'Messiah' still has a hold

No piece has become more emblematic of this time of year than Handel's "Messiah," the beloved oratorio that began its performing life in 1742.

The hold that "Messiah" exerts is especially strong in Boston, where two groups have long performing traditions with the piece. The Handel and Haydn Society gave the American premiere and has performed it annually since 1854. Boston Baroque gave the first local performance of "Messiah" on period instruments in 1981, and has done so every year since.

Traditions are funny things, though. To what extent do they need new ideas and approaches in order to remain vital? How should custom and innovation be balanced? And how much does a performer's conception of a recurrent work like "Messiah" change over the years?

I opened this cluster of topics to two "Messiah" veterans by e-mail. Daniel Stepner is in his 23d season as concertmaster for H&H and has performed the piece under a wide variety of conductors. (This year, Paul Daniel leads three performances, beginning tonight.) That in itself helps keep the experience fresh for him. "As a performer of over 400 'Messiahs', I think it's a wonderful and necessary benefit to have interpretations change from year to year," he wrote. "I still find it invigorating, especially when it has a lighter, dancing approach, even in . . . its serious moments."

Back in 2000, H&H tried a somewhat radical approach, when guest conductor Julian Wachner led performances that featured minimal choreography and costumes. For Stepner, though, the extra elements were unnecessary. "It doesn't need to be staged - it has plenty of internal drama for the attentive listener," he wrote. "Its wonderful alternation of solo (private) and choral (public) numbers make it like a great radio drama that challenges one's visual imagination and one's spirit."

Martin Pearlman is Boston Baroque's music director, and he's gearing up to lead the group's 28th set of performances next weekend.

It was easy to keep the performance fresh in 1981, when Boston Baroque first offered its period-instrument version, Pearlman noted. "Everything about the sound, the tempos and the performing style was new and exciting." As it became a ritual and other groups followed suit, he continued, "it became less of a surprise, but I believe it settled into something deeper."

Stepner summed his own take on the piece.

"As a freethinker of Jewish heritage, from which the words and concepts 'Messiah,' 'Hallelujah,' and 'Amen' come, I never fail to hear its emblematic note of hope in the face of dark days, illness, depression, cruelty. I think its essential message is: Hang on! Tomorrow is another day."

Handel and Haydn: tonight through Sunday at Symphony Hall; www.handelandhaydn.org

Boston Baroque: next Friday and Saturday at Jordan Hall; www.bostonbaroque.org