Karina Gauvin, Jennifer Lane, John Elwes - Messiah, arr. Mozart (2000)

We Anglophones might not realize it, but the Germans have their own long tradition of performing Handel. During the 1780s, the Viennese nobleman Baron van Swieten commissioned none other than Mozart to make and perform up-to-date arrangements of several Handel oratorios, including Acis and Galatea, Alexander's Feast, and of course Messiah.

Mozart made few cuts from Handel's original: the chorus "Let all the angels of God," the arias "Thou art gone up on high" and "If God be for us" (which became a recitative), and the B-section and da capo of "The trumpet shall sound." The younger composer did, however, reorchestrate rather thoroughly: the trumpets get little to do, while the horns are given a lot (including the solo in "The trumpet shall sound"); little accents and curlicues for flutes and clarinets pop up all over. There are also some surprising reassignments: Mozart gives "Rejoice greatly" (originally for soprano) to the tenor and "Behold and see" (originally for tenor) to the mezzo; the florid parts of the choruses "And He shall purify," "For unto us a child is born," and "His yoke is easy" are allotted to the soloists--to surprising but successful effect.

The result of all this, as several commentators have quipped, is "Handel with a Viennese accent" (even when the text is sung in English, as it is here). Mozart's additions and fuller harmonies do add to Handel's music a certain gemütlich quality--to some it will seem like kitsch--that lessens the original's emotional intensity. However, Andrew Parrott and the Handel & Haydn Society of Boston make an excellent case for this version of the oratorio. The orchestra, using instruments of Mozart's period (including forte-piano continuo) play with assurance and feeling; the chorus might lack the exquisite blend and precision of, say, the Sixteen or Parrott's own Taverner Choir, but they also do commendable work. The soloists are quite satisfying, too, with veteran tenor John Elwes sounding fresher than usual and soprano Karina Gauvin a smooth, charismatic delight; mezzo Jennifer Lane gives the best single performance--a marvelous "He was despised," dramatically involved without being overacted. The recorded sound is a bit dry--no doubt because the recording was made during live concerts in Boston's Symphony Hall--but not a serious drawback. This should probably not be anyone's first Messiah (try Hogwood, Suzuki, or McCreesh), and many won't care for Mozart's fiddling with Handel's masterpiece--nonetheless, listen with open ears and mind, and you'll find some refreshing new flavors added to very familiar fare. --Matthew Westphal