You can't beat Beethoven's take on Handel ""Go to him to learn how to achieve great effects, by such simple means."- Handel, my favourite composer, and in my estimation the greatest composer who ever wrote music for the human voice. His understanding of the capabilities and needs of his singers, whether soloists, or chorus, remains unsurpassed by any other composer, underlaid as it is by beautiful and stunning instrumental accompaniment and orchestral interludes. Serious, comedic, tragic, romantic, wistful, grand, celebratory or religiously fervent, it doesn't matter, Handel did it all, many, many times, and without parallel.
Loved your assessment! Perhaps Handel didn't want to be stuck at a church... Nonetheless, he could be poignant when he wanted to. Then the cash started to roll in... Perhaps he was the Baroque Andrew Lloyd Weber with 3 names: George Frederick Handel. Nonetheless MESSIAH is a treasure to behold.
David Hurwitz: Appreciated your traversal through the bushels of Handel Messiah recordings, thank you! I just wanted to let you know that over the Christmas holidays of 2007, my family and I left the day after Christmas for London on a rather unique holiday trip, one which I will never forget. While there, we went to the Handel House for a visit, where he composed Messiah. When I was in the room contemplating where he composed the piece, I experienced a feeling (chills, if I must describe it) that I had never felt before, realizing that I was in the place where one of the greatest pieces of music ever was written. If you ever have an opportunity in the future to go to London, make sure you GO TO THE HANDEL HOUSE (and museum)! Incidentally, next door to it is the apartment (interestingly) where guitarist Jimi Hendrix lived for a time.
One performance that I think deserves mention, which is actually my favorite for this piece, is Suzuki and the japan collegium bach. When I started listening to bach, I only heard Suzuki, and so it was natural that I turn to him in messiah as well. He introduced me to the piece and through him I fell in love with it.
I was happy to see that you included Luks! I discovered that performance on RUclips before buying the CD, and it's quickly become one of my favorites. Despite the singers presumably not having English as a native language, the singing is clear and sensitive to the meaning. It's a lively and heartfelt performance that I encourage anyone to listen to!
I love the Hogwood mainly for his choir; when I worked in a records store here (we had a separate classical section like the sadly now gone NYC stores of yore) I would play the first chorus for customers and they almost always took my recommendation, but I also like Somary, Pearlman, and the Higginbottom--the boy soloists are outstanding! Incidentally back when I worked in that store, Bruce Fowler, the tenor in the Pearlman recording, worked with me--he was a student here. I got a chance to chat with Pearlman at a concert here a few years and mentioned that.
It was Beecham's Messiah played on hi-end electronics and speakers back in December 1966 that got me hooked on classical music. I didn't know one could get that kind of sound out of a vinyl record.
@@jgesselberty Jon Vickers was the tenor soloist: before they started, Vickers remarked to Beecham: "Sir Thomas, I must tell you I am not an English tenor" Beecham replied: Thank God for that!
I think any one loves when you choose the same recording we do at the end. And here it is a special moment. Your longest video. A music with hundreds of excelent version. And Pinnock is, also for me, unbeatable. It is the version I always compare with "new ones" for decades now. And it is alway my winner. You see, there are musics which we can live with one version (Iberia and Larrocha to mention a recent video of yours - who has time to compare everything with everything?), others I cant choose a best version (like the pianos sonatas of Beethoven - they can be played in so different ways all of them valid ones) but Messiah - so big music - I´ve tried a lot - and Pinnock always remains the first choice. So glad you agree. Pinnock is always wonderful in Handel - the colour of the orchestra, always the right rhythm- I do not have the words in English to explain why I love his Handel so much.
I sang excerpts in high school chorus, grew up listening to Mormon Tabernacle excerpts. My roommate's LP version with Robert Shaw opened my eyes and ears. When I could afford my own LPs, got the Colin Davis, loved it and still have it. When I migrated to CDs, I saw/heard no reason to desert Colin Davis. When I listen now, I listen to the whole megillah in a single sitting. Still awestruck!
Good point. I understand David's emphasizing Hogwood's importance, but, in fact, the first real change in Messiah performance came with the release of the Davis and Shaw (on RCA) recordings in 1966. They were both early attempts at what now are referred to as "historically-informed performances using modern instruments," and particularly in having soloists use baroque ornamentation. They were pretty much the bridge between the Ormandy/Beecham/Sargent school of Handel performance and what was to come with Hogwood and Gardiner. I had the Davis set as my "standard" for years, and, while it now seems somewhat stodgy compared to newer versions, it certainly is a landmark recording.
Wow! What a spectacular video! It makes one just thrilled to think about Handel's music and the absolutely breathtaking quality of SO MANY contemporary musical organizations, musicians, singers, and, yes, conductors! These are great days for music.
Handel’s Messiah was always part of my life as it was my father’s favorite piece of music. But it was vary late in his life when he first heard it in its entirety (he lived to age 94). The Ormandy recording with the Mormon Tabernacle Choir that you mentioned was much played in our home. I bought my dad the Hogwood recording when he was about 70. Being raised a Christian, Handel’s Messiah has always been a statement of faith and the articulation of the words particularly in the choruses is extremely important. This is one of the greatest virtues of Pinnock’s recording (which I just downloaded after viewing your video). It is nice that Pinnock slows down during some of the most beautiful and heartfelt solo passages. It is indeed a performance for the ages. Arleen Auger has never sounded better!
I grew up on Ormandy’s and heard Warfield sing it live. Thanks for not slamming it in the trash heap; it is great fun for its time as you mention. My current favorite is Dijkstra B’Rock Belgian Baroque Orchestra, Bavarian Radio Chorus on BK Klassik. I think it was well received on Classics Today awhile back. Thanks for a great talk.!
Thanks, Dave, for this grand tour of Messiah and its adventures on record. I have a particular love for this work, and also a fascination for its performance history. Over the years I have collected dozens of versions to satisfy my voracious curiosity. I was delighted that you took us back to the bad old days, wonderful in their way, of Ormandy and Beecham. You could also have mentioned a dozen others of that period; Sargent gave us no fewer than three Messiahs and Boult two. I particularly appreciated your survey of the period performance versions, many of which I do not know. Colin Davis is still a reference version, as you noted; and Mackerras despite the gaudy ornamentation is hugely exciting. You even praised Solti's fine version which made me wonder, not for the first time, whether you really mean it when you characteristically say "he's not your favorite conductor." Well, he's probably not anybody's but a critical mass of his recordings are splendid. But I digress. One version that was considered revolutionary in its day, because it was the first to use reduced forces, Handel's original scoring, and a complete text is Hermann Scherchen's 1953 recording for Westminster. An absolutely fascinating rendition that blows away all the Victorian cobwebs and adopts some tempos that are almost unsingably fast, and a few that are almost unbearably slow. Scherchen's stereo remake, also for Westminster resorted to Viennese forces (the mono version was recorded in England), and wasn't as consistently enlivening, though it had some superb soloists (Alarie, Merriman, Simoneau among them). Finally, I wanted to say that I agreed wholeheartedly with your view that the work is best heard not during the Christian holidays. It's a dramatic oratorio, not a liturgical piece. Now how about some more Handel oratorio and opera reviews?
My favourite version of Handel's Messiah would have to be Sir Colin Davis, but not with the LSO. It was with the Bavarian Radio Symphony Orchestra (Symphoniesorchester des Bayerischen Rundfunks), on Philips. Davis' tempos are perfect, and the BRSO plays exceptionally well. The soloists were perfect as well. Dame Margaret Price leads with the soprano role, and Lord does she accomplish it. In her Part 1 aria "Rejoice greatly, o daughter of Zion", she shows great skill and agility. The follow up to Price is German contralto Hanna Schwarz, and in her arias "But who may abide", "O thou that tellest" and "He was despised" are deeply moving, especially "He was despised", with Davis' tempo and Hanna's beautiful voice. After Schwarz you have the so-called "King Of Mozart", Stuart Burrows. Burrows' singing voice is simply God-like, especially in the mentioned accompanied recitatives ("Thy rebuke hath broken his heart" etc.), and the first aria "Ev'ry valley shall be exalted". Then finally the bass is Simon Estes, an African-American bass who's now internationally known for his beautiful voice, and he does very much lives up to it.
What about Raymond Leppard conducting the English Chamber Orchestra and Chorus with soloists Felicity Palmer, Helen Watts, Ryland Davies and John Shirley-Quirk? To my ears one of the best recordings of this wonderful music! Greetings from Norway!
Glad you mentioned the Marriner - wonderful, spirited performance with great soloists. Have to say as well Pinnock generally really didn't put a foot wrong in large scale choral works - his Haydn Missa in Angustiis 'Nelson Mass' & Te Deum are knockouts too IMO.
Yes, the ‘Nelson Mass’ is amazing. The Missa Sancti Nicolai is great. It’s a shame we never a got a full set from Pinnock, because as far as I’m concerned, no one has come close to his Haydn masses.
So glad you did a video on the Messiah. It was my first (very first) piece I ever heard.... of music ever.... and it will always be special to me. I agree that chopping it down ruins it and I always thought that. Funny how you said you listen to it as a "summer piece" :-) I put it on all year round... I never get sick of it, but when I do, I listen to the whole thing, and I even had the pleasure of singing THE whole work a couple years ago. :-) (Though it was at Christmas time... but at least it was the unabridged version... :-) )
Thanks for the splendid Messiah overview. The 1966 Colin Davis and the Trevor Pinnock recordings you liked so much are the ones I turn to most often. You mentioned a CD with mostly Czech performers under Vaclav Luks: I don't know the CD, but there's a video on RUclips with Luks and Czech performers which is really fabulous - the visual element, which allows us to see as well as hear the youthful enthusiasm of the singers, adds so much. I agree with you that the Marriner on Decca is worth hearing, but his later one, recorded live, has been widely panned, so be forewarned. Also, your listeners should know that Mackerras, in addition to his EMI recording, later recorded a very different large-forces version with the Royal Philharmonic and the Huddersfield Choral Society, a version that incorporates a lot of the Mozart additions. Regarding Solti: I read somewhere that his alto soloist was supposed to be Marilyn Horne, but she had to cancel, and Gjevang was a last-minute substitute.
I have the Luks CD and I believe it's the same performance, or if not it's very close. Definitely worth buying if you enjoyed the video, although I agree that the visual element is fun!
Wow! Messiah was the work that made me decide to pursue a career in musicology (a career that never materialized despite four undergraduate and four more graduate years of studying music history) when as a 12-year-old, I acquired the recording by Leonard Bernstein and was shocked to discover that it wasn't complete. In my earlier years, I looked for a more "authentic" performance, starting with one I'm surprised you didn't mention: Scherchen (either of his two), which predated the original instrument groups in trying to restore Messiah to its full length. I eventually assembled 25 or 26 (I gave at least two of them away), and surprisingly, my fave has been the Beecham. If only RCA would re=issue it with all the sections Beechum put in an "appendix" back where they belong! But your selection of recordings, which surprisingly overlaps very little with my collection, has made me want to acquire at least three more, something I swore I wouldn't do. You are a great salesman for classical music!
I was waiting for the Pinnock version, which is my favourite Messiah, and there it was at the end! Totally agree, there is no other version that beats Trevor’s. It makes the hairs down my spine quiver 👍👍👍
Regarding when to perform, I'm afraid that Messiah has become for choral ensembles what the Nutcracker is for ballet companies. If you perform it every Christmas, you'll sell out concerts and make more money than you can any other time of year. It's like retail--most of your revenue comes in the last quarter of the year. From the listening public's perspective, this isn't such a bad thing: if you're going to listen to live performances of one piece over and over, you could do worse. But I don't know how the players maintain their interest. It surprised me when I had conversations with members of the Pittsburgh Symphony that much of the demand for new repertoire comes from the musicians, who understandably want new challenges. On a personal note, my mother bought the Colin Davis/LSO when it first came out, and for a long time it was our only classical album. She heard it was the way the Messiah "was supposed to be," meaning not the Mormon Tabernacle Choir. But it was "Christmas" music for her, and it played constantly during the season. Even as a child I loved it, and it remains "The" Messiah for me, although I probably listen to it only once every other year or three. But I can't help singing along when I hear it. I'll put in a good word for the Dunedin Consort Dublin version. It's well down my list of favorite recordings, but I found it a helpful means of refreshing my ears so I listen to standard versions more attentively.
1:07 a.m. I have several of the versions Dave recommends and agree with him on most of them (I actually like the Minkowski), but my favorite is one he (understandably) didn’t mention is Richard Bonynge conducting the English Chamber Orchestra and Ambrosian Singers, with Joan Sutherland, Huguette Tourangeau, Werner Krenn, Tom Krause and (very briefly but effectively) a boy soprano. Bonynge adds so many lovely touches and lets his wife and Krause have a field day with ornaments, it’s simply dazzling. Modern instruments but very Baroque in style.
I love that version. It's an odd mix. All of the continuity that Dave wants, but with vocal ornamentation way beyond what Handel or an 1840 audience would expect.
What a great talk. I've been listening to classical music for years and have never once listened to Messiah. It's time! Trying out the Pinnock recording.
Quite a grand surrey of this work's recorded offerings. Very first Messiah I obtained was Pinnock. Grabbed Colin Davis' for a dollar at the thrift score. And very interested in further exploring! Much to consider and enjoy. Thanks David.
Vaclav Luks and Collegium 1704 are the real thing - they are top class. I moved back to Prague some months back, and I'm absolutely in mourning that I can't attend live concerts - I was so looking forward to hearing them. Their Messiah is wonderful, as are their recordings of Myslivecek, Bach, and especially Zelenka. One very weird recording from way back is Hermann Scherchen on Westminster. Very, very dark and dramatic.
. I was flabbergasted when I found the Pinnock Messiah in a garage sale.. I bought it because you suggest it. Marvelous. Thank you. But I will still listen to Mackerras one on Emi.
Dear David, My Messiah collection started about 50 years ago with highlights of Beecham’s “incorrect” but still delightful recording. Thanks for your tips I added some wonderful new items to it and the Layton/Hyperion got me really thrilled. By the way I would suggest you to do a chat about your opinion about streaming on classical music, since nowadays it’s so appealing. Thank you so much and keep on posting your wonderful videos!
Have you got the Cleobury and King's College version? I asked about it in my comment. Although our esteemed host isn't a fan of King's, I find that that version just about pips Higginbottom at the post as far as chapel choir performances are concerned. Because...well, it's King's. I'm talking about the Brilliant Classics issue recorded live at the Pieterskerk. It's a bright, smart and focused performance.
Love the Christie version, especially Sandrine Piau's arias (wow!). The Sixteen version on Hyperion was recorded live and suffers a bit from a low transfer level. You really need to crank the volume to get the most out of it. I tried to like the Pinnock version but can't understand why they chose such a *massive* bass voice for the solo part. In concert it would probably be amazing but not for repeated listening. Maybe I just need bigger ears.
LOL :) I'm just glad we have Tomlinson's Wotan - sorry, Messiah soloist - on record. There's a big Messiah tradition in the North of England, so it's kind of nice to have a good, honest Lancastrian singer in the bass solos. It's the same in Wales, which is why I'm pleased that we have the glorious Gwynne Howell contributing to so many good recordings. The Christie recording is truly excellent, and I couldn't agree more about Sandrine Piau.
My favorite is the Cleobury with the King’s College Choir (1993). Just listen to those boys singing All We Like Sheep, the clarity of the divisions. Great English soloists, too.
Just discovered this channel and video in particular - great stuff! Having sung under Stephen Layton I can confidently say that the freshness you speak of is absolutely his doing; through his words he inspires you sing anything from Byrd to Howells like it is an absolute gift to be able to be there and be making that music together
Well, if there is anyone else out there that is a devoted fan of all things vile, I would whole-heartedly recommend Helmut Rilling's recording of the Mozart arrangement. I have just a passing interest in Handel, so the fact that it isn't so true to the original doesn't bother me so much. Plus, it's in German! Come one, who doesn't think everything sounds better when sung in German (said with no sarcasm at all!)? One thing that I do, genuinely, enjoy is the extra use of the soloist in the choral numbers. I think it's oddly effective. In "Uns ist zum Heil ein Kind geboren (For unto us a Child is born), the soloists have all that melisma stuff and the choir comes in on "Wunderbar, Herrlichkeit, und Kraft, und Macht und Held, und Ewig Vater, der Friede Furst (Wonderful, counselor, etc. ). I think it adds a lot of interest in an piece that we've all heard a thousand and one times. Of course, the Mozart arrangement doesn't have all of the numbers because he didn't have access to the complete score, so for some it will lose a few points there. But, between you and me, I don't think it's as bad as David says.
At university, I had a friend who owned (at the time), 17 different recordings. He suggested if I got one, it was Christie’s version. It is a great piece yet I only own this recording. I personally don’t see how you can beat Scholl and Padmore as soloists and the orchestral playing is top notch. I did look at getting the John Butt a while back, but alas not yet got a shelf of Messiah. Unlike Ein deutsches Requiem which is nearly twenty recordings worth!
I've had the Pinnock for probably 20 years and didn't think it could be bettered, but then I heard the Pearlman/Boston Baroque and it became my new favorite. Used copies of it are available dirt cheap.
I don't think I've heard a dud recording from Pearlman/Boston Baroque. Oddly enough, I haven't heard his Messiah, so I'll have to give it a listen... probably next Summer, following Dave's advice :)
@@ftumschk There is a WBUR Boston channel that basically streams their recordings around the clock. That's where I heard the Messiah before buying it. I agree with you, everything I've heard by them is good.
We do the Mozart arrangements because otherwise a good portion of the local orchestra would have nothing to do. No, it's not horrible and some of our soloists are excellent.
There’s something about Klemperer’s performances, as slow as they sometimes can be, which is always fascinating and enlightening. A performance which seems to be almost forgotten now yet remains one of my favourities is Boult/with a reduced LSO sounding wonderful and excellent soloists - Sutherland, Bumbry, Ward and the very underrated McKellar. Some critics (naturally) didn’t like the opera orientated singers but hey I couldn’t care less.
I’d like to hear Dave talk about the Harnoncourt version. It is so odd; almost perverse - but I love it. It seems to me that an interpretation like Harnoncourt’s is worth a good ten-minute discussion.
Chapeau! Splendid introduction to The Messiah! 😉 And I so much agree: this is a work for all seasons! Whether you are religious or not, the music encompasses and conveys an immense breadth of human experience: birth, death, joy, sorrow, hope, despair, majesty, simplicity....and so forth and so forth. Ps. May I propose a seasonal event, though: A New Year Special devoted to music by the Strauß dynasty and nearest surroundings (- or alternatively Decca's 'Willi Boskovsky, Waltzmeister' box, which also would give you some possibility to explore a bit of gorgeous chamber music making)
I appreciate the suggestion, but I have to be honest and tell you that I'm just not into the New Years thing at all. I love the Strauss family and will certainly talk about them, but those New Years events--Yech!
@@DavesClassicalGuide I have long ago stopped watching The New Year in Vienna concerts...I don't know exactly your reason for saying Yech! But I, myself, find it a bit hard to stomach all these, stuffy, dressed up upper class people, that are listening to this wooooonderfull music...it's old, tradition, high culture...and we all know, that with the Vienna Phil, we can't go wrong, right? This said not to denigrate the music 'an Sich' - I love it, and would probably sit glued to the telly, if there at some point appeared a new master conductor of it. Untill then, I'll just make my own ideal New Years Concert with the likes of Clemens Krauss; Boskovsky,; HvK; Kleiber, père et fils; Stoltz; a springling of Knappertsbusch and others, who have preceded us. Sitting back, listening, while at the tender age of 58 slowly turning into a fossiled, rogue elephant. In eager anticipation for your exploration of this repertoire - and the Boskovsky box, oh the Boskovsky box! (Just one alert: skip the earliest instalments with that somehow arid, slightly wiry mono sound, that for sure will not be to your liking) Sorry, I got a bit carried away and somehow derailed. Messiah, Strauß family, like most other good music can't be tied down to a seasonal enterprise. But never the less, the upcoming holiday provided us with a splendid opportunity for you to run through a batchfull of recordings - and made me curious to make acquaintance with a few of the ones, I didn't know or haven't heard. So what can we say, but, yet again: Mission accomplished!
2 points. First, regarding the Ormandy recording: Eileen Farrell told this anecdote herself. When Ormandy approached her about being his soprano, she told him that she did not sing 'Rejoice Greatly'. And she didn't despite years of singing Bach cantatas. (Yes, I know all about the Bach Aria Group and its history of unstylish Bach. Still Farrell always credited her lyrical Wagner singing to her Bach, which she used as a reminder not to sing heavily. And by the way, even Sutherland found "Rejoice" a tough row to plow.) Obviously, Ormandy hired her anyway, and indeed there is no 'Rejoice' to be found....a point seldom mentioned. Second, I find it interesting that people refer to the Shaw recording from Atlanta, and ignore his 1966 version, which he and many others rated more highly. That's the one that rather broke the ice in America. John Tobin, of course, had done it in London - St. Paul's Cathedral - in March of 1950, using his own version, the product of nearly unbelievable research. His 1976 recording is available on RUclips, and quite interesting to hear...with many merits. Most people I imagine will not make it past the opening tenor sequence, but should persevere for some very individual rewards. By the way, at the other end of the spectrum (though much akin in many ways) is the performance on Naxos by the Concert Artists of Baltimore, with the Baltimore Symphony Orchestra, all under the direction of Edward Polochick....very speedy, but with some very interesting ornamentation...and a number of points for debate.
I think the best "English chapel" version of "Messiah" is Stephen Cleobury's with the King's College Choir of Cambridge and the Brandenburg Consort, recorded in 1992-93, originally on Argo, reissued on Decca. Soloists are soprano Lynne Dawson, contralto Hilary Summers, tenor John Mark Ainsley and bass Alastair Miles. NOT to be confused either with the Cleobury version issued on Brilliant Classics, recorded with the same forces in 1993 at the Pieterskerk in Leiden, Netherlands, a much duller acoustic than King's College Chapel; or the Warner Classics version of 2009, which lacks the precision and punch of the Argo/Decca.
Cleobury's first version is generally available as a CD/DVD set, with the Argo recording bundled with the video version from Leiden, which is very well filmed and may be the most enjoyable way to experience the whole work. For audio-only, I enjoy Cleobury's version, but Hilary Summers is too matronly for my taste. My favorites, at the moment, are Suzuki, Christophers, and possibly Butt. I normally love Pinnock's Handel, and was thus looking forward to his recording, but I was frankly disappointed - it seemed to me like he and his forces were merely going through the motions.
Thanks for dividing the large # of choices into period, traditional, historical, etc. On Pinnock's version: Agreed. Glad you mentioned even Klemperer, whose excellent traditional version came out on the eve of the period instrument craze. It sounds operatic now, of course. I hadn't heard the Higginbottom, and was surprised that the "r's" came out sounding American. As a veteran choral singer myself, I always notice that. It just sounds "wrong", but that's me. I agree entirely on the 1959 Beecham: great fun!
Sorry you find boy sopranos a bit creepy. From ages 10 to 12 or thereabouts I had a good enough alto voice to be asked to solo in church and school choirs, a gift I wish I'd better savoured at the time. I loved singing and the only creepiness I experienced was during a solo at church when one of my fellow altos in semi-darkness at the back of the stalls had learned how to reach the base of large crucifix next to the altar with his feet, and rotate it during my performance. At that age the giggles are never far away and I imagine it wasn't one of my better efforts.
I have to agree with you regarding guilty pleasures - I have always enjoyed the Beecham and Klemperer versions, although I prefer both in other works. The Pinnock is the one I turn to when I prefer something closer to Handel.
I have Colin Davis's classic recording, which as you say is absolutely fantastic. The thing is that I've sung it in choirs so many times (I'm talking dozens) that I can hardly imagine myself sitting down and listening to it.
I just listened to Justin Doyle's recording on Pentatone and what a good surprise! I was completely in awe of the clear stylishness from everyone and the beautiful singing that abounds. It's gorgeous! I just lament that it's a bit cold in places. Where it not, it would be easy to choose for me. But despite that, it has so many wonderful things to savour! For now, maybe I'll get Christie's, which seems to be a well balanced reading and less clinical in interpretation and recording (even if I can't warm to some of Padmore's and Berg's more forceful passages).
Your're absolutely right about the fact that historically informed performances on modern instruments can sound very much like the one on authentic instruments. However: all singing is a half tone higher/lower. Soundwise that makes a big difference. The vocal registration is very different and also the amount of "force" you might need on certain high notes. In that case a modern performance can either be more thrilling - or too worked up.
At last,someone has said it!The Messiah is emphatically not a Christmas piece.The problem being that for most Western Christians - despite the theory - Christmas is the principal Feast of the year (unlike the Eastern Orthodox who rightly insist on giving Easter priority).What never ceases to amaze me is the masterly conflation of Biblical material we see in the text.
Among evangelicals, we regard Good Friday/Easter as the most important holiday. Granted, we don’t have a liturgical year and we celebrate in a different manner but yes we regard easter as the greater celebration. I think the less religious“celebrants” hold Christmas as more important it for the wrong reasons.
Great lecture! Inspired me to add nine more Messiah recordings to my collection. So many comments here, that I didn't get around to reading them all, but in case no one else caught it, your comments about a DIY Messiah CD release apply to McGegan's, not Gardiner's.
I am very fond of a recording Robert Shaw made on RCA with the Robert Shaw Chorale. As expected, the singing is very good. They seem to be singing it with great zeal.
David, I think I might be a Messiah addict. I currently own Eighteen recordings on CD and Downloads of this work. Most of the ones you mentioned are in my collection, including the Pinnock, Hogwood, Gardiner, Higginbotham, Butt, and the Telarc Shaw and Pearlman. I have to say the Pinnock is one of my favorites. The Pearlman is as good a performance and recording as you will ever get. The Gardiner and the Christie are almost the same recording. But if I had to pare down to just one recording it would be the Pinnock.
So many great recordings . The Colin Davis / LSO is still incredibly popular despite the many authentic performances on the market. I am particularly fond of an old SAGA recording conducted by Frederic Jackson. Alongside the LPO choir and orchestra you have the excellent Heather Harper , Helen Watts , Roger Stalman and above all the tenor Duncan Robertson whose rendition of his solos is outstanding both in tone quality and emotion. It is a pity and somewhat odd Decca never gave Ferrier the chance to record her interpretation of the alto part complete . They had promised it to her when she switched to them from another company. She had to make do with recording ' O thou that tellest' and the 'A' section of He Was Despised and that was that. Personally I can enjoy both 'authentic' and grandiose performances of Messiah. I wouldn't want to miss out on Jon Vickers ' dashing them to pieces' or Norma Procter's warm voiced ' He shall feed his flock' or Elsie Morison ( Kubelik's wife) singing 'I know that my redeemer' with ringing sincerity and soaring tone in the final phrases.
Layton all the way. Dave you said it yourself - after the Hallelujah Chorus you want to feel “HALLELUJAH!”, not “Meh! that was neatly manicured and well produced”. You could go through a list of scores of interpretative points in the Layton performance, but the underlying element is one of joy and liveliness. His singers are young and brilliant: his soprano: Julia Doyle and countertenor Iestyn Davies I have never heard of before but they are absolutely outstanding. Some of the finest singers of our era have sung the arias on other performances, and I would like to keep some of those individual accounts. But this is a “Messiah” I would actually listen to often - not only at Christmas. HOWEVER - as you would say Dave "however": the version of Messiah I listen to, is one I have edited together, from seven different performances, for my own joy.
Mr Hurwitz, could I ask what you think of the McCreesh version? I was wondering if you've considered that version when recording this video. I'm attracted to the dash and dapperness in the fast numbers and the expressive qualities in the slower, still moments. It is suitably dramatic without needing to overcook itself as the Jacobs version does.
Wow, you have outdone your considerable self with this one, thank you! I had not previously heard the Solti, Christie, or Pinnock, all revelatory in their respective ways, with the Christie being my favorite of those three. I also have affection for the Ormandy. You did not mention four recordings, one of which is the most perverse, one which might be considered perverse, one a stereo remake which is funny and weird, and one one which is a solid modern instrument approach with great soloists. The weirdest and worst IMO is the Leonard Bernstein, heavily cut and even rearranged as to the order of set pieces! The other one I hold in great regard is the first mono Hermann Scherchen from London: first, because of the reduced forces, which in 1954 was a revelation in that: it was not what I call the usual "cast of thousands Yorkshire pudding approach" which had been in vogue for decades, the superb choir, and the excellent, dramatically involved soloists. You will find certain tempi therein unlike in any other, most of which I find beguiling: for example, the SLOW Pastoral Symphony and the very slow and overwhelmingly triumphant final AMEN chorus. Scherchen remade this in 1959 in Vienna, and it is a total disaster; to hear the German speaking choir mangle the English language is riotously funny, and Scherchen's tempi are no longer provocative, rather just downright weird. The solid as a rock traditional outing, also with superb choir and soloists, is the Otto Klemperer. To hear Jerome Hines sing 'The Trumpet Shall Sound' is enough to make one believe the last days are upon us! Thanks for listening, Mr. H, and thanks for all you do for us music lovers!
When I was in Lonson en route to Israel in 1996 I visited the British Museum. There I saw the autograph copy of Handel's Messiah. Right next to it was the autograph' copy of the Beatles' Eleanor Rigby. I thought the arranement was appropriate.
Thank you again. I had really been looking forward to this one. There are so many great ones, and of course you can’t cover them all-but this was a great sampling. I resonate with a number of your choices, especially Pinnock, Christophers, and Gardiner. Higginbottom was new to me, but sampling it further on Naxos confirmed your recommendation for me. In regard to modern instrument performances, there is a later Colin Davis with LSO that is good, and an excellent version by Raymond Leppard in the Handel edition on Warner which I would have to say is one of my favorite versions overall. It seems to have just the right stylistic acuity which gains from an awareness of Handel’s context but which also employs all the advantages of what came after in terms of instrumental and vocal range of expression. He conveys all the various moods and meanings in the text quite well. The sound is somewhat recessed and there are choirs that are better, but overall I still think it’s one of the best. Any thoughts?
From what I have heard--and it's not the Messiah yet--Leppard was a Handel interpreter of striking character and conviction. I feel guilty for passing over so many of his recordings in the 1970s, when I didn't know better.
After hearing Dave's opinion of it, of course I had to go listen to Emanuelle Haim's Hallelujah Chorus. It sounded like the "Telephone Hour" from "Bye, Bye Birdie".
Regarding the attention to the words, I like the way Paul Elliott - the tenor for the recordings conducted by Hogwood and Koopman - dealed with the ones of the first aria. I know: Elliott does not have neither a strong voice nor a gorgeous timbre, but he sang about comforting people, exalted valleys, mountains made low and rough places made plain quite eloquently
The best thing about the “period instrument movement” is that they play the entire thing! Most of the time, they do it well! No period instrument ensemble plays it at Christmas either, Corelli has that area covered in my area (Christmas Concertos). I’d like to hear about your favourite Vivaldi Four Seasons, which is, in my opinion is the original tone poem! My favourite is surprisingly, a very fiery period instrument recording, featuring someone I happen to know in person as a soloist! I really can’t stand boy soprano soloists as a voice type either. It was a trend in contemporary classical for a bit as well (Lloyd-Webber, John Rutter, Karl Jenkins, I’m especially looking at you three, BLEUGH!!!).
He was also right about Jon Vickers. The tenor recitative 'Thy rebuke hath broken his heart' and the following aria are magnificently sung....the best I've ever heard.
RANDY WOLFGANG: That Sutherland went onto make two subsequent recordings invalidates that her voice was wrong. However, it was Adrian Boult who reminded her that ‘there are no mad scenes in Messiah.’ As someone who is very found of Dame Joan I have both recordings and enjoy them.
You made me wait! Pinnock! Recordings I no longer have: Klemperer, Sargent [two recordings], Mackerras, Wilcox. None really pleased me. [As a double bass player it was my most played music in performance, because amateur orchestras and choirs need at least a strong bass-line from the band, plus a good trumpet and drums, and the rest can sort of get by to some extent in the band if the choir are good, but it figured so big I more or less knew it without having to refer to the printed part very much!]. I remember Roy Massey [Hereford Cathedral Organist] leading the annual Cathedral performance with the Hereford Cathedral Choir [all male] thoroughly outnumbered by the Hereford Choral Society [mixed gender] giving glorious energy and weight to the Choruses, while Massey always managed to get national quality soloists, though he refrained from counter tenors for the Alto solos! These days they do itty bitty performances which fall into the floor by about the sixth row in the audience. Dr Roy Massey has been retired for a good thirty years! Times have changed and not especially for the better where Messiah is concerned. But Pinnock struck a good balance all those years ago using something like an HIP approach but fantastic soloists and a Wonderfull mixed choir. I got Pinnock as a new release, and hope one day to find a recording I prefer. In the meantime I am completely happy to have it as an only recording these days. Best wishes from George
Nice post, and I concur about Pinnock. I "rotate" my music periodically, but his Messiah has seemingly been a fixture on my iPod for ever... and ever ;)
If, like me, you were born 13 years earlier, you would have been brought up on Sir Malcolm Sargent's Messiah. It has an earthy honesty and very enthusiastic singing.
This was a wonderful video, as always, but quite depressing for me. I discover how a bad listener I am. The recording I love most is the one by Richter, sang in german. This because I love Janowitz...
I have to admit, I love this, too. Just heard the bass aria in the third part. What a wonderful bass Franz Crass was. And Maurice Andre at the trumpet.
@@patrickriedemann2450 Once again a superb video. Thank you, David Hurwitz. I share the appreciation of the Karl Richter "Messias" It has been my favourite recording for decades. Just because of the gorgeous singing and excellent playing, and the right tempi. A pity, however, that Fritz Wunderlich wasn't there anymore...
Harry Christophers, William Christie, and, my first love, Paul McCreesh with the Gabrieli Consort. A much over-looked performance with some great singing.
The Choir of Christ Church Cathedral, Oxford, under Simon Preston, with Hogwood and The Academy of Ancient Music belts out the Hallelujah section much more dynamically and with more feeling than I'm hearing from the Choir of New College Oxford, but then I'm only listening to this via your video here.
I have always preferred a female alto instead of countertenor. "He was despised" rarely sounds as affecting as it could be with a male voice. Anne Sofie von Otter is the best for me with Trevor Pinnock.
Anne Sofie von Otter and Trevor Pinnock have done some great work together. I absolutely love her voice, and Pinnock is usually a safe bet. While I'm not quite the HIP snob I once was, I normally reach for the Pinnock recordings of baroque pieces and a huge chunk of Classical pieces. I love his work on Mozart's symphonies.
I have the Layton/Hyperion version and the Robert Shaw/Telarc version. Both are good but like you I prefer the female alto voice. I find myself listening to Shaw/Telarc.
I include John Butt (Dunedin Consort) on my list of favourites . No bassoon or oboe (probably not available in the first performance in Dublin). But a joyous and performance of an authoritative interpretation.
Thanks for this lovely video. I watched it from start to end with great pleasure. Regarding the season, well, in Israel we have Messiah on December and January, February, March , April and so on and on. The same with Bach's Christmas Oratorio. As for recommendations, I'm with you regarding Pinnock. The best ever and for ever. I like as well Parrott for his chamber and intimate feeling and his complete opposite McCreesh. For moderns instruments I'd like to mention Colin Davis with the Bavarian Radio Symphony Orchestra if only for the superb singing of Dame Margaret Price.
Dear Dave, wow what a magnificent review!!But please for those of us who celebrate Christmas would you please gift us with one of your wonderful videos reviewing the best recordings of Christmas Oratorio?
If I recall, he preferred the Harnoncourt. (My choice would be the Veldhoven, particularly if you split the work up into the multiple separate cantatas and listen to them on the appropriate days; Veldhoven does a better job of shaping each of the separate works as stand-alone pieces, IMO.)
Andrew Davis and the Toronto Symphony made a recording of Messiah back in 1987 for EMI with Kathleen Battle, Florence Quivar, John Aler and Samuel Ramey. It's everything that his latest recording isn't. A truly magnificent effort every bit as good as Mackerras'. Makes you wonder what happened to the guy since then.
For amazing ornamentation, hear Joan Sutherland in Sir Adrian Boults version. Thank you for your review of so many version. There is also a German performance woth Lucia Popp.
Since an objective of mine is to spend no more money from my dwindling reserves, I was relieved to find I have but two recordings of this, but those two ticked David's boxes for best of old and new: Beecham and Pinnock. So I'm all good.
Dave; In a show I listenned to recently, you mentioned your brother living in Cleveland at some point I could not help wondering whether Apollo's Fire, the Cleveland Baoque Orchestra is on your radar screen. In past few years they have performed at Ravinia, Tanglewood, Carnegie Hall, the Proms, etc.
I know you said you hate the Mozart arrangements. I think what you don't like about them is mostly a problem of interpretation. I think if they played the Handel/Mozart arrangements more like actual chamber music (which BOTH versions were historically) then you'd warm a bit. PS: Love your channel because you have an opinion worthy of contending with! PPS: The comments on this video warm my heart.
I first got to know Handel's Messiah through listening to the Charles Mackerras/ECO recording that you recommend so highly. As a teenager at the time, I was moved very deeply by Elizabeth Harwood and Janet Baker in He Shall Feed His Flock, which no-one seems to me to have bettered. But, even as a relatively unknowledgeable teenager, I found the ECO's strings somewhat flabby overall. Nonetheless, it is still the recording against which I judge all others.
thank you for you videos....i have two versions since long time i listen....sir malcolm sargent ( stereo) and karl richter ( dgg)....the version of sargent recorded at liverpool with ordinary people is so magnificent....! with excellent solist....so i know this is a messiah in the victorian tradition in england ,but i d,ont care ...i'ts beautiful
Dave, is it possible to have too many Messiahs? ;) I have the Pinnock, that Tomlinson is a KNOCK OUT bass. But I'm also enamored with John Butt's stripped-down version (love the soprano & alto!), which I suspect you can't stand? haha. Also, Harry Christophers & The Sixteen's version is quite compelling. Good lord, many heavens to have. Messiah & Mass in B minor must be the Alpha and Omega of religious works. (I don't really think of LvB's Missa Solemnis or Mozart's Requiem as remotely religious.)
I had Bernstein's on LP back in the 60's which I liked but his tempos were unique and I think some may take issue with his interpretation. Any thoughts on it?
The Messiah was supposed to written for Easter, so I don't know why they always play it at Christmas time?? in any case, I love the Robert Shaw/Atlanta version.
My favorite aria from Messiah has got to be; The trumpet shall sound. Yes. It’s a pretty famous part I know but the dynamic between the baritone and the trumpet (whether it be a standard or baroque) is really amazing and the aria switches keys from D Major, E Major, A Major, B Minor to create more emotional depth. Mozart did travesty to this aria in his arrangement of Messiah and made the trombone the solo instrument when the aria is clearly called “The trumpet shall sound.” While it may sound nice on the trombone, it’s just abysmal to me why he didn’t stick with the trumpet. Overall Handel’s original version is a beautiful aria for baritones.
I came into this video with my three favorites being Colin Davis/LSO, which you mentioned; Gardiner, which you mentioned; and one you did not mention, the John Butt/Dunedain Consort recording, which you must check out. Butt does the original Dublin version; in its 1742 premiere the work was performed with a dozen singers, a dozen string players, trumpets and timpani, with Handel leading from his own organ he had shipped there, and that’s it. You don’t need woodwinds or big numbers when you have 28 people squeezing every last bit of color and drama out of themselves and the text. It sounds like an epic Irish ballad about the story of everything. I highly recommend it. One of the reasons the Butt recording is a revelation is that you realize the vulgarizing of Messiah didn’t start with Mozart or the performance by something like 700 people in 1782 in Westminster Abbey; it started with Handel himself when he took it to London, expanded the orchestra, took Charles Jennens’ suggestions to make it more “dramatic”, etc. It turns out the version he wrote in 24 days was fine as it was. I agree with you about the Andrew Davis version and was distressed to find when I moved to DC a few years ago that’s it’s become the favored version by the NSO. Ugh. There’s a reason the trumpets and timpani play so seldom because it makes the moments when they do play that much more effective. Anyway I somehow missed the Pinnock version the first time around, and I promise I will check it out. Thanks for the video.
I have Butt, I think it's boring, and I disagree strongly with your characterization of expanding the orchestration as "vulgarizing" the work. No doubt the best, most "pure" version would have no instruments at all.
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You can't beat Beethoven's take on Handel ""Go to him to learn how to achieve great effects, by such simple means."- Handel, my favourite composer, and in my estimation the greatest composer who ever wrote music for the human voice. His understanding of the capabilities and needs of his singers, whether soloists, or chorus, remains unsurpassed by any other composer, underlaid as it is by beautiful and stunning instrumental accompaniment and orchestral interludes. Serious, comedic, tragic, romantic, wistful, grand, celebratory or religiously fervent, it doesn't matter, Handel did it all, many, many times, and without parallel.
Loved your assessment! Perhaps Handel didn't want to be stuck at a church...
Nonetheless, he could be poignant when he wanted to. Then the cash started to roll in... Perhaps he was the Baroque Andrew Lloyd Weber with 3 names: George Frederick Handel. Nonetheless MESSIAH is a treasure to behold.
“Handel, the master of us all”. - W.A. Mozart. Enough said.😊
I was pleasantly surprised with the recording by Masaaki Suzuki and the Bach Collegium Japan.
I wonder if others like it too.
I love it.
link please.
David Hurwitz: Appreciated your traversal through the bushels of Handel Messiah recordings, thank you! I just wanted to let you know that over the Christmas holidays of 2007, my family and I left the day after Christmas for London on a rather unique holiday trip, one which I will never forget. While there, we went to the Handel House for a visit, where he composed Messiah. When I was in the room contemplating where he composed the piece, I experienced a feeling (chills, if I must describe it) that I had never felt before, realizing that I was in the place where one of the greatest pieces of music ever was written. If you ever have an opportunity in the future to go to London, make sure you GO TO THE HANDEL HOUSE (and museum)! Incidentally, next door to it is the apartment (interestingly) where guitarist Jimi Hendrix lived for a time.
One performance that I think deserves mention, which is actually my favorite for this piece, is Suzuki and the japan collegium bach. When I started listening to bach, I only heard Suzuki, and so it was natural that I turn to him in messiah as well. He introduced me to the piece and through him I fell in love with it.
I was happy to see that you included Luks! I discovered that performance on RUclips before buying the CD, and it's quickly become one of my favorites. Despite the singers presumably not having English as a native language, the singing is clear and sensitive to the meaning. It's a lively and heartfelt performance that I encourage anyone to listen to!
I love the Hogwood mainly for his choir; when I worked in a records store here (we had a separate classical section like the sadly now gone NYC stores of yore) I would play the first chorus for customers and they almost always took my recommendation, but I also like Somary, Pearlman, and the Higginbottom--the boy soloists are outstanding! Incidentally back when I worked in that store, Bruce Fowler, the tenor in the Pearlman recording, worked with me--he was a student here. I got a chance to chat with Pearlman at a concert here a few years and mentioned that.
It was Beecham's Messiah played on hi-end electronics and speakers back in December 1966 that got me hooked on classical music. I didn't know one could get that kind of sound out of a vinyl record.
....neither out of Handel's Messiah! 😁
Say what you will, but the Beecham Messiah for full orchestra was a game changer for many young enthusiasts.
@@jgesselberty Jon Vickers was the tenor soloist: before they started, Vickers remarked to Beecham: "Sir Thomas, I must tell you I am not an English tenor"
Beecham replied: Thank God for that!
I think any one loves when you choose the same recording we do at the end. And here it is a special moment. Your longest video. A music with hundreds of excelent version. And Pinnock is, also for me, unbeatable. It is the version I always compare with "new ones" for decades now. And it is alway my winner. You see, there are musics which we can live with one version (Iberia and Larrocha to mention a recent video of yours - who has time to compare everything with everything?), others I cant choose a best version (like the pianos sonatas of Beethoven - they can be played in so different ways all of them valid ones) but Messiah - so big music - I´ve tried a lot - and Pinnock always remains the first choice. So glad you agree. Pinnock is always wonderful in Handel - the colour of the orchestra, always the right rhythm- I do not have the words in English to explain why I love his Handel so much.
I sang excerpts in high school chorus, grew up listening to Mormon Tabernacle excerpts. My roommate's LP version with Robert Shaw opened my eyes and ears. When I could afford my own LPs, got the Colin Davis, loved it and still have it. When I migrated to CDs, I saw/heard no reason to desert Colin Davis. When I listen now, I listen to the whole megillah in a single sitting. Still awestruck!
Good point. I understand David's emphasizing Hogwood's importance, but, in fact, the first real change in Messiah performance came with the release of the Davis and Shaw (on RCA) recordings in 1966. They were both early attempts at what now are referred to as "historically-informed performances using modern instruments," and particularly in having soloists use baroque ornamentation. They were pretty much the bridge between the Ormandy/Beecham/Sargent school of Handel performance and what was to come with Hogwood and Gardiner. I had the Davis set as my "standard" for years, and, while it now seems somewhat stodgy compared to newer versions, it certainly is a landmark recording.
I have a weakness for The Scholars Baroque Ensemble on Naxos. It’s a very intimate version that made me like Messiah.
Ditto.
Wow! What a spectacular video! It makes one just thrilled to think about Handel's music and the absolutely breathtaking quality of SO MANY contemporary musical organizations, musicians, singers, and, yes, conductors! These are great days for music.
Handel’s Messiah was always part of my life as it was my father’s favorite piece of music. But it was vary late in his life when he first heard it in its entirety (he lived to age 94). The Ormandy recording with the Mormon Tabernacle Choir that you mentioned was much played in our home. I bought my dad the Hogwood recording when he was about 70.
Being raised a Christian, Handel’s Messiah has always been a statement of faith and the articulation of the words particularly in the choruses is extremely important. This is one of the greatest virtues of Pinnock’s recording (which I just downloaded after viewing your video). It is nice that Pinnock slows down during some of the most beautiful and heartfelt solo passages. It is indeed a performance for the ages. Arleen Auger has never sounded better!
I grew up on Ormandy’s and heard Warfield sing it live. Thanks for not slamming it in the trash heap; it is great fun for its time as you mention. My current favorite is Dijkstra B’Rock Belgian Baroque Orchestra, Bavarian Radio Chorus on BK Klassik. I think it was well received on Classics Today awhile back. Thanks for a great talk.!
Thanks, Dave, for this grand tour of Messiah and its adventures on record. I have a particular love for this work, and also a fascination for its performance history. Over the years I have collected dozens of versions to satisfy my voracious curiosity. I was delighted that you took us back to the bad old days, wonderful in their way, of Ormandy and Beecham. You could also have mentioned a dozen others of that period; Sargent gave us no fewer than three Messiahs and Boult two. I particularly appreciated your survey of the period performance versions, many of which I do not know. Colin Davis is still a reference version, as you noted; and Mackerras despite the gaudy ornamentation is hugely exciting. You even praised Solti's fine version which made me wonder, not for the first time, whether you really mean it when you characteristically say "he's not your favorite conductor." Well, he's probably not anybody's but a critical mass of his recordings are splendid. But I digress. One version that was considered revolutionary in its day, because it was the first to use reduced forces, Handel's original scoring, and a complete text is Hermann Scherchen's 1953 recording for Westminster. An absolutely fascinating rendition that blows away all the Victorian cobwebs and adopts some tempos that are almost unsingably fast, and a few that are almost unbearably slow. Scherchen's stereo remake, also for Westminster resorted to Viennese forces (the mono version was recorded in England), and wasn't as consistently enlivening, though it had some superb soloists (Alarie, Merriman, Simoneau among them). Finally, I wanted to say that I agreed wholeheartedly with your view that the work is best heard not during the Christian holidays. It's a dramatic oratorio, not a liturgical piece. Now how about some more Handel oratorio and opera reviews?
My favourite version of Handel's Messiah would have to be Sir Colin Davis, but not with the LSO. It was with the Bavarian Radio Symphony Orchestra (Symphoniesorchester des Bayerischen Rundfunks), on Philips. Davis' tempos are perfect, and the BRSO plays exceptionally well. The soloists were perfect as well. Dame Margaret Price leads with the soprano role, and Lord does she accomplish it. In her Part 1 aria "Rejoice greatly, o daughter of Zion", she shows great skill and agility. The follow up to Price is German contralto Hanna Schwarz, and in her arias "But who may abide", "O thou that tellest" and "He was despised" are deeply moving, especially "He was despised", with Davis' tempo and Hanna's beautiful voice. After Schwarz you have the so-called "King Of Mozart", Stuart Burrows. Burrows' singing voice is simply God-like, especially in the mentioned accompanied recitatives ("Thy rebuke hath broken his heart" etc.), and the first aria "Ev'ry valley shall be exalted". Then finally the bass is Simon Estes, an African-American bass who's now internationally known for his beautiful voice, and he does very much lives up to it.
What about Raymond Leppard conducting the English Chamber Orchestra and Chorus with soloists Felicity Palmer, Helen Watts, Ryland Davies and John Shirley-Quirk?
To my ears one of the best recordings of this wonderful music! Greetings from Norway!
Glad you mentioned the Marriner - wonderful, spirited performance with great soloists. Have to say as well Pinnock generally really didn't put a foot wrong in large scale choral works - his Haydn Missa in Angustiis 'Nelson Mass' & Te Deum are knockouts too IMO.
Yes, the ‘Nelson Mass’ is amazing. The Missa Sancti Nicolai is great. It’s a shame we never a got a full set from Pinnock, because as far as I’m concerned, no one has come close to his Haydn masses.
This was very helpful. It's difficult to wade through a mine field of goodies.
So glad you did a video on the Messiah. It was my first (very first) piece I ever heard.... of music ever.... and it will always be special to me. I agree that chopping it down ruins it and I always thought that. Funny how you said you listen to it as a "summer piece" :-) I put it on all year round... I never get sick of it, but when I do, I listen to the whole thing, and I even had the pleasure of singing THE whole work a couple years ago. :-) (Though it was at Christmas time... but at least it was the unabridged version... :-) )
Excellent video very entertaining & informative… Thank you for sharing your expertise and helping us sort out all these variations
Thank you for this palette of Messiahs. I look forward to checking out all your faves.
Thanks for the splendid Messiah overview. The 1966 Colin Davis and the Trevor Pinnock recordings you liked so much are the ones I turn to most often. You mentioned a CD with mostly Czech performers under Vaclav Luks: I don't know the CD, but there's a video on RUclips with Luks and Czech performers which is really fabulous - the visual element, which allows us to see as well as hear the youthful enthusiasm of the singers, adds so much. I agree with you that the Marriner on Decca is worth hearing, but his later one, recorded live, has been widely panned, so be forewarned. Also, your listeners should know that Mackerras, in addition to his EMI recording, later recorded a very different large-forces version with the Royal Philharmonic and the Huddersfield Choral Society, a version that incorporates a lot of the Mozart additions. Regarding Solti: I read somewhere that his alto soloist was supposed to be Marilyn Horne, but she had to cancel, and Gjevang was a last-minute substitute.
I have the Luks CD and I believe it's the same performance, or if not it's very close. Definitely worth buying if you enjoyed the video, although I agree that the visual element is fun!
Wow! Messiah was the work that made me decide to pursue a career in musicology (a career that never materialized despite four undergraduate and four more graduate years of studying music history) when as a 12-year-old, I acquired the recording by Leonard Bernstein and was shocked to discover that it wasn't complete. In my earlier years, I looked for a more "authentic" performance, starting with one I'm surprised you didn't mention: Scherchen (either of his two), which predated the original instrument groups in trying to restore Messiah to its full length. I eventually assembled 25 or 26 (I gave at least two of them away), and surprisingly, my fave has been the Beecham. If only RCA would re=issue it with all the sections Beechum put in an "appendix" back where they belong! But your selection of recordings, which surprisingly overlaps very little with my collection, has made me want to acquire at least three more, something I swore I wouldn't do. You are a great salesman for classical music!
I was waiting for the Pinnock version, which is my favourite Messiah, and there it was at the end! Totally agree, there is no other version that beats Trevor’s. It makes the hairs down my spine quiver 👍👍👍
Regarding when to perform, I'm afraid that Messiah has become for choral ensembles what the Nutcracker is for ballet companies. If you perform it every Christmas, you'll sell out concerts and make more money than you can any other time of year. It's like retail--most of your revenue comes in the last quarter of the year.
From the listening public's perspective, this isn't such a bad thing: if you're going to listen to live performances of one piece over and over, you could do worse. But I don't know how the players maintain their interest. It surprised me when I had conversations with members of the Pittsburgh Symphony that much of the demand for new repertoire comes from the musicians, who understandably want new challenges.
On a personal note, my mother bought the Colin Davis/LSO when it first came out, and for a long time it was our only classical album. She heard it was the way the Messiah "was supposed to be," meaning not the Mormon Tabernacle Choir. But it was "Christmas" music for her, and it played constantly during the season. Even as a child I loved it, and it remains "The" Messiah for me, although I probably listen to it only once every other year or three. But I can't help singing along when I hear it.
I'll put in a good word for the Dunedin Consort Dublin version. It's well down my list of favorite recordings, but I found it a helpful means of refreshing my ears so I listen to standard versions more attentively.
1:07 a.m. I have several of the versions Dave recommends and agree with him on most of them (I actually like the Minkowski), but my favorite is one he (understandably) didn’t mention is Richard Bonynge conducting the English Chamber Orchestra and Ambrosian Singers, with Joan Sutherland, Huguette Tourangeau, Werner Krenn, Tom Krause and (very briefly but effectively) a boy soprano. Bonynge adds so many lovely touches and lets his wife and Krause have a field day with ornaments, it’s simply dazzling. Modern instruments but very Baroque in style.
I love that version. It's an odd mix. All of the continuity that Dave wants, but with vocal ornamentation way beyond what Handel or an 1840 audience would expect.
What a great talk. I've been listening to classical music for years and have never once listened to Messiah. It's time! Trying out the Pinnock recording.
Glad you like Gardiner, the one I like.
Quite a grand surrey of this work's recorded offerings. Very first Messiah I obtained was Pinnock. Grabbed Colin Davis' for a dollar at the thrift score. And very interested in further exploring! Much to consider and enjoy. Thanks David.
Vaclav Luks and Collegium 1704 are the real thing - they are top class. I moved back to Prague some months back, and I'm absolutely in mourning that I can't attend live concerts - I was so looking forward to hearing them.
Their Messiah is wonderful, as are their recordings of Myslivecek, Bach, and especially Zelenka.
One very weird recording from way back is Hermann Scherchen on Westminster. Very, very dark and dramatic.
I want to go to Prague some day. It's such a beautiful city.
. I was flabbergasted when I found the Pinnock Messiah in a garage sale.. I bought it because you suggest it. Marvelous. Thank you. But I will still listen to Mackerras one on Emi.
Dear David,
My Messiah collection started about 50 years ago with highlights of Beecham’s “incorrect” but still delightful recording. Thanks for your tips I added some wonderful new items to it and the Layton/Hyperion got me really thrilled. By the way I would suggest you to do a chat about your opinion about streaming on classical music, since nowadays it’s so appealing. Thank you so much and keep on posting your wonderful videos!
Have you got the Cleobury and King's College version? I asked about it in my comment. Although our esteemed host isn't a fan of King's, I find that that version just about pips Higginbottom at the post as far as chapel choir performances are concerned. Because...well, it's King's. I'm talking about the Brilliant Classics issue recorded live at the Pieterskerk. It's a bright, smart and focused performance.
Love the Christie version, especially Sandrine Piau's arias (wow!). The Sixteen version on Hyperion was recorded live and suffers a bit from a low transfer level. You really need to crank the volume to get the most out of it. I tried to like the Pinnock version but can't understand why they chose such a *massive* bass voice for the solo part. In concert it would probably be amazing but not for repeated listening. Maybe I just need bigger ears.
LOL :) I'm just glad we have Tomlinson's Wotan - sorry, Messiah soloist - on record. There's a big Messiah tradition in the North of England, so it's kind of nice to have a good, honest Lancastrian singer in the bass solos. It's the same in Wales, which is why I'm pleased that we have the glorious Gwynne Howell contributing to so many good recordings.
The Christie recording is truly excellent, and I couldn't agree more about Sandrine Piau.
Todah rabah dear David for your amazing work!
My favorite is the Cleobury with the King’s College Choir (1993). Just listen to those boys singing All We Like Sheep, the clarity of the divisions. Great English soloists, too.
We agree on Trevor Pinnock. My search has ended.
Just discovered this channel and video in particular - great stuff! Having sung under Stephen Layton I can confidently say that the freshness you speak of is absolutely his doing; through his words he inspires you sing anything from Byrd to Howells like it is an absolute gift to be able to be there and be making that music together
Well, if there is anyone else out there that is a devoted fan of all things vile, I would whole-heartedly recommend Helmut Rilling's recording of the Mozart arrangement. I have just a passing interest in Handel, so the fact that it isn't so true to the original doesn't bother me so much. Plus, it's in German! Come one, who doesn't think everything sounds better when sung in German (said with no sarcasm at all!)? One thing that I do, genuinely, enjoy is the extra use of the soloist in the choral numbers. I think it's oddly effective. In "Uns ist zum Heil ein Kind geboren (For unto us a Child is born), the soloists have all that melisma stuff and the choir comes in on "Wunderbar, Herrlichkeit, und Kraft, und Macht und Held, und Ewig Vater, der Friede Furst (Wonderful, counselor, etc. ). I think it adds a lot of interest in an piece that we've all heard a thousand and one times. Of course, the Mozart arrangement doesn't have all of the numbers because he didn't have access to the complete score, so for some it will lose a few points there. But, between you and me, I don't think it's as bad as David says.
You chose MY favorite recording, the Pinnock. YAY!
At university, I had a friend who owned (at the time), 17 different recordings.
He suggested if I got one, it was Christie’s version.
It is a great piece yet I only own this recording.
I personally don’t see how you can beat Scholl and Padmore as soloists and the orchestral playing is top notch.
I did look at getting the John Butt a while back, but alas not yet got a shelf of Messiah. Unlike Ein deutsches Requiem which is nearly twenty recordings worth!
I've had the Pinnock for probably 20 years and didn't think it could be bettered, but then I heard the Pearlman/Boston Baroque and it became my new favorite. Used copies of it are available dirt cheap.
I don't think I've heard a dud recording from Pearlman/Boston Baroque. Oddly enough, I haven't heard his Messiah, so I'll have to give it a listen... probably next Summer, following Dave's advice :)
@@ftumschk There is a WBUR Boston channel that basically streams their recordings around the clock. That's where I heard the Messiah before buying it. I agree with you, everything I've heard by them is good.
We do the Mozart arrangements because otherwise a good portion of the local orchestra would have nothing to do. No, it's not horrible and some of our soloists are excellent.
There’s something about Klemperer’s performances, as slow as they sometimes can be, which is always fascinating and enlightening. A performance which seems to be almost forgotten now yet remains one of my favourities is Boult/with a reduced LSO sounding wonderful and excellent soloists - Sutherland, Bumbry, Ward and the very underrated McKellar. Some critics (naturally) didn’t like the opera orientated singers but hey I couldn’t care less.
I’d like to hear Dave talk about the Harnoncourt version. It is so odd; almost perverse - but I love it. It seems to me that an interpretation like Harnoncourt’s is worth a good ten-minute discussion.
Hi Mr Hurowitz, I become addicted to your channel, many thanks! Gabriel from Israel.
Awesome, thank you! Stay safe!
The Hyperion Messiah is great. Truly exciting singing and the Hallelujah is truly wonderful.
Chapeau! Splendid introduction to The Messiah! 😉 And I so much agree: this is a work for all seasons! Whether you are religious or not, the music encompasses and conveys an immense breadth of human experience: birth, death, joy, sorrow, hope, despair, majesty, simplicity....and so forth and so forth.
Ps. May I propose a seasonal event, though: A New Year Special devoted to music by the Strauß dynasty and nearest surroundings (- or alternatively Decca's 'Willi Boskovsky, Waltzmeister' box, which also would give you some possibility to explore a bit of gorgeous chamber music making)
I appreciate the suggestion, but I have to be honest and tell you that I'm just not into the New Years thing at all. I love the Strauss family and will certainly talk about them, but those New Years events--Yech!
@@DavesClassicalGuide I have long ago stopped watching The New Year in Vienna concerts...I don't know exactly your reason for saying Yech! But I, myself, find it a bit hard to stomach all these, stuffy, dressed up upper class people, that are listening to this wooooonderfull music...it's old, tradition, high culture...and we all know, that with the Vienna Phil, we can't go wrong, right?
This said not to denigrate the music 'an Sich' - I love it, and would probably sit glued to the telly, if there at some point appeared a new master conductor of it.
Untill then, I'll just make my own ideal New Years Concert with the likes of Clemens Krauss; Boskovsky,; HvK; Kleiber, père et fils; Stoltz; a springling of Knappertsbusch and others, who have preceded us. Sitting back, listening, while at the tender age of 58 slowly turning into a fossiled, rogue elephant.
In eager anticipation for your exploration of this repertoire - and the Boskovsky box, oh the Boskovsky box! (Just one alert: skip the earliest instalments with that somehow arid, slightly wiry mono sound, that for sure will not be to your liking)
Sorry, I got a bit carried away and somehow derailed. Messiah, Strauß family, like most other good music can't be tied down to a seasonal enterprise. But never the less, the upcoming holiday provided us with a splendid opportunity for you to run through a batchfull of recordings - and made me curious to make acquaintance with a few of the ones, I didn't know or haven't heard. So what can we say, but, yet again: Mission accomplished!
2 points. First, regarding the Ormandy recording: Eileen Farrell told this anecdote herself. When Ormandy approached her about being his soprano, she told him that she did not sing 'Rejoice Greatly'. And she
didn't despite years of singing Bach cantatas. (Yes, I know all about the Bach Aria Group and its
history of unstylish Bach. Still Farrell always credited her lyrical Wagner singing to her Bach, which
she used as a reminder not to sing heavily. And by the way, even Sutherland found "Rejoice" a tough row to plow.) Obviously, Ormandy hired her anyway, and indeed there is no 'Rejoice' to be found....a point seldom mentioned.
Second, I find it interesting that people refer to the Shaw recording from Atlanta, and ignore his 1966 version, which he and many others rated more highly. That's the one that rather broke the ice in America.
John Tobin, of course, had done it in London - St. Paul's Cathedral - in March of 1950, using his own
version, the product of nearly unbelievable research. His 1976 recording is available on RUclips, and
quite interesting to hear...with many merits. Most people I imagine will not make it past the opening
tenor sequence, but should persevere for some very individual rewards.
By the way, at the other end of the spectrum (though much akin in many ways) is the performance on Naxos by the Concert Artists of Baltimore, with the Baltimore Symphony Orchestra, all under the direction
of Edward Polochick....very speedy, but with some very interesting ornamentation...and a number of points for debate.
I think the best "English chapel" version of "Messiah" is Stephen Cleobury's with the King's College Choir of Cambridge and the Brandenburg Consort, recorded in 1992-93, originally on Argo, reissued on Decca. Soloists are soprano Lynne Dawson, contralto Hilary Summers, tenor John Mark Ainsley and bass Alastair Miles. NOT to be confused either with the Cleobury version issued on Brilliant Classics, recorded with the same forces in 1993 at the Pieterskerk in Leiden, Netherlands, a much duller acoustic than King's College Chapel; or the Warner Classics version of 2009, which lacks the precision and punch of the Argo/Decca.
Cleobury's first version is generally available as a CD/DVD set, with the Argo recording bundled with the video version from Leiden, which is very well filmed and may be the most enjoyable way to experience the whole work. For audio-only, I enjoy Cleobury's version, but Hilary Summers is too matronly for my taste. My favorites, at the moment, are Suzuki, Christophers, and possibly Butt. I normally love Pinnock's Handel, and was thus looking forward to his recording, but I was frankly disappointed - it seemed to me like he and his forces were merely going through the motions.
Thanks for dividing the large # of choices into period, traditional, historical, etc. On Pinnock's version: Agreed. Glad you mentioned even Klemperer, whose excellent traditional version came out on the eve of the period instrument craze. It sounds operatic now, of course. I hadn't heard the Higginbottom, and was surprised that the "r's" came out sounding American. As a veteran choral singer myself, I always notice that. It just sounds "wrong", but that's me. I agree entirely on the 1959 Beecham: great fun!
Sorry you find boy sopranos a bit creepy. From ages 10 to 12 or thereabouts I had a good enough alto voice to be asked to solo in church and school choirs, a gift I wish I'd better savoured at the time. I loved singing and the only creepiness I experienced was during a solo at church when one of my fellow altos in semi-darkness at the back of the stalls had learned how to reach the base of large crucifix next to the altar with his feet, and rotate it during my performance. At that age the giggles are never far away and I imagine it wasn't one of my better efforts.
I have to agree with you regarding guilty pleasures - I have always enjoyed the Beecham and Klemperer versions, although I prefer both in other works. The Pinnock is the one I turn to when I prefer something closer to Handel.
Wow. Talk about learning something new every day!
My three go-tos are 1966 Colin Davis, Mackerras for the alternate 12/8 "Rejoice Greatly,", and John Butt's Dublin version.
I looked online on a link. So many recordings. One of them I remember seeing is Otto Klemperer recording from 1964.
I have Colin Davis's classic recording, which as you say is absolutely fantastic. The thing is that I've sung it in choirs so many times (I'm talking dozens) that I can hardly imagine myself sitting down and listening to it.
I just listened to Justin Doyle's recording on Pentatone and what a good surprise! I was completely in awe of the clear stylishness from everyone and the beautiful singing that abounds. It's gorgeous! I just lament that it's a bit cold in places. Where it not, it would be easy to choose for me. But despite that, it has so many wonderful things to savour! For now, maybe I'll get Christie's, which seems to be a well balanced reading and less clinical in interpretation and recording (even if I can't warm to some of Padmore's and Berg's more forceful passages).
Your're absolutely right about the fact that historically informed performances on modern instruments can sound very much like the one on authentic instruments. However: all singing is a half tone higher/lower. Soundwise that makes a big difference. The vocal registration is very different and also the amount of "force" you might need on certain high notes.
In that case a modern performance can either be more thrilling - or too worked up.
At last,someone has said it!The Messiah is emphatically not a Christmas piece.The problem being that for most Western Christians - despite the theory - Christmas is the principal Feast of the year (unlike the Eastern Orthodox who rightly insist on giving Easter priority).What never ceases to amaze me is the masterly conflation of Biblical material we see in the text.
Among evangelicals, we regard Good Friday/Easter as the most important holiday. Granted, we don’t have a liturgical year and we celebrate in a different manner but yes we regard easter as the greater celebration. I think the less religious“celebrants” hold Christmas as more important it for the wrong reasons.
Great lecture! Inspired me to add nine more Messiah recordings to my collection. So many comments here, that I didn't get around to reading them all, but in case no one else caught it, your comments about a DIY Messiah CD release apply to McGegan's, not Gardiner's.
I am very fond of a recording Robert Shaw made on RCA with the Robert Shaw Chorale. As expected, the singing is very good. They seem to be singing it with great zeal.
David, I think I might be a Messiah addict. I currently own Eighteen recordings on CD and Downloads of this work. Most of the ones you mentioned are in my collection, including the Pinnock, Hogwood, Gardiner, Higginbotham, Butt, and the Telarc Shaw and Pearlman. I have to say the Pinnock is one of my favorites. The Pearlman is as good a performance and recording as you will ever get. The Gardiner and the Christie are almost the same recording. But if I had to pare down to just one recording it would be the Pinnock.
So many great recordings . The Colin Davis / LSO is still incredibly popular despite the many authentic performances on the market. I am particularly fond of an old SAGA recording conducted by Frederic Jackson. Alongside the LPO choir and orchestra you have the excellent Heather Harper , Helen Watts , Roger Stalman and above all the tenor Duncan Robertson whose rendition of his solos is outstanding both in tone quality and emotion.
It is a pity and somewhat odd Decca never gave Ferrier the chance to record her interpretation of the alto part complete . They had promised it to her when she switched to them from another company. She had to make do with recording ' O thou that tellest' and the 'A' section of He Was Despised and that was that.
Personally I can enjoy both 'authentic' and grandiose performances of Messiah. I wouldn't want to miss out on Jon Vickers ' dashing them to pieces' or Norma Procter's warm voiced ' He shall feed his flock' or Elsie Morison ( Kubelik's wife) singing 'I know that my redeemer' with ringing sincerity and soaring tone in the final phrases.
Layton all the way. Dave you said it yourself - after the Hallelujah Chorus you want to feel “HALLELUJAH!”, not “Meh! that was neatly manicured and well produced”. You could go through a list of scores of interpretative points in the Layton performance, but the underlying element is one of joy and liveliness. His singers are young and brilliant: his soprano: Julia Doyle and countertenor Iestyn Davies I have never heard of before but they are absolutely outstanding. Some of the finest singers of our era have sung the arias on other performances, and I would like to keep some of those individual accounts. But this is a “Messiah” I would actually listen to often - not only at Christmas. HOWEVER - as you would say Dave "however": the version of Messiah I listen to, is one I have edited together, from seven different performances, for my own joy.
Mr Hurwitz, could I ask what you think of the McCreesh version?
I was wondering if you've considered that version when recording this video.
I'm attracted to the dash and dapperness in the fast numbers and the expressive qualities in the slower, still moments. It is suitably dramatic without needing to overcook itself as the Jacobs version does.
This was wonderful and I would very much appreciate a talk on Handel operas.
Already done. Check out the Handel playlist.
Thank you for the sample to illustrate your argument.
Thanks! Graet Video! I love the Adrian Boult version. Is very huge but have great air versions (and some choruses)
Wow, you have outdone your considerable self with this one, thank you! I had not previously heard the Solti, Christie, or Pinnock, all revelatory in their respective ways, with the Christie being my favorite of those three. I also have affection for the Ormandy. You did not mention four recordings, one of which is the most perverse, one which might be considered perverse, one a stereo remake which is funny and weird, and one one which is a solid modern instrument approach with great soloists. The weirdest and worst IMO is the Leonard Bernstein, heavily cut and even rearranged as to the order of set pieces! The other one I hold in great regard is the first mono Hermann Scherchen from London: first, because of the reduced forces, which in 1954 was a revelation in that: it was not what I call the usual "cast of thousands Yorkshire pudding approach" which had been in vogue for decades, the superb choir, and the excellent, dramatically involved soloists. You will find certain tempi therein unlike in any other, most of which I find beguiling: for example, the SLOW Pastoral Symphony and the very slow and overwhelmingly triumphant final AMEN chorus. Scherchen remade this in 1959 in Vienna, and it is a total disaster; to hear the German speaking choir mangle the English language is riotously funny, and Scherchen's tempi are no longer provocative, rather just downright weird. The solid as a rock traditional outing, also with superb choir and soloists, is the Otto Klemperer. To hear Jerome Hines sing 'The Trumpet Shall Sound' is enough to make one believe the last days are upon us! Thanks for listening, Mr. H, and thanks for all you do for us music lovers!
Well, I did mention Klemperer, pretty extensively! I agree with your comments on the others.
@@DavesClassicalGuide Oops! That's what I get for skipping ahead, just sailed right by your comments about the Klemperer.
When I was in Lonson en route to Israel in 1996 I visited the British Museum. There I saw the autograph copy of Handel's Messiah. Right next to it was the autograph' copy of the Beatles' Eleanor Rigby. I thought the arranement was appropriate.
Just plain wonderful.
Thank you again. I had really been looking forward to this one. There are so many great ones, and of course you can’t cover them all-but this was a great sampling. I resonate with a number of your choices, especially Pinnock, Christophers, and Gardiner. Higginbottom was new to me, but sampling it further on Naxos confirmed your recommendation for me. In regard to modern instrument performances, there is a later Colin Davis with LSO that is good, and an excellent version by Raymond Leppard in the Handel edition on Warner which I would have to say is one of my favorite versions overall. It seems to have just the right stylistic acuity which gains from an awareness of Handel’s context but which also employs all the advantages of what came after in terms of instrumental and vocal range of expression. He conveys all the various moods and meanings in the text quite well. The sound is somewhat recessed and there are choirs that are better, but overall I still think it’s one of the best. Any thoughts?
Plus the soloists are great-as you noted, the soloists can make or break the performance.
I agree with you about Leppard. I could have mentioned maybe a dozen more, but the talk was already way too long...
From what I have heard--and it's not the Messiah yet--Leppard was a Handel interpreter of striking character and conviction. I feel guilty for passing over so many of his recordings in the 1970s, when I didn't know better.
After hearing Dave's opinion of it, of course I had to go listen to Emanuelle Haim's Hallelujah Chorus. It sounded like the "Telephone Hour" from "Bye, Bye Birdie".
Regarding the attention to the words, I like the way Paul Elliott - the tenor for the recordings conducted by Hogwood and Koopman - dealed with the ones of the first aria. I know: Elliott does not have neither a strong voice nor a gorgeous timbre, but he sang about comforting people, exalted valleys, mountains made low and rough places made plain quite eloquently
The best thing about the “period instrument movement” is that they play the entire thing! Most of the time, they do it well! No period instrument ensemble plays it at Christmas either, Corelli has that area covered in my area (Christmas Concertos).
I’d like to hear about your favourite Vivaldi Four Seasons, which is, in my opinion is the original tone poem!
My favourite is surprisingly, a very fiery period instrument recording, featuring someone I happen to know in person as a soloist!
I really can’t stand boy soprano soloists as a voice type either. It was a trend in contemporary classical for a bit as well (Lloyd-Webber, John Rutter, Karl Jenkins, I’m especially looking at you three, BLEUGH!!!).
I have already made a video on The Four Seasons.
Sutherland was originally scheduled for the Beecham stereo set but he fired her saying she was the wrong voice type. He was right
He was also right about Jon Vickers. The tenor recitative 'Thy rebuke hath broken his heart' and the following aria are magnificently sung....the best I've ever heard.
RANDY WOLFGANG: That Sutherland went onto make two subsequent recordings invalidates that her voice was wrong. However, it was Adrian Boult who reminded her that ‘there are no mad scenes in Messiah.’ As someone who is very found of Dame Joan I have both recordings and enjoy them.
You made me wait! Pinnock!
Recordings I no longer have: Klemperer, Sargent [two recordings], Mackerras, Wilcox. None really pleased me. [As a double bass player it was my most played music in performance, because amateur orchestras and choirs need at least a strong bass-line from the band, plus a good trumpet and drums, and the rest can sort of get by to some extent in the band if the choir are good, but it figured so big I more or less knew it without having to refer to the printed part very much!]. I remember Roy Massey [Hereford Cathedral Organist] leading the annual Cathedral performance with the Hereford Cathedral Choir [all male] thoroughly outnumbered by the Hereford Choral Society [mixed gender] giving glorious energy and weight to the Choruses, while Massey always managed to get national quality soloists, though he refrained from counter tenors for the Alto solos! These days they do itty bitty performances which fall into the floor by about the sixth row in the audience. Dr Roy Massey has been retired for a good thirty years! Times have changed and not especially for the better where Messiah is concerned. But Pinnock struck a good balance all those years ago using something like an HIP approach but fantastic soloists and a Wonderfull mixed choir.
I got Pinnock as a new release, and hope one day to find a recording I prefer. In the meantime I am completely happy to have it as an only recording these days.
Best wishes from George
Nice post, and I concur about Pinnock. I "rotate" my music periodically, but his Messiah has seemingly been a fixture on my iPod for ever... and ever ;)
If, like me, you were born 13 years earlier, you would have been brought up on Sir Malcolm Sargent's Messiah. It has an earthy honesty and very enthusiastic singing.
The best ever!
This was a wonderful video, as always, but quite depressing for me. I discover how a bad listener I am. The recording I love most is the one by Richter, sang in german. This because I love Janowitz...
You could do much worse. You love it for the right reasons...the singing.
I have to admit, I love this, too. Just heard the bass aria in the third part. What a wonderful bass Franz Crass was. And Maurice Andre at the trumpet.
@@patrickriedemann2450 Once again a superb video. Thank you, David Hurwitz. I share the appreciation of the Karl Richter "Messias" It has been my favourite recording for decades. Just because of the gorgeous singing and excellent playing, and the right tempi. A pity, however, that Fritz Wunderlich wasn't there anymore...
@@folco9882 i
Sorry I made a mistake.
Harry Christophers, William Christie, and, my first love, Paul McCreesh with the Gabrieli Consort. A much over-looked performance with some great singing.
@Mads Valeur Gjern Skole Hej Mads. I agree. My first Messiah, love it!
The Choir of Christ Church Cathedral, Oxford, under Simon Preston, with Hogwood and The Academy of Ancient Music belts out the Hallelujah section much more dynamically and with more feeling than I'm hearing from the Choir of New College Oxford, but then I'm only listening to this via your video here.
I have always preferred a female alto instead of countertenor. "He was despised" rarely sounds as affecting as it could be with a male voice. Anne Sofie von Otter is the best for me with Trevor Pinnock.
Anne Sofie von Otter and Trevor Pinnock have done some great work together. I absolutely love her voice, and Pinnock is usually a safe bet. While I'm not quite the HIP snob I once was, I normally reach for the Pinnock recordings of baroque pieces and a huge chunk of Classical pieces. I love his work on Mozart's symphonies.
I have the Layton/Hyperion version and the Robert Shaw/Telarc version. Both are good but like you I prefer the female alto voice. I find myself listening to Shaw/Telarc.
I include John Butt (Dunedin Consort) on my list of favourites . No bassoon or oboe (probably not available in the first performance in Dublin). But a joyous and performance of an authoritative interpretation.
I know some messiah snobs...lol. I relish playing the Beecham/Goossens because it is such fun!
Thanks for this lovely video. I watched it from start to end with great pleasure. Regarding the season, well, in Israel we have Messiah on December and January, February, March , April and so on and on. The same with Bach's Christmas Oratorio.
As for recommendations, I'm with you regarding Pinnock. The best ever and for ever. I like as well Parrott for his chamber and intimate feeling and his complete opposite McCreesh. For moderns instruments I'd like to mention Colin Davis with the Bavarian Radio Symphony Orchestra if only for the superb singing of Dame Margaret Price.
Dear Dave, wow what a magnificent review!!But please for those of us who celebrate Christmas would you please gift us with one of your wonderful videos reviewing the best recordings of Christmas Oratorio?
Dave has two discussions of bach's choral works, including the Christmas oratorio here in RUclips.
Thanks for mentioning that, because I'm not planning on doing the Christmas Oratorio separately this year!
@@DavesClassicalGuide And you covered it in the Tinnitus review.
If I recall, he preferred the Harnoncourt. (My choice would be the Veldhoven, particularly if you split the work up into the multiple separate cantatas and listen to them on the appropriate days; Veldhoven does a better job of shaping each of the separate works as stand-alone pieces, IMO.)
Andrew Davis and the Toronto Symphony made a recording of Messiah back in 1987 for EMI with Kathleen Battle, Florence Quivar, John Aler and Samuel Ramey. It's everything that his latest recording isn't. A truly magnificent effort every bit as good as Mackerras'. Makes you wonder what happened to the guy since then.
Perhaps Chandos twisted his arm.
For amazing ornamentation, hear Joan Sutherland in Sir Adrian Boults version. Thank you for your review of so many version. There is also a German performance woth Lucia Popp.
Since an objective of mine is to spend no more money from my dwindling reserves, I was relieved to find I have but two recordings of this, but those two ticked David's boxes for best of old and new: Beecham and Pinnock. So I'm all good.
Dave; In a show I listenned to recently, you mentioned your brother living in Cleveland at some point I could not help wondering whether Apollo's Fire, the Cleveland Baoque Orchestra is on your radar screen. In past few years they have performed at Ravinia, Tanglewood, Carnegie Hall, the Proms, etc.
I know you said you hate the Mozart arrangements. I think what you don't like about them is mostly a problem of interpretation. I think if they played the Handel/Mozart arrangements more like actual chamber music (which BOTH versions were historically) then you'd warm a bit.
PS: Love your channel because you have an opinion worthy of contending with!
PPS: The comments on this video warm my heart.
I dislike the Mozart arrangements because they are bland and ruin Handel's scheme of contrasts. Nothing will change that, I'm afraid.
and the tenor section mentioned is the climax of the piece...it's when we get to thoughts of resurrection
Yes, it's the turning point.
I first got to know Handel's Messiah through listening to the Charles Mackerras/ECO recording that you recommend so highly. As a teenager at the time, I was moved very deeply by Elizabeth Harwood and Janet Baker in He Shall Feed His Flock, which no-one seems to me to have bettered. But, even as a relatively unknowledgeable teenager, I found the ECO's strings somewhat flabby overall. Nonetheless, it is still the recording against which I judge all others.
thank you for you videos....i have two versions since long time i listen....sir malcolm sargent ( stereo) and karl richter ( dgg)....the version of sargent recorded at liverpool with ordinary people is so magnificent....! with excellent solist....so i know this is a messiah in the victorian tradition in england ,but i d,ont care ...i'ts beautiful
Dave, is it possible to have too many Messiahs? ;) I have the Pinnock, that Tomlinson is a KNOCK OUT bass. But I'm also enamored with John Butt's stripped-down version (love the soprano & alto!), which I suspect you can't stand? haha. Also, Harry Christophers & The Sixteen's version is quite compelling. Good lord, many heavens to have. Messiah & Mass in B minor must be the Alpha and Omega of religious works. (I don't really think of LvB's Missa Solemnis or Mozart's Requiem as remotely religious.)
I don't regard Messiah as remotely religious.
I can add one recording to add to the "Avoid Like Death" category Boughton, ESO on Nimbus.
I had Bernstein's on LP back in the 60's which I liked but his tempos were unique and I think some may take issue with his interpretation. Any thoughts on it?
The Messiah was supposed to written for Easter, so I don't know why they always play it at Christmas time?? in any case, I love the Robert Shaw/Atlanta version.
My favorite aria from Messiah has got to be; The trumpet shall sound. Yes. It’s a pretty famous part I know but the dynamic between the baritone and the trumpet (whether it be a standard or baroque) is really amazing and the aria switches keys from D Major, E Major, A Major, B Minor to create more emotional depth. Mozart did travesty to this aria in his arrangement of Messiah and made the trombone the solo instrument when the aria is clearly called “The trumpet shall sound.” While it may sound nice on the trombone, it’s just abysmal to me why he didn’t stick with the trumpet. Overall Handel’s original version is a beautiful aria for baritones.
I came into this video with my three favorites being Colin Davis/LSO, which you mentioned; Gardiner, which you mentioned; and one you did not mention, the John Butt/Dunedain Consort recording, which you must check out. Butt does the original Dublin version; in its 1742 premiere the work was performed with a dozen singers, a dozen string players, trumpets and timpani, with Handel leading from his own organ he had shipped there, and that’s it. You don’t need woodwinds or big numbers when you have 28 people squeezing every last bit of color and drama out of themselves and the text. It sounds like an epic Irish ballad about the story of everything. I highly recommend it.
One of the reasons the Butt recording is a revelation is that you realize the vulgarizing of Messiah didn’t start with Mozart or the performance by something like 700 people in 1782 in Westminster Abbey; it started with Handel himself when he took it to London, expanded the orchestra, took Charles Jennens’ suggestions to make it more “dramatic”, etc. It turns out the version he wrote in 24 days was fine as it was.
I agree with you about the Andrew Davis version and was distressed to find when I moved to DC a few years ago that’s it’s become the favored version by the NSO. Ugh. There’s a reason the trumpets and timpani play so seldom because it makes the moments when they do play that much more effective.
Anyway I somehow missed the Pinnock version the first time around, and I promise I will check it out. Thanks for the video.
I have Butt, I think it's boring, and I disagree strongly with your characterization of expanding the orchestration as "vulgarizing" the work. No doubt the best, most "pure" version would have no instruments at all.