Soprano Marilyn Taylor
Mezzo-Soprano Peggy Stephenson
Tenor Alan Bennett
Bass G. Bradley Garvin

Friday, December 15, 1989
8:00 p.m
Tilson Hall, Indiana State University
Terre Haute, Indiana

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Christmas favorite coming to Tilson Music Hall

Choral Society to present 'Messiah'

From the Terre Haute Star
December 8, 1989

The Terre Haute Choral Society returns this year with one of the most beloved of Christmas traditions, Handel's "Messiah."

The single performance is set for 8 p.m. next Friday in Tilson Music Hall at Indiana State University.

The chorus, conducted by interim director Marika Kuzma, will perform section one, which tells of the birth of Christ, and portions of section two, which tells of the death and resurrection of Christ and includes the "Hallelujah Chorus."

Kuzma is a doctoral student in choral conducting at Indiana University with a master's degree in music from Stanford University. She has conducted such major choral works as Mozart's "Great Mass in C Minor," Faure's "Requiem," and Messaien's "Cinq Rechants."

Soloists for the performance are soprano Marilyn Taylor, tenor Alan Bennett, mezzo-soprano Peggy Stephenson and bass G. Bradley Garvin.

George Frideric Handel, a : German-English composer produced his epic work in 1741 in less than a month. It's a story in three parts told with more than 50 arias, recitatives.and solos. Rarely is the entire work performed at one time.

It is widely accepted that the composer intended the work to be performed during Easter and by small ensembles, but the majesty of his music has inspired performances by huge choirs and orchestras around the world during Christmas time as well as Easter.

Tickets for the performance are $7.50 for adults and $5 for students, senior citizens and chidren. They are available at Paiges Music or the Conservatory of Music and at the door.

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MESSIAH

An Oratorio

MAJORA CANAMUS (LET US SING OF GREATER THINGS)

PART I

RECITATIVE, accompanied (Tenor) Comfort ye, comfort ye, 
my people, saith your God; speak ye comfortable to Jerusalem, and cry 
unto her, that her warfare is accomplished, that her iniquity is pardoned.
 The voice at him that crieth in the wilderness: prepare ye the way of the Lord, 
make straight in the desert a highway for our God 
Isaiah XL,1-3

SONG (Tenor)
Every valley shall be exalted, and every mountain and hill made low: 
the crooked made straight and the rough places plain.
Isaiah XL, 4

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.
Isaiah XL, 5

RECITATIVE, accompanied (Bass)
Thus saith the Lord of hosts: vet once a little while, and I will shake the heavens 
and the earth, the sea and the dry land, and I will shake all nations, and the 
desire of all nations shall come. 
Haggai II, 6,7

The Lord whom ye 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.	
Malachi lll, 1

SONG (Bass)
But who may abide the day of his coming? And who shall stand when 
he appeareth? For he is like a refiner's fire.	
Malachi lll, 2

RECITATIVE (Alto)
Behold, a virgin shall conceive and bear a son, and shall call his name 
Emmanuel: GOD WITH US.	
Isaiah Vll, 14

SONG (Alto) AND CHORUS 
O thou that tellest good tidings to Zion, Set thee up into the high mountain, 
O thou that tellest good tidings to Jerusalem lift up thy mice with strength; 
lift it up, be not afraid; say unto the cities of Judah: behold your God. Arise, 
shine, for thy light is come, and the glory of the Lord is risen upon thee. 
Isaiah LX, 1

	
RECITATIVE, accompanied (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.
Isaiah LX,2,3

SONG, (Bass) 
The people that walked in darkness haDe seen a great light, and they that 
dwell in the land of the shadow of death, umn them hath the light shined.
Isaiah IX, 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 Cod, the everlasting Father, the Prince of Peace.
Isaiah IX, 6

RECITATIVE (Soprano) 
There were shepherds, abiding in the field, keeping watch over their flock by night.
Luke II, 8

RECITATIVE, accompanied (Soprano) 
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.
Luke II, 9

RECITATIVE (Soprano)
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 Savior, which is Christ the Lord.
 Luke II, 10, 11

RECITATIVE, accompanied (Soprano)
And suddenly there was with the angel a multitude of the heavenly host,
 praising God, and saying,	
Luke II,13

CHORUS
Glory to God in the highest, and peace on earth, good will towards men.
Luke II, 14

SONG (Soprano)
	Rejoice greatly, O daughter of Zion, shout O daughter of Jerusalem,
behold thy king cometh unto thee. He is the righteous Savior and he shall speak
peace unto the heathen. Rejoice greatly.
Zechariah IX, 9,10

RECITATIVE (Soprano)
Then shall the eyes of the blind be opened, and the ears of the deaf unstopped;
then shall the lame man leap as a hart, and the tongue of the dumb shall sing.
Isaiah XXXV, 5,6

SONG (Soprano l) 
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, and are heavv 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. 
Matthew Xl, 28, 29

CHORUS 
His yoke is easy, and his burden is light.
Matthew XI, 30

PART II 

CHORUS 
Behold the Lamb of God, that taketh away the sin of the world.
John I, 29

SONG (Alto)
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 his hair; he hid not his face from 
shame and spitting. He was despised.	
Isaiah LIII, 3
Isaiah L, 6

CHORUS 
Surely he hath borne our griefs, and carried our sorrows: he was 
wounded for our transgressions, he was bruised iniquities, the 
chastisement of our peace was upon him.
And with his stripes we are healed.
Isaiah LIII, 4,5

CHORUS 
All we like sheep have gone astray, we have turned every one 
to his own way. And the Lord hath laid on him the iniquity of us all.
Isaiah LIII, 6

RECITATIVE, accompanied (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, 21

SONG (Tenor)
Behold and see if there be any sorrow like unto his sorrow.
Lamentations I, 12

RECITATIVE, accompanied (Tenor)
 He was cut off out of the land of the living, for the transgression 
of thy people was he stricken.	
Isaiah LIII, 8

SONG (Tenor) 
But thou didst not leave his soul in hell, nor didst thou suffer thy holy 
one to see corruption.
Psalm XVI, 10

SONG (Alto) 
Thou art gone up on high, thou hast led captivity captive, and received 
gifts for men, yea even for thine enemies, that the Lord God might dwell 
among them.
Psalm LVIII, 18

CHORUS
Hallelujah for the Lord God omnipotent reigneth. The kingdom of this 
world is become the kingdom of our Lord and of his Christ; and he shall 
reign for ever and ever. King of kings, and Lord of Lords, Hallelujah. 
Revelation Xl, 15
Revelation XIX, 6, 16

PART III

SONG (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. For now is Christ risen from the dead, the first fruits of them that sleep.
Job XIX, 25, 26
I 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.
I Corinthians XV, 21, 22

RECITATIVE, accompanied (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.
I Corinthians XV, 51, 52

SONG (Bass)
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. The trumpet shall sound. 
I Corinthians XV, 52, 53

SONG (Tenor)
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 condemmeth? It is Christ that died, yea rather 
that is risen again, who is at the right hand of God, who makes intercession for us. 
Romans Vlll, 31, 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,for ever and ever, Amen.	
Revelation V, 9,12,14

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INFORMATION ABOUT THE SOLOISTS

Marilyn Taylor (soprano) holds a Master of Music Degree from the University of Louisville and currently is completing her doctorate at Indiana University. Her latest engagements at IU include soprano soloist in the Beethoven Ninth Svmphony and Antonia in the Tales of Hoffman. From 198284, she was Artist in Residence with the Kentucky Opera, where she continues to appear in leading roles.

Alan Bennett (tenor) is a native of North Carolina and has received degrees in vocal performance and choral conducting from the University of North Carolina at Greensboro. For the past two summers, he has toured southwest France as a soloist and member of a select chamber chorus under the direction of Robert Shaw. Mr. Bennett is currently pursuing a D.M.A. in choral conducting at Indiana University.

Peggy Stephenson (mezzo soprano) joined the ISU Department of Music faculty this fall. Originally from Wisconsin, she considers herself an "honorary Hoosier," having spent over a decade at Indiana University pursuing her Bachelor's, Master's and Doctoral degrees.

G. Bradley Garvin (bass) is a resident of River Forest, Illinois, a small suburb of Chicago. He received his Bachelor of Arts in Music from Olivet Nazarene University in 1987 where he performed variousoratoriosincludingHandel's Messiah, and Faure's Requiem. Mr. Garvin currently isenrolled at the Indiana University School of Music where he received his Master's of Music in May and is pursuing his Doctorate of Music in Voice Performance.

PROGRAM NOTES

The more popular a work of art, the more susceptible it is to popular misconceptions about its origins and history. So it is with Handel's Messiah. Today, we tend to associate Handel's masterwork with thunderous choirs and orchestras and with the Christmas season. In fact, Handel's original performing forces were quite modest: some nineteen singers and forty instrumentalists. Moreover Messiah's 1742 premiere took place in the month of April, not December.

It was only after Handel's death that huge choirs and orchestras assembled to perform Messiah. The small size of his own choir and orchestra allowed for greater clarity of sound and flexibility to the conditions of each performance. Typically, Handel would adapt his composition to the performers at hand, transposing arias to suit different soloists and using reduced ensembles to accompany some arias. In the spirit of that earlier tradition, our performance today is also on a more intimate scale and features different combinations of voices and instruments.

In Handel's day, Messiah traditionally was performed during the Lenton not the Christmas season. When we examine the texts Handel and his librettist Charles Jennens compiled, we find that this three-part oratorio does not focus exclusively on the event of Christ's birth at all; only the first part mentions the nativity. Rather, Messiah surveys scriptures from the Old Testament to Revelation--from the prophets to the apostles. It contemplates not Christ's life as much as his impact on humanity: on "the people who walked in darkness," the "shepherds abiding in the field," those who rejected Christ, and those redeemed by the risen Christ. In the course of the oratorio, the texts portray Christ as Emmanuel, Prince of Peace, savior, shepherd, Lamb of God, a man of sorrows, the redeemer. Handel's musical treatment of the scriptures is as colorful and varied as these images.

Ironically, the very word "Messiah" never once appears in the oratorio. It is as though the object of Handel's work is not sim ply to call Christ the Messiah outright and praise him as such, but to trace hi s coming and confirm that he was and is the Messiah. Perhaps the oratorio is suited ideally to the Christmas season after all. In preparation for this season, Messiah offers its listeners the opportunity more fully to acquaint themselves with this Christ whose birth Christmas celebrates. Whatever the season, in times of strife as in peace, they indeed can be "comforted" at the thought that if this Prince of Peace "be for us, who can be against us."

Marika Kuzma

HANDEL AND HIS MESSIAH

It is almost 250 years since Handel wrote what is perhaps his best-known work, the SACRED ORATORIO, better known as the Messiah. Was the Messiah always associated with Christmas and was it always as popular? According to Peter Jacobi in The Messiah Book (1982), the answer to these last two questions is no.

Did Handel find the Messiah easy to write? In a sense, yes; he completed it in 24 days. But Handel has left little in the way of letters, diaries; he was unmarried and had few close friends, and the documents that have come forth today deal mainly with his professional life. Thus, his motivation and energies can only be conjectured .

Handel was one of three future musicians born in 1685; Johann Sebastian Bach and Domenico Scarlatti were the others. But the latter came from musical families; Handel was born in Halle, Germany, the eighth child of his barber-surgeon father and second wife. Although intended to be a lawyer , Handel's musical gifts were difficult to ignore, and he studied music from the age of seven, becoming a church organist at seventeen. While he was working for the Elector of Hanover he visited England for a short time, then returning for what turned out to be the rest of his life. Handel arrived around 1709; there had been no native composers of note in residence since the death of Henry Purcel (1695). The first work he composed there, Rinaldo. immediately caught on with the public. This was followed closely by the Birthdav Ode for Queen Anne, and a Te Deum marking the Peace of Utrech. George I, Anne's successor and Handel's long-distance employer in his role as the Elector of Hanover, also found Handel's music to his liking, especially after hearing the Water Music.

Operas and oratorios filled his years as first director of the Royal Academy of Music. Although not without his critics and enemies, the general populace and his noble benefactors were enough to keep his works popular. But towards the end of the 1730's, interest in Italian opera waned. He responded by writing a comedic opera, Xerxes, the six organ concertos, seven trio sonatas and many concerti grossi, and the oratorios, Saul and Israel in Egypt. Saul, written in collaboration with Charles Jennens, lasted only six performances, and Israel in Egvpt, written in twenty-seven days, was performed only three times. Jacobi deemed it a work of "glorious choruses and imaginative instrumentation."

His collaborator, Jennens, was encouraging Handel to write a work based on the life of Christ and had provided him with265pagesbased onOld and NewTestament passages, mostly based onthel611 KingJames version of the English Bible. Handel began writing on August 22, finishing on September 14. Most of it was original, although he borrowed from some of his own previous arias and duets. The Messiah was the last of a series of his works, performed in Dublin on April 13, 1742. Handel played the harpsichord and the choir was all male; he brought his soloists from London. Seven hundred people attended this charitable event, for the "relief of the prisoners" in several jails, and two hospitals (142 debtors were freed as a result of the profits).

At first there was some worry among London listeners that Handel's secular soloists were not suitable singers for so sacred a subject. The general public didn't like it because there wasn't much of a storyline, and they felt that the soloists were featured too much. Handel revived the work in 1745, but, having other problems with his general popularity, ended up giving only sixteen of his projected twenty-four performances. In 1750, after regaining his standing with Music for the Roval Fireworks, Handel's Sacred Oratorio, now permanently known as the Messiah, was again brought forth as the basis for a charity concert for the Foundling Hospital. This time he had to add a performance. Handel continued to work steadily until he was seventy-four. During an April 6, 1759 performanceof Messiah. he fainted, and died on Holy Saturday, April 14,1759and isburied in Westmenster Abbey. The complete score was not published until 1767, and this posthumous publication helped create the problems that exist even today, with multiple versions.

Why do audiences stand during the Hallelujah Chorus? One corresponden t indicated that the entire audience became so taken with the music that they spontaneously stood up; the more favorite anecdote is that the king stood, followed, of course, by everyone else.

Although first performances weresmall, most peopletodayexpecta sizablechoir .This tradition began with a 1784 gala commemoration concert, featuring 500 performers (253 players and 257singers). In addition, few concerts today feature the complete work and these early concerts must have seemed interminable. Although Carl Philipp Emanuel Bach produced the work in Hamburg in 1772, Handel's birthplace, Halle, didn't see a performance until 1803. Jacobi conjectures that this would have been the Mozart version. Halle again received attention with a 1857 rendition, featuring the Swedish Nightingale, J enny Lind. the proceeds went to build a statue of Handel for the marketplace, still there today.

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MEMBERS OF THE TERRE HAUTE CHORAL SOCIETY

SOPRANO

• Patricia Bentley
• Jan Burroughs
• Lynn Curts
• Dea Ann Eaton
• Rosemany England
• Kathryn George
• Kathryn Haskin
• Jean Henry
• Corki Jarvis
• Mary Alice Klueh
• Leslie (Jill) Kuckewich
• Andrea Marlow
• Marsha Miller
• Frances Murphy
• Margaret Sapp
• Catherine Williams
• Connie Winkle
• Kristin Gerth

ALTO

• Marilyn Allen
• Nicole Archer
• Gail Brophy
• Betty Heine
• Kathi Hill
• Betsy Kelson
• Penny Kyker
• Virginia Linn
• Mary Jane Modesitt
• Sara Morgan
• Lois Ormand
• Teresa Pfotenhauer
• Annabelle Plenge
• Marjorie Schofield
• Susie Schnabel
• Carrie Stakeman
• Joan Swift
• Jeanna Wogan

TENOR

• Phil Adams
• Len Archer
• John Bloxdorf
• J.B. Cundiff
• Gene Englalld
• John Holwerda
• Richard Hughes
• Colin Newbold
• Don Richards
• Richard Schofield

BASS

• Grover Baldwin
• Bill Brummett
• David Giltner
• Uwe Hansen
• Edward Harbour
• Petronio (Pete) llagan
• Harry Jarratt
• Charles Kyker
• Ed Lucas
• Paul Maierle
• Boice McCain
• Bruce McLaren
• Dennis Morgan
• James Schnabel
• Darrell F. Swarens
• Howard Waltersdorf
• Curtis Winkle
• Charles Woodring

ORCHESTRA

Violin I                 o John Baldwin, Concertmaster
                              o Ingrid Matthews, Principal
                         +   o Gesa Kordes

Violin II             +  o Christopher Verrette
                               o Jennifer Wyon
                               o David Hays

Viola                +  o Marika Fischer-Hoyt, Principal
                           +     Daniel Powers

Cello                    o Adrienne Grossman, Principal
                           +     Stephanie Vial

Bass                        Bradley Anis, Principal

Harpsichord          Dennis Dieken, Principal

Oboe                +     William Denton, Principal
                           +     Tom O'Bannon

Bassoon          +     David Sarachene, Principal
                            +     Anne Bauserman

Trumpet I                 Jonathan Fields, Principal
                                    Stanley Curtis
			
Timpani             +     Douglas Walter, Principal

+ Member of Terre Haute Symphony Orchestra
o Present or former member of Indiana University Baroque Orchestra

TERRE HAUTE CHORAL SOCIETY

Founded 1974

A Non-Profit Organization

Member of Arts Illiana
Presenting the "Messiah" for the eighth time, in its sixteenth season

NEXT CONCERT:
Brahms' "REQUIEM" April 21,1990,
with the Terre Haute Symphony Orchestra,
the University Singers and the I.S.U. Chorale

To be on the mailing list for rehearsal schedules, concerts and special events, write: Terre Haute Choral Society P.O. Box 2052 Terre Haute, Indiana 47802

To order tapes of today's concert of the "Messiah": Mail check made out to Kenneth Bandy, $10.00 per tape, and your name and return address, to: Kenneth Bandy Recording Services 1405 South Bridgeport Road Indianapolis, IN 46231

BOARD OF DIRECTORS

• Penny Kyker, president
• Marsha Miller, president-elect, and promotions
• Margaret Sapp, secretary
• Annabelle Plenge, treasurer
• John Bloxdorf, M.D., tenor section leader
• Gail Brophy member / patron database
• Dea Ann Eaton, soprano section leader
• Kathryn George, patrons
• Elveira Harthan, membership and printing
• Kathi Hill, alto section leader and promotlons committee
• Dick Hughes, grants
• Pete Ilagan, M.D., corporate sponsors
• Allan Keathley, member at large
• Betsy Kelson, promotions committee
• Marika Kuzma, choral director
• Boice McCain, bass section leader
• James Schnabel, tickets
• Dick Schofield, grants
• Marge Schofield, music librarian

FORMER DIRECTORS

1974-1984 - Dr. Robert Hounchell
1984-1989 - Dr. Judith Cloud

PATRONS ($25 - 5199)

• Alcan Rolled Products
• Dr. & Mrs. James W. Barnes
• Elizabeth Bevington
• Mrs. Tom Boyd
• Gail Brophy
• Mr. & Mrs. Richard E. Conrad
• Conservatory of Music
• Mr. & Mrs. Frank Crawford, Sr.
• Mr. & Mrs. John Cundiff
• Dorothy Drummond
• First Bank and Trust of Clay Co.
• Dr. Enrico Garcia
• Mr. & Mrs. William George
• Mr. & Mrs. Edward Harbour
• Jean Heidenreich
• Richard & Phyllis Sughes
• Mr. & Mrs. Harley Ireland, III
• Mr. & Mrs. Duane Klueh
• Dr. Roland Kohr
• Herbert Keubler
• Penny & Charles Kyker
• Boice McCain
• Mr. & Mrs. Graham McMillan
• Ruth & Richard Melloh
• Mary Jane & Fred Modesitt
• Mr. & Mrs. Basil Moore
• Mr. & Mrs. Kenneth Moulton
• Mr. & Mrs. George Nichols
• Paige's Music Store
• Pitman-Moore, Inc.
• Mr. & Mrs. John Plenge
• Psi lota Xi
• Margaret Rowe
• Dennis & Helen Sapp
• Richard & Marge Schofield
• Charles & Jean Shutt
• Sigma Alpha Iota Alumnae
• Carl S. Smuddle
• Terre Haute First National Bank
• Toney Petroleum, Inc.
• Lori Wahl
• Curt & Connie Winkle
• Margaret Sapp

SPONSORS ($200 - $400)

• Dr. John Bloxdorf
• Dr. & Mrs. Pete Ilagan
• Neurosciences, Inc.
• Terre Haute Regional Hospital

ACKNOWLEDGEMENTS

• Bunch's Gardenland - Flowers on stage
• Dara Middleton - Coordinator of ticket sales at the door
• Friends of the Arts - Ushers, ticket sales at the door
• Ginny Banfield
• Phyllis Chaney
• Delores Clark
• Carol Hermann
• Roxine Koenig
• Carolyn Kurtz
• Blanche Law
• Linda West
• Indiana Arts Commission - Matching Grant Award of $750
• Indiana State University and the Department of Music - use of rehearsal room, concert hall; loan of harpsichord