ABOUT
MESSIAH 2.0

Traditional performances of Messiah will always have an important place, whether presented in Handel's complete three-hour oratorio or in one of the many abbreviated versions. While shortened programs can be enjoyable, they often omit key movements that contribute to the work's dramatic progression and emotional impact—including the magnificent "Amen" chorus that brings the oratorio to its triumphant conclusion.

With a deep respect for Handel's masterpiece, Mark Edwards has carefully crafted Messiah 2.0 by selecting many of the oratorio's most beloved and significant movements in their original sequence, from the opening overture through the inspiring finale. The result is a presentation that faithfully reflects the spirit and narrative of the original while offering a more accessible performance length for today's audiences.

Recognizing that contemporary listeners are accustomed to the sound and energy of modern amplified concerts, this arrangement also incorporates electric guitar and other contemporary instruments alongside the traditional orchestra and choir. Rather than replacing Handel's timeless music, these additions invite a new generation of musicians to participate in the celebration while honoring the enduring power and message of Messiah.

Messiah 2.0 can be performed with twenty singers. However, with properly applied sound equipment, size is not an issue and it can be done with perhaps a dozen singers. With the chorus, the more the merrier! Your maximum limitation depends on the size and accommodations of your performing area.

If you decide not to use the Orchestra Reduction part, then you will need an ensemble of approximately ten talented string players - 1st violin (3), 2nd violin (3), viola (2), violoncello and upright bass. Beyond that, the Prout score provides for the addition of pairs of woodwinds (clarinet, flute, oboe, bassoon), two French horns, tympani, two trumpets, three trombones, and pipe organ (added in approximately that order). The arranger in performances has also included a tuba player who reads from the bass clef pedal stave of the organ part. Don’t forget about the solo Baroque trumpeter featured in “The Trumpet Shall Sound” (however this part is also cued in the Keyboard book - just in case).

The Guitar 1 book is primarily written for the electric guitar with several movements featuring classical guitar, and a special cameo passage for a four string tenor banjo (tuned D-G-B-E). If necessary, the book could be split by two guitarists specializing in electric and classical styles, respectively. The Keyboard part can be totally performed on a single professional 76-key keyboard; the following instruments are listed as being optional: acoustic piano (recommended), Fender Rhodes (or second keyboard), and Minimoog. The Drum Set drummer needs a full five-piece kit with three cymbals, hat, and piccolo snare on the side.

The Guitar 2 book only requires an amplified steel-string acoustic. The Electric Bass part is written for a 5-string model low-B, and does not require the player to double on Upright Bass. The Percussion book calls for a variety of mounted and hand toys, several suspended cymbals, and a large gong.

Note: The above descriptions apply to performances of the Full Production.

The application of sound reinforcement must be thoroughly considered.  A large production necessitates the use of a skilled sound technician and multi-channel control.  Alternatively, individually amplified guitars and keyboards with unamplified drums and percussion can be used with a traditional ensemble (with or without orchestral strings and winds).  Some reinforcement of the voices and strings may be needed.