Path: utzoo!utgpu!news-server.csri.toronto.edu!cs.utexas.edu!wuarchive!uwm.edu!csd4.csd.uwm.edu!info-high-audio-request From: ogicse!agora.rain.com!david@uwm.UUCP (David Robinson) Newsgroups: rec.audio.high-end Subject: More from POSITIVE FEEDBACK (4/4) Message-ID: <8751@uwm.edu> Date: 8 Jan 91 14:49:54 GMT Sender: news@uwm.edu Lines: 127 Approved: tjk@csd4.csd.uwm.edu Originator: tjk@csd4.csd.uwm.edu The following article is from POSITIVE FEEDBACK, the newsletter of the Oregon Triode Society, and is Copyright 1990, all rights reserved. This article may be reposted or reprinted, as long as it is not resold, and as long as proper attribution of the source is made in full. Please keep this header in all copies made of this article. David W. Robinson Editor, POSITIVE FEEDBACK david@agora.rain.com --------------------------------------------------------------------------- VINYL REFLECTIONS: HANDEL'S MESSIAH Larry Sturtz Ah, 'tis the season. As I write this there are only 37 days until Christmas. Since I traditionally do all my shopping on December 24th, that leaves plenty of time for a holiday diatribe on the entire bloated business. ["Uh-oh," mutters the Editor. "Look for cover, friends...LS is in 'curmudgeon mode.'" DWR] Just think, I'm in this lousy frame of mind and without the advantage of even one audition of "Jingle Bell Rock," et al. I shall spare you, however, and focus one what is for me a holiday bright spot. I am referring to the annual performance of Handel's Messiah by the Portland Baroque Orchestra. More info later. While my mind is on the subject, a brief review of recorded Messiah's seems in order. Let's start with Beecham's late 50's set on RCA LDS 6409, 4 discs. This golden era Soria set has 10++ sound according to Mitchell. That's the good news. On the bad side Beecham outdid himself in reorchestrating and adding parts for modern instruments. It's exciting and appalling and deserves a listen. The first cymbal shot is a shock, but the singing and playing are wonderful. In any case, acquire it for collectability if the price is right. Recommended as perhaps the third Messiah in a large collection. There are many sets done in the late 19th century "bigger is better" style. Large orchestras and even larger choruses dominate. Both Malcolm Sargent's and the Adrian Boult are prime examples. Not recommended. If you like this kind of Messiah go to a sing-it-yourself and at least participate. One of (if not the) first smaller scale, quick tempo performances was conducted by Hermann Scherchen on Westminster XWN3306. In spite of less than first rate singing and playing, the performance is involving. Sound is barely passable 50's mono. Worth a listen . In the 60's Colin Davis conducted the London Symphony, Heather Harper, Helen Watts, John Wakefield and John Shirley-Quirk in what was the benchmark performance for many years, Philips C71 AX300, 3 discs, also on cassette and rereleased on CD. A magnificent performance just now beginning to show its age in light of all the original instrument releases. If you're only going to have one Messiah you can do far worse. LP sound is a little grainy but listenable. In my case sound quality is not an issue; the performance is involving. A criticism often heard is that there is little ornamentation provided by the soloists. I'm not bothered. Listening to the same ornaments in a recorded performance becomes tedious after a few hearings. If ornamentation is your thing it is provided in two admirable sets, Charles Mackerras on Angel and John Tobin on british GFH. The latter is very difficult to find, but worth the bother. It was briefly available on execrable Protone cassettes. ["'Execrable' and 'cassette' represent a fine coupling of adjective and noun, opines the Editor. As always, LS, "the man with Living Presence," speaketh sound revelations...] While I don't recommend either of these worthy sets as "only" Messiah's, they are deserving of study--especially Tobin. The Argo set, D18D3, with Neville Marriner and the Academy of St.Martin-in- the-Fields wins the quick tempo award. The performance is based on the first London performance of March 23, 1743, performing edition prepared by Christopher Hogwood who also plays chamber organ. Razor sharp precision and superb singing make this set thoroughly recommendable. Typical Decca clear sound. An underrated set. Of the many original instrument sets we'll discuss four-the reason being they are the four I have; Hogwood, Oiseau D189D3, Pinnock, Archiv 423630, Gardiner, Philips 411041 and Christophers, Hyperion A66251. The last three are digital. In general I find Gardiner's tempos, soloists and orchestra preferable to the others. But, for reasons that escape me, he recruits a congeries of counter-tenors to take the alto choral parts. Their infernal hootings ruin the entire proceedings. The deployment of falsettists to substitute for a shocking lack of castrati seems at best ill advised. Seems sexist. If this feature bothers you less than me then this set is recommended highly. Pinnock takes a more conservative approach. The original instrument swells are less pronounced, there are only a few counter-tenors and the singers use a bit of vibrato even if the string players don't. The tension level is lower than Gardiner, not a plus. I guess I'm disappointed that Pinnock isn't Gardiner without counter-tenors. Oh well, somewhat reluctantly recommended as the first Messiah on your shelf. I believe that only a few LP sets were issued meaning CD's or cassettes are it. If Pinnock's digitalis puts you into arhythmia then Hogwood might resuscitate you. The best original instrument soloists including Emma Kirkby perform with the Academy of Ancient Music. Late analog sound. Thoroughly recommendable to escape Pinnock's digits with little compromise. Finally, Harry Christophers leads the Sixteen Choir and Orchestra in an emaciated digitalized performance which does zip for me but others have been more positive. My perceptions are precision and bloodlessness. Maybe you hadda' be there. These omnibus essays written for POSITIVE FEEDBACK have been about works I consider indispensable. In every case I've concluded by saying something like you can't have too many. Messiah is near the top of my can't have too many list. Even bad performances can't stop the magic. Handel's genius transcends. Hear as many as you can. Stuff your shelves with as many as you can afford. If you are in Portland, Oregon on December 15 or 16, 1990 take in the performance by the Portland Baroque Orchestra. You will not be disappointed. If you have access to Fanfare back issues try to find the series of Messiah reviews by John Bauman. They are scholarly and discuss differences in performing editions, compare performing forces and generally offer much greater depth on all fronts.