Hallelujah, say area 'Messiah' fans — their favorite piece means fellowship and fun

Hours before more than 400 singers and musicians are expected at University Unitarian Church's (UUC) "Sing and Play-Along Messiah" later this month, longtime church member Carole Jones and several dozen other volunteers will be busily setting up.

After all, there are many chairs and musical stands to move; tables to prepare for hundreds of desserts; not to mention the boxes of merchandise — "I'm a Messiah fan" paper fans, stainless-steel "Messiah" water bottles, and "Messiah" rub-on tattoos — to display.

It's the 40th year UUC has put on the Sing and Play Along Messiah and, as always, it's a big deal.

"It's always sold out, standing-room only," said Jones, 54, who's on the church music committee. "Honestly, if we didn't even advertise it, people would still be coming."

It's a scene being repeated throughout the region, and the nation, this month as groups large and small participate in what's become a supremely popular holiday tradition: "Messiah" performances and singalongs. Locally, Handel's oratorio (a piece written for voices and orchestra usually based on a religious theme) is being performed by high schools, churches, community choruses, amateur singalong groups and professional symphonies.

For those who attend or participate, some glory in the dramatic music, others in the spiritual text. And for some it's become a family tradition, a once-a-year community gathering, or, simply, a fun time.

Handel "was very skilled at expressing human emotion in music — something which speaks to people from all walks of life," said Karen P. Thomas, who conducts UUC's "Sing and Play-Along Messiah."

"When Handel's music expresses joy or sorrow or anger, you can really feel those emotions in a deep and visceral way."

Spring debut

Though the "Messiah" is now thought of as a Christmas piece, it actually debuted around Easter in 1742.

Back then, opera could not be performed during Lent. So Handel — no dummy he — "made boatloads of money writing these semireligious operas (the oratorios) that could be performed during Lent," said Geoffrey Boers, director of choral activities at the University of Washington School of Music.

Such a piece was "Messiah," which Handel composed in 24 days, based on a libretto by Charles Jennan. In three parts, it tells of the prophecy of Christ's coming and birth; his life, death and resurrection; and the meaning and gift of Christ's resurrection.

Several decades later, it began to take off as a popular Christmastime piece.

Its enduring popularity and adaptability to a variety of groups has to do with its musical accessibility and themes that are familiar yet can speak to very different circumstances.

For instance, earlier this month, the Tacoma Symphony Chorus held a "Messiah" rehearsal on the Monday night following the shootings of four Lakewood police officers the day before.

"Our choir was not in a good place," said Boers, who conducts the group. But as choir members sang the line, "since by man came death, by man came also the resurrection of the dead," "it was so uplifting, regardless of your faith background," Boers said. "The music itself goes from being somber to uplifting."

Economics has also long played a role in its popularity.

"It's one of those pieces, along with Mozart's 'Requiem' or Orff's 'Carmina Burana' that you know will sell tickets," Boers said.

Since the Tacoma Symphony Chorus began performing "Messiah" about five years ago, it's always packed the large St. Charles Borromeo Catholic Church.

The Seattle Symphony's annual performances of "Messiah" generate about a fifth of the organization's holiday ticket-sales revenue.

And Orchestra Seattle/Seattle Chamber Singers, which held its performance of "Messiah" last week, usually gets about 500 loyal audience members who come back year after year.

George Shangrow, who founded the group, says he's probably conducted more than 250 performances of "Messiah" in his lifetime, ever since he fell in love with a recording of it in junior high.

One year, he wanted to do something different. "All the chorus members, the orchestra, the soloists said: 'No, we can't do that.' "

Sense of community

Shangrow also started the "Sing and Play-Along Messiah" at UUC decades ago, just because he thought it would be fun.

These days, hundreds of people crowd the sanctuary each Dec. 26, bringing their own musical instruments and voices. And it's become a fundraiser for the church's music committee, raising upward of $4,000 each year.

Longtime participants have favorite anecdotes from past performances.

Shangrow remembers a man who wanted to conduct the Hallelujah Chorus but didn't know how to conduct, "so he stood up there and just said 'go.' "

Jack Coleman, who attends another church but has participated in the UUC singalong for at least 15 years, remembers a woman named Alice who for years played "The trumpet shall sound" trumpet solo, which comes in the middle of the piece.

One year, she announced she had to leave early to pick someone up at the airport and asked to play that solo at the very beginning — which she did.

And several years ago, when Alice died, the other trumpet players made an announcement about her passing and dedicated the performance of that movement to her, remembers Thomas, the current UUC "Messiah" conductor.

It's that sense of community, along with the music and the message, that keeps people coming back.

"Things will be far from perfect," Thomas laughs. "But I keep it going, no matter what."

Janet I. Tu: 206-464-2272 or jtu@seattletimes.com