Handel: Messiah
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Composer or Director: George Frideric Handel
Label: EMI
Magazine Review Date: 11/1990
Media Format: CD or Download
Media Runtime: 142
Mastering:
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Catalogue Number: 763621-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Messiah |
George Frideric Handel, Composer
Elisabeth Schwarzkopf, Soprano George Frideric Handel, Composer Grace Hoffman, Mezzo soprano Jerome Hines, Bass Nicolai Gedda, Tenor Otto Klemperer, Conductor Philharmonia Chorus Philharmonia Orchestra |
Label: Eurodisc
Magazine Review Date: 11/1990
Media Format: CD or Download
Media Runtime: 140
Mastering:
ADD
Catalogue Number: GD69088
Composer or Director: George Frideric Handel
Label: Double
Magazine Review Date: 11/1990
Media Format: CD or Download
Media Runtime: 157
Mastering:
ADD
Catalogue Number: 2292-45447-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Messiah |
George Frideric Handel, Composer
English Chamber Orchestra English Chamber Orchestra Chorus Felicity Palmer, Soprano George Frideric Handel, Composer Helen Watts, Contralto (Female alto) John Shirley-Quirk, Baritone Raymond Leppard, Conductor Ryland Davies, Tenor |
Label: Eurodisc
Magazine Review Date: 11/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
ADD
Catalogue Number: GK69088
Label: Ovation
Magazine Review Date: 11/1990
Media Format: CD or Download
Media Runtime: 140
Mastering:
ADD
Catalogue Number: 421 234-2DM2
Composer or Director: George Frideric Handel
Label: Galleria
Magazine Review Date: 11/1990
Media Format: CD or Download
Media Runtime: 146
Mastering:
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Catalogue Number: 427 173-2AGA2
Tracks:
| Composition | Artist Credit |
|---|---|
| (Der) Messias |
George Frideric Handel, Composer
Austrian Radio Chorus Austrian Radio Symphony Orchestra Birgit Finnilä, Mezzo soprano Charles Mackerras, Conductor Edith Mathis, Soprano George Frideric Handel, Composer Peter Schreier, Tenor Theo Adam, Bass-baritone |
Label: Ovation
Magazine Review Date: 11/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
ADD
Catalogue Number: 421 234-4DM2
Author: Ivan March
In considering these five recordings of Handel's Messiah, only one of which—the least enticing—is new to the Gramophone Compact Disc Catalogue, it seems sensible first to look at what is already available. The 16 sets listed in the catalogue offer a wide range of performance styles from 'authentic' to traditional, with many somewhere in between. Indeed, when reviewing the Pinnock/Archiv Produktion recording, which he firmly declared as his current first choice, EG commented that, together with the Gardiner (Philips) and Christophers (Hyperion) versions, Pinnock's set might be regarded by the scholarly purist as an essentially modern performance ''dressed up with period instruments''. Authenticists will therefore probably feel that the Hogwood version on L'Oiseau-Lyre is preferable, even though, like Gardiner's recording (and Klemperer's reviewed here), it is uneconomically presented on three CDs, the first two recordings being at full price too. The other first-class full-price set (on two discs), which must be mentioned, is Solti's Decca performance; essentially traditional in approach but excitingly alive, with superb Chicago choral singing and Dame Kiri Te Kanawa the memorably radiant soprano soloist.
Among the current mid-price two-disc reissues, the successful 1966 version from Sir Colin Davis with the London Symphony Choir (Philips) and Sir Charles Mackerras's EMI set with the Ambrosian Singers (Dame Janet Baker among the soloists), which both blew a fresh breeze over the work when they first appeared, still remain very rewarding and highly recommendable.
Of the five sets under present consideration, Leppard's 1976 Erato recording with the English Chamber Choir comes somewhere in between Davis and Mackerras. Tempos are lively, though never breathless, and always well judged, and ornamentation is judicious. Choruses are resilient and have an agreeable sense of joy, especially ''For unto us'', and ''All we like sheep'' which has a delectable added organ flourish and is full of rhythmic character. Yet ''Behold the Lamb of God'' and the glorious closing ''Amen'' have plenty of gravitas. The soloists are all excellent, with Felicity Palmer and Helen Watts outstanding, while John Shirley-Quirk's ''Why do the nations'' certainly waxes furiously. The sound is consistently beautiful, although the glowing acoustics of St Giles, Cripplegate in London prevent an absolutely sharp choral focus.
Not surprisingly, the glory of the Klemperer set is the singing of the Philharmonia Chorus, full of fervour, incisive and weighty, but never heavy, and clearly focused by the EMI recording. In ''For unto us'' the flexible soprano line is especially appealing and in ''Glory to God'' the delicate first entry is followed by the most dramatic contrasting fortissimo, while the crisp staccato of ''Let us break their bonds asunder'' is most exhilarating. The orchestra makes beautiful sounds too and the Pifa (which used to be known as the ''Pastoral Symphony'') is radiantly gentle. The players and singers are beautifully recorded, with London's Kingsway Hall providing ideal acoustics and Walter Legge, with Peter Andry and Neville Boyling, ensuring a fine overall balance. The orchestral sound is full, yet the continuo has transparent detail, and the natural effect of the CD transfer is most impressive. The surprise for me was the disappointing contribution of Elisabeth Schwarzkopf, whose style, with its combined elements of Lieder and opera, seems curiously unsuited to the simplicity of Handelian line. For example, ''I know that my Redeemer liveth'', with its close vibrato and tight trills, I found quite unsympathetic. The other soloists are not especially impressive either, although Jerome Hines's plangent bass contribution is heard at its best in ''For behold, darkness shall cover the earth''. Klemperer's direction belongs to a past tradition, but he is not dull, nor are his speeds specially slow. He makes cuts, notably in Part 3, from after ''The trumpet shall sound'' until ''Worthy is the Lamb''. More surprising therefore, is EMI's use of three CDs for this reissue, making it very uncompetitive.
Mackerras's Archiv set has the novelty of Mozart's re-orchestration, and anyone interested in hearing how Mozart re-created Handel's accompaniments could find this a very stimulating experience, even though the German language will not fall very easily on most British ears (his RPO/ASV re-make—(CD) CDRPD001R, 11/88—also used the Mozart edition but is sung in English). From the Overture onwards there is much engaging colour, with the addition of flutes, oboes, clarinets, bassoons and horns. ''O thou that tellest'' with its flute and bassoon decorations is matched by the bassoon imitation in ''For unto us'', but most charming of all is the humorous altered introduction and accompaniment for ''All we like sheep''. Because of the lack of good baroque trumpeters available at the time, Mozart shares the obbligato of ''The trumpet shall sound'' between trumpet and horn and cuts it back considerably. Mackerras has an excellent chorus and a good team of soloists, while his performance is full of life and well paced. This set remains a curiosity, but a rewarding one. The sound is excellent.
The Marriner presents the text used at the first London performance in 1743 and several numbers are different from the final score. But controversy is invited, not by these differences, but by Marriner's exhilaratingly fast tempos in the choruses. His ''Hallelujah'' runs for 3'39'', against Leppard's 4'00'' and Klemperer's 4'16''. He opens with a crisp, fresh account of the Overture and the lightness of the choral singing is often delightful, especially ''And he shall purify'', ''For unto us'' and ''Glory to God'' with its joyous rhythmic spring, while the sheep go astray at a fine old pace (with genial twirls from the organ). It is all wonderfully infectious, though occasionally one has doubts about whether it is what Handel intended. Marriner's soloists, too, are splendid: Elly Ameling sings with a ravishing simplicity; ''There were shepherds abiding'' is sheer delight and ''Thy rebuke hath broken his heart'' is deeply moving. Anna Reynolds, too, is no less memorable in ''He shall feed his flock'', while the bass, Gwynne Howell shakes splendidly in ''Thus saith the Lord of hosts''. With vividly, transparent Decca sound this makes a most refreshing listening experience.
The Eurodisc/BMG set under Karl Forster springs no surprises. It is a straightforward performance (not absolutely complete) in a rather heavy Kapellmeister-ish German tradition. The soloists are good, particularly the soprano and tenor, although the bass brings plenty of drama to his most famous numbers. St Hedwig's Cathedral Choir sings solidly (their ''Hallelujah'' takes 4'39'') and the Berlin Symphony Orchestra provides sumptuous accompaniments. The documentation only features a German text without translation, and nothing about the music or performance, except to state that it employs the autograph score which Handel used for his performances in London's Foundling Hospital, as revised and edited by Arnold Schering and Kurt Solkdan. Klemperer draws on this same source, but his account has far more character and—like the other three sets under discussion—offers proper documentation.'
Among the current mid-price two-disc reissues, the successful 1966 version from Sir Colin Davis with the London Symphony Choir (Philips) and Sir Charles Mackerras's EMI set with the Ambrosian Singers (Dame Janet Baker among the soloists), which both blew a fresh breeze over the work when they first appeared, still remain very rewarding and highly recommendable.
Of the five sets under present consideration, Leppard's 1976 Erato recording with the English Chamber Choir comes somewhere in between Davis and Mackerras. Tempos are lively, though never breathless, and always well judged, and ornamentation is judicious. Choruses are resilient and have an agreeable sense of joy, especially ''For unto us'', and ''All we like sheep'' which has a delectable added organ flourish and is full of rhythmic character. Yet ''Behold the Lamb of God'' and the glorious closing ''Amen'' have plenty of gravitas. The soloists are all excellent, with Felicity Palmer and Helen Watts outstanding, while John Shirley-Quirk's ''Why do the nations'' certainly waxes furiously. The sound is consistently beautiful, although the glowing acoustics of St Giles, Cripplegate in London prevent an absolutely sharp choral focus.
Not surprisingly, the glory of the Klemperer set is the singing of the Philharmonia Chorus, full of fervour, incisive and weighty, but never heavy, and clearly focused by the EMI recording. In ''For unto us'' the flexible soprano line is especially appealing and in ''Glory to God'' the delicate first entry is followed by the most dramatic contrasting fortissimo, while the crisp staccato of ''Let us break their bonds asunder'' is most exhilarating. The orchestra makes beautiful sounds too and the Pifa (which used to be known as the ''Pastoral Symphony'') is radiantly gentle. The players and singers are beautifully recorded, with London's Kingsway Hall providing ideal acoustics and Walter Legge, with Peter Andry and Neville Boyling, ensuring a fine overall balance. The orchestral sound is full, yet the continuo has transparent detail, and the natural effect of the CD transfer is most impressive. The surprise for me was the disappointing contribution of Elisabeth Schwarzkopf, whose style, with its combined elements of Lieder and opera, seems curiously unsuited to the simplicity of Handelian line. For example, ''I know that my Redeemer liveth'', with its close vibrato and tight trills, I found quite unsympathetic. The other soloists are not especially impressive either, although Jerome Hines's plangent bass contribution is heard at its best in ''For behold, darkness shall cover the earth''. Klemperer's direction belongs to a past tradition, but he is not dull, nor are his speeds specially slow. He makes cuts, notably in Part 3, from after ''The trumpet shall sound'' until ''Worthy is the Lamb''. More surprising therefore, is EMI's use of three CDs for this reissue, making it very uncompetitive.
Mackerras's Archiv set has the novelty of Mozart's re-orchestration, and anyone interested in hearing how Mozart re-created Handel's accompaniments could find this a very stimulating experience, even though the German language will not fall very easily on most British ears (his RPO/ASV re-make—(CD) CDRPD001R, 11/88—also used the Mozart edition but is sung in English). From the Overture onwards there is much engaging colour, with the addition of flutes, oboes, clarinets, bassoons and horns. ''O thou that tellest'' with its flute and bassoon decorations is matched by the bassoon imitation in ''For unto us'', but most charming of all is the humorous altered introduction and accompaniment for ''All we like sheep''. Because of the lack of good baroque trumpeters available at the time, Mozart shares the obbligato of ''The trumpet shall sound'' between trumpet and horn and cuts it back considerably. Mackerras has an excellent chorus and a good team of soloists, while his performance is full of life and well paced. This set remains a curiosity, but a rewarding one. The sound is excellent.
The Marriner presents the text used at the first London performance in 1743 and several numbers are different from the final score. But controversy is invited, not by these differences, but by Marriner's exhilaratingly fast tempos in the choruses. His ''Hallelujah'' runs for 3'39'', against Leppard's 4'00'' and Klemperer's 4'16''. He opens with a crisp, fresh account of the Overture and the lightness of the choral singing is often delightful, especially ''And he shall purify'', ''For unto us'' and ''Glory to God'' with its joyous rhythmic spring, while the sheep go astray at a fine old pace (with genial twirls from the organ). It is all wonderfully infectious, though occasionally one has doubts about whether it is what Handel intended. Marriner's soloists, too, are splendid: Elly Ameling sings with a ravishing simplicity; ''There were shepherds abiding'' is sheer delight and ''Thy rebuke hath broken his heart'' is deeply moving. Anna Reynolds, too, is no less memorable in ''He shall feed his flock'', while the bass, Gwynne Howell shakes splendidly in ''Thus saith the Lord of hosts''. With vividly, transparent Decca sound this makes a most refreshing listening experience.
The Eurodisc/BMG set under Karl Forster springs no surprises. It is a straightforward performance (not absolutely complete) in a rather heavy Kapellmeister-ish German tradition. The soloists are good, particularly the soprano and tenor, although the bass brings plenty of drama to his most famous numbers. St Hedwig's Cathedral Choir sings solidly (their ''Hallelujah'' takes 4'39'') and the Berlin Symphony Orchestra provides sumptuous accompaniments. The documentation only features a German text without translation, and nothing about the music or performance, except to state that it employs the autograph score which Handel used for his performances in London's Foundling Hospital, as revised and edited by Arnold Schering and Kurt Solkdan. Klemperer draws on this same source, but his account has far more character and—like the other three sets under discussion—offers proper documentation.'
Handel Messiah
Handel: Messiah
Handel: Messiah
Handel: Messiah
Handel Messiah
Handel (arr Mozart) Messiah
Handel Messiah
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