More About Messiah 2.0
THE MUSIC
Messiah 2.0 is a modern interpretation of G. F. Handel’s timeless oratorio Messiah. An oratorio is a large-scale musical work for soloists, chorus, and orchestra that is similar to an opera but performed without costumes, scenery, or dramatic action.
While Messiah has long been a cornerstone of the classical repertoire, its libretto—drawn entirely from Scripture—also presents the enduring story of the prophecy, birth, passion, resurrection, and eternal reign of Jesus Christ. As a result, it has become one of the world’s most beloved works of sacred music. Although often associated with the Christmas season, Messiah is equally appropriate for Easter and other worship or concert settings throughout the year.
Messiah 2.0 presents a thoughtfully curated version of Handel’s masterpiece. Lesser-known movements that are frequently omitted in modern performances have been intentionally removed, resulting in an approximately 90-minute presentation that retains many of the work’s most beloved and significant choruses, arias, and orchestral movements from Parts I, II, and III.
Program Objectives
This arrangement was created with several goals in mind:
- Faithful to Handel’s score. Handel’s original music remains virtually unchanged. Choirs and soloists can perform directly from traditional vocal scores, and most existing orchestral editions are fully compatible.
- Engaging contemporary instrumentation. The featured contemporary parts—Guitar 1, Keyboard, and Drum Set—are written at an advanced level to complement Handel’s orchestration while providing a rewarding experience for skilled musicians. Guitar 2, Bass, and Percussion likewise require capable players and contribute meaningfully to the overall sound.
- Flexible performance options. Whether performed with a full symphony orchestra or a smaller ensemble, Messiah 2.0 adapts beautifully. An included Orchestra Reduction part allows an additional keyboardist to cover the orchestral accompaniment when a full orchestra is unavailable, or to reinforce the string section when desired.
- Designed for today’s performance environments. Sound reinforcement has become standard in both concert halls and worship settings. Messiah 2.0 is specifically arranged to take full advantage of modern audio production while preserving the integrity of Handel’s original work.
- A bridge between tradition and today. The goal of Messiah 2.0 is to introduce Handel’s masterpiece to new audiences while offering musicians, singers, and listeners who already cherish Messiah a fresh, inspiring, and deeply meaningful worship and concert experience.
MEET MARK EDWARDS
Music aficionado Mark Edwards is one of the most active educators and performers in Southeastern Pennsylvania. Known for his intellectual, expressive, and humorous mannerisms, he can be regularly seen playing and hosting events at many of the area’s finest entertainment and concert settings.
Mark received his Bachelor of Science in Music Education degree from West Chester University where he concentrated in both instrumental and vocal fields of study. In 2005, he has retired from service with the Commonwealth of Pennsylvania with an exceptional twenty-year career as an Institutional Music Teacher at the State Correctional Institution at Graterford. During his tenure, he provided comprehensive and innovative programming and activities for the residents who wish to improve themselves through the musical experience. His music program was featured nationally in the October 2002 premiere episode of the VH-1 series Music Behind Bars.
Mark continues to participate within a wide assortment of musical genres – classical, jazz, pop, rock, Gospel, country, and others. He has held the position of artistic director and conductor of the Audubon Symphony Orchestra from 1997 through 2009, and has been the music director and pit orchestra conductor for numerous musical theater productions at Upper Merion High School and with Firebird Children’s Theater in Phoenixville. He currently teaches individual lessons with a variety of instruments (percussion, piano, guitar, brass, woodwinds, and strings). In addition, he provides disc jockey, sound reinforcement, and karaoke services for local festivities and private events, and also enjoys performing as a jazz and pop cocktail pianist and as a rock/pop guitarist and vocalist. He has composed and arranged music for orchestral, band, choral, and jazz ensembles, and has worked in audio editing, recording, and sound engineering.
FAQs
Why should I consider programming Messiah 2.0?
There will always be traditional seasonal performances of Messiah, whether in the particularly long three-hour form dutifully executed in its entirety or in some abbreviated version thereof. With edited programs, you can lose the flavor and feel of Handel's complete work, which must include the dynamic “Amen” finale.
So in the interest of creating a program faithfully representing this oratorio, but not overbearing in length, Mark Edwards has carefully selected some of the most popular and significant sections in their proper order from the overture to the grand finale. In addition, modern audiences have become acclimated to amplified musical concerts. With the advent of the electric guitar and other instruments, it seemed only logical to create an arrangement that allows these players to "join in" the celebration.
How big does the chorus need to be?
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.
How big does the orchestra need to be?
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).
What instrumental doubling is required for the feature performers?
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.
What are the basics I need to know regarding sound reinforcement?
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.
LEARN EVEN MORE
How to create your own Messiah 2.0 production, or find a performance near you.
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