excursions to the continent, he remained in England and became a naturalized citizen.

Handel is well-known for the coronation music he composed for George II in 1727 and for his Funeral Anthem for Queen Caroline in 1737. But his first love was the theatre and he composed many operas in the Italian style, which were financed by investors and performed by Italian singers. Unfortunately for the underwriters, public tastes were changing and Italian opera lost its popularity. The theatrical organizations of which Handel was a part were beset with losses, squabbles, and reorganizations. However, a new musical form was introduced to England in 1732: that year three private performances of Esther, an oratorio, were produced with great success and performances for larger audiences followed. The original performances included action by the singers. That was soon changed so that in the larger performances, it was advertised, “there will be no Action on the Stage, but the House will be fitted up in a decent Manner for the Audience.” The motivating force was the Bishop of London’s prohibition of the stage representation of a sacred subject in the opera house.

Handel was most reluctant to abandon writing opera, despite its lack of popular potential, but he supplemented his activity with oratorio composition. Saul was premiered in January 1739 and was followed in April by Israel in Egypt. The latter was innovative in that the entire libretto was scriptural; this was attacked in some quarters, and Israel in Egypt was not an initial success.

Handel’s fortunes improved following an invitation from the Lord Lieutenant of Ireland to mount a production in Dublin for the benefit of Dublin charities. He obtained a libretto, compiled entirely from scriptural sources, from Charles Jennens on the subject Messiah. Handel set the text to music in the space of 23 days. Messiah premiered in Dublin in April 1742; the audience was estimated at 700 and the work was enthusiastically received. Before Handel left Dublin he was prevailed upon for a repeat performance. In London, Messiah had a more tepid reception, with a recurrence of the criticism that it was blasphemous to perform sacred works in a playhouse. Messiah’s popularity in England didn’t flower until Handel began the custom of benefit performances in 1750. The beneficiary of the performances was the Foundling Hospital, of which Handel was a governor. Handel saw to it that Messiah was performed at least once annually for the benefit of the Foundling Hospital during the remainder of his lifetime, and each of these performances generated profit to the hospital estimated at £600. While Messiah is by far the best known oratorio today, it was not Handel’s most popular during his lifetime – that distinction belongs to Judas Maccabaeus, written to celebrate the English victory at Culloden and premiered in 1747.

Of all Handel’s vast legacy, his major innovation is considered the English oratorio, quite different from continental versions. The prohibition against stage performance and the middle class English public’s preference for Biblical subjects contributed to its evolution. Immediate advantages to the producer included avoiding the expense of costumes and scenery, and the extensive use of choruses reduced the expense of virtuoso singers. It has been observed that if the oratorios had been performed as operas, with staged action, they would contain fewer choruses due to the practical limits of choristers’ memories.

While most of Handel’s many oratorios are structured as dramas, the two entirely scriptural works Israel in Egypt and Messiah differ: they do not have plots in the usual sense. Messiah, in particular, embodies a fusion of Italian opera, the English anthem, and the German Passion, and in it can be seen the partnership of Handel’s personal faith and artistic creativity to express the aspirations of the Anglican religious spirit. Chuck Roemer

Future Events

April 19, Tuesday at 7:30 p.m. Ben Abel and Friends concert

Violinist Ben Abel presents a concert of trios and other classical gems. Ben sang in St. Paul’s Choir for many years, and his family is well known to the parish and the Indianapolis community. Music of Bach, Schumann, and Brahms. Admission is free.

April 29, Friday at 7:30 p.m. Ballard-Reilly Duo

Jeffrey Ballard, Tenor, and Paul Reilly, Guitar, perform music by John Dowland, Franz Schubert, Maurice Ravel, Matyas Seiber, Benjamin Britten, and Dominick Argento. Admission is free.

May 15, Sunday at 4:00 p.m. 2016 Indianapolis Choir Festival at Trinity Episcopal Church

Choirs from the Episcopal Diocese of Indianapolis join together in this momentous occasion as over 180 singers with orchestra celebrate our Anglican tradition of great choral music. You will not want to miss this grand choral affair! Admission is free.

Trinity Episcopal Church, 3243 North Meridian Street, Indianapolis, 46208

May 21, Saturday at 1:00 p.m. St. Paul’s Choir School Recital

Let your spirit be lifted by the music of young musicians! Choir School youth perform an instrumental recital demonstrating their creative talents.

Friends of St. Paul’s Music

If you would like to be a contributor or be on our mailing list, please call 253-1277. If you would like to receive notice of events by e-mail, please send your e-mail address to mstutler@stpaulsindy.org. You may also donate online at: stpaulsindy.org/donate.

Saints ($1,000 and up) Archangels ($100 - $249), Cont. Angels (up to $99) Cummings family Charles Goodlett & Joan Brandt Two Anonymous Drs. Robert Alonso & Deborah Givan Judith Gustafson Armen Avakian Col. A. D. Kneessy C. William Hanke Eric Boes & Tatiana Foroud Harry R. Mamlin, III & Frank Boles Duke & Tammy Hardy Gail & Ron Bowler Lois Pless Pat & Frank Hartman Judith Culpepper Dr. & Mrs. Robert Rudesill Cheri & Steve Irmscher Marian & Steve Fales Marilyn L. Vargo Tamara Jacques Kathleen George Ron & Elizabeth Jobe in memory of Susan George Seraphim ($500 - $999) Annette Johansson John & Judy Havens, in honor of Simon Atkinson & Joan Duwve Drs. Patricia & Gerald Keener Marilla Havens’ Baptism anniversary Chad & Beth Brown Larry & Joyce Krauser Herb & Melba Heller Sue Hale Gerry & Sue LaFollette Joan L. Henderson Pat & Danielle Havens Stephen & Candis Lang Rachel G. Hildebrandt Ann Hinson Anne Lowe Susan Joiner Ruth J. Nelson Melanie Manges Carolyn Kanze Chuck Roemer The Rev. Thomas McCart Mr. & Mrs. George Kimsey John & Elsa VanHekken Mary Kay McCauley Marie E. Kingdon Margaret Yergler Joanna & Michael Menke Joie Kipka Beverly Milgate Kelly Lormore Cherubim ($250 - $499) Gary & Fran Nadzam Jeffrey Nicholls Rick & Becky Adams Timothy S. Needler Ann R, Strong Brad & Amy Hughley Stephen R. Nelson Anne C. Traynor John & Liz Jenkins John Vernon Oaks Mary Jo Wallace Larry & Betsy Johnson Sally Miller Peck Bernard Wurger Mr. & Mrs. Langdon W. Kumler The Rev. David & Mrs. Donna Purvis Tony & Kelli Zabel Rosalind K. McClure Beverly & Larry Reed Steven Pettinga & Michael Byrum Robert & Kathryn Riester St. Paul’s Music Foundation Fred & Bev Ruebeck Diana Saltanovitz One Anonymous Melanie & Jack Sokhey The Rev. Robert & Mrs. Rita Schilling Duke & Tammy Hardy Mary Anne & Ken Winslow Robert & Susan Schlifke Cheri & Steve Irmscher Carol Wissman & Phyllis Nolen Barbara Schubert Col. A. D. Kneessy Ace & Beth Yakey John A. Seest Gerry & Sue LaFollette Marsha & Nicholas SerVaas Melanie Manges Archangels ($100 - $249) The Shea Carpenter Family Mary Kay McCauley Two Anonymous Richard & Gretchen Spaulding Ruth J. Nelson Elizabeth Anton, in memory of Syd Steele The Rev. David & Mrs. Donna Purvis James Anton Mary M. Sutherland Chuck Roemer Tom & Anna Beczkiewicz Judy Sutton Barbara Schubert Martha Bowman Bill & Jan Tindall Gina Bremner Lloyd & Nancy Utz Nancy Burke Erin Walls Allison Cox Peter Whitten Jan Douglas Timothy & Mary Beth Wott Pamela Douglas Jeffrey A. Young, in memory of Joanna Giesek Floyd Powell Mike & Donna Zierdt

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Concert are thanks in part to WFYI Public Radio.

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15 -16Matthew Kraemer, Music Director

DEC 14 | 7:30 pm Messiah Sing-Along

Indiana Landmarks Center

DEC 13 | 3:00 pmHandel’s Messiah

Tabernacle Presbyterian Church

NOV 21 | 7:30 pmInbal Segev, cello

JAN 30 & 31 | 7:30 pm & 2:30 pmOpera’s Rising Stars

In collaboration with Indianapolis Opera

OCT 10 | 5:30 pmTessa Lark, violin

2014 IVCI Silver Medalist

MAR 4 | 8:00 pmSpeedy | Silent Film with Live Orchestra

The Toby - IMA

MAY 21 | 7:30 pmAngie Zhang, piano

APR 15 | 7:30 pmPeacemakers

in conjunction with Butler ArtsFest

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