By Alan Blyth
Following the profitable volumes of music on list, this booklet surveys all of the recordings of significant choral works from the Monteverdi Vespers to Britten's conflict Requiem. dialogue of a number of the interpretations on list is preceded, in every one bankruptcy, through trained feedback of the paintings involved, including--where appropriate--a rationalization of versions, revisions, and so on. (all the numerous alterations in Messiah are, for example, defined in detail). The insurance of recordings is exhaustive and its price is improved via a close discography, with up to date numbers of every recording. each one contributor is an expert inside of his or her professional zone and jointly, their insights and observations of prime tune critics make the booklet precious to list creditors, track enthusiasts and someone with an curiosity in altering tastes and varieties of musical functionality. Alan Blyth, previously with the days (London) is now the tune critic of The day-by-day Telegraph. he's at the editorial board of Opera, the editor of the three-volume Opera on checklist and two-volume music on checklist (CUP), in addition to writer of Remembering Britten and advent to Wagner's Ring.
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Extra resources for Choral Music on Record
At a relatively early point in her distinguished career, Agnes Giebel's voice is fresh, clear, and pure. Heinz Markus Gottsche's recording (17) is much like Thomas's; direct and without pretension, a well-sung, high-quality provincial performance in the conservative tradition; it also features the gamba versions of 'Mein Jesus 33 TERI NOEL TOWE schweigt' and 4Geduld, Geduld'. The recording, however, leaves something to be desired. The soloists are right in the listeners' laps, but the chorus is in the next block.
The bloom and freshness of this extraordinary recording, which startled and opened the eyes and ears of many of us when it first appeared in 1970, has not faded. It is still unsurpassed among the period instrument recordings, and it has only a handful of equals. Harnoncourt's second version (3) was recorded at a concert in the Concertgebouw on 31 March 1985, at the tenth annual performance he had given with the Concertgebouw orchestra; all of the artists waived their royalties for this set, which is being sold to benefit the fund to restore the Concertgebouw, Amsterdam's magnificent and venerable concert hall.
In better taste but of similar limited interest is the single LP recorded in the early 1950s by the Handel Oratorio Society of Augustana College in 39 TERI NOEL TOWE Rockford, Illinois (35). Billed as a 'Musical Digest' arranged by Lura Stover, the soprano in this English-language performance, the work is reduced to a simple narrative interspersed with excerpts from a handful of arias and choruses, with the instrumental ritornellos either abridged or cut altogether. The four better-than-average soloists and the 400-voice choir are accompanied on the organ.