Two 'Messiahs,' two philosophies

If you read an account of "Messiah's" premiere in the spring of 1742, at Neal's Music Hall on Fishamble Street in Dublin, Ireland, the debut of George Frideric Handel's oratorio about Jesus and the conquest of death sounds a little like a historical comedy.

Handel, depressed and facing money troubles, raced through the writing of his composition, based on Charles Jennen's libretto, in a mere 24 days. Rehearsals were plagued with problems, Handel kept rearranging the score and the dean of St. Patrick's Cathedral, Jonathan Swift (yes, the author of "Gulliver's Travels"), demanded the piece be retitled and briefly shut the entire production down.

Happily, things have run more smoothly for this year's Seattle showcases for "Messiah." Earlier this month, Orchestra Seattle and the Seattle Chamber Singers performed at the First Free Methodist Church. This weekend finds the Tudor Choir, under the direction of Doug Fullington, and Seattle Baroque Orchestra, led by Ingrid Matthews, teaming up for a small, chamber approach to a full-length "Messiah" in Town Hall's Great Hall.

Beginning next Thursday through Sunday, guest conductor Gary Thor Wedow will conduct the Seattle Symphony Orchestra and Seattle Symphony Chorale (under the direction of Joseph Crnko) in a shortened version of Handel's score, albeit one that features the famed "Hallelujah!" chorus and other popular choruses.

As often as Handel wrote different arrangements for "Messiah" in his lifetime, it's difficult to say whether a definitive version exists. It's far more interesting, Wedow says, to focus on the possibilities in any new production.

"I rethink 'Messiah' every year," says Wedow. "I consider anew how to do it. Also, different vocal soloists make it different every time."

Wedow, who teaches music at Indiana University and Juilliard, has conducted at Seattle Symphony twice before (and twice at Seattle Opera). He will be working with a scaled-down, Baroque chamber-size orchestra and a Chorale of 65 singers.

" 'Messiah' was never intended to be a big, gigantic piece," says Wedow. "It's majestic, but many of the most interesting moments are the quieter ones."

"Messiah's" first part introduces prophecies of a coming savior and the fulfillment of those prophecies with the Nativity. Part two concerns Christ's ministry, crucifixion and ascension, ending with the "Hallelujah!" chorus. The last part begins with one of Handel's most beautiful airs, "I know that my Redeemer liveth."

Fullington says the Seattle Baroque Orchestra's 19 musicians and Tudor Choir's 15 singers make the perfect number for the Great Hall, a venue that approximates the dimensions of that original Dublin show.

Fullington says "small forces bring more subtlety to the performance. We can be more fleet in tempo. Details are heard more clearly."

Despite the Biblical nature of "Messiah's" story, Handel intended the piece to be a secular work of art.

"Whether you ascribe to the beliefs within it, or as a meditation on man's triumphs," says Wedow, "it is a beautiful, detailed piece of music. I never grow tired of it."

Tom Keogh: tomwkeogh@yahoo.com.