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The association of Handel's Messiah with Christmas is a comparatively recent phenomenon. Its subject is the fulfillment of Old Testament prophecy in the entirety of Christian revelation, and for more than two centuries after its first performance, the oratorio was generally considered more appropriate to Easter or Whitsun. Nevertheless, today, performances and recordings of the piece tend to proliferate in the run-up to the festive season. One might, of course, wonder whether any new version can shed further light on the work, though these two performances are often startling in their impact. Both take as their starting point the fact that Handel reworked the score no fewer than 10 times. Rather than using one of the various posthumous conflations of material, each re-creates a specific performance, as overseen by the composer himself. John Butt's version with his Dunedin Consort and Players presents the score as it was heard at its 1742 Dublin premiere. Edward Higginbottom, meanwhile, uses an edition prepared for a 1751 performance at Covent Garden that deployed singers from the Chapel Royal. In each case, familiar music is rendered subtly strange. Some of the arias in the Dublin text are radically different from the versions we usually hear. By 1751, most of the standard rewrites were in place, though the Chapel Royal choir used boys rather than women for the upper choral lines, and some of the soprano arias were re-cast for a tenor. Musicological differences aside, the two recordings are very different in mood. Broadly speaking, Higginbottom is upbeat and joyously elated, while Butt is sombre, meditative and austere. Both are immaculately played, though the Naxos set has the warmer orchestra in the Academy of Ancient Music. Butt deploys a small chorus four singers per line leading both to gains in polyphonic clarity and equal losses in grandeur. The New College sound is larger and more sumptuous. Butt's soloists seven in all, as at the premiere are less than evenly matched, though he has an authoritative bass in Matthew Brook, and a superb contralto (one of three) in Clare Wilkinson, whose heart -stopping delivery of the words "And ye shall find rest unto your souls", sets the tone for the whole performance. Higginbottom's more consistent line-up includes tenor Toby Spence, at his thrilling best, the exceptional countertenor Jestyn Davies, and three very fine treble soloists from the New College Choir. **** --The Guardian, December 2006
CD Description
A major Choral work for all seasons.
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Customer Reviews
Most Helpful Customer Reviews
47 of 48 people found the following review helpful
Format:Audio CD
I had some doubts about this Messiah before I opened it and started playing it. My doubts disappeared almost immediately and never reappeared. This is, simply put, a sensational recording of Handel's best-loved oratorio. And it has the added attraction of being the version he prepared for a 1751 London performance in which the soprano parts were taken by boy trebles. The performers here are the Choir of New College, Oxford, the Academy of Ancient Music, three solo trebles, countertenor Iestyn Davies, tenor Toby Spence and bass Eamonn Dougan all under the direction of New College's long-time music director, Edward Higginbottom.
I'm not enough of a scholar of the various performing editions of 'Messiah' to be able to cite chapter and verse about how this version might differ from others. Suffice it to say that Handel didn't actually leave a definitive version and over the many years that I've heard (or sung) performances of the work, there have often been slight differences. It did not take me long to become very fond of the three solo trebles (Henry Jenkinson, Otta Jones and Robert Brooks) in their solo outings. I was taken by every single treble solo. A friend of mine says he thinks that 'He shall feed his flock' is the loveliest thing Handel ever wrote; I don't know that I'd necessarily agree with him, but I must say that Davies and Jones do a superb job with it.
As for the choir, it is magnificent. Obviously their sound is that of the English cathedral tradition and there are some who don't much care for it; I, on the other hand, admire it wholeheartedly. Higginbottom uses fairly quick tempi and the choir handles those flying semiquavers (in, for instance, 'For unto us a Child is given') with exceedingly clean technique. The choir consists of only eighteen singers, so the choral sound is light and clear, unlike those huge choruses we used to hear when I was a boy -- I remember Malcolm Sargent's recording with the Huddersfield choir that was wonderful but always felt like a steam locomotive trying to get up to speed.
Sound is marvelous. No one would be paupered by this two-CD set as it is budget-priced. It's truly worth a strong recommendation.
Scott Morrison
I'm not enough of a scholar of the various performing editions of 'Messiah' to be able to cite chapter and verse about how this version might differ from others. Suffice it to say that Handel didn't actually leave a definitive version and over the many years that I've heard (or sung) performances of the work, there have often been slight differences. It did not take me long to become very fond of the three solo trebles (Henry Jenkinson, Otta Jones and Robert Brooks) in their solo outings. I was taken by every single treble solo. A friend of mine says he thinks that 'He shall feed his flock' is the loveliest thing Handel ever wrote; I don't know that I'd necessarily agree with him, but I must say that Davies and Jones do a superb job with it.
As for the choir, it is magnificent. Obviously their sound is that of the English cathedral tradition and there are some who don't much care for it; I, on the other hand, admire it wholeheartedly. Higginbottom uses fairly quick tempi and the choir handles those flying semiquavers (in, for instance, 'For unto us a Child is given') with exceedingly clean technique. The choir consists of only eighteen singers, so the choral sound is light and clear, unlike those huge choruses we used to hear when I was a boy -- I remember Malcolm Sargent's recording with the Huddersfield choir that was wonderful but always felt like a steam locomotive trying to get up to speed.
Sound is marvelous. No one would be paupered by this two-CD set as it is budget-priced. It's truly worth a strong recommendation.
Scott Morrison
25 of 26 people found the following review helpful
Format:Audio CD
As an organist, chorister, choral director, composer etc, etc... I have heard and sung Messiah more times than I care to remember (and I am just 17!) My parents raised me on a healthy diet of Handel and Bach, and so over the years I have come to know and love many works by these great masters, and indeed performing a great deal in more recent years. I have heard many, many recordings of Messiah and, to put it simply, this recordings beats them all into submission. From the moment of the first few chords in the overture to the last bars of the final chorus, this is a true masterpiece of baroque performance from every angle - and I do not say that lightly. The fact that I have now started listening to Messiah for pleasure, rather than for duty or necessity, speaks for itself.
In response to Mrs Barrowman's review below, I would question all the points she has raised. Firstly, whether one is a "baroque purist" or not, this is a hugely enjoyable disc filled to the brim with technical perfection and precision. She refers to the "white sound" of the trebles - I can only think she means "pure" sound - not pure in the sense of some 1980s recordings of King's College Cambridge, which on occasions verge on being quite dry, but truly clear-cut and precise.
Furthermore, I would dispute the so-called "richness" of the female voice in other recordings. Take the venerable Helen Watts in the aria "But who may abide the day of his coming?" (an aria Helen sings superbly), and compare it to the rich clarity of Iestyn Davies in this recording, and there is no competition whatsoever (and let us not forget this is an English oratorio, not an Italian Opera, even if the composer was fluent in both styles!) This recording succeeds in re-addressing the work in its proper light, and not in the hideous tradition of romping through the repertoire that has found its way into British musical culture (is it any wonder so many choirs and conductors are board to tears with it?!) One huge attraction for me was the performers' approach - simple, humble piety as opposed to the pretentious showmanship we normally experience in the concert hall - this recording is just so fresh and invigorating!
Apart from being more authentic (ah those purists again!), the sound produced allows for a crystal-clear annunciation of every syllable, every quaver, every ornament; whereas dear Helen & Co might as well be singing in Japanese. Overall, the soloists in this recording are truly outstanding, the counter-tenor in particular. Other soloists include three trebles from the choir (all of whom are rather good), and wonderful performances from the tenor, Toby Spence (a name many will be familiar with), and the bass, Eamonn Dougan.
One thing is for certain: this recording is different and definitely fills a gap in the market. Those who have heard or sung Messiah so many times they are bored to tears with it, they should buy this recording - this rendition is so fresh, so invigorating that it is like listening to a completely new work. The edition selected is the 1751 version (use by the composer for performances in London), which provides a very pleasant change without resorting to the dreaded blasphemy of Mozart's arrangement of the work. And so what if we're used to wobbly female voices? Alcoholics are used to drink, but it doesn't make it right, nor any good for their health.
Out of the many recordings I have heard, this is certainly the most technically assured, the most accurate and authentic (both musically and historically), and, more importantly, the most enjoyable.
In response to Mrs Barrowman's review below, I would question all the points she has raised. Firstly, whether one is a "baroque purist" or not, this is a hugely enjoyable disc filled to the brim with technical perfection and precision. She refers to the "white sound" of the trebles - I can only think she means "pure" sound - not pure in the sense of some 1980s recordings of King's College Cambridge, which on occasions verge on being quite dry, but truly clear-cut and precise.
Furthermore, I would dispute the so-called "richness" of the female voice in other recordings. Take the venerable Helen Watts in the aria "But who may abide the day of his coming?" (an aria Helen sings superbly), and compare it to the rich clarity of Iestyn Davies in this recording, and there is no competition whatsoever (and let us not forget this is an English oratorio, not an Italian Opera, even if the composer was fluent in both styles!) This recording succeeds in re-addressing the work in its proper light, and not in the hideous tradition of romping through the repertoire that has found its way into British musical culture (is it any wonder so many choirs and conductors are board to tears with it?!) One huge attraction for me was the performers' approach - simple, humble piety as opposed to the pretentious showmanship we normally experience in the concert hall - this recording is just so fresh and invigorating!
Apart from being more authentic (ah those purists again!), the sound produced allows for a crystal-clear annunciation of every syllable, every quaver, every ornament; whereas dear Helen & Co might as well be singing in Japanese. Overall, the soloists in this recording are truly outstanding, the counter-tenor in particular. Other soloists include three trebles from the choir (all of whom are rather good), and wonderful performances from the tenor, Toby Spence (a name many will be familiar with), and the bass, Eamonn Dougan.
One thing is for certain: this recording is different and definitely fills a gap in the market. Those who have heard or sung Messiah so many times they are bored to tears with it, they should buy this recording - this rendition is so fresh, so invigorating that it is like listening to a completely new work. The edition selected is the 1751 version (use by the composer for performances in London), which provides a very pleasant change without resorting to the dreaded blasphemy of Mozart's arrangement of the work. And so what if we're used to wobbly female voices? Alcoholics are used to drink, but it doesn't make it right, nor any good for their health.
Out of the many recordings I have heard, this is certainly the most technically assured, the most accurate and authentic (both musically and historically), and, more importantly, the most enjoyable.
10 of 10 people found the following review helpful
Format:Audio CD
I have a number of recordings of Messiah on both LP and CD, but this outstrips them all. When I returned home having purchased the recording I decided to sample one or two tracks and then listen to the full performance at a later date. I was, however, captivated from the first notes and played the entire performance from beginning to end. There is terrific energy in this version and every note sounds newly minted. The singing is first rate and the treble soloists are outstandingly good.
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Most Recent Customer Reviews
A GOOD ADDITION TO MY CD LIBRARY
I bought this second-hand CD and was very favourably impressed with its condition. I love this particular version of Handel's Messiah, with boys singing the female parts, as would... Read more
Published 4 months ago by LizzyLoo
Not at all comforting
From the reviews already listed this 2006 recording by the Choir of New College Oxford and Edward Higginbottom obviously polarizes opinion, with comments from pious and pure to... Read more
Published 15 months ago by Phillip Tolley
An excellent Messiah
A real bargain at under a fiver on the Naxos label. A fresh, well sung recording using boys' and men's voices only. Read more
Published 16 months ago by Peter V
Easy to listen to
If you decide to buy this recording of Handel - Messiah (1751 version) by New College, Oxford you will not be disappointed and I am no expert! Read more
Published 18 months ago by Mandy
Fabulous Messiah
This recording has brought me more pleasure than any other of The Messiah - I would recommend it to Handel 'Virgins' and stalwarts alike.
Published on 23 Dec 2009 by Mr. I. Henderson
It does what it says on the label
Having owned this for a couple of years, I was surprised at the low stars awarded by some reviewers. Read more
Published on 16 Dec 2009 by M. Donoghue
scrappy and weak
for me maybe this was underproduced or under-rehearsed
the chorus, orchestra and soloists just don't sound that prepared, and the conception is not together - the boys... Read more
the chorus, orchestra and soloists just don't sound that prepared, and the conception is not together - the boys... Read more
Published on 27 Nov 2009 by rc_rc
One of the best! An ANGELIC version
Fresh, spiritual, energetic, angelic, and meticulous version. This version ranks among the best versions of Messiah available. Read more
Published on 10 April 2009 by Marcolorenzo
Magnificent
This recording is consistently fresh, not a moment sounds stale or anything other than a shining example of sound musicianship. Read more
Published on 20 April 2008 by a nice guy who likes reading
Refreshing, enjoyable Messiah
The conductor's note says of this first recording of Handel's 1751 version:
"It is both a celebration of the chapel choir tradition and a window onto a particular time and... Read more
"It is both a celebration of the chapel choir tradition and a window onto a particular time and... Read more
Published on 10 Feb 2008 by David B
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