Saul

Saul is the fourth of Handel’s English oratorios, written in 1738–39 as his career as a composer of Italian opera was drawing to a close. His librettist was Charles Jennens, who would eventually provide texts for L’allegro, Messiah , and Belshazzar. It is clear that, in the wake of a failed subscription to an Italian opera season, Handel intended Saul to take London by storm. The score calls for a huge orchestra, including trombones, carillon, a large organ, and double-bass kettledrums. This splendid recording, first issued in 1991, is of a live performance originally presented at the Göttingen Handel Festival in June 1989.

This is the sixth set in this comprehensive and excellent Handel edition from Warner. This volume deals with an important oratorio in the shape of "Saul" as well as the "Utrecht Te Deum" and the famous "Ode for St. Cecilia's Day" and "Alexander's Feast", another splendid cantata. The recordings date from the early 1970's to 1990 and come from the prolific Teldec stable under the indefatigable Nikolaus Harnoncourt who conducts in his exemplary no nonsense fashion. "Saul' is a fine interpretation although I still feel that John Eliot Gardiner comes to the core of the work better. "Ode for St. Cecilia's Day' is also given a pomp and circumstance treatment whilst the Utrecht Te Deum is winningly done. The team of soloists is also very good and the recordings are fine and well balanced in proper Teldec tradition.

Saul is one of Handel's most action-filled, fast-moving oratorios; an opera in everything but name only. It has been lucky on disc–both Paul McCreesh (Archiv) and John Eliot Gardiner (Philips) have led superb readings, and Joachim Carlos Martini leads a good performance on Naxos, which is a bargain. Now René Jacobs and his remarkable Concerto Köln come along and offer a truly majestic reading, filled with real drama and beautiful, precise singing and playing. Tenor Jeremy Ovenden sings Jonathan with nobility and faces down Saul in Act II with style and power. David is sung by countertenor Lawrence Zazzo, and he's as good as the best-recorded competition (Andreas Scholl, Derek Lee Ragin). Emma Bell is ravishing as Merab; Rosemary Joshua makes a fine Joshua.

Handel's Saul is an operatic oratorio with ever intensifying action and increasingly drastic scenes. Handel seems to have been especially moved by this particular text. He gives each of the five main soloists a distinctive profile. Even the vocal supporting roles are unique and intentionally individual. In none of his other oratorios does Handel call for a more differentiated orchestra. Alongside the strings, he uses oboes, recorders, bassoons, trumpets, timpani and trombones. For me, Saul is one of the great high points of Handel's works. All of the performers on this recording thoroughly enjoyed taking on the challenges brought forth by this music.

Fred Ho & Quincy Saul - The Music of Cal Massey (2011) {Mutable Music-Big Red Media 004}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 383 Mb | MP3 @320 -> 149 Mb
Full Artwork @ 300 dpi (jpg) -> 22 Mb | 5% repair rar
© 2011 Mutable Music / Big Red Media | 004
Jazz / Avant-Garde Jazz / Experimental / Modern Creative / Modern Small Band

Calvin Massey (1928-1972) is virtually unknown with the exception of both highly knowledgeable jazz scholars and a small coterie of illustrious musicians who remain alive and were immensely indebted to Massey s musical influence and mentorship. Massey was a father figure and close friend to many of the greatest jazz musicians of the post-World War era until his early death in 1972. Massey was a trumpeter, but was most noted as a composer of magisterial works, of which his epic opus was The Black Liberation Movement Suite, an extended work of nine movements. Until now, the work had never been recorded in its entirety. Cal Massey ranked among the greatest jazz composers of the 20th century, included with Duke Ellington, Thelonious Monk and Sun Ra.

When Handel had a difficult time as opera manager, in the 1730s, he turned to oratorios, which required neither the expensive Italian soloists nor complicated sets. Saul, based on the First Book of Samuel, written in 1738, and first performed in 1739, was relatively popular, with Handel reviving it several times through 1754. With all of the dramatic features of Handel’s oratorios, this work, featuring a bass in the starring role, opens with a festive four-movement instrumental Symphony.

This new Saul, recorded live in July 2008 in the breathtaking, beautifully restored Dresden Frauenkirche, captures the grand scale, interactive drama, exciting choruses, and sumptuous, scintillating orchestral writing of Handel's huge, three-act oratorio. And of course, there are loads of well-sung airs and recits that make their dramatic points especially well due not only to the fine lineup of soloists but also to conductor Hans-Christoph Rademann's masterful pacing and careful textural balances.