by Martin Shibler
10th Grade

“He who sings, prays twice,” says St. Augustine. What better way to honor the Child Jesus than to praise Him in music? Just before going home for the Christmas break, Academy students had the opportunity of attending a performance of George Frederic Handel's Messiah by the Concert Artists of Baltimore Symphonic Chorale and Orchestra at the Joseph Meyerhoff Symphony Hall in Baltimore, Maryland.

The performance of Handel's Messiah during Christmas and Easter has been a tradition for many years. The words are all taken from the Old and New Testaments of the Bible as well as from the Epistles of St. Paul. Following Our Lord’s life chronologically, it begins with the prophecies of Prophet Isaiah. Then we hear parts of St. Luke’s account of the Nativity. Various prophecies from the Psalms and from Prophet Isaiah illustrate Our Lord’s passion and his sacrifice in redeeming mankind. Finally, towards the end, the words speak about the certainty that we should have of eternal life through Christ Resurrected.

Before and throughout the performance I noticed some interesting contrasts. For one, here we were in a very modern city inside a circular building with the roof coming to a point not at the center, but on only one side of the building, giving a sense of total disproportion. Yet, in the lobby, there was a fine red carpet, oak paneling, tastefully laid decorations, and a magnificent Christmas tree. Most of the people were dressed formally for the occasion, gentlemen in suits and ladies in dresses. They contrasted with the people in the streets in vulgar jeans, T-shirt and sneakers. The concert hall itself was very modern and had a sterile ambience. Yet, as the performance began, we totally forgot about the ugly surroundings. We became so enthralled with the beautiful music coming from the choir and orchestra.

The orchestra was a feast for our eyes as well as for our ears. We could see that some of the musicians were really putting their whole heart, mind, soul and body, into the music. Such were the motions of some of the violinists that it was a wonder they did not end up falling off their chairs! The conductor, Mr. Edward Polochick, was a wonder himself. He conducted both the orchestra and the choir with one hand, and with the other he played the harpsichord.

The choir was first rate. For example, at a couple of parts, while they were singing about death and sin, they would all put their books up in front of their mouths to make the words sound very sad and muffled. Suddenly, they would uncover their mouths and sing joyfully and full-heartedly about the Redemption and the Resurrection of Our Lord and the eternal life He bought for us. Among the soloists, the soprano was unanimously proclaimed as the best. She was gracefully dressed and had a very happy and even motherly demeanor about her. With a rich and expressive voice, she sang her parts with a perfection bordering on showiness. Yet, she sang with much soul and meaning, matching her intonation to the sacred Biblical words.

In observance of an old tradition, all stood for the “Alleluia Chorus.” The glorious strains of this most famous part of Handel's Messiah literally lifted us off our seats. Finally, after the “Amen,” which lasted just under five minutes, we left with sore palms and soaring hearts, humming the melodies and words to ourselves. Though George Frederic Handel was not a Catholic, his Messiah is so beautiful and inspiring that we hope that somehow Our Lord and Our Lady, who is mentioned once, had mercy on him for honoring Them in such a wonderful way.