Finished my Messiah survey, though doubtless several of you will now recommend a good dozen or so I skipped over!
The biggest surprise was Butt/Dundein Consort. As some might know, I am rarely wowed by recent recordings, but this one was quite the revelation. Among older versions I also was surprised to take a liking to the Richter, which a few have recommended on this thread.
I did not like Klemperer very much at all. The approach was just too heavy.
Solti was a disappointment. Very clinical and dull. Not what I was expecting even though Solti often sounds that way. With Messiah he almost sounds as if he was simply fulfilling recording duties.
Shaw has excellent singers, but his conducting is painfully metronomic. Ugh.
So here are my 12 "essentials," with several more listed as "further listening:"
Sir Malcolm Sargent/Huddersfield Ch. Society/Liverpool PO (1946) (Dutton, Documents)
Sargent presents the Messiah as a grand epic, and the result is compellingly dramatic. Every word and note means something, and the choir in particular displays a unique drive and commitment. The soloists are likewise consummately expressive. The sound quality requires tolerance, but the Dutton remastering is quite exceptional. The greater hurdle for the modern listener might be the slow tempos in some of the choral numbers, but this is an interpretation which above all emphasizes dramatic narrative over deft virtuosity.
Neville Marriner/Academy and Ch. of St. Martin-in-the-Fields (1976) (Decca)
With an excellent mix of spirited charm and warmth, this is a perfect middle ground between old-fashioned and period style. Tempos are well chosen, the singing is uniformly excellent, and the orchestra exudes a unique gracefulness. The sound balance and clarity are superlative.
Trevor Pinnock/The English Consort & Ch. (1988) (DG Archiv)
This justly celebrated period performance conveys an ethereal, eloquent, contained beauty with excellent singing. The pacing is patient, never rushed. Above all there is an inspired commitment that sets it apart. The sound is clear and well balanced.
Sir Charles Mackerras/Ambrosian Singers/English CO (1967) (EMI)
A uniquely joyful, inspired account with excellent soloists, this was an early attempt to incorporate baroque performance practice with modern instruments, including heavy ornamentation which is either stylish or overdone, depending upon one's taste. The choir sings with extraordinary exhuberance.
John Butt/Dunedin Consort & Players (2006) (Linn)
With a dry, minimalist approach set against a reverbert acoustic, this swift period performance is uniquely arresting from beginning to end. Every movement is presented freshly, with great attention to text and meaning. The singers are closely miked, making for an intimate presentation.
Sir Thomas Beecham/Royal PO & Ch. (1947) (Biddulph, Classica D'Oro)
Beecham's second Messiah recording is highly romanticized though not as bombastic as his later famous reorchestrated stereo version. He provides an eloquently firm hand throughout, the chorus is expressive and thrillingly dramatic, and the soloists are of high caliber if overly sentimental by modern standards. The sound quality is of course limited, but not too obtrusively so that the ear adjusts.
Sir Colin Davis/London SO & Ch. (1966) (Philips)
A ground-breaking recording which married baroque sensibility to modern performance style, resulting in a uniquely inspired, committed performance that represents for many the quintessential Messiah interpetation. The singing is beautifully full and expressive even if the effect feels a bit too labored at times. The sound is full and clear.
Paul McCreesh/Gabrieli Consort & Players (1997) (DG Archiv)
A refreshingly bold period instrument version featuring spirited technical brilliance. The execution is faultless, though the interpretation is somewhat chilly and at times unnecessarily fast. The sound is clear and present, accentuating the directness of the performance.
Karl Richter/John Alldis Ch./London PO (1972) (DG)
An expansive, stately modern instrument version that will strike many as anachronistic, but what sets this version apart is the quality of performance from all involved and inspired dedication such that it holds interest throughout. The sound is excellent, opulent and full.
Christopher Hogwood/Ch. of Christ Church Cathedral/Academy of Ancient Music (1980) (Decca/L'Oiseau-Lyre)
This pioneering period performance uses a boy soprano section, which fits with the relatively cool, sedate interpretation. While this approach may not appeal to all, its unassuming simplicity offers a transcendent listening experience.
Andrew Davis/Toronto Sym. & Mendelssohn Ch. (1987) (EMI)
This is an old-fashioned large-scale Messiah, presented without any hint of idiosyncrasy. Although the choir may not be the last word in dexterity or tonal beauty, they effectively communicate the joy of the work such that with an excellent team of soloists this can be confidently recommended, particularly as an introduction.
Harry Christophers/The Sixteen Ch. & Orch. (1997) (Hyperion)
This may not be your typical thrill-a-minute Messiah, but it is an exquisitely noble, small-scaled period performance that lets the music unfold naturally at a relatively patient pace. The sheer beauty and quality of the singing are hard to beat, helped by clear, present sound quality.
Further listening:
Martin Pearlman/Boston Baroque (1992) (Telarc)
Sir Malcolm Sargent/Huddersfield Ch. Society/Liverpool PO (1959) (EMI/CfP)
William Christie/Les Arts Florissants Ch. & Orch. (1993) (Harmonia Mundi)
John Rutter/Cambridge Singers/Royal PO (2007) (Collegium, Hendrickson)
Sir Adrian Boult/London SO & Ch. (1960) (Decca), Edward Higginbottom/Ch. Of New College Oxford/Academy of Ancient Music (2006) (Naxos)
Sir Thomas Beecham/Royal PO & Ch. (arr. Goossens) (1959) (RCA)
Nikolaus Harnoncourt/Stockholm Kammerkoren/Concentus Musicus Wien (1982) (Teldec)
Andrew Parrott/Taverner Ch. & Players (1989) (EMI, Erato)
Stephen Cleobury/Ch. Of King's College/Brandenburg Consort (1993) (Decca/Argo), Sir Charles Mackerras/ORF Ch. & SO (German, arr. Mozart) (1974) (DG Archiv)
Raymond Leppard/English Chamber Orch. & Ch. (1974) (Erato)
Sir Thomas Beecham/BBC SO & Ch. (1927) (Pearl, Grammofono2000)
Masaaki Suzuki/Bach Collegium Japan (1996) (BIS)
Stephen Layton/Polyphony/Britten Sinfonia (2008) (Hyperion)
Ton Koopman/The Sixteen/Amsterdam Baroque Orch. (1983) (Erato)
Harry Christophers/The Sixteen Ch. & Orch. (2007) (Coro), John Eliot Gardiner/Monteverdi Ch./English Baroque Soloists (1987) (Philips/Decca)
Wolfgang Katschner/Dresdner Kammerchor/Lautten Compagney (German) (2004) (Deutsche Harmonia Mundi)
Václav Luks/Collegium 1704 Orch. & Ch. (2019) (Accent)
Richard Hickox/Collegium Musicum (1991) (Chandos)
John Alldis/London PO & Ch. (2002) (Sparrow)
Robert Shaw/Robert Shaw Orch. & Ch. (1966) (RCA)
Sir Georg Solti/CSO & Ch. (1985) (Decca)
Eugene Ormandy/Mormon Tabernacle Ch./Philadelphia Orch. (1959) (Sony)
Frieder Bernius/Stuttgart Barockorch. & Kammerch. (2008) (Carus-Verlag)
Otto Klemperer/Philharmonia Ch. & Orch. (1964) (EMI)
Hermann Scherchen/London PO & CH. (1954) (Archipel, Virtuoso)
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