Sir Malcolm Sargent - Handel: Messiah highlights (2006)
BAND/ARTIST: Sir Malcolm Sargent
- Title: Handel: Messiah highlights
- Year Of Release: 2006
- Label: Warner Classics
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 01:15:11
- Total Size: 364 mb
- WebSite: Album Preview
Tracklist
01. Messiah, HWV 56, Pt. 1: No. 1, Symphony (Grave-Allegro moderato)
02. Messiah, HWV 56, Pt. 1: No. 2, Recitative accompanied, "Comfort ye, my people" (Tenor)
03. Messiah, HWV 56, Pt. 1: No. 3, Air, "Every valley shall be exalted" (Tenor)
04. Messiah, HWV 56, Pt. 1: No. 4, Chorus, "And the glory of the Lord"
05. Messiah, HWV 56, Pt. 1: No. 12, Chorus, "For unto us a Child is born"Christopher Parker
06. Messiah, HWV 56, Pt. 1: No. 13, Pifa (Pastoral Symphony. Larghetto e mezzo piano)
07. Messiah, HWV 56, Pt. 1: No. 19, Recitative, "Then shall the eyes of the blind be opened" (Alto)
08. Messiah, HWV 56, Pt. 1: No. 20, Duet, "He shall feed His flock like s shepherd" (Alto, Soprano)
09. Messiah, HWV 56, Pt. 1: No. 21, Chorus, "His yoke is easy"
10. Messiah, HWV 56, Pt. 2: No. 22, Chorus, "Behold the lamb of God"
11. Messiah, HWV 56, Pt. 2: No. 23, Air, "He was despised and rejected" (Alto)
12. Messiah, HWV 56, Pt. 2: No. 39, Recitative, "He that dwelleth in heaven" (Tenor)
13. Messiah, HWV 56, Pt. 2: No. 40, "Thou shalt break them with a rod of iron" (Tenor)
14. Messiah, HWV 56, Pt. 2: No. 41, Chorus, "Hallelujah"
15. Messiah, HWV 56, Pt. 3: No. 42, Air, "I know that my Redeemer liveth" (Soprano)
16. Messiah, HWV 56, Pt. 3: No. 43, Chorus, "Since by man came death"
17. Messiah, HWV 56, Pt. 3: No. 44, Recitative accompanied, "Behold, I tell you a mystery" (Bass)
18. Messiah, HWV 56, Pt. 3: No. 45, Air, "The trumpet shall sound" (Bass)
19. Messiah, HWV 56, Pt. 3: No. 46, Chorus, "Worthy is the Lamb that was slain"
20. Messiah, HWV 56, Pt. 3: No. 47, Chorus, "Amen"
Of all the hundreds, maybe thousands of versions of Handel's Messiah on the market, ranging from full symphonic treatments with big professional choirs to sober, earnest oratorio-society readings, to the various kinds of authentic-performance recordings, this 1959 performance by the Royal Liverpool Philharmonic Orchestra and Huddersfield Choral Society under Malcolm Sargent is notable for representing one extreme of the spectrum. This is Handelian gigantism at its most determined. You live in Liverpool and want to sing in a big choir? Come on in; there's always room for one more. You want trombones, clarinets in the score? Fine, write 'em in. You're dismayed that these days the sun does indeed set on the British Empire? No need to worry; here's enough pomp and circumstance to last you another 50 years. The chief value of this disc is historical, and the sampler version may be preferable for listeners who don't want to sit through three discs' worth of choruses like "For unto us a child is born," which can only be called lumbering in this reading. But it's also worth noting that the soloists, especially tenor Richard Lewis, are actually very elegant; Sargent, in his zeal to create large contrasts, pretty much leaves the soloists alone to do their thing (except for some unfortunate swirling woodwinds from time to time). If your approach to Handel can be summed up with the phrase "Supersize me," this may be for you, and even for others it's a diverting reminder of how the early twentieth century heard Messiah when it was one of just a few Baroque works in the repertory of concert music.
01. Messiah, HWV 56, Pt. 1: No. 1, Symphony (Grave-Allegro moderato)
02. Messiah, HWV 56, Pt. 1: No. 2, Recitative accompanied, "Comfort ye, my people" (Tenor)
03. Messiah, HWV 56, Pt. 1: No. 3, Air, "Every valley shall be exalted" (Tenor)
04. Messiah, HWV 56, Pt. 1: No. 4, Chorus, "And the glory of the Lord"
05. Messiah, HWV 56, Pt. 1: No. 12, Chorus, "For unto us a Child is born"Christopher Parker
06. Messiah, HWV 56, Pt. 1: No. 13, Pifa (Pastoral Symphony. Larghetto e mezzo piano)
07. Messiah, HWV 56, Pt. 1: No. 19, Recitative, "Then shall the eyes of the blind be opened" (Alto)
08. Messiah, HWV 56, Pt. 1: No. 20, Duet, "He shall feed His flock like s shepherd" (Alto, Soprano)
09. Messiah, HWV 56, Pt. 1: No. 21, Chorus, "His yoke is easy"
10. Messiah, HWV 56, Pt. 2: No. 22, Chorus, "Behold the lamb of God"
11. Messiah, HWV 56, Pt. 2: No. 23, Air, "He was despised and rejected" (Alto)
12. Messiah, HWV 56, Pt. 2: No. 39, Recitative, "He that dwelleth in heaven" (Tenor)
13. Messiah, HWV 56, Pt. 2: No. 40, "Thou shalt break them with a rod of iron" (Tenor)
14. Messiah, HWV 56, Pt. 2: No. 41, Chorus, "Hallelujah"
15. Messiah, HWV 56, Pt. 3: No. 42, Air, "I know that my Redeemer liveth" (Soprano)
16. Messiah, HWV 56, Pt. 3: No. 43, Chorus, "Since by man came death"
17. Messiah, HWV 56, Pt. 3: No. 44, Recitative accompanied, "Behold, I tell you a mystery" (Bass)
18. Messiah, HWV 56, Pt. 3: No. 45, Air, "The trumpet shall sound" (Bass)
19. Messiah, HWV 56, Pt. 3: No. 46, Chorus, "Worthy is the Lamb that was slain"
20. Messiah, HWV 56, Pt. 3: No. 47, Chorus, "Amen"
Of all the hundreds, maybe thousands of versions of Handel's Messiah on the market, ranging from full symphonic treatments with big professional choirs to sober, earnest oratorio-society readings, to the various kinds of authentic-performance recordings, this 1959 performance by the Royal Liverpool Philharmonic Orchestra and Huddersfield Choral Society under Malcolm Sargent is notable for representing one extreme of the spectrum. This is Handelian gigantism at its most determined. You live in Liverpool and want to sing in a big choir? Come on in; there's always room for one more. You want trombones, clarinets in the score? Fine, write 'em in. You're dismayed that these days the sun does indeed set on the British Empire? No need to worry; here's enough pomp and circumstance to last you another 50 years. The chief value of this disc is historical, and the sampler version may be preferable for listeners who don't want to sit through three discs' worth of choruses like "For unto us a child is born," which can only be called lumbering in this reading. But it's also worth noting that the soloists, especially tenor Richard Lewis, are actually very elegant; Sargent, in his zeal to create large contrasts, pretty much leaves the soloists alone to do their thing (except for some unfortunate swirling woodwinds from time to time). If your approach to Handel can be summed up with the phrase "Supersize me," this may be for you, and even for others it's a diverting reminder of how the early twentieth century heard Messiah when it was one of just a few Baroque works in the repertory of concert music.
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