Messiah: Nos 2/3 Recitative & Air Tenor. Comfort ye my people... Every valley shall be exalted
Messiah: No 4 Chorus: And the glory of the Lord
Messiah: Nos 5 - 6 Recitative & Air bass: Thus saith the Lord... But who may abide
Messiah: No 7 Chorus: And he shall purify
Messiah: Nos 8 - 9 Recitative & Air alto & Chorus: Behold, a virgin shall conceive... O thou that tellest good tidings to Zion
Messiah: Nos 10-11 Recitative & Air bass: For behold, darkness shall cover the earth... The people that walked in darkness
Messiah: No 12 Chorus: For unto us a child is born
Messiah: No 13 Pifa
Messiah: Nos 14 - 16 Recitative soprano: There were sheperds, abiding in the field... And lo! the angel of the Lord come upon them... And the angel said unto them... And suddenly there was with the angel
Messiah: No 17 Chorus: Glory to God in the highest
Messiah: No 18 Air soprano: Rejoice greatly, O daughter of Zion
Messiah: Nos 19 - 20 Recitative and Aria alto: Then shall the eyes... He shall feed his flock
Messiah: No 21 Chorus: His yoke is easy
Messiah: No 22 Chorus: Behold the Lamb of God
Messiah: No 23 Air alto: He was despised
Track Listings (21) - Disc #2
Messiah: No. 24 Chorus: Surely he hath borne our griefs
Messiah: No. 25 Chorus: And with his stripes
Messiah: No. 26 Chorus: All we like sheep
Messiah: Nos. 27 - 28 Recitative tenor & Chorus: All they that see him... He trusted in God
Messiah: Nos. 29 - 30 Recitative & Arioso soprano: Thy rebuke hath broken his heart... Behold and see
Messiah: Nos. 31 - 32 Recitative & Air tenor: He was cut off out of the land of the living... But thou didst not leave his soul in hell
Messiah: No. 33 Chorus: Lift up your heads
Messiah: Nos. 34 - 35 Recitative tenor & Chorus: Unto which of the angels... Let all the angels of God worship him
Messiah: No. 36 Air bass: Thou art gone up on high
Messiah: No. 37 Chorus: The Lord gave the word
Messiah: No. 38 Duet soprano & alto, chorus: How beatiful are the feet... Break forth into joy
Messiah: No. 39 Arioso tenor: Their sound is gone out
Messiah: Nos. 40 - 41 Air bass & Chorus: Why do the nations so furiously rage together... Let us break their bonds
Messiah: Nos. 42 - 43 Recitative & Air tenor: He that dwelleth in heaven... Thou shalt break them
Messiah: No. 44 Chorus: Hallelujah
Messiah: No. 45 Air soprano: I Know that my Redeemer liveth
Messiah: No. 46 Chorus: Since by man came death
Messiah: Nos. 47 - 48 Recitative & Air bass: Behold, I tell you a mystery... The trumpet shall sound
Messiah: No. 49 - 51 Recitative alto, Duet alto & tenor, Chorus: Then shall be brougt to pass... O Death, where is thy sting... But thanks be to God
Messiah: No. 52 Air alto: If God be for us
Messiah: No. 53 Chorus: Worthy is the Lamb... Amen
Neville Marriner's 1976 account of the Covent Garden version of the score (1743), with the Academy and Chorus of St. Martin-in-the-Fields and soloists Elly Ameling, Anna Reynolds, Philip Langridge, and Gwynne Howell, is p... more »ositively plush-sounding but nicely animated. I'd love to have this kind of string tone for, say, the Dvorák Serenade, but for Handel it may be just a bit much. --Ted Libbey« less
Neville Marriner's 1976 account of the Covent Garden version of the score (1743), with the Academy and Chorus of St. Martin-in-the-Fields and soloists Elly Ameling, Anna Reynolds, Philip Langridge, and Gwynne Howell, is positively plush-sounding but nicely animated. I'd love to have this kind of string tone for, say, the Dvorák Serenade, but for Handel it may be just a bit much. --Ted Libbey
"A first-rate recording at a cut-rate price. Excellent work from the chorus- well-blended and clean, but not antiseptic and dull. Likewise excellent work from the soloists: especially Ms. Ameling. She takes the more relaxed 6/8 version of Rejoice Greatly-- so it's not flashy, but she has no problem with the coloratura and spins out some amazingly long-breathed phrases. THe real draw for me is "Thy Rebuke Hath Broken His Heart" and "Behold and See". While remaining within the boundaries of appropriate performance style and good taste, Ms. Ameling delivers these two forgotten parts of Messiah with an emotional appeal that is absolutely devastating: wrenching, moving, full of anguish and disbelief, but with economy, sensitivity, restraint and always with beautiful tone. It's absolutely unforgettable and it blasts the dust right off of Messiah: a work that is so often given a careless, pedestrian performance. Completely stunning- it will make you care about Messiah again."
Beautiful, but not what I was expecting.
essmac | 02/21/2001
(4 out of 5 stars)
"The singers in this recording deliver beautiful performances, both the soloists and the chorus - good phrasing, diction, and ensemble singing in lovely voices. However, I didn't realize before buying this CD that, as the liner notes say, "Neville Mariner's recording is based on the first London performance of 1743, and several numbers are markedly different from the more familiar later versions." Some pieces are sung by different voice parts, and others include bars of music that Handel cut or changed later. For example, the most disappointing part for me was "But who may abide," (sung by bass instead of alto, though that's not unusual) which completely omits the excicting prestissimo "refiner's fire" section that most of us are used to (and which I really enjoy)! This would certainly be an excellent historical recording for someone who collects or studies Handel's music - beautifully performed (though some parts seem unusually fast), and interesting for studying the development of Handel's composition - and it is still his sacred masterpiece. Plus it's an excellent bargain for a top-quality 2-disc recording. However, if you're looking for the most FAMILIAR Messiah, perhaps this isn't the one for you. I opted for the excellent Chaconne (Chandos) recording by Richard Hickox instead, also with Philip Langridge, and my favorite Bryn Terfel."
Probably the Finest Messiah Recording
Gregg M. Howell | Baltimore, MD United States | 11/17/2005
(5 out of 5 stars)
"First of all, what the other online reviewers here fail to realize is that this is Handel's 1743 Covent Garden premiere Messiah score , NOT the "final" version. So, those looking for the familiar choruses, solos, etc. will be very disappointed and should probably seek another recording.
Though much of the score is the same, much of the score is very different as this was "a work in progress." One can tell the differences beginning with the tenor aria "Ev'ry Valley," until the final chorus "Worthy is the Lamb." One may even wonder why Handel choose to alleviate some of the score (most notably "How Beautiful Are the Feet" which here is a duet between alto and soprano with a rousing chorus. The aria in it's present version is quite dull in comparison). However, Handel scored based on available forces, and it is documented that Handel continued to "tweak" the score until he died.
Tempos are brisk, as well they should be. Messiah was nearly destroyed by the late-romantic conductors that thought it would sound better with a full symphonic orchestra and choruses "of a thousand." What remains is a wall of noise with all the nuances destroyed. We are, after all, talking about Baroque music. This ASMF 1976 recording began the revival of period tempos, ensembles, and the return of vocal ornamentation.
The orchestra is in its usual flawless form in this recording as is Lazlo Heltay's fine singers. The solosits do a fine job, though Ameling, at times, has some strange vowel sounds (she obviously was not yet skilled at singing in English). Howell is the strongest of the soloists.
For overall beauty of sound and dramatic intensity, this is the ultimate recording!"
My One and Only Messiah
Edwin J. Firmage | SLC, UT USA | 03/08/2005
(5 out of 5 stars)
"Don't even look at another recording. This is the one to get. Everything about it is good, and most of it is superb. Where most Messiahs are performed at a funereal pace and have the kinetic energy of cold molasses, this one will blow your hair back. Neville Marriner and the ASMF are superb as always. But the highlights of this recording are Langridge and Howell, the tenor and baritone, respectively. Langridge delivers a beautiful, lyric performance that compares favorably to the best of better known tenors. But Howell is beyond description. I first heard and fell in love with this recording (then in LP) as a teenager, and it was Howell's singing that captivated me. Still does more than two decades later. I add this caution, however. Once you experience this musical revelation, you'll have a hard time hearing any other Messiah without wincing."
LONDON VERSION OF 1743 (Early score)
Marcolorenzo | Italy | 02/13/2006
(5 out of 5 stars)
"This is not your usual Messaih. It is the first London version of 1743. Therefore several numbers are markedly different from the more familiar versions usually performed today and almost incised upon our memories and minds. There are cuts, additions and scorings for different voices. The Bass air no. 6 lacks the alto section. The usual duet no. 20 for Alto and Soprano, ( He shall feed his flock) is here only as an Alto aria, etc. There are many other variations and cuts and additions with respect to the usual presently performed versions. For my tastes the Christie recording (on Harmonia Mundi) is the definitive version (for the soloists)(on period instruments), along with the Parrott/ Taverner choir version on Virgin (for the overall well-balanced and extremely refined interpretation), as well as the Hogwood version (on l'Oiseau Lyre). I would recommended this recording if you are interested in this early version."