It's that time of year
I've always been a sucker for Christmas music of all types. Typically they make my way to my Ipod by early-mid November and by the end of November, I am well into listening through all my collection.
This year has been different. The 80 degree temperatures (now in the 70s) have thrown off my equilibrium and I really couldn't consider listening to "Let it snow", while perspiring. Happily I spent Thankgiving with my in-laws in cold, snowy Massachusetts and now I'm back on track.
My listening generally begins with Handel's Messiah, a piece with which I have a long history and great affection. In my university years and just past, I sang many performances as choir-member or soloist and just about every time I approached it anew, I found something new and vital in it. For years I've been fascinated by its various versions and soloist combinations. The piece remains one of great mystery and wonder.
There being little chance of a live performance here, I've been exploring the recorded legacy. From the earliest Beecham recording (which is lacking the final Amen for some reason) to current HIP recordings, I cannot help be struck by the fact that it takes such a variety of interpretations and forces.
My first Messiah experience was listening to the 60s vintage Leonard Bernstein recording. I have to say I can barely listen to it now, but at the time I could be persuaded by no others. It was on singing Messiah in college in my freshman year that I really felt that I began to know the work. I was moved and excited by the first part choruses and then struck by the beauty of the passion and resurrection sections. But it was "Behold that my Redeemer liveth" that moved me to tears. We had as soloist Sylvia McNair, whose pure angelic sound moved my heart. I've never been the same since.
This year I've been listening to Nicholas McGegan's recording which includes every possible permutation and also the miraculous Lorraine Hunt Lieberson (billed as soprano). I don't find the performance as persuasive as some others, but it is great to hear the contrast of multiple versions in a similar context. I particularly love hearing the different between the versions of "How beautiful are the feet". I prefer the soloist version of the aria, but like the new character of the work when the chorus "Breaks Forth into Joy" (this may be the only variant I've never sung.
I'll be listening to the Hogwood, Westenburg, Shaw and Beecham versions later. I can barely take Beecham's reorchestration which I think blows the work way out of proportion, but I think it is important to hear it to put everything else in historical perspective.
This year has been different. The 80 degree temperatures (now in the 70s) have thrown off my equilibrium and I really couldn't consider listening to "Let it snow", while perspiring. Happily I spent Thankgiving with my in-laws in cold, snowy Massachusetts and now I'm back on track.
My listening generally begins with Handel's Messiah, a piece with which I have a long history and great affection. In my university years and just past, I sang many performances as choir-member or soloist and just about every time I approached it anew, I found something new and vital in it. For years I've been fascinated by its various versions and soloist combinations. The piece remains one of great mystery and wonder.
There being little chance of a live performance here, I've been exploring the recorded legacy. From the earliest Beecham recording (which is lacking the final Amen for some reason) to current HIP recordings, I cannot help be struck by the fact that it takes such a variety of interpretations and forces.
My first Messiah experience was listening to the 60s vintage Leonard Bernstein recording. I have to say I can barely listen to it now, but at the time I could be persuaded by no others. It was on singing Messiah in college in my freshman year that I really felt that I began to know the work. I was moved and excited by the first part choruses and then struck by the beauty of the passion and resurrection sections. But it was "Behold that my Redeemer liveth" that moved me to tears. We had as soloist Sylvia McNair, whose pure angelic sound moved my heart. I've never been the same since.
This year I've been listening to Nicholas McGegan's recording which includes every possible permutation and also the miraculous Lorraine Hunt Lieberson (billed as soprano). I don't find the performance as persuasive as some others, but it is great to hear the contrast of multiple versions in a similar context. I particularly love hearing the different between the versions of "How beautiful are the feet". I prefer the soloist version of the aria, but like the new character of the work when the chorus "Breaks Forth into Joy" (this may be the only variant I've never sung.
I'll be listening to the Hogwood, Westenburg, Shaw and Beecham versions later. I can barely take Beecham's reorchestration which I think blows the work way out of proportion, but I think it is important to hear it to put everything else in historical perspective.
posted by Rich Russell at
10:08 AM
2 Comments:
I can barely take Beecham's reorchestration which I think blows the work way out of proportion...."
A small correction. You're blaming the wrong guy. The orchestration conducted by Beecham was by Sir Eugene Goosens, not Beecham. And, yes, it does indeed "blo[w] the work way out of proportion."
ACD
You are correct. Sorry about the slip up.
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