Customer Reviews

Handel - Messiah / Kirkby · Van Evera · Cable · Bowman · Cornwell · D. Thomas · Parrott

5 star:		(4)
4 star:		(2)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

In December of 1980 I was part of a performance of Messiah for Handel conference here in Ann Arbor. Scholars came from all over the world to present papers on this work and we performed the piece with a very small chamber orchestra, soloists, and a chorus of about 24 singers. It caused quite a stir, but it was very fun to do.

There is scholarly precendent for such small forces. And in fact the massed armies style in vogue in the 1960s and even today was a 19th century cultural phenomenon. But we all know how much fun such a large ensemble can also be. The really neat thing is that this chorus does not sound small. What it sounds is clear and supple. You can hear the counterpoint and that is the point of this kind of music, isn't it?

Large groups can never have the clarity and fluidity of line that can be achieved with what amounts to a chamber ensemble. It bothers some (but not me) that the voices used even for the soloists aren't operatic in the style of the last two centuries. Well, Handel was an EARLY 18th century composer and the operatic voice was quite different then. Still strong, still flexible, but filling a hall that seated 5,000 wasn't necessary and didn't exist.

Anyway, scholarship or no, this is a wonderful performance based on what is known about a performance of this work in 1753. It is full of life and the soloists are terrific. I especially love Emma Kirkby for all kinds of reasons, one of them being she was the soprano soloist for the 1980 performance here in Ann Arbor. The style here is quite declamatory and more operatic than, say, the Hogwood recording from 1980 (although certainly not Verdi). There also seems to be an emphasis on using English vowels rather than Italianate singing vowels. You should also note that both the soprano, Emma Kirkby, and the bass, David Thomas, on this recording were also on the very different Hogwood 1980 recording.

The choruses are very clear if not as sharply defined or as pointilistic as other early music recordings. For example, the last chorus "Worthy is the Lamb" and the great fuguge "Amen" are full of power, drama, and majesty, however, the some of the effects of the entrances from the different sections that happen right on top of each other don't quite pop out here as they might have. But this is a small point. No single version of this work can include every possible interpretation. The work is too rich and the artists must make choices.

It is also interesting to note the selection of the soloists. Here we have two sopranos (with Kirkby taking different numbers than on Hogwood)and alto AND a counter tenor as well as a tenor and bass. Handel himself often switched around the numbers given to the soloists, and this recording is no different. For example, the solo before the last chorus "If God be for us" (here, "If God is for us") is sung by the alto Margaret Cable (whom I think is really a mezzo-soprano) and is often done by the soprano. And the usual alto, tenor "O Death, Where is They Sting" is here done superbly by the counter-tenor James Bowman and the Tenor Joseph Cornwell.

You should have this in your collection for its beauty and for its contrast to the "traditional" large ensemble performances. I hugely enjoy this version.

Of more than a dozen Messiah recordings I've accumulated, this one remains hands-down THE BEST. The smaller choir delivers huge, clear sound without the muddiness or weight so common in performances by larger groups (e.g. MTC). The soloists are uniformly the *least* pretentious I've heard sing this piece - they allow Handel's simple embellishments to come through purely without distracting us with their own. "Clean" is the best descriptor that I can think of for this recording, and it's fitting given the work's simple, innocent subject.

While I prefer small-scale modern-instrument performances, this is probably the best of the allegedly-historical instrument recordings. Parrott's conducting is quite good, the chorus and orch do well. Soprano Emma Kirkby is distinctive and particularly fine, although not quite up to the level of Lynne Dawson with Christophers.

This one belongs in everyone's Messiah collection.

I bought this recording after owning the Beecham for many years. This is so superior. I wasn't even dissatisfied with the Beecham, but now I can't even listen to it. I love every piece of this recording.

If you are looking for a loud, powerful, exciting performance of Handel's "Messiah," look elsewhere. This is scaled to the kind of performances that took place in the small churches of Handel's time, and as such it has a more intimate feel, less "pressured" climaxes and a more cohesive flow than one usually hears in "Messiah" performances. Twenty years ago, I probably would not have liked this kind of performance, but since turning to Buddhism and hearing the "small, still voice within," I find that this kind of performance resonates perfectly with my view of the creator. You, however, are free to feel differently, but if you think you would like a performance of unparalleled transparency, lightness and airiness, this is the one for you. All of the soloists are really into this atmosphere, and Andrew Parrott conducts beautifully with a real sense of legato style. If not, there is always the Trevor Pinnock, Gardiner or Mormon Abersnackle Choir versions with their multitudes of voices and 21-gun salutes! ;-)

There are apparently two errors on this album: on disc two, track one (All they that see Him, laugh Him to scorn) near 0:02 and 0:04. I verified this using two brand-new (and not scratched) copies with CDex in "paranoia" mode. They are audible as 'skips' in the sound with every CD player I've tried. I have been trying in vein to contact EMI/Virgin about the problem. If you can live with it, this is otherwise a very good Messiah. If you believe you have an error-free copy, please contact me at clumma at yahoo dot com.

This is rather Byrd's Messiah. Handel wrote "his" Messiah for operatic voices, the same voices that would sing Alcina or Ariodante. Parrott conducts a very proper, very British performance, but it isn't a terribly exciting one. I would certainly prefer on all accounts William Christie's recording in Harmonia Mundi. His choir and orchestra are superior in every department, and his soloists incomparably better.

I have got this CD, and I've had it for a long time. If you haven't listenend, or heard this beautiful piece of music, then I suggest you get it and listen to it.

G.F Handel wrote it in aproximately 6-8 weeks, which is remarkable because this CD has so many tracks. This composer is regarded as one of the best composers of all time, and most of his works are regarded as classics.

This was in the style of Baroque, 18th Century! Handel was asked by the church to compose the Messiah, and it turned out to be one of the biggest successes of all time!

I strongly recommend this piece of music, it is a good buy, and you defintely won't regret it, beleive me! As a very strong Classsical Music fan, I am saying to you that this piece of music is Handel's MASTERPIECE!