We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 19 May 2004
The idea of commissioning modern preludes to preface well established pillars of the classical repertoire has apparently been done a few years ago with soft new sounds gracing the air as audiences picnicked as a lead up to performances of Mozart's operas at Glyndebourne. Conversely one hears of The Departure of the Queen of Sheba, and other novelties. However, when conductor George Vass, musical director of the Presteigne Festival, commissioned three modern preludes to Handel's Messiah, to celebrate his tenth anniversary at the festival (2002), this must qualify as a ‘first’, and his brainchild. The Presteigne Festival is well known for its commitment to contemporary classical music. This was an ideal opportunity to commission three major British composers, to make their own 21st century ‘commentaries’ on Messiah, using the same instrumental forces available to Handel. As he also directs St Albans Choral Society, they put on the Messiah 25 October 2003, at St Albans Cathedral, prefaced by the three new preludes in the presence of two of the composers, Cecilia McDowall and David Matthews, using Orchestra Nova from the Presteigne Festival.
