waukesha choral union 2012 handel's messiah

1www.ChoralUnion.org · Waukesha Choral Union

FROM THE PRES IDENT

Welcome to the Waukesha Choral Union’s presentation of Handel’s Messiah. This WCU tradition is the primary reason that I have been a

strong supporter of this organization, even before I became a singing member, board member, and President. I sincerely hope that you enjoy the concert as much as the singers enjoy performing it.

This free concert (as well as the rest of the WCU concert season) is made possible not only by the hard work and dedication of our

singers and musicians, but also by the support of our donors, advertisers, sponsors, volunteers and all those who attend our concerts. We appreciate

you being here, and hope that we can count on your continued support in the future. Like so many arts and other non-profit organizations that are dependent in large part upon grants and donations we face an uncertain financial future.

Today is a significant milestone date in a WCU project that began nearly a year ago, and will culminate in a performance of a new choral work written specifically for the WCU by local composer Paula Foley Tillen. Phase One of the project was a “text writing” competition open to all Waukesha County students. We were pleased to receive 88 entries, many of which had great merit. Our judging committee selected a set of poems by Waukesha South High School student, Abby Lewis. We are pleased to recognize Abby today with a $500 stipend in recognition of her contribution. We hope to expand the youth involvement of this project by inviting students to submit visual art works that may be incorporated into the final performance scheduled for May 4, 2013. You won’t want to miss this event!

Thank you for coming. The WCU hopes that this concert enhances your celebration of this Easter season. We also hope to see you at our final 2011-2012 concert on Saturday May 5th, at St. William Catholic church.

Tom CustisWCU Board President

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MISS ION

The Waukesha Choral Union will challenge, enrich, and engage its singing members, audiences, and community through the pursuit of excellence and a variety of programming. The WCU mission includes expansion of the effectiveness of its educational efforts throughout Waukesha County through collaboration.

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ABOUT THE WAUKESHA CHOR AL UNION

The Waukesha Choral Union has been musically active in the community for over 60 years. Originally a combination of the Carroll College student chorus and community singers named Waukesha Choral Society in 1949, the group became the Town and Gown in 1961 and the Waukesha Choral Union in 1974, taking its present form as an auditioned choir in 1978.

WAUKESHA CHORAL UNION

Board of DirectorsPresident: Tom CustisVice President: Diane McGeenTreasurer: Thomas HeringSecretary: Susan WallenslagerEx-officio: Ernest Brusubardis, IIIKristina BoergerPhyllis CramerAaron FrankReanne HolmesBarbara MillerTom Smith

Committee ChairsMarketing: Jim LaBelleMembership: Claire JohnsonOperations: Colleen Reske

AdministrationArtistic Director: Ernest Brusubardis, IIIMarketing Manager: Jim LaBelle

4 Waukesha Choral Union · www.ChoralUnion.org 5www.ChoralUnion.org · Waukesha Choral Union4

ARTISTIC D IRECTOR

Ernest Brusubardis, III, Artistic Director

of the Waukesha Choral Union, is a graduate of UW Milwaukee with

the Bachelor’s of Fine Arts in Music

and the Master’s Degree in Music

Education with an emphasis on choral conducting. His other choral directorships include the advanced ensembles of Hartford Union High School and the Brusubardis-Dzimente Latvian Choir, a podium he shares with his father. His expertise in this latter pursuit has earned him the chief conductorship of Latvian Song Festivals in the United States, Canada, and Latvia.

As a music theater enthusiast, he conducts the orchestra for the annual productions at Hartford Union High School and boasts a record as music director for community theater productions throughout Southeastern Wisconsin, including Menomonee Falls Patio Players, On the Wall and Off the Wall theaters, Archangel Productions, and shows at the UW Milwaukee and West Bend extensions.

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FROM THE ARTISTIC D IRECTOR

Welcome to the Waukesha Choral Union’s presentation of Handel’s Messiah. We have had the pleasure of offering this free community concert event for over 30 years. I wonder if Handel ever thought this masterpiece among oratorios would become part of the standard choral repertoire around the world.

Messiah premiered in April of 1742 as a fundraiser for a foundling hospital in Dublin, Ireland. It is now performed in many languages throughout the year all across the world.

How appropriate that this performance is free to the public and sponsored by several generous benefactors in our community. Handel composed this most well known of his masterworks, during a time of turmoil in his life. He had expe-rienced several financial setbacks and was nearly destitute and depressed. Even under these circumstances, Handel managed to create an enduring masterpiece, which eventually lifted him out of his misery. We live in equally trying times. I hope the music inspires us to leave with uplifted spirits and a zeal to make our world a better place.

Enjoy this gift of music to you!

Ernest “Ernie” Brusubardis, III

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VENUES

The Shattuck Music Center houses a recital hall that seats 150, an auditorium that seats 1350, and a Schantz 72 stop pipe organ. The Department of Music has a large band-practice room, teaching studios, a multi-sensing room, a computerized music laboratory, and classrooms.

Carroll University, often called Wisconsin’s pioneer college, is the oldest four-year institution of higher education in the state. In 1841, settlers living in the Wisconsin Territory community of Prairieville established the academy that five years later would become Carroll College. Soon after its founding, Carroll affiliated with the Presbyterian Church and adopted the motto “Christo et Litteris,” which means “for Christ and Learning.”

Carroll’s early patrons believed that higher education would serve as an instrument for civilizing the wilderness, spreading the Gospel and planting the roots of democracy deep in the prairie soil. They also sought to provide for the prosperity of their children and future generations.

Carroll was chartered by the Wisconsin Territorial Legislature on Jan. 31, 1846, two years before Wisconsin became a state. On May 10, 2008, the Board of Trustees voted unanimously to change the institution’s name to Carroll University, effective July 1, 2008.

Throughout Carroll’s history, the hallmarks of its educational experience have been teaching excellence and individualized attention.

George Frideric Handel(1685 – 1759)

In the summer of 1741Handel, depressed andin debt, began settingCharles Jennens’Biblical libretto tomusic at a breakneck

speed. In just 24 days (August 22–September14,) Messiah was complete. Likemany of Handel’s compositions, it borrows liberally from earlier works, bothhis own and those of others. Tradition has it that Handel wrote the piece whilestaying as a guest at Jennens’ country house in Leicestershire, England.

The oratorio was premiered on April 13, 1742, as part of a series of charity concerts in Neal’s Music Hall near Dublin’s Temple Bar district. Right up to the day of the premiere, Messiah was troubled by production difficulties and last-minute rearrangements of the score. Handel led the performance from the harpsichord.

Handel conducted Messiah many times and often altered the music to suit theneeds of the singers and orchestra he had available to him for each performance.Consequently, no single version can be regarded as the “authentic” one.Messiah is scored for SATB soloists, SATB chorus, two oboes, bassoon, twotrumpets, timpani, strings, and basso continuo

MESS IAH

To order ticketscall (414) 354-1933 or visit

milwaukeechoristers.org

Cantus Prius

FactusNew Music from Old Tunes

Friday, Apr. 20 and Saturday, Apr. 21

7:30 p.m.Wisconsin Lutheran High School330 N. Glenview Ave., Milwaukee

Enjoy new settings of familiar old melodies that are sure to invoke fond memories!


Tickets available from WCU MembersAll Waukesha State Bank locations

www.ChoralUnion.org 414-297-9310

Ernest Brusubardis, III, Music Director2011 - 2012 Season

Awakening and RenewalSaturday, May 5, 2012 7:00pmSt. William Parish, Waukesha

Handel’s MessiahFREE CONCERTSunday, Mar. 25, 2012 3:00pmShattuck Auditorium, Carroll University

A Collage of CarolsFriday, Dec. 9, 2011 8:00pm St. Luke’s, WaukeshaSunday, Dec. 11, 2011 3:00pm St. Catherine’s, Oconomowoc

The Human and the DivineWith the Hartford Union High School ChoirSaturday, Oct. 15, 2011 8:00pm Holy Hill Basilica


WAUKESHA CHOR AL UNION

SOPRANOKaren BieszkPhyllis CramerPaula CustisSummer GrandePatricia HummelBarbara MillerRena PettShira RichardsonCarol SlaybaughMary StephaniWendy StippichKathi Stoiber

ALTOJane DykemaMaureen HairBeth HeflinCarrie HooymanSue LaubenheimerWendy MullerAlison O’LearyJoAnn PortzSusan RabeColleen Reske

Michele RinkaJudy RosynekKrystle StingleSusan TillSue WallenslagerAnne Wandler

TENORJohn ClauszTom CustisJames GallupPaul McCoyJake Stensberg

BASSRichard BishopRich BlauveltNorm GoeschkoJohn GustafsonCharlie HummelMpoyo MulongoTom SmithAlan ThompsonGregory Youngs

AUDITION INFOR M ATION

Waukesha Choral Union is always seeking new members. To schedule an auditionplease call (414) 297-9310 or email [email protected]

The 2011-2012 Waukesha Choral Union season, “Heaven and Nature Sing,” is sponsored in part by grants from the Arts Alliance of Waukesha County, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


PArt 2

1. Chorus, Behold The Lamb of God2. Alto aria, He Was Despised and Rejected3. Chorus, Surely, He Hath Borne Our Griefs4. Chorus, And With His Stripes We Are Healed5. Chorus, All We Like Sheep Have Gone Astray6. Tenor recitative, Thy Rebuke Hath Broken His Heart7. Tenor aria, Behold, And See if There Be Any Sorrow8. Tenor recitative, He Was Cut Off Out of The Land of The Living9. Tenor aria, But Thou Didst Not Leave His Soul in Hell10. Chorus, Lift Up Your Heads, O Ye Gates11. Soprano aria, How Beautiful Are The Feet of Them12. Bass aria, Why Do The Nations So Furiously Rage13. Tenor recitative, He That Dwelleth In Heaven14. Tenor aria, Thou Shalt Break Them With a Rod of Iron15. Chorus, Hallelujah

PArt 3

1. Soprano aria, I know That My Redeemer Liveth2. Chorus, Since By Man Came Death3. Bass recitative, Behold, I Tell You a Mystery4. Bass aria, The Trumpet Shall Sound5. Chorus, Worthy The Lamb That Was Slain6. Chorus, Amen

Waukesha Choral UnionErnest Brusubardis, III, Conductor

SoloistsKristin Wrolstad, Soprano

Jillian Bruss, AltoMark Craig, Tenor

Thomas Weis, Bass

Messiah ........................................................................George Frideric Handel (1685 – 1759)

PArt 1

1. Overture2. Tenor recitative, Comfort Ye, My People3. Tenor aria, Every Valley Shall Be Exalted4. Chorus, And The Glory of The Lord5. Bass recitative, Thus Saith the Lord of Hosts6. Alto aria, But Who May Abide the Day of His Coming7. Alto recitative, Behold, a Virgin Shall Conceive8. Alto aria and chorus, O Thou That Tellest Good Tidings to Zion9. Bass recitative, For Behold, Darkness Shall Cover the Earth10. Bass aria, The People That Walked in Darkness11. Chorus, For Unto Us a Child Is Born12. Pastoral Symphony13. Soprano recitative, There Were Shepherds Abiding in The Field14. Chorus, Glory to God in The Highest15. Soprano aria, Rejoice Greatly, O Daughter of Zion16. Alto recitative, Then Shall The Eyes of The Blind Be Opened17. Soprano and Alto duet, He Shall Feed His Flock Like a Shepherd18. Chorus, His Yolk is Easy and His Burthen is Light

INtErMISSION

PROGR A M CONT.Handel’s Messiah

Title page of Handel’s autograph score


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Kristin Wrolstad, soprano of Watertown, WI, is now in her tenth season with the Florentine Opera Company Chorus. While there, she has appeared as a

Handmaiden in Turandot, Aunt in Madama Butterfly, Sylviane in The Merry Widow, and the third Apparition in Macbeth. She also has performed in a variety of Florentine’s educational and outreach programs. Concert appearances include the French National Anthem with the Milwaukee Symphony Orchestra and Mozart’s Exultate, Jubilate with the UW Milwaukee orchestra. Kristin has been a Metropolitan Opera National Council Audition, Iowa District winner, along with being a Civic Music Association Recital Winner. In addition, she has a private voice and piano studio in Watertown. Kristin has enjoyed singing Handel’s Messiah with the Waukesha Choral Union once before.

Jillian Bruss, alto, resides in the Milwaukee area and has performed both here and abroad in concert, opera and oratorio. She has performed with the

Florentine Opera in both main stage and outreach programs, Milwaukee Opera Theatre, Dallas Opera, Milwaukee Choral Artists, Milwaukee Youth Symphony, Waukesha Choral Union, MasterSingers, Bel Canto Chorus, Milwaukee Choristers and Lutheran Acapella. Jillian has performed in Norway and Denmark, countries of her grandfathers, with Paula Foley Tillen. She recorded a CD of the recital featuring a premiere commissioned work of Paula’s for the concert tour. Jillian is now the Development Manager of the Florentine Opera. She was General Manager of the Milwaukee Opera Theatre from 2005-2011. She has conducted the women’s ensemble Women of Note and enjoys coaching young singers privately and at UW-Parkside. Jillian is a graduate of UW-Stevens Point in Music Education and of the University of Illinois – Champaign Urbana with a Masters degree in Vocal Performance.

Mark Craig, tenor, originally comes from Michigan where he graduated from the University of Michigan with his Bachelor’s of Music. He went on to attend the New

England Conservatory of Music in Boston and graduated with his Masters of Opera Performance. As a member of Opera for the Young based in Madison, Mark has performed four different roles and is currently touring as The Witch in Hansel & Gretel throughout the Midwest. He also took part in the recent Florentine Opera production of Turandot. Mark was a member of the Sarasota Opera Company for numerous years in Florida, performing in many operas and various scenes and outreach programs as well. While singing with the Anchorage Opera Studio Program in Alaska, Mark performed the role of Nemorino in Elixir of Love, Hermosa in Offenbach’s, Isle of Tulipitan, and Ivan in Wargo’s, The Music Shop. Some of his other favorite roles include, Count Almaviva in Barber of Seville, Albert in Albert Herring, and Frerick in Pirates of Penzance. Mark currently resides in Chicago.

Thomas J. Weis, lyric bass, is an active soloist who has performed with the Milwaukee Symphony, Menomonee Falls Symphony, Beloit/Janesville Symphony,

Milwaukee Youth Symphony, Oshkosh Chorale, Waukesha Choral Union, Arizona Opera, Skylight Opera, Florentine Opera, Opera for the Young, and many area high school programs. Most recently, Thomas performed the role of Dr. Bartolo in Skylight Opera Theatre’s production of The Marriage of Figaro. Weis’ versatility includes Musical Theater as well, featuring him as Harold Hill in 2002 and Petruchio/Fred Gramm in 2003 with the Heartland Festival in Platteville, Wisconsin. He has been privileged to be a voice faculty member at Carroll University since 1999. Thomas also maintains an active private voice studio at the Waukesha County Conservatory of Music and Hartland Music Center in Hartland, WI.

GUEST SOLOISTS


Donations to the Messiah / Creation Project in honor of Fred Portz Mark Aamot Ron Abrahamson Maryilyn Bradley Susan Braunschweig Petrea Brenkle Andrea Bryant Susanne Carman Judy Clark Tom and Paula Custis Janice Davis Jane Dykema

Katherine Ebel Ralph Fischer Sharon Goodrum Juanita Gorden Tom and Pat Gregory Clark Gugler Pat Haughney Elaine Hurdle Allegra Jrolf Margaret Ktorides Mary Lou Marose

Susan Rabe Peter Roidt Richard and Carol Snook Dick Smith Tom Smith Donald Tewes Susan Wallenslager Mary Ann Wolfe

DONATE TO THE WAUKESHA CHOR AL UNION

OnLine www.ChoralUnion.orgeMail [email protected] 262-549-4863Mail Waukesha Choral Union, PO Box 495, Waukesha, WI 53187

Advertise in our next concert programCall 262-901-5325 or eMail [email protected]

Select #918425 Waukesha Choral Union for the Pick’n Save We Care Program

Waukesha Choral Union is a tax-exempt 501.C.3 non-profit organization. Your donation may be tax deductible, consult your financial advisor.

CONTR IBUTORS

The Waukesha Choral Union is deeply grateful to these donors for their meaningful financial support. Their commitment to live, local music will help the WCU remain affordable and accessible to the communities we serve.

Maestro ($2,500 and above)Anthony and Andrea Bryant Family FundWisconsin Arts Board

Conductor ($1,000 to @2,499)Arts Alliance of Waukesha CountyA donation in memory of James L. and

Dorothy Goff Frisch JoAnn Portz

Soloist ($500 to $999)Tom and Paula CustisRichard and Carol SnookMary Stephani Waukesha State Bank

Chorister ($250 to $499)Alan ThompsonBetty Lou TikalskyTom’s Heating Service

Patron ($100 to $249)Tom ConstableMarion A. EalesGE FoundationPractical ClubRandle DableJohn GustafsonDick SmithAlan Thompson

Accompanist ($25 to $99)Mark AamotMaureen BestlandErnie and Indra BrusubardisHildegard FischerHarry and Ingrid GoeschkoNorman GoeschkoTom and Pat GregoryJuanita GordenClark GuglerPat HummelMary JohnsonCharmaine and James LaBelleSally SchwartzRuth and Glenn Van HaitsmaAnne Wandler


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Celebrating 28 Years

of Growing our Clients’ Businesses George Frideric HandelBorn in Halle, Germany, February 23, 1685. Died in Lon-don, April 14, 1759. George Frideric Handel was the son of a barber-surgeon. George’s father had definite plans for his son. He wanted George to become a law-yer, but George was captured by the sound of music. George’s aunt gave him a spinet (an early harpsichord that had a single keyboard and only one string for each note) for his 7th birthday. George and his aunt placed the spinet in the attic, and whenever George had a chance he would go to the attic to play.

George’s father was the appointed barber-surgeon to the court of Saxe-Weissinfels. In 1693, he took George with him to visit the court. While there, George had an opportunity to play the great organ. When the Duke heard his talent, he commanded Handel’s father to see to it that George receive the best possible training in music. George began to study with the organist of St. Michel’s in Halle. He learned how to compose and how to play violin and oboe as well as organ and harpsichord. Because his teacher had such a large music library, George was able to become familiar with the French and Italian national styles of music as well.

In 1702, when George was 17, he entered the University of Halle as a law student. This did not last long, and George took his first position as organist of Halle Ca-thedral. Later he moved to Hamburg where he was employed in the Opera House first as a violinist and later as harpsichordist. As he grew older, Handel became an outstanding organist and often traveled all over Europe sharing his musical talents. Handel entered the musical scene in England and produced his first opera, Rinaldo, at the Queen’s Theater on February 24, 1711. It was a fantastic success and assured Handel of the finest reputation in England. Handel was so favored in Eng-land that the queen gave him a royal pension to be paid each year. In 1717 one of his most famous pieces of music, the Water Music, was performed at a royal party which took place on a barge floating down the Thames River.

George wrote operas and oratorios plus music for instruments and ensembles. He established the Royal Academy of Music, an Italian opera company, and traveled all over seeking out the singers he wished to have as part of his company. In 1727, Handel officially applied for and became a British subject and adopted England as his new country. When King George I died, Handel wrote the anthems for the coronation of the new king. Zadok the Priest, one of his compositions, is still per-formed today at British coronations.

In 1740, having completed Messiah, Handel traveled to Dublin to present its pre-miere, which was an outstanding success. It is said that when the king first heard the music from the Messiah he was so filled with emotion that he rose to feet when hearing the “Hallelujah Chorus.” To this day the tradition of standing when the “Hallelujah Chorus” from Messiah is performed continues.

Although George became blind near the end of his life, he continued to perform on the organ. He also continued to compose music by dictating it to a friend who wrote it down for him. On April 6, 1759, George conducted a performance of Mes-siah, took ill, and had to return home. He died on April 14, 1759, was given a state funeral, and was buried in the Poet’s Corner of Westminster Abbey in London, England. Over 3000 people attended his funeral.

COMPOSER ’S CORNER


SHOW YOUR SUPPORT

Keeping the Waukesha Choral Union singing takes money as well as time, effort,and audiences. Show your support by coming to our performances, singingwith us, “liking” us on Facebook, making a donation, or advertising in our printprograms. We are a 501(c)(3) organization and your donations are tax deductibleto the full extent of the law.

S ING WITH WAUKESHA CHOR AL UNION

ADVERTISE WITH WAUKESHA CHOR AL UNION

REHEARSALS

VOLUNTEER OPPORTUNITIES

The Waukesha Choral Union derives its strength and quality from its members’ passion for singing and is always seeking new voices interested in:

• Growing in your singing ability • Singing Handel’s Messiah with an orchestra • Learning new musical genres • Socializing with others who have similar interests • Being a part of a growing, dynamic Waukesha County non-profit arts organization

To schedule an audition please call (414) 297-9310 or email [email protected].

Our audience is encouraged to support those businesses that advertise in our concert programs.

B&W ad space is available in:• Full-page • Half-page • Quarter-page All ads include a link on our website.

Tuesday nights at Christ the Servant Lutheran Church, 2016 Center Road, Waukesha, WI 53189.

The Waukesha Choral Union is always in need of an extra pair of hands. Let us know the talents you are willing to share. Call (414) 297-9310 or email [email protected].

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STUDENT TExT WRITING COMPETITION WINNER

In late fall of 2011 Waukesha Choral Union solicited student poems, prose, or other original writings to use as a text for a commis-sioned choral work for its 2012-2013 season. The musical piece will

be written by Waukesha-born composer Pau-la Foley Tillen. All Waukesha county students age 12 to 18 were eligible. Today we an-nounce the winner, Abby Lewis, who will receive a stipend of $500 during today’s inter-mission. We’ve asked her to write her own biography for this program. Abby Lewis is thrilled that her poetry was picked for this amazing opportunity! She has been writing and telling stories for all of her life but only fairly recently discovered her pas-sion for poetry. Her favorite thing about this medium is the challenge of finding the words and format to express what she is trying to depict exactly while keeping the poem as concise as possible, as well as the challenge of coming up with things to say that are really meaningful to her but also relevant to other people. Much of her inspiration comes from

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her observations of the world around her, things other people say, images in her head, and, of course, her fabulous teachers. She greatly admires everyone in the Choral Union, and also has a strong musical background herself. Abby joined the Singing Tree when she was only one year old. She continued in the Children’s Choir of Waukesha program for 14 years and is now in the Women’s Choir. Abby has also played violin for nine years and is a part of the Milwaukee Youth Symphony Orchestra in the group called Philharmonia. This year Abby is 15 years old and a fresh-man at Waukesha South High School, but her winning entry poems were written when she was in seventh and eighth grade at Central Middle School. In addition to poetry and mu-sic, Abby also enjoys theatre and other forms of art, and has recently begun experimenting with writing her own music. She would like to thank all of her friends, family, and teachers that helped her get where she is today.

A second phase of the project, involving student-created multi-media interpretation of the commission, will be announced dur-ing the 2012-2013 season. This undertaking would not be possible without the financial support of our patrons, and a grant from Arts Waukesha and the Wisconsin Arts Board.


SPRING 2012 ARTS EVENTS

APRIL 1Wind Symphony

4 p.m., Shattuck Music Center

APRIL 19-21"Water Interpreted through Art" exhibition

Otteson Theatre lobby

APRIL 19-21Intersections: Water

Festival of New WorksTimes TBA, Otteson Theatre

APRIL 20Jazz Ensemble and Vocal Collective

7:30 p.m., Shattuck Music Center

APRIL 28Wind Symphony and Concert Choir

8 p.m., Shattuck Music Center

Call 262.524.7633 for ticket information.

www.carrollu.edu

28 Waukesha Choral Union · www.ChoralUnion.org

THE L AST WORD

When should I clap?Applause (Latin applaudere, to strike upon, clap) is the expression of approval by the act of striking the palms of the hands together in order to create noise. It is a simple indicator of the average relative opinion of the entire group; the louder and longer the noise, the stronger the sign of approval.

The custom of applauding may be as old and as wide-spread as humanity, and the variety of its forms is limited only by the capacity for devising means of making a noise. The ancient Romans had a set ritual of applause for public perfor-mances: snapping the finger and thumb, clapping with the flat or hollow palm, waving the flap of the toga.

Mozart expected that people would eat and talk over his music, and was delighted when his audience would clap during his symphonies. Mahler specified in the Kindertotenlieder score that its movements should not be punctuated by applause. Wagner discouraged what he considered distracting noises from his audience. During the 20th century, applause, even between movements of a symphony, became regarded as breaking up its momentum and unity.

The conductor always signals the end of the performance by lowering his or her hands to the sides. Sometimes this is prolonged past the cutoff of the orchestra, with hands held in the air or slowly lowered over several seconds, in the hope of allowing the audience to stay joined with the artistic creation even for just a brief moment after its sounds have ceased. Extended applause at the conclusion of an event, usually resulting in a standing ovation, implies approval above and beyond ordinary measure, and compels the performer to return in acknowledgement. We would warmly welcome your applause for today’s Messiah perfor-mance at the conclusion of each half of the program.

Should I stand up for the Hallelujah Chorus?The tradition is said to have originated with the first London performance of Messiah, which was attended by King George II. As the first notes of the triumphant Hallelujah Chorus rang out, the king rose to his feet and remained standing until the end of the chorus. Royal pro-tocol dictates that when the monarch stands, everyone in their presence also stands, thus initiating a tradition that has lasted more than two centuries. It is lost to history the exact reason why the king stood at that point, (and new research even doubts he was there at all,) but the most popular explanations include: ◆The king may have been stretching his legs ◆The partially deaf king mistook the opening notes for the national anthem ◆The king had been dozing and woke with a start. ◆The king was so moved by the performance that he rose to his feet.Whatever the reason, you are welcome to stand for today’s performance of the Hallelujah Chorus.

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