The ‘Christmas portion’ of Messiah, music by George Frideric Handel, text by Charles Jennins, will be presented Tuesday, December 13, 2011 at 7 pm at the First Baptist Church on the Burnsville Square. The Toe River Chamber Ensemble, Toe River Community Chorus, and special soloists will be presenting this classic work in a free concert under the direction of Lisa Mauney.

The Toe River Chamber Ensemble consists of around 25 local musicians of all ages who meet weekly rehearse. The Ensemble has been playing music for close to 30 years, performing for a variety of venues: schools, special seasonal concerts, concerts for weddings and more. The performance of Handel’s Messiah has become an annual event and favorite to many. Beth Joyner, minister of music for the First Baptist Church, has been rehearsing the Toe River Community Chorus and soloists in preparation of this concert.

Messiah is much more than a tradition at Christmas. It has been recognized through the centuries as the most enduring of all masterpieces and has been transformed from its original by many who continually seek to ‘improve’ it, starting with Mozart, who felt its style was too antiquated for ‘modern’ audiences. From a first performance with less than 30 musicians to the wild Messiah ‘happenings’ in Victorian England with 3000 performers, the work is still heard in its many different forms throughout the world in the 21st Century.

Messiah came to be through the encouragement of one of Handel’s admirers, Charles Jennins, a Shakespeare scholar, a disciplined man of letters and a devout Christian. Handel, a confirmed non-believer, had a hot temper, over-indulged in food and drink, fell into deep bouts of depression, boasted endlessly, and cursed ‘like a sailor’ in three languages. The working relationship between the two was often strained but Jennins much admired the operas and orchestral works of Handel and provided the text for several of Handel’s operas. In 1741, he presented Handel the text for an oratorio, based on Biblical passages that briefly described the meaning of Christ’s mission and the sequence of his ministry. Handel was ready to accept such a project, primarily because his recent operas had done poorly at the box office, and an oratorio had a better chance of restoring his failing finances. In addition, he had been invited to oversee some charity fundraisers in Ireland by the Duke of Devonshire, with the hope that a new work might be part of the event. He wrote Messiah in three weeks and premiered it in Dublin the following year, 1742, to great acclaim.

Handel did not, at first, take Messiah too seriously and was inclined to refer to it a ‘Jennin’s oratorio.’ He later confessed that during the writing he had felt a close connection to the Divine and counted it among his favorite compositions. Both the theatre and Handel's music were still perceived by many ecclesiastics as profane and subversive, so in spite of the Dublin success Handel was reluctant to present Messiah in London. (There had been an outcry from the Bishop of London when an oratorio was presented in a ‘public place’ a few years earlier.) Handel met the challenge by advertising Messiah as “A Sacred Oratorio” for its London performance and thus avoided the charge of blasphemy.

Over the years, music has been added and deleted from Messiah. Handel, himself, often rewrote passages to suit the talents of specific soloists or to respond to criticisms from the clergy about the meaning or intent of the Biblical passages included in the text. What we have today is a hodgepodge of abbreviations, additions, subtractions, re-orchestrations and numerous other ‘improvements, many added by editors and publishers, all bearing little resemblance to the original. Only the principle melodies remain intact and it is these that give the composition its universal appeal and longevity. Recently, a recording of the original 1742 Dublin manuscript was made by the Worchester Cathedral Choir under Jean-Claude Malgoire (Sony SBK63004). Most would find it strange, if not completely unsatisfying, but it reflects the style and custom of its time and is fascinating to hear. (Notes on Messiah from Joseph Norris).

We, in this community, can be justifiably proud of the many talented local musicians and directors who have gathered for this presentation of Messiah in Burnsville. If you have not heard the local Messiah in previous years, this may be your opportunity to have a profound experience with this timeless, wonderful music.

The Toe River Chamber Ensemble is TRAC’s own community orchestra. It was first organized in 1975 and has enjoyed many musicians and directors over time.

The current group meets weekly and performs at local schools and at the First Baptist Church in Burnsville, where they rehearse. Musicians come from Yancey, Mitchell, Avery, Madison and Buncombe Counties and come from many backgrounds, professions and ages: farmers, librarians, real estate salesmen, potters, ministers, photographers, administrative workers, construction workers, teachers, students, doctors, hospital technicians and more. Lisa Mauney is its current director.

The Toe River Community Chorus is also sponsored by the Toe River Arts Council. This group of singers, as well, come from numerous counties, ages and singing backgrounds. The group rehearses weekly at the First Baptist Church in Burnsville, under the direction of Beth Joyner and perform concerts at various times throughout the year. One of the most popular concerts is the presentation of Handel’s Messiah. Both the orchestra and chorus present this classic piece.

The Toe River Chamber Ensemble and Toe River Community Chorus are made possible in part by a Grassroots Arts Grant, from the North Carolina Arts Council, a state agency and the Toe River Arts Council (TRAC). For more information call TRAC at 828-682-7215 or 765-0520.