Judas Maccabäus

Oratorios were to become Handelís favorite form of composition from the late 1730ís onward, and of the impressive series of works written during the last two decades of his life the oratorio Judas Maccabaeus was the most successful of this genre, eclipsing even The Messiah in popularity. Handel and librettist Reverend Thomas Morell drew upon the story of the revolt of the Israelites in 168 B.C. against the decree of Antiochus IV forbidding the practice of their religion, focusing on Judas Maccabaeus, the fearless supreme commander in the battle for freedom.

The digital sound on the Budday CDs is excellent, catching the details of the soloists, choir, and orchestra as if it were a studio recording, but with the added atmosphere of a live hall - it sounds absolutely great in my listening room (using Yamaha 200W amp, ADS 9 speakers, and Denon CD player equipment). The Mackerras recording has great studio sound which I would characterize as detailed and full, but less atmospheric since it's ADD and not live. It also sounds a little "closer", which is an artifact of being a studio recording.

Judas Maccabäus is one of Handel’s most impressive and successful works. More than 50 performances took place in Handel’s lifetime. The integration of the libretto with the conflict between the Scottish Jacobites under the leadership of the catholic Stuart pretender Charles Edward and the royalist government troops played a crucial role in this. The original libretto tells the story of the struggle of the Jews against the rule of the Seleucids. Handel portrays the plot with colourful arias, touching laments and exultant triumph choruses.

A case of deja entendu here, since I reviewed these performances when they originally came out. I enjoyed them then and still do, for both artists offer wit, affection and agility. One can at times think the sheer force and passion of Martha Argerich's personality a bit too obvious, not least in the C major Sonata, where Maisky characteristically sounds smoother and more persuasive.

Within the space of a mere couple of CDs, it is possible to encapsulate works which are not only among the most beautiful ever written for the cello and piano duo, but also represent the very birth of the genre we call the sonata for cello and piano in the classic meaning of the term. Beethoven’s output for the two instruments comprises some absolute masterpieces and other works which maybe cannot claim the same status, but still are among the favourites of performers and audiences alike.

Een driedubbele cd met het integrale werk voor cello en pianoforte van Ludwig Van Beethoven, dat is het resultaat van de intense muzikale samenwerking van celliste France Springuel en pianist Jan Vermeulen. De twee begonnen drie jaar geleden samen te musiceren en de muzikale klik die beiden toen voelden, deed hen besluiten om het repertoire voor cello en piano aan te pakken. Eerst waren er twee Schubertcd's, dan volgde Schumann, en nu is er dus Beethoven. De sonate voor cello en piano is in feite een uitvinding van Beethoven zelf.