Because of my computer disasters, well documented on this blog, I have been a bit frantic so am slightly cheating on the GIFT Challenge and am writing about a second piece of music as I do not have time to read the book that I wished to write about. Perhaps I may have time over the weekend, but I somehow doubt it.
When I came home the other night from work, frazzled and tired, I turned on the radio and to my delight was just in time to hear the opening of Handel's Messiah. Five minutes later, cup of tea and sandwich to hand, I curled up on the sofa and relaxed with this glorious music calming me down. I know the Messiah tells the story of Christ's entire life and it is not just for Christmas, but for me this oratorio is always linked with this time of the year. I cannot really pick out my favourite aria or chorus because they are all wonderful, but I simply adore the soprano singing 'And suddenly there was with the angels a multitude of the heavenly host praising God and singing' with the string section quivering away. The chorus 'Unto us a Child' is born is simply sublime and never fails to move me to tears.
I have sung in so many performances of the Messiah that I have lost count, but I tell you now, nothing beats standing up in a large choir singing the Alleluia chorus in the Albert Hall with the sopranos (I am one) soaring away. If it is not too fanciful I always felt when I looked up that you could see the notes winging their way up to heaven.
One year when I was involved in a performance at the aforesaid Albert Hall, I was on the end of a row of sopranos with the gangway leading to the way out just by my right arm. I noticed two gentlemen who were sitting just across from us who were obviously loving every moment and beaming and smiling at everyone. When the audience exited after a stunning Alleluia chorus and headed for the bar, one of these two gentlemen leapt over to us grinning from ear to ear and, in a strong American accent, thumped me on the arm in delight and said 'GREAT, girls that was just GRRREAT!' and bounded up the steps after his companion. His enthusiasm was so infectious it was a delight, but two days later the biggest blackest bruise you could possibly see came up on my arm.......
There are all sorts of arguments about how the Messiah should be performed from those who like it played on original instruments with a small choir, to those who love the full Monty, brass, huge choir, massive orchestra. I fall into the latter category and have a recording of a performance by Sir Thomas Beecham into which he has thrown everything and if the kitchen sink is not in there somewhere I shall be very surprised. It is terrific stuff and I love it, but do enjoy listening to the more cerebral versions as a contrast.
There is a wonderful story attached to Sir Tom and the Messiah. It is probably 
apocryphal but it is still funny. One of the great British tenors of the 1930s, one Walter Widdup from Yorkshire, used to infuriate Sir Thomas by hitting an unwritten high note at the end of the tenor solo 'Thou shalt dash them'. He was warned not to sing this particular note at the performance that evening and if he did he would never work with Beecham again. Apparently, Walter strolled onto the platform with great insouciance, looked around at the packed house and said to Sir Thomas 'Eeeh what a great night for a farewell performance', sang the high note and brought the house down. We are not told what happened afterwards...
This is inspirational music of the highest kind, heartwarming, heart lifting and a piece I never ever tire of listening to.
