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Emma Kirkby, Academy of Ancient Music, Christopher Hogwood - Handel: Messiah (Remastered 2014) (2015) Hi-Res

Emma Kirkby, Academy of Ancient Music, Christopher Hogwood - Handel: Messiah (Remastered 2014) (2015) Hi-Res
  • Title: Handel: Messiah
  • Year Of Release: 1980 (2015)
  • Label: Decca
  • Genre: Classical
  • Quality: FLAC 24bit-96kHz / FLAC (tracks)
  • Total Time: 02:15:23
  • Total Size: 2.6 Gb / 711 Mb
  • WebSite:
Tracklist:

Messiah, HWV 56 / Pt. 1 (Georg Friedrich Händel)
1 Symphony (Remastered 2014) 02:51
2 "Comfort Ye, My People - Ev'ry Valley Shall Be Exalted" (Remastered 2014) 06:34
3 "And The Glory Of The Lord" (Remastered 2014) 02:50
4 "Thus Saith The Lord...But Who May Abide" (Remastered 2014) 05:30
5 "And He Shall Purify The Sons Of Levi" (Remastered 2014) 02:41
6 "Behold, A Virgin Shall Conceive...O Thou That Tellest Good Tidings" (Remastered 2014) 06:14
7 " For Behold, Darkness Shall Cover The Earth...The People That Walked In Darkness" (Remastered 2014) 05:35
8 "For Unto Us A Child Is Born" (Remastered 2014) 04:14
9 Pifa (Pastoral Symphony) (Remastered 2014) 00:52
10 "There Were Shepherds...Glory To God In The Highest" (Remastered 2014) 03:23
11 "Rejoice Greatly, O Daughter Of Zion" (Remastered 2014) 04:08
12 "Then Shall The Eyes Of The Blind ... He Shall Feed His Flock" (Remastered 2014) 05:03
13 "His Yoke Is Easy" (Remastered 2014) 02:35
Messiah, HWV 56 / Pt. 2 (Georg Friedrich Händel)
14 "Behold The Lamb Of God" (Remastered 2014) 02:16
15 "He Was Despised" (Remastered 2014) 10:13
16 "Surely He Hath Borne Our Griefs... And With His Stripes We Are Healed" (Remastered 2014) 03:51
17 "All We Like Sheep Have Gone Astray" (Remastered 2014) 04:06
18 "All They That See Him...He Trusted In God" (Remastered 2014) 02:59
19 "Thy Rebuke Hath Broken His Heart...Behold The Lamb Of God....He Was Cut Off" (Remastered 2014) 03:37
20 "But Thou Didst Not Leave His Soul In Hell" (Remastered 2014) 02:22
21 "Lift Up Your Heads" (Remastered 2014) 03:15
22 "Unto Which Of The Angels...Let All The Angels" (Remastered 2014) 01:44
23 "Thou Art Gone Up On High" (Remastered 2014) 02:54
24 "The Lord Gave The Word" (Remastered 2014) 01:13
25 "How Beautiful Are The Feet" (Remastered 2014) 02:04
26"Their Sound Is Gone Out" (Remastered 2014) 01:21
27 "Why Do The Nations...Let Us Break Asunder" (Remastered 2014) 03:15
28 "He That Dwelleth In Heaven...Thou Shalt Break Them" (Remastered 2014) 02:10
29 Hallelujah (Remastered 2014) 03:50
Messiah, HWV 56 / Pt. 3 (Georg Friedrich Händel)
30 "I Know That My Redeemer Liveth" (Remastered 2014) 05:34
31 "Since By Man Came Death" (Remastered 2014) 02:02
32"Behold, I Tell You A Mystery...The Trumpet Shall Sound" (Remastered 2014) 08:59
33 "Then Shall Be Brought To Pass - O Death, Where Is Thy Sting?" (Remastered 2014) 01:22
34 "But Thanks Be To God" (Remastered 2014) 02:18
35 "If God Be For Us" (Remastered 2014) 04:21
36 "Worthy Is The Lamb...Blessing And Honour" (Remastered 2014) 03:44
37 Amen (Remastered 2014) 03:23

Performers:
Judith Nelson
Emma Kirkby
Carolyn Watkinson
Paul Elliott
David Thomas
Choir of Christ Church Cathedral
Oxford & The Academy of Ancient Music
Christopher Hogwood

Recordings like Christopher Hogwood's Messiah are perfect vehicles for the debate of the authentic instrument movement in music. Especially here, since a work as well known to a wide general audience as the Messiah (the recordings of which number in the thousands) will get a number of varied reactions depending upon the performance. Hogwood, although known to many as a "father" (of sorts) to the authentic movement in music, was actually the keyboardist in Neville Marriner's Academy of St. Martin-in-the-Fields before leaving to form his own Academy of Ancient Music. He has done extensive scholarly research into the performance traditions of Baroque music, much of which has permanently altered many long-standing attitudes and traditions in music performance. The question remains, though: does all of this research and application contribute to a finished product that is communicative to an audience? It seems likely, if based only on the impressive cast. Augmenting the Academy's forces are tenor Paul Elliott, contralto Carolyn Watkinson, and sopranos Judy Nelson and Emma Kirkby. The Christ Church Cathedral Choir, Oxford, is equally impressive. For this recording, as is indicated in his extensive and thorough liner notes, Hogwood utilizes the 1754 Foundling Hospital version. Although it may be a surprising change for some listeners accustomed to the more "standard" versions, the re-creation of this performance is important in a number of ways, historically and artistically. But from the opening bars of the overture, the atmosphere feels rushed. Harmonies are not given enough space or time to be heard and to blossom, and the atmosphere feels thin, grainy, cold, and dry. This seems hardly conducive to the rapture, passion, and magnificence depicted in Handel's score. Everything seems too perfect and too pure, too lifeless and too little energy. An additional annoyance is that the balance of the harpsichord seems far above the orchestra, in some cases (the "Glory of the Lord," for instance) even covering the singers when they dip into the lower registers. These complaints are now almost cliché for those who consistently complain of Hogwood's performance style; for better or worse this recording could serve well as evidence. Looking past these issues, however, one can find a number of beautiful moments throughout. It is precisely due to his approach with this music that Hogwood is able to draw some extraordinary changes of color when and where he wants to. For example, the first bars of "and He Shall Purify" are breathtaking; the organ is significantly exposed here for the first time and finally he releases the music in a way that seems to let it unravel. The vocal solos are good throughout, and Kirkby's performance is notable for its suppleness and grace. Keep in mind that this is a re-creative performance, designed to emulate the conditions of the performance at the Foundling Hospital. Unfortunately, in this case it also means that while the sound quality is certainly good, even though the playing and singing are exceptional, the performance itself may not draw you in. Years after its first release, this recording still leaves one cold, and if you desire a warm, emotional, and intimate performance you may do well to look elsewhere. For those who prefer something more austere, though, look no further.




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