New music, same Messiah

There are a variety of reasons to be excited about the premiere of a piece of music like Sven-David Sandström’s new Messiah oratorio, not the least of which is the sheer promise of a great composer setting a great libretto. The premiere of Sandström’s new work, which is only minutes away now, is significant not only in terms of its scope, at nearly two hours in length and scored for chorus and orchestra, and its significance goes beyond the occasion of the 250th anniversary of the death of George Frideric Handel, which sparked the commission from the Oregon Bach Festival and the Internationale Bachakademie Stuttgart. Along with these things, and even more than these, I appreciate the significance of this work as a fresh artistic expression of faith.

That music has thus been written in the shadow of Handel 250 years after his passing is remarkable for sure. But the fact that the very same Messiah texts, comprised entirely of Bible passages, could capture the imagination and creative juices of Sandström and his commissioners in the year 2009 is something that deserves to be noted as well (and by the way, I find it especially remarkable that this Messiah commission was funded in part by a grant from the National Endowment for the Arts—would that more churches would follow the NEA’s example in fostering such works!) Artists working at Sandström’s professional level are not obliged to take on a project of this scale out of want for opportunity. I’m sure the composer has turned down many a would-be commission for lack of space in his schedule. But whatever the demands and opportunities at hand, I’m just as sure he wouldn’t dive into a project of this magnitude if he weren’t genuinely inspired by the text.

I know next to nothing of Sandström’s religious beliefs, nor that of the commissioners of this project. And I think history would argue that what’s most important when it comes to creating a great work of sacred music is not necessarily the composer’s theological framework, but whether he/she has fully and honestly confronted and ingested the text, in this case Charles Jennens’ libretto celebrating the glory of Jesus Christ. But an anecdote from conductor Helmut Rilling yesterday at least tipped me off a bit to Sandström’s response to, if not his resonance with, the message of the Messiah texts. Apparently much of the choral writing in this piece is set in the upper registers of the voice. When Maestro Rilling asked Sandström why he wrote the piece this way, the composer responded, “When I think of God, I get so elated!” Amen, and may the music and words have the same effect on us all.

More thoughts to follow…

July 9, 2009 | Filed Under Sandström: Messiah, New Music

Comments

2 Responses to “New music, same Messiah”

Tod Carpman on July 10th, 2009 8:17 am

It was an utter horror of a piece. I can’t believe that the audience “liked” it. What a bunch of trained seals. Every musician in the town
is having quite a laugh. But quietly. No one disses the Bach Festival and lives.
Greg Williams on July 10th, 2009 5:19 pm

The audience didn’t like it. The audience loved it, and with good reason. It’s a stunning piece of modern choral music. If you’re locked on the old tired classics, you’ll probably agree with Mr. Carpman. To each his own.

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