Title: George Frideric Handel: Messiah, HWV 56 (Foundling Hospital Version 1754)
Release year: 1980
Genre: Classical, Oratorio
Conductor: Christopher Hogwood
Artist: Judith Nelson (soprano), Emma Kirkby (soprano), Carolyn Watkinson (contralto), Paul Elliott (tenor), David Thomas (bass), Choir of Christ Church, Oxford, Academy of Ancient Music

Description:

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 the wide general audience as the Messiah (the recordings of which number in the thousands) will get a number of varied reactions depending on 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 an 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 communicate 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 remarkable 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 the 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 to be far above the orchestra, in some cases (the "Glory of the Lord," for instance).

These complaints are now almost for those who consistently complain of Hogwood's performance style; For better or worse. Looking past these issues, however, one can find a number of beautiful moments throughout. It is precisely due to his music that Hogwood is able to draw some extraordinary changes in color. 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 be unreal. 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 want a warm, emotional, and intimate performance. For those who prefer something more austere, though, look no further. --C. Ryan Hill, AllMusic

Recording Location: St Jude-on-the-Hill, Hampstead Garden Suburb, London, 1979. Remastered by Paschal Byrne at Audio Archiving Company.

Tracklist wrote
  George Frideric Handel (1685-1759)
  Messiah, HWV 56
  Libretto: Charles Jennens from Biblical texts
  Foundling Hospital version, 15 May 1754
  Part One
1. Symphony 02:52
2. Comfort Ye, My People - Ev'ry Valley Shall Be Exalted 06:35
3. And The Glory Of The Lord 02:51
4. Thus Saith The Lord ... But Who May Abide 05:31
5. And He Shall Purify The Sons Of Levi 02:42
6. Behold, A Virgin Shall Conceive ... O Thou That Tellest ... 06:14
7. For Behold, Darkness Shall Cover The Earth ... The People ... 05:35
8. For Unto Us A Child Is Born 04:14
9. Pifa (Pastoral Symphony) 00:52
10. There Were Shepherds ... Glory To God In The Highest 03:23
11. Rejoice Greatly, O Daughter Of Zion 04:09
12. Then Shall The Eyes Of The Blind ... He Shall Feed His Flock 05:03
13. His Yoke Is Easy 02:36
  Part Two
14. Behold The Lamb Of God 02:17
15. He Was Despised 10:14
16. Surely He Hath Borne Our Griefs ... And With His Stripes ... 03:52
17. All We Like Sheep Have Gone Astray 04:07
18. All They That See Him ... He Trusted In God 02:59
19. Thy Rebuke Hath Broken His Heart ... Behold The Lamb Of ... 03:37
20. But Thou Didst Not Leave His Soul In Hell 02:22
21. Lift Up Your Heads 03:15
22. Unto Which Of The Angels ... Let All The Angels 01:44
23. Thou Art Gone Up On High 02:55
24. The Lord Gave The Word 01:14
25. How Beautiful Are The Feet 02:05
26. Their Sound Is Gone Out 01:21
27. Why Do The Nations ... Let Us Break Asunder 03:15
28. He That Dwelleth In Heaven ... Thou Shalt Break Them 02:11
29. Hallelujah 03:51
   Part Three
30. I Know That My Redeemer Liveth 05:35
31. Since By Man Came Death 02:03
32. Behold, I Tell You A Mystery ... The Trumpet Shall Sound 09:00
33. Then Shall Be Brought To Pass - O Death, Where Is Thy Sting? 01:22
34. But Thanks Be To God 02:18
35. If God Be For Us 04:22
36. Worthy Is The Lamb ... Blessing And Honor 03:45
37. Amen 03:23

Issued: United States | Decca Music Group, Editions de L'Oiseau-Lyre
Duration: 2:15:42