Immersive Messiah Programme
George Frideric Handel (1685 — 1759) Messiah: Parts II & III
Part II
Behold the Lamb of God chorus
He was despised alto
Surely, He hath borne our griefs chorus
And with His stripes we are healed chorus
All we like sheep chorus
All they that see Him tenor
He trusted in God chorus
Thy rebuke & Behold, and see tenor
He was cut off out & But Thou didst not leave tenor
Lift up your heads chorus
Unto which of the angels tenor
Let all the angels of God chorus
Thou art gone up on high alto
The Lord gave the word chorus
How beautiful are the feet soprano
Their sound is gone out chorus
Why do the nations bass
Let us break their bonds asunder chorus
He that dwelleth in Heaven & Thou shalt break them tenor
Hallelujah! chorus
Interval
Part III
I know that my Redeemer liveth soprano
Since by man came death chorus
The trumpet shall sound bass
O death, where is thy sting? duet
But thanks be to God chorus
If God be for us soprano
Worthy is the Lamb that was slain & Amen chorus
Programme Note
“I went to the Bristol cathedral to hear Mr. Handel’s Messiah. In many parts, especially several of the choruses, it exceeded my expectation.”
This is from the diary of John Wesley, the founder of Methodism, who attended a performance of Messiah in August 1758, a year before Handel died. I was heartened to discover the Bristol link to Handel and encouraged to present an “immersive” version of his choral masterpiece which had its inaugural outing last April, with a warm audience response.
An essential challenge is making Handel’s well-loved work relevant to today’s audiences. Unlike the Bach passions, there is no clear narrative. The text used is not the actual story of Jesus, indeed Jesus is never mentioned directly by name, but rather passages from Old and New Testaments alluding to the life of Christ. Handel’s god-abiding Georgian audiences would have understood the biblical references, but that’s not necessarily the case in today’s largely secular society. These audiences also understood the concept of rhetoric, the art of persuasion through text to make convincing arguments, and so the chorus and soloists constantly make statements and ask questions, cajoling and coaxing you the audience to join “team Jesus”.
There is an overriding need to make the text abundantly clear, just as in opera (no surprise that Handel developed the oratorio genre based on his skills as a lyric composer). Tonight the words are displayed as they are sung, and we the choir have worked at emphasising meaning through clear enunciation and emphatic word stress. I have also worked with Peter and Joe to source meaningful images of art across centuries, alongside contemporary graphics to help bring the words to life.
Handel wrote Messiah as an Easter piece, it is only latterly it has become associated with Christmas. Tonight we perform parts 2 and 3, which focus on seasonal messages of the crucifixion and resurrection. We politely ask that you refrain from applause until the end of each half, to maintain the dramatic flow. Thanks for coming, I hope you enjoy and appreciate our performance.
Samir Savant
CEO, St George’s Bristol
Tenor, Fitzhardinge Consort
Performers
Peter Wagstaff Conductor
Roger Huckle Leader, Bristol Ensemble
Joe Price Lighting & Projections
Christopher Jones Organ
Bristol Ensemble
Violin 1
Roger Huckle
Hugh Blogg
Rebekah Allan
Violin 2
Marian Givens
Nina Sarnath
Viola
Fran Higgs
Cello
Jane Fenton
Juliet McCarthy
Bass
Jub Davis
Oboe
Imogen Triner
Kim Keeble
Trumpets
Gavin Wells
Simon Jones
Timpani
Jeremy Little
Bristol’s only professional orchestra, Bristol Ensemble plays an important role in culture and music education in Bristol and the West of England, working with outstanding artists to present a vibrant and varied annual programme of concerts and events in the region’s major venues.
Committed to all types of music, Bristol Ensemble has commissioned over 50 new works by British composers. It is also known for film and media collaborations and has provided the music for award-winning productions including the BBC series Life in Cold Blood, Channel 4 drama Any Human Heart, and the 2021 Aardman Animation film Robin Robin.
Embedded in the Bristol music community, in 2009 Bristol Ensemble founded Preludes, an education project that now reaches more than 2,000 children a year. More than 80% of Preludes children live in areas experiencing economic and social challenges. Many are growing up in poverty and a high proportion have additional needs. Preludes children benefit from activities including choirs, instrument lessons, orchestras and holiday clubs. They perform in concerts in city centre venues and in their communities. As well as progressing musically they gain confidence and develop key skills, including teamwork and communication.
The Bristol Ensemble has recently appointed Charles Wyld as Chair of Trustees and Simon Kodurand as Artistic Director. We have sought feedback from our partners and audiences to inform our priorities and plans for the future. We have refined our mission, vision and values, and reaffirmed the Bristol Ensemble’s purpose and role in our communities.
Our new strategy will help us fulfil the Bristol Ensemble’s mission to ‘share the gift of music-making with people of all ages across all the communities of Bristol and the West of England’.
By 2032 we aim be recognised as a cultural and educational icon in the region, with national standing. To realise this aim we will:
- Continue to pursue musical excellence through innovation and creativity in our partnerships, programming and performance.
- Expand Preludes to other areas of need within the city.
- Develop and deliver new projects that bring Preludes and the Bristol Ensemble closer together, improving the orchestra’s presence, visibility and accessibility for the benefit of all local communities.
Bristol Ensemble are fundraising so they can achieve these aims. Please visit bristolensemble.com to find out more.
The Fitzhardinge Consort
Soprano
Eleanor Little
Elizabeth Britton
Amelia Jones
Julia Sutton-Mattocks
Annie Garry
Caroline Halls
Alto
Ella Venn
Leonora Dawson-Bowling
Elizabeth Cotton
Tim Parker
Tenor
Michael Burgess
Jeremy Avis
Raphael Geldsetzer
Samir Savant
Bass
Andy Marshall
Alex Learmonth
Christopher Gray
Oliver Parry
Harrison Robb
Peter Wagstaff
Peter studied music at Cardiff University, during which he sang as a choral scholar at Llandaff Cathedral, played the organ in a local church, and began taking conducting more seriously. He moved to Bristol in 2014 to do his MA in Russian Musicology at Bristol University, and in the same year became a tenor Lay Clerk at Bristol Cathedral and Director of The Fitzhardinge Consort.
After completing his MA, he worked as a freelance singer, conductor and teacher. When the Covid pandemic hit, he was forced to change tack, and now runs three businesses which he founded: two in the film & TV industry, and one in fashion design and retail. He still loves working as an occasional freelance musician, singing in the choir of Bristol Cathedral, and directing Fitz, which is going from strength to strength.
The Fitzhardinge Consort
Since its first concert in April 2000, The Fttzhardinge Consort has undergone a number of transformations and served a number of purposes. Now, its primary purpose is to bring international-standard, rarely-performed choral music to the South West of England and beyond. On top of this, though, the choir has an ambitious programme of charity, education and outreach work in the pipeline, designed to bring music to those that need it most but hear it least.
Notwithstanding the interruption at the hands of Covid-19, the choir sings regularly across the region to great critical acclaim, and has quickly become known for its exciting and original interpretations of Renaissance and Baroque music, as well as new works of living composers.
The choir consists of professional musicians from the across the West of England and South Wales. Current members have sung with the Tallis Scholars, the choirs of St Paul’s Cathedral and Westminster Abbey, and in lead roles on the stages of Covent Garden and Glyndebourne.
The size of the team varies according to the size of the venue, the nature of the event and the repertoire being performed, but come to a concert and you may expect to see between twelve and sixteen singers. Fitzhardinge is committed to encouraging young musicians, and a handful of university students are mentored by the more experienced members of the group. Many of these students go on to postgraduate vocal studies at conservatoires across the country and to perform with groups including Ex Cathedra, the Monteverdi Singers and The Sixteen.
While it performs in large venues such as Bristol Cathedral (the Consort’s home), Fitzhardinge believes in taking expert-calibre choral music beyond the bubbles of big cities and prestigious concert halls. To that end, it performs regularly to growing and enthusiastic audiences in small, rural venues around Somerset, Wiltshire and beyond. fitzhardingeconsort.com