DUBLIN VERSION 1742
Wednesday 13 April 2022, 7.30pm, Perth Concert Hall
Presented by WASO and St George's Cathedral
West Australian Symphony Orchestra respectfully acknowledges the Traditional Custodians and Elders of Country throughout Western Australia, and the Whadjuk Noongar people on whose lands we work and share music.
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• For more information, see Your Concert Experience.
Tonight’s performance of Handel’s Messiah comes at an apt time, given the seemingly relentless challenges that the world faces today. Sacred music of this calibre helps us to transcend earthly struggles, while feeling into the universality of our human experience. This is why we always need another performance of this well-known and much-loved oratorio.
Beyond the musical genius of Handel, so gifted in his use of word painting, it is perhaps its combination of humanity and other-worldliness that lifts Messiah head and shoulders above all other oratorios.
I am on record as stating that Handel wrote for the people and Bach wrote for God. Handel, of course, made considerable sums of money from performances of Messiah, which he often used to mitigate losses of his other, less popular oratorios. However, by accident or design, Handel’s Messiah is so special that it appears to have been touched by God, and this is why I believe it is the greatest musical composition of all time.
I would like to conclude this welcome by thanking everyone who supports West Australian Symphony Orchestra and St George’s Cathedral Concert Series. Our incredible underwriting sponsors, Julian and Alexandra Burt, have my eternal thanks for their infinite generosity.
Dr Joseph Nolan
Artistic Director, St George’s Cathedral Concert Series
Handel Messiah Dublin version 1742 (120 mins)
There will be an interval of 20 mins during this performance.
Joseph Nolan conductor
Sara Macliver soprano
Fiona Campbell mezzo soprano
Paul McMahon tenor
David Greco baritone
St George’s Cathedral Consort
Wesfarmers Arts Pre-concert Talk
Find out more about the music in the concert with this week’s speaker, Hugh Lydon. The Pre-concert Talk will take place at 6.45pm in the Terrace Level Foyer.
Listen to WASO
This performance is recorded for broadcast on ABC Classic. For further details visit abc.net.au/classic
WASO On Stage
Acting Principal 1st Violin
Principal 2nd Violin
Assoc Principal 2nd Violin
Assoc Principal Percussion & Timpani
★ Section partnered by
• Chair partnered by
* Instruments used by these musicians are on loan from Janet Holmes à Court AC.
St George’s Cathedral Consort On Stage
Bonnie De La Hunty
Anne Marie Duce
Sabra Poole Johnson
* soloist, movement 39
About the Artists
Joseph NolanMultiple award-winning British-Australian organist and choral conductor Dr Joseph Nolan has been hailed by ABC Classic as ‘an extraordinary musician’, by BBC Radio 3 Record Review as ‘magnificent’ and by Limelight Magazine as ‘a colossus’. As a scholarship holder at the Royal College of Music, London, Joseph then won scholarships from the Countess of Munster Trust and the Hattori Foundation to study for two years with the legendary Marie Claire Alain in Paris.
Appointed to Her Majesty’s Chapels Royal, St James’ Palace, in 2004, Joseph performed on numerous occasions at Buckingham Palace, and subsequently accepted the position of Master of Music at St George’s Cathedral in 2008. Joseph Nolan’s work as a musician has been awarded innumerable five-star reviews, Editor’s Choice, Critic’s Choice and Recordings of the Month and Year in Gramophone, Limelight, BBC Music Magazine, Classicalsource, MusicWeb International, and Choir and Organ magazine (UK).
Nominated twice for Artist of the Year in Limelight Magazine, Joseph holds the distinction of winning Editor’s Choice three times for disks of his much-feted Widor recordings from France and is the only organist to have been awarded Limelight’s coveted Recording of the Month award (St Etienne du Mont, Paris). Joseph has performed as a soloist on numerous occasions with ensembles such as the Sydney Symphony Orchestra at Sydney Opera House, the Malaysian Philharmonic Orchestra at Petronas Concert Hall, the West Australian Symphony Orchestra at Perth Concert Hall and with the Queensland Symphony Orchestra at QPAC.
Joseph was made a Chevalier des Arts des Lettres by the French government for services to French music in 2016 and was awarded the prestigious Higher Doctorate, The Doctor of Letters, by The University of Western Australia in 2018.
Joseph will make his debut as a featured soloist on a national tour with the New Zealand Symphony Orchestra in October 2022 before flying to Paris to record the complete organ works of Alkan at La Madeleine for award-winning UK label, Signum Records.
About the Artists
Sara MacliverSara Macliver is one of Australia’s most popular and versatile artists, and is regarded as one of the leading exponents of Baroque repertoire.
Sara is a regular performer with all the Australian symphony orchestras as well as the Perth, Melbourne and Sydney Festivals, Pinchgut Opera, the Australian Chamber Orchestra and Australian Brandenburg Orchestra, Musica Viva, and a number of international companies.
Sara records for ABC Classics with more than 35 CDs and many awards to her credit.
Most recently Sara has sung with West Australian Opera, Sydney, Melbourne, West Australian, Tasmanian, Queensland and Adelaide Symphony Orchestras, Sydney Philharmonia Choirs, Ten Days on the Island, the Australian String Quartet, St George’s Cathedral and Auckland Philharmonic Orchestra. She also sang with the Perth Festival, Peninsula Summer Festival, Brisbane Camerata, ANAM and Collegium Musicum amongst many other projects.
Sara has been awarded an honorary doctorate from the University of Western Australia in recognition of her services to singing.
Image credit: Rhydian Lewis
About the Artists
Fiona Campbell is one of Australia’s most versatile and beloved classical singers - the winner of the national Limelight Award for Best Solo Performance 2011 and vocal winner of the ABC Young Performer of the Year Award and the ASC Opera Awards.
Fiona sings regularly as a principal artist with all of the major ensembles and orchestras in Australia and with Opera Australia, Opera Queensland and West Australian Opera. Her international collaborators have included the Brodsky Quartet, Tokyo Philharmonic, Manchester Camerata, Prague Chamber Orchestra, Hong Kong Philharmonic and Glyndebourne Festival Opera.
She was Associate Artist for José Carreras in Japan, Korea and Australia and for Barbara Bonney in Tokyo and London. In 2021, she sang Hippolyta in A Midsummer Night’s Dream for The Adelaide Festival and was soloist with the Australian String Quartet and the Queensland and West Australian Symphony Orchestras. In 2022, she returns to WASO and the QSO and appears as Laura (Iolanta) and Flora (La traviata) for West Australian Opera.
© Patrick Togher Artists’ Management 2022
Image credit: Steven Godbee Photography
About the Artists
Performing regularly as a soloist with symphony orchestras, chamber music groups and choirs throughout Australia, New Zealand and Asia, tenor Paul McMahon is one of Australia’s finest exponents of baroque and classical repertoire, particularly the Evangelist role in the Passions of J. S. Bach.
Career highlights include Bach’s Johannes-Passion with the Australian Chamber Orchestra under Richard Tognetti; Bach’s Matthäus-Passion under Roy Goodman; Haydn’s Die Schöpfung under the late Richard Hickox, Mozart’s Mass in C Minor under Masaaki Suzuki and Mozart’s Requiem with the Hong Kong Philharmonic Orchestra under Manfred Honeck.
Paul’s discography includes the solo album of English, French and Italian lute songs entitled A Painted Tale; a CD and DVD recording of Handel’s Messiah and Fauré’s La naissance de Venus.
His most recent appearances include Handel’s Messiah and Mozart’s Mass in C Minor with the Queensland Symphony Orchestra, Zadok in Handel’s Solomon at Perth Concert Hall, the Evangelist in Bach’s Johannes-Passion and Matthäus-Passion in Melbourne and Brisbane, Haydn’s Creation with the Newcastle University Choir, as well as a CD recording of art songs by Australian composer Calvin Bowman.
© Patrick Togher Artists’ Management 2022
About the Artists
David GrecoInternationally regarded for his interpretations of Schubert Lieder and the works of J.S. Bach, baritone David Greco has sung on some of the finest stages across Europe and has appeared as a principal in opera festivals such as Festival d’Aix-en- Provence and Glyndebourne. In 2014 he was the first Australian appointed to a position with the Sistine Chapel Choir in the Vatican.
He regularly appears with leading Australian ensembles such as Pinchgut Opera, the Australian Brandenburg Orchestra, Australian Chamber Orchestra, Sydney Philharmonia and, most recently, the Sydney Symphony Orchestra in their Helpmann award-winning concerts of Bach’s cantata, Ich habe genug. As a principal artist with Opera Australia, he appeared in The Eighth Wonder and The Love for Three Oranges, and his appearances as Seneca in Pinchgut’s Coronation of Poppea and Momus in Platée received critical acclaim.
David Greco is an active researcher into the historical performance practice of 19th-century vocal music and recently received his doctorate from Melbourne University. This led to the first Australian recordings of historically informed performances of Schubert’s song cycles Winterreise and Die schöne Müllerin (ABC Classic), the latter receiving an ARIA nomination for Best Classical Album (2020).
About the Artists
St George's Cathedral Consort
St George’s Cathedral Consort is the premier mixed voice choir in Western Australia and is frequently hailed as the leading choral ensemble of its type in Australia. The Consort has been described as elite, world class and producing a sound akin to the evanescence of snow by The Australian and The West Australian newspapers. Formed by Dr Joseph Nolan in 2009, the Consort complements the Cathedral Choir and performs during the highly acclaimed St George’s Cathedral Concert Series. The Consort sings regularly as a solo choir with the West Australian Symphony Orchestra, and has sung with highly regarded UK ensembles: The Academy of Ancient Music and vocal groups The Hilliard Ensemble and The King’s Singers. The Cathedral Consort has also performed for Musica Viva and Perth Festival to rave reviews and can often be heard on ABC Classic. Seesaw Magazine reviewer, Rosalind Appleby, stated The Cathedral Consort shone in this repertoire….you would be hard pressed to find better performances anywhere in the world.
About the Music
George Frideric Handel (1685-1759)
A Sacred Oratorio
Messiah by George Frideric Handel is one of the most famous and well-loved pieces of music in the western classical repertoire. Those who attend Messiah performances regularly, or listen to broadcasts and recordings, will be aware that there are differences between performances. Some of these are due to cuts made by conductors, but there are other variations that can be legitimately chosen. Unlike, for instance, the symphonies of Beethoven or Mahler, there is no single definitive or “authorised” version of Messiah. There are historical reasons why this is so, which make this masterpiece one of the most intriguing of Baroque works.
In 1741, Handel was close to despair. He had arrived in London as a young man of 26, having left his birthplace of the German town of Halle to work and study at Hamburg, Rome and Venice. He became the toast of the English capital with his Italian operas, beginning with Rinaldo in 1711. By the 1730s however, the English taste for this “exotic and irrational entertainment” (Samuel Johnson, 1755) was waning.
Handel had tried his hand at more English forms with English words - Acis and Galatea, a masque, in 1718, and also that year, an English oratorio, Esther. This he revived in 1732, and followed it with Deborah in 1733, while continuing with Italian opera and composing such enduring masterpieces as Ariodante, Alcina and Serse. By 1740 however, he was struggling; his last Italian opera Deidamia (although also a masterpiece) failed with the public. Handel was going so far as to consider a move away from England.
In March 1741 he was invited to Dublin by the Duke of Devonshire, Lord Lieutenant of Ireland, baiting his offer with a brand new music hall in Fishamble Street. In 1739, Handel had been sent the text for a “sacred oratorio” called Messiah, compiled from Biblical texts by his colleague, literary scholar and landed gentry Charles Jennens. He put it aside initially and then, probably in response to Devonshire’s invitation, took it up again, and composed music for it between August 22 and Sept 14 in 1741 - an incredible burst of inspiration.
In November 1741 he set off for Dublin to establish a musical season. As well as the premiere of Messiah, it included L’allegro, il penseroso ed il moderato (an English oratorio despite the title), Acis and Galatea, Ode for St Cecilia’s Day, Esther, Alexander’s Feast and (the only work in Italian) a concert performance of his second last opera Imeneo, called on this occasion by its English name, Hymen.
His singers included three from London, Mrs Susannah Cibber, Signora Maria Cristina Avoglio, often referred to as Italian but in fact a German woman with an Italian husband, and a Mrs Maclaine. For his other vocal soloists, choristers and musical forces he relied on local talent. Messiah was first performed publicly at a rehearsal on 9th April in 1742, with a “grand Performance” at noon on Tuesday 13th April. The Dublin press was ecstatic on both occasions, declaring that it was “allowed by the greatest Judges to be the finest Composition of Musick that ever was heard”.
The newspaper accounts inform us that the profits were distributed amongst three charitable institutions, the beginning of a long tradition of charity performances in Handel’s lifetime. It is interesting to note that all the newspaper reports of the day refer to it as “the Messiah”, a practice often sniffed at today. We may also note that there is no indication of anyone standing for the Hallelujah chorus. That practice is often attributed to one of the Kings George II or III, but there is no evidence to support this, and George II in particular is not known ever to have attended a performance of Messiah. The earliest mention of this tradition is not until 1750 at a performance at the chapel of the London Foundling Hospital - no royalty was present, but some of the bishops were, so perhaps they led the way.
Following this Dublin success, the work was next performed at the Covent Garden Theatre in London the following year, when it made far less of a splash than it had done in Dublin. There were subsequent performances between 1743 and 1759 at the King’s Theatre, Haymarket, as well as Covent Garden, but not until it became a regular item at benefit performances at the London Foundling Hospital from 1750 on, did it become really popular. After Handel’s death, it continued in the public estimation, with gargantuan Victorian performances, and held its popularity to the present day. Every time Messiah was performed under Handel’s aegis, he altered it to suit the forces at his disposal. The 1742 premiere Dublin version was not as he originally wrote it (as found in the autograph version), and neither were the subsequent versions. In 1750 in particular he made changes to accommodate star castrato singer Guadagni. There is no such thing as a definitive Messiah; most modern performances are loosely based on a Foundling Hospital version of 1754, but are usually amalgams of different versions.
In tonight’s performance, we will present as near as possible the 1742 Dublin premiere version. We hope to allow the audience to experience something like that very first exposure of this masterpiece. If you have any familiarity with Messiah at all, you will notice a number of differences. Most obvious will be the small musical forces. Instead of a large choir, we have a relatively small number of choristers. There is similarly a small number of strings, and no oboes nor bassoon. Very important however are the trumpets and timpani, even though they play only in three choruses (the timpani actually only in two), and their effect is heightened due to the lack of woodwinds. You may wish to compare this small company with the 1859 Crystal Palace version which featured 2765 singers and 460 instrumentalists and an audience in the order of 10,000.
The distribution of the arias among the cast varied from performance to performance under Handel’s direction, according to which singers were available. In the premiere performance, the imported singers Signora Avoglio (soprano) and Mrs Cibber (mezzo-soprano) appeared, along with altos, tenors and basses drawn from the ranks of the choirs of St Patrick’s and Christ Church Cathedrals. We know that Susannah Cibber was a great favourite of Handel, although in the 18th century she was far better known as a dramatic actor than as a singer. And if truth be told, it appears that she was no musician; she could not read music, and Handel would sit patiently with her and lead her through her arias phrase by phrase. She must clearly have compensated for her musical shortcomings with an impressive stage presence, as attested by a famous anecdote.
Mrs Cibber had been out of the public eye for a few years in England, in the wake of an extremely well-publicised scandal involving her in an adulterous liaison with a man who was not her (admittedly totally unspeakable) husband. After her performance of “He was despised”, the recently bereaved Irish cleric Dr Patrick Delany leapt to his feet and cried, “Woman for this all thy sins be forgiven thee”. Not only did Handel provide her with this deeply moving aria, he also transposed the arias “He shall feed his flock” and “If God be for us” for alto voice to accommodate her.
The available tenor soloists clearly did not impress Handel overmuch, as the tenor soloist’s role is much reduced in this version. The bass has far more to do, but even here, we find that “But who may abide” is reduced to a recitative only. While the soprano lost some of her arias to the alto, it seems likely that she sang the original version of “Rejoice”, which is longer than the one normally heard these days, and in 12/8 time rather than 4/4, which provides a prettier, more dancing effect. Another difference is the version of “How beautiful are the feet”, sung by two altos from the choir, rather than soprano and alto soloists, with an immediate segue to the chorus.
In every other case, the choruses are the same as in other versions. The only exception is “Their sound is gone out”, which was introduced to Messiah in 1745 and is thus not included here. We hope you will enjoy this special performance of an old friend in a different guise, and perhaps hear it almost as that first audience did in Dublin in 1742, as an outstanding new addition to the cultural capital of the western world, and a monument to the Christian faith.
© Sandra Bowdler. Reproduced with kind permission.
13 April 1742, Dublin.
First WASO performance:
18 September 1940 (Perth Symphony Orchestra). Thomas Beecham, conductor; Lisa Perli (soprano), Elsie Fischer (mezzo-soprano), Heddle Nash (tenor), Harold Williams (bass); and Perth Philharmonic, Perth University and North Perth choral societies.
Most recent WASO performance:
7-8 December 2018. Christian Curnyn, conductor; Sara Macliver (soprano), Fiona Campbell (mezzo soprano), Henry Choo (tenor), Morgan Pearse (baritone) and the WASO Chorus.
four-part mixed choir, four vocal soloists, two trumpets, timpani, strings and continuo.
Text & Translation
a Sacred Oratorio
by George Frederic Handel
The words selected from Holy Scripture by Charles Jennens
Part the First
2. Comfort ye (Recitative: Tenor)
3. Ev’ry valley (Air: Tenor)
4. And the glory of the Lord (Chorus)
5. Thus saith the Lord (Recitative: Bass)
6. But who may abide (Recitative: Bass)
7. And He shall purify (Chorus)
8. Behold, a virgin shall conceive (Recitative: Mezzo-soprano)
9. O thou that tellest (Air: Mezzo-soprano & Chorus)
10. For behold, darkness (Recitative: Bass)
11. The people that walked in darkness (Air: Bass)
12. For unto us a child is born (Chorus)
14a. There were shepherds abiding in the field (Recitative: Soprano)
14b. And lo, the angel of the Lord (Recitative: Soprano)
15. And the angel said unto them (Recitative: Soprano)
16. And suddenly there was with the angel (Recitative: Soprano)
17. Glory to God (Chorus)
18. Rejoice greatly (Air: Soprano)
19. Then shall the eyes of the blind (Recitative: Mezzo-soprano)
20. He shall feed his flock (Air: Mezzo-soprano)
21. His yoke is easy (Chorus)
Part the Second
22. Behold the Lamb of God (Chorus)
23. He was despised (Air: Mezzo-soprano)
24. Surely He hath borne our griefs (Chorus)
25. And with His stripes we are healed (Chorus)
26. All we, like sheep (Chorus)
27. All they that see Him (Recitative: Tenor)
28. He trusted in God (Chorus)
29. Thy rebuke hath broken His heart (Recitative: Soprano)
30. Behold and see (Air: Soprano)
31. He was cut off (Recitative: Soprano)
32. But Thou didst not leave (Air: Soprano)
33. Lift up your heads (Chorus)
Interval (20 mins)
34. Unto which of the angels said (Recitative: Tenor)
35. Let all the angels (Chorus)
36. Thou art gone up on high (Air: Bass)
37. The Lord gave the word (Chorus)
38. How beautiful are the feet-Break forth into Joy (Duet and Chorus)
39. Their sound is gone out (Chorus)
40. Why do the nations (Air: Bass)
41. Let us break their bonds (Chorus)
42. He that dwelleth in heaven (Recitative: Tenor)
43. Thou shalt break them (Recitative: Tenor)
44. Hallelujah (Chorus)
There will be a short pause between Parts II and III, during which patrons are asked to remain in the auditorium.
Part the Third
45. I know that my Redeemer liveth (Air: Soprano)
46. Since by man came death (Chorus)
47. Behold, I tell you a mystery (Recitative: Bass)
48. The trumpet shall sound (Air: Bass)
49. Then shall be brought (Recitative: Mezzosoprano)
50. O death, where is thy sting? (Duet: Mezzosoprano & Tenor)
51. But thanks be to God (Chorus)
52. If God be for us (Air: Mezzo-soprano)
53. Worthy is the Lamb (Chorus)
PART THE FIRST
Prophecy of Christ’s appearance on earth; the nativity.
2. Comfort ye (Isaiah 40:1-3) Recitative: Tenor
3. Ev’ry valley (Isaiah 40:4) Air: 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.
4. 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.
5. Thus saith the Lord (Haggai 2:6-7; Malachi 3:1) Recitative: 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.
6. But who may abide (Malachi 3:2) Recitative: 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.
7. 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.
8. Behold, a virgin shall conceive (Isaiah 7:14; Matthew 1:23) Recitative: Mezzo-soprano
9. O thou that tellest (Isaiah 40:9 and 60:1) Air: Mezzo-soprano 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.
10. For behold, darkness (Isaiah 60:2-3) Recitative: Bass
11. The people that walked in darkness (Isaiah 9:2) Air: 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.
12. 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
The Mighty God,
The Everlasting Father,
The Prince of Peace.
13. Pifa (Pastoral Symphony)
14a. There were shepherds abiding in the field (Luke 2:8) Recitative: Soprano
14b. And lo, the angel of the Lord (Luke 2:9) Recitative: Soprano
15. And the angel said unto them (Luke 2:10-11) Recitative: Soprano
16. And suddenly, there was with the angel (Luke 2:13) Recitative: Soprano
17. 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.’
18. Rejoice greatly (Zechariah 9:9-10) Air: 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.
19. Then shall the eyes of the blind (Isaiah 35:5-6) Recitative: Mezzo-soprano
20. He shall feed his flock (Isaiah 40:11; Matthew 11:28-29) Air: Mezzo-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.
21. His yoke is easy (Matthew 11:30) Chorus
His yoke is easy, His burthen is light.
PART THE SECOND
The death, resurrection and ascension of Christ; the spreading of the Gospel.
22. Behold the Lamb of God (John 1:29) Chorus
Behold the Lamb of God,
that taketh away the sin of the world.
23. He was despised (Isaiah 53:3 and 50:6) Air: Mezzo-soprano
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.
24. Surely He hath borne our griefs (Isaiah 53:4-5) Chorus
25. And with His stripes we are healed (Isaiah 53:5) Chorus
26. 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.
27. All they that see Him (Psalm 22:7 – Book of Common Prayer) Recitative: Tenor
28. 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.
29. Thy rebuke hath broken His heart (Psalm 69:20 – BCP) Recitative: Soprano
30. Behold and see (Lamentations 1:12) Air: Soprano
31. He was cut off (Isaiah 53:8) Recitative: Soprano
32. But Thou didst not leave (Psalm 16:10) Air: 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.
33. Lift up your heads (Psalm 24:7-10) 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,
The Lord of Hosts:
He is the King of Glory.
Interval (20 mins)
34. Unto which of the angels said (Hebrews 1:15) Recitative: Tenor
Unto which of the angels said he at any time,
Thou art My Son, this day have I begotten Thee?
35. Let all the angels (Hebrews 1:6) Chorus
Let all the angels of God worship Him.
36. Thou art gone up on high (Psalms 68:18) Air: Bass
Thou art gone up on high; Thou hadst led captivity captive,
and received gifts for men;
yea even for Thine enemies that the Lord God might dwell among them.
37. The Lord gave the word (Psalm 68:11 – BCP) Chorus
The Lord gave the word:
great was the company of the preachers.
38. How beautiful are the feet (Isaiah 52:7; Romans 10:15) Duet: Chorus
How beautiful are the feet of them
that preach the gospel of peace,
and bring glad tidings of good things.
Break Forth into Joy,
Break Forth into Joy,
Glad tidings, thy God reigneth.
39. Their sound is gone out (Romans 10:18) Chorus
Their sound is gone out into all lands,
and their words unto the ends of the world.
40. Why do the nations (Psalm 2:1-2 – BCP) Air: Bass
41. Let us break their bonds (Psalm 2:3) Chorus
42. He that dwelleth in heaven (Psalm 2:4 – BCP) Recitative.: Tenor
43. Thou shalt break them (Psalm 2:9) Recitative: 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 counsel 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.
44. Hallelujah (Revelation 19:6; 11:15; 19:16) Chorus
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 forever and ever,
King of Kings,
and Lord of Lords,
There will be a short pause between Parts II and III, during which patrons are asked to remain in the auditorium.
PART THE THIRD
Victory over Death.
45. I know that my Redeemer liveth (Job 19:25-26; 1 Corinthians 15:20) Air: 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.
46. 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.
47. Behold, I tell you a mystery (1 Corinthians 15:51-52) Recitative: Bass
48. The trumpet shall sound (1 Corinthians 15:52-53) Air: 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.
49. Then shall be brought (I Corinthians 15:54) Recitative: Mezzo-soprano
Then shall be brought to pass the saying that is
Written: Death is swallow’d up in victory.
50. O death, where is thy sting? (I Corinthians 15:55-56) Duet: Mezzo-soprano & Tenor)
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.
51. But thanks be to God (I Corinthians 15:57) Chorus
But thanks be to God, who giveth us the victory through
Our Lord Jesus Christ.
52. If God be for us (Romans 18:31, 33-34) Air: Mezzo-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.
53. Worthy is the Lamb (Revelation 5:12-13) 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.