Handel - Messiah / Ameling · A. Reynolds · Langridge · Howell · Marriner

George Frideric Handel (Artist), Neville Marriner (Artist), Elly Ameling (Artist), Philip Langridge (Artist), Academy & Chours of St. Martin-in-the-Fields (Artist), Anna Reynolds (Artist), Gwynne Howell (Artist)

Product Details

• Audio CD (October 17, 1995)
• SPARS Code: ADD
• Number of Discs: 2
• Label: Decca
• ASIN: B00000427H
• In-Print Editions: MP3 Download
• Average Customer Review: 4.8 out of 5 stars  See all reviews (24 customer reviews)
• Amazon.com Sales Rank: #2,211 in Music (See Bestsellers in Music)

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  #1 in	Music > Classical > Featured Performers, A-Z > ( M ) > Marriner, Sir Neville
  #13 in	Music > Classical > Forms & Genres > Oratorios
  #14 in	Music > Opera & Vocal > Oratorios

Track Listings

Disc: 1

1. Messiah, oratorio, HWV 56: No. 1 Symphony

2. Messiah, oratorio, HWV 56: Nos. 2/3 Recitative & Tenor: Comfort Ye My People/Every Valley Shall Be Exalted

3. Messiah, oratorio, HWV 56: No. 4 Chorus: And The Glory Of The Lord

4. Messiah, oratorio, HWV 56: Nos. 5/6 Recitative & Bass: Thus Said The Lord/But Who May Abide

5. Messiah, oratorio, HWV 56: No. 7 Chorus: And He Shall Purify

6. Messiah, oratorio, HWV 56: Nos. 8/9 Recitative & Air Alto & Chorus: Behold, A Virgin Shall Conceive/O Thou That Tellest Good T

7. Messiah, oratorio, HWV 56: Nos. 10/11 Recitative & Air Bass: For Behold, Darkness Shall Cover The Earth/The People That Walked

8. Messiah, oratorio, HWV 56: No. 12 Chorus: For Unto Us A Child Is Born

9. Messiah, oratorio, HWV 56: No. 13 Pifa

10. Messiah, oratorio, HWV 56: Nos. 14-16 Recitative Soprano: There Were Shepherds, Abiding In The Field/And Lo! The Angel Of The

See all 16 tracks on this disc

Disc: 2

1. Messiah, oratorio, HWV 56: No. 24 Chorus: Surely He Hath Borne Our Griefs

2. Messiah, oratorio, HWV 56: No. 25 Chorus: And With His Stripes

3. Messiah, oratorio, HWV 56: No. 26 Chorus: All We Like Sheep

4. Messiah, oratorio, HWV 56: Nos. 27/28 Recitative Tenor & Chorus: All They That See Him/He Trusted In God

5. Messiah, oratorio, HWV 56: Nos. 29/30 Recitative & Arioso Soprano: Thy Rebuke Hath Broken His Heart/Behold And See

6. Messiah, oratorio, HWV 56: Nos. 31/32 Recitative & Air Tenor: He Was Cut Off Out Of The Land Of The Living/But Thou Didst Not

7. Messiah, oratorio, HWV 56: No. 33 Chorus: Lift Up Your Heads

8. Messiah, oratorio, HWV 56: Nos. 34/35 Recitative Tenor & Chorus: Unto Which Of The Angels/Let All The Angels Of God Worship Hi

9. Messiah, oratorio, HWV 56: No. 36 Air Bass: Thou Art Gone Up On High

10. Messiah, oratorio, HWV 56: No. 37 Chorus: The Lord Gave The Word

See all 20 tracks on this disc

Editorial Reviews

Amazon.com

Neville Marriner's 1976 account of the Covent Garden version of the score (1743), with the Academy and Chorus of St. Martin-in-the-Fields and soloists Elly Ameling, Anna Reynolds, Philip Langridge, and Gwynne Howell, is positively plush-sounding but nicely animated. I'd love to have this kind of string tone for, say, the Dvorák Serenade, but for Handel it may be just a bit much. --Ted Libbey

Customer Reviews

Most Helpful Customer Reviews

79 of 80 people found the following review helpful:

5.0 out of 5 stars Don't Miss This One!, April 19, 2000

By	essmac "smcsls" (Nashville, TN USA) - See all my reviews

A first-rate recording at a cut-rate price. Excellent work from the chorus- well-blended and clean, but not antiseptic and dull. Likewise excellent work from the soloists: especially Ms. Ameling. She takes the more relaxed 6/8 version of Rejoice Greatly-- so it's not flashy, but she has no problem with the coloratura and spins out some amazingly long-breathed phrases. THe real draw for me is "Thy Rebuke Hath Broken His Heart" and "Behold and See". While remaining within the boundaries of appropriate performance style and good taste, Ms. Ameling delivers these two forgotten parts of Messiah with an emotional appeal that is absolutely devastating: wrenching, moving, full of anguish and disbelief, but with economy, sensitivity, restraint and always with beautiful tone. It's absolutely unforgettable and it blasts the dust right off of Messiah: a work that is so often given a careless, pedestrian performance. Completely stunning- it will make you care about Messiah again.

63 of 66 people found the following review helpful:

4.0 out of 5 stars Beautiful, but not what I was expecting., February 21, 2001

By A Customer

The singers in this recording deliver beautiful performances, both the soloists and the chorus - good phrasing, diction, and ensemble singing in lovely voices. However, I didn't realize before buying this CD that, as the liner notes say, "Neville Mariner's recording is based on the first London performance of 1743, and several numbers are markedly different from the more familiar later versions." Some pieces are sung by different voice parts, and others include bars of music that Handel cut or changed later. For example, the most disappointing part for me was "But who may abide," (sung by bass instead of alto, though that's not unusual) which completely omits the excicting prestissimo "refiner's fire" section that most of us are used to (and which I really enjoy)! This would certainly be an excellent historical recording for someone who collects or studies Handel's music - beautifully performed (though some parts seem unusually fast), and interesting for studying the development of Handel's composition - and it is still his sacred masterpiece. Plus it's an excellent bargain for a top-quality 2-disc recording. However, if you're looking for the most FAMILIAR Messiah, perhaps this isn't the one for you. I opted for the excellent Chaconne (Chandos) recording by Richard Hickox instead, also with Philip Langridge, and my favorite Bryn Terfel.

33 of 34 people found the following review helpful:

5.0 out of 5 stars Probably the Finest Messiah Recording, November 17, 2005

By	Gregg M. Howell (Baltimore, MD United States) - See all my reviews (REAL NAME)

First of all, what the other online reviewers here fail to realize is that this is Handel's 1743 Covent Garden premiere Messiah score , NOT the "final" version. So, those looking for the familiar choruses, solos, etc. will be very disappointed and should probably seek another recording.

Though much of the score is the same, much of the score is very different as this was "a work in progress." One can tell the differences beginning with the tenor aria "Ev'ry Valley," until the final chorus "Worthy is the Lamb." One may even wonder why Handel choose to alleviate some of the score (most notably "How Beautiful Are the Feet" which here is a duet between alto and soprano with a rousing chorus. The aria in it's present version is quite dull in comparison). However, Handel scored based on available forces, and it is documented that Handel continued to "tweak" the score until he died.

Tempos are brisk, as well they should be. Messiah was nearly destroyed by the late-romantic conductors that thought it would sound better with a full symphonic orchestra and choruses "of a thousand." What remains is a wall of noise with all the nuances destroyed. We are, after all, talking about Baroque music. This ASMF 1976 recording began the revival of period tempos, ensembles, and the return of vocal ornamentation.

The orchestra is in its usual flawless form in this recording as is Lazlo Heltay's fine singers. The solosits do a fine job, though Ameling, at times, has some strange vowel sounds (she obviously was not yet skilled at singing in English). Howell is the strongest of the soloists.

For overall beauty of sound and dramatic intensity, this is the ultimate recording!