Messiah S01e08

The Huddersfield Choral society has one of the longest and most fruitful relationships with Handel s famous Messiah than perhaps any other chorus in the world: they first performed it in concert during their inception year of 1836, and have continued to do so annually since 1860 with concerts the world over as well as in their hometown of Huddersfield. Recorded live in concert in December 2010, this new recording combines the famous ensemble with the Northern Sinfonia and four world-class professionals, under the direction of Jane Glover CBE. The disc begins with John Wainwright s Christians Awake , a traditional addition to the Messiah programme at their concerts in Huddersfield.

Handel's 'Messiah' is one of the most sung oratorios in the world and its great choruses and arias can be heard on countless classical collections. From its premiere to the present day, this great sacred work enjoys almost unbroken popularity and has always fascinated audiences and musicians alike. In the chapter "Resurrection of George Frideric Handel" of his book "Decisive Moments in History", Stefan Zweig provides a particularly colourful description of Handel’s "Messiah". Starting from the fresh spirit of the work, he creates a lively story that lets the reader look over his shoulder as he composes the work. In it, he illustrates the timelessness and special position of this great composition in the context of music history.

This edition of Handel’s Messiah is a landmark recording both for the Academy and in the history of the work, being both the first recording made with the Academy’s own chorus, and the first (and as far as we are aware, only) recording of the version used by Handel for the work’s 1743 London premiere. Sir Neville Marriner’s deliberate choice to break with the massed-choir treatments of the past was greeted enthusiastically by the public, selling over a quarter of a million copies in the first three years, and leading Fanfare’s Michael Carter to remark in 2010: “There have been many recordings of Messiah since this 1976 release and there will no doubt be many more to come, but few, if any, will match, let alone surpass, this of Marriner.”

It therefore seems appropriate to highlight recommend this present performance of Karl Richter's, which stands firmly in the Romantic Messiah tradition preserved through the last century. Unlike most modern recordings, this Messiah utilizes a full orchestra, large chorus, and operatic soloists who do no ornamentation.

This 2009 live performance by German-based chamber ensemble Musica Saeculorum under the direction of Philipp von Steinaecker is a pure, polished recording; sharply defined and alternately musical and muscular in it's sensibility. Despite their German origin, this is a English language performance, with nary a hint of accent detectable; indeed, this is a sparkling performance from all involved, with crisp diction, razor-sharp attacks and both the orchestral and choral forces moving as one. Tenor Daniel Johannsen is electrifying in his solos, with crystal-clear singing and a heroic tone. Bass Dominik Wörner is similarly potent in his arias, bringing high drama and technique to his arias.

MESSIAH is one of Handel's most popular works. Devised in 1741, the spectacular piece was made public the following year, to huge acclaim. The three-part oratorio is performed by a number of notable names here, including Lynne Dawson (soprano); Guillemette Laurens (mezzo-soprano); Charles Daniels (tenor); Antonio Abete (bass); Coro Della Radio Svizzerra; and conductor Diego Fasolis. The sparkling mix adds a new clarity to Handel's masterpiece, making this a very special release that easily transcends the ravages of time.

Helmuth Rilling is perhaps better known for his extensive recordings of Bach Cantatas, and here, I can only say that this is a very "Bach"-like approach to Handel's oratorio, with severe attention being given to the various themes, each being given weight and purpose. The Oregon Bach Festival Orchestra & Chorus both perform admirably, giving exact attention to Rilling's tempos. Among the soloists, Sibylla Rubens had the most pleasing, lightest tone, with alto Ingeborg Danz and baritone Thomas Quasthoff both swallowed and thick in their vocal qualities, and tenor James Taylor, giving a light, inconsequential reading to his arias. And since the soloists are also under the stern eye of Rilling's rigid direction, they are given little opportunity to bring an iota of warmth or emotion to their readings.

It was this set which, in company with one from Sir Colin Davis issued by Philips a few weeks earlier, inaugurated the era of 'progressive' Messiah recordings. They had of course been foreshadowed—by Sir Adrian Boult, notably, and by the work of such editors as John Tobin and Watkins Shaw. But this was one of the first to use a chamber orchestra, lively tempos and ornamentation: and between them Davis and Mackerras made us listen afresh to a work whose performance traditions had threatened to become hidebound… The forces aren't 'authentic', but rather larger, and women's voices are used in the chorus. It is however an excellent chorus, well disciplined and clean.