Building a Collection #5: Handel's Messiah

Including the best recordings

Please note:  Much of this post comes from a previous post I published January 8, 2022 on Handel’s Messiah, with some edits.

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Building a Collection #5

The Messiah

By George Frideric Handel

I know what you might say.  We are nowhere near the two times of the year when Handel’s oratorio the Messiah is normally heard, those times being either during the Christmas holidays or at Easter.  Nevertheless, the Messiah is next on our list of the 250 greatest classical works of all-time, and so in the interest of consistency we simply must talk about works in the order they appear on the list.  There is nothing to prevent us from listening to the Messiah any time of the year of course, and such are its delights that we may listen to it quite often.  There are no rules.      

Messiah

In 1741, William Cavendish, the Duke of Devonshire and Lord Lieutenant of Ireland, invited Handel to Dublin to participate in a season of oratorio concerts to benefit local charities.  By this time Handel was living permanently in England (Handel was German by birth, but became a naturalized British subject in 1727), and he readily accepted the invitation.  He set to work on a new oratorio and composed The Messiah in only 24 days, a remarkable feat considering the length of the piece.  However, composing quickly was not unusual for Handel.

Charles Jennens, who had supplied texts for many of Handel’s oratorios, sent him a new word- book in 1741.  The text was a collection of scripture passages from both the Old and New Testaments covering prophecies and birth of Christ, his death and resurrection, and the redemption and response of the believer.  Handel set the text to music, and the resulting work has inspired audiences ever since.  

There was such great anticipation for Handel’s work in Dublin that an announcement in the Dublin Journal requested that ladies, “would be pleased to come without hoops in their skirts…making room for more company.”  The Messiah premiered on April 13, 1742 at the Music Hall in Dublin with Handel conducting.  It was warmly received, the Journal reporting that “The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic and moving Words, conspired to transport and charm the ravished Heart and Ear.”  It was performed for first time in London a year later at Covent Garden, though critics decried that it was not in fact a “sacred” work because it was not in any way a didactic or liturgical work.  Jennens himself called it “a fine entertainment” and saw that it was fitting it be performed not in a church, but in a concert hall.  Nevertheless, the sincerity of Handel’s religious feelings are not in question.  Soon after finishing writing the famed Hallelujah chorus, he allegedly said with tears streaming down his face, “I did think I did see all Heaven before me and the great God himself.”

Handel, in his own performing arrangements of the Messiah, made many changes to the orchestration and vocal parts to suit the different groups and soloists performing it.  This was not unusual, and so today what we experience in performance or on recordings is really an amalgamation of different versions chosen by individual conductors or music directors.  It is well nigh impossible to recreate what may have been an exact performance as Handel would have heard in his day.  That is why, if you listen to some or all of the recordings listed here, you will notice some variations from one to another.

The Messiah is a particularly difficult work to pull off successfully due to its length, the size of the orchestral and choral forces needed, the many different versions of the score, and the challenges that the soloists face.  There are some fiendishly difficult parts for the soloists, and if they are not done well, the result can be comical at best and painful at worst.  

As you may have heard, or experienced, there is the question whether to stand or not for the Hallelujah chorus?  The legend goes that at one of the first performances in London in 1743, King George II was so moved by the Hallelujah chorus that he rose to his feet.  In deference to the King, the crowd thus was obliged to follow suit and so stood as well and remained standing through the end of the chorus.  The tradition took hold and has survived for centuries now, and today in concert you will still find audiences rising for the chorus.  As with many traditions, the truth of the story is not so clear.  There is little evidence that anything of the sort happened in 1743, and the first documented mention of the tradition came in 1780, many years later.  In first-hand accounts of performances from Handel’s lifetime, there is no mention of the practice.  Some latter-day conductors have even argued against it, citing it as a distraction.  Nowadays, audience members are left to decide for themselves (during my own most recent attendance of the Messiah in 2015 with the Handel + Haydn Society at Boston’s Symphony Hall, the audience did indeed stand for the chorus).

Recordings

Choosing just one recording of the Messiah makes little sense.  I thought it makes sense to recommend what I believe to be the top recordings of Handel’s Messiah from the large number of available recordings, so you may sample them to make your own decision.  The recordings recommended here are a combination of old favorites along with some newer versions, and also run the gamut in terms of performance style and vision.  Some are more fleet using historically informed performance manners that have become more common in recent years.  Others are more traditional and somewhat slower, and represent perhaps a more sentimental or even romantic approach to the work.  There is not a right or a wrong interpretation, but listeners may have certain preferences.

I have divided the recordings below into two categories:  those that use modern instruments and modern playing practices, and those that use authentic historical instruments and historically informed playing practices.  Some of what you may hear with the historically informed practices include less vibrato from the strings and singers, and at times a quicker pace. The order listed is not intended to be any sort of ranking.  

Modern instrument recordings

Chicago Symphony Orchestra and Chorus / Sir Georg Solti (Decca)

Recorded in 1984, almost at the beginning of the digital music era, the first Handel Messiah on our list is a widely acclaimed version by the Chicago Symphony Orchestra led by its longtime music director Sir Georg Solti.  If not for one significant flaw (the casting of alto soloist Anne Gjevang), this recording would have made it into my top 50 classical recordings of all time.  It has many things going for it:  excellent sound, very good soloists, a powerful chorus and orchestra, and simply the best Hallelujah chorus ever recorded in my opinion.  In fact, the choral work throughout is outstandingly clear and inspiring.  While modern instruments are used, Solti still maintains a good flow throughout without too much bombast or heaviness.  

The soloists, with one exception, are very good.  There are two singers from New Zealand, the tenor Keith Lewis and the legendary soprano Kiri Te Kanawa.  Lewis is one of my favorite Messiah tenors on record, with a lovely tone and style in Comfort Ye and Ev’ry Valley.  He adds some ornamentation, but does so tastefully.  He never sounds forced, and I always return to his singing here because I find it to be near ideal.  Te Kanawa is also ravishing in her arias, particularly in I know that my redeemer liveth in part three.  Gwynne Howell’s is a strong bass voice, and he sings admirably in his big arias such as The Trumpet Shall Sound and Why do the nations so furiously rage?.  The one mistaken bit of casting is the Norwegian alto Anne Gjevang.  While an accomplished opera singer, for me her singing is difficult to deal with on this recording and sounds completely out of place for an oratorio.  Her tone is too matronly and somewhat fruity in my opinion. Even so, this recording is one of the top versions available on modern instruments.

London Symphony Orchestra and Chorus / Sir Colin Davis (Philips/Universal)

When this recording was made in 1966, it was somewhat pioneering in the sense that it used the full score without any cuts.  You will notice some movements are slower than more recent recordings, but there is no lack of tension or dramatic intensity.  The orchestra and chorus are well recorded, although the recording certainly shows its age with some background hiss and some slight distortion.  All four soloists were at the peak of their career at the time, and all of them bring above average performances.  My only quibble is that all of them sound more “operatic” than is typical, and in particular the alto Helen Watts sounds like she is more suited to the opera stage.  But all involved are clearly very engaged, and play their hearts out for Colin Davis.  He uses a score that calls for some ornamentation added to the tail end of some string phrases, which is not my cup of tea but doesn’t detract from the overall impact.  This is a performance in the grand manner, in places almost romantic sounding, but I also find these qualities endearing.  Sir Colin Davis recorded the Messiah again with the London Symphony Orchestra and Chorus in 2006 for the LSO Live label, but in general it is this earlier recording that is the better of the two.  

Royal Liverpool Philharmonic Orchestra / Sir Malcolm Sargent (EMI/Warner)

And now for something completely different…this Messiah was recorded in 1959, and as a result the sound is somewhat compromised.  Sir Malcolm Sargent clearly loved Handel’s Messiah, also recording it other times.  But this version from Liverpool is the preferred choice for its heartfelt devotion and lyricism.  Two examples are the opening Comfort ye…Ev’ry Valley sung by tenor Richard Lewis and later He was despised sung by Marjorie Thomas.  There is some truly beautiful singing here.  Sargent’s obvious sensitivity to the text and the way the orchestra, chorus and soloists put meaning into the performance makes this very special.  Of course, Sargent takes liberties with the score, in places slowing down where there is no indication to do so, and putting a more “romantic” touch in his interpretation.  While certainly very different than one might hear today, it does result in a very moving performance that is something to treasure.  The choral pieces sound a bit congested at times, no doubt due some extent to the age of the recording.  Bass James Milligan’s voice is something to hear too, especially in The Trumpet Shall Sound.  Soprano Elsie Morison is moving too in I know that my redeemer liveth.  Even given that the choruses are among the slowest you will ever hear, they convey warmth and beauty.

Historically Informed Recordings with Period Instruments   

English Baroque Soloists and Monteverdi Choir / John Eliot Gardiner (Philips/Universal)

There are literally dozens of choices of Messiah recordings among period instrument groups.  But this one by the English Baroque Soloists and Monteverdi Choir conducted by John Eliot Gardiner for me remains the best of the lot.  I remember distinctly that when this recording was released in 1983 it was very enthusiastically received.  The choir is absolutely pristine technically and musically, and execution is superb.  There is a lot of refinement in the performance, and the recorded sound is delightfully transparent so you can hear a lot of detail.  Overall this is a more intimate performance full of freshness.  Rather it is Gardiner’s fairly scrupulous approach to the score and text while maintaining a more sacred atmosphere.  In fact, you may find yourself wanting a bit more grandeur in certain spots.  But nonetheless this is a first-rate recording with many insights and much to enjoy.  At the time it was released, the tempos were faster than were generally heard, although today they certainly are more middle of the road.  Outstanding among the soloists is Anthony Rolfe Johnson, who brings an almost effortless tone with a great deal of shading and meaning.  I like that he doesn’t push too hard, and sounds very natural.  He is a tremendously gifted artist.  The soprano Margaret Marshall also is caught very well, and even though she uses some vibrato in her voice, it does not get in the way.  The alto Catherine Robbin, while not particularly revelatory, is consistent in tone and articulation.  Charles Brett, at the time one of the leading countertenors around, is particularly beautiful in tone especially in But who may abide, a fiendishly difficult piece.  Gardiner aptly chooses to use a boy treble voice for the recitatives preceding Glory to God, which I enjoy.  Robert Hall, the bass soloist, is dependable, if not exciting.  In summary, an excellent choice for the Messiah.

Dunedin Consort & Players / John Butt (Linn)

The Dunedin Consort & Players led by John Butt present the “Dublin” version of Handel’s Messiah, recorded in 2006 by Linn Records.  You may notice a few unique features here and there, but by and large this is pretty much the Messiah we are familiar with by now.  But who may abide being sung by the baritone/bass was certainly different, but not necessarily an improvement.  The entire set has a more “rustic” feeling to me, but in a good way.  In fact, there is great focus and detail.  While the choir may lack the refinement of Gardiner’s group (see above), they are nonetheless very memorable and clear.  The tenor Nicholas Mulroy sounds a bit forced to me in spots, and although relatively pleasant his singing in the opening arias is not among my favorites.  Bass Matthew Brook is very impressive, and for me is one of the finest bass performers on disc.  I love the voice of soprano Susan Hamilton, she brings an almost childlike or angelic quality to her singing which is light and expressive.  Contralto Annie Gill is really lovely too on O Thou that tellest.  The chorus is sprightly and quick in For Unto Us a Child is Born and I very much enjoy how the strings use staccato notes or more legato notes as necessary to match the vocal line.  There are vocal embellishments throughout, but they are thoughtful and well done.  Occasionally I would like more power from the chorus, but that is a small matter.  Highly enjoyable.

Les Arts Florissants / William Christie (Harmonia Mundi)

Another period instrument Messiah was recorded in 1993 by the excellent French band and choir Les Arts Florissants led by its longtime director William Christie.  It has the advantage of clean and clear sound which beautifully captures the choral singing.  The diction from the mostly French speaking choir is impeccable.  A young Mark Padmore at tenor is a real advantage, strong yet sensitive in his style.  Countertenor Andreas Scholl is outstanding, and his performance of But who may abide…is among the finest.  The sopranos are both exceedingly fine, particularly Barbara Schlick.  While she does use some embellishments in her numbers, she is confident and tasteful.  Bass Nathan Berg is memorable as well with a firm tone that is full of character and brings out the meaning of the text.  Orchestra execution is light and yet still weighty enough when needed.  The choral pieces are clear, incisive, and thrilling.  There really is not a weak link in this recording, and it should bring you a lot of enjoyment.  

Players/Taverner Choir/Andrew Parrott (EMI/Virgin/Warner) 

The outstanding period group of the Taverner Players and Choir, led by their founder Andrew Parrott, recorded a marvelous Messiah in 1988 at Abbey Road Studios in London.  This is one of the most consistent and satisfying accounts of all, clearly well-thought out, and lovingly performed.  It is a relatively small-scale, intimate Messiah, but is all the better for it.  The sound is up close, clear, and transparent.  Speeds are marginally on the faster side, but never breathless, and while rhythms are nicely sprung especially in choral parts, there is also a great deal of sensitivity in the slower numbers.  The choir is slimmed down some, and the orchestra is reduced.  This leads to a clarity and precision that is virtually unmatched in Messiah recordings.  The soloists are excellent, led by the pure tone of soprano Emma Kirkby and countertenor James Bowman (who sadly passed away this past March).  Tenor Joseph Cornwell, bass David Thomas, alto Margaret Cable and second soprano Emily Van Evera are all good to very good.  For me, the Hallelujah chorus is slightly under characterized (although the brass at the end are thrilling), but otherwise the choruses are quite stirring.  Overall, if you are looking for a recording that storms the heavens with bombast, this is not exactly that recording.  Nevertheless, it has worn well and remains very competitive among period recordings.    

Academy of Ancient Music / Christ Church Choir, Oxford / Christopher Hogwood (L’Oiseau Lyre/Decca/Universal)

Recorded in 1980 at St. Jude-on-the-Hill in London, this version from the Academy of Ancient Music and the Choir of Christ Church Cathedral, Oxford conducted by period instrument pioneer Christopher Hogwood is certainly one of the finest recordings of Messiah, and may very well be the most “authentic” (although again that is difficult to say because Handel changed it so many times).  Hogwood was scrupulous in his research before this recording was made, and you will hear some unique touches.  The use of boy sopranos is the biggest difference you will notice from the other versions listed here, and this would have most likely been the practice used by Handel himself.  While I like the idea of the boy voices, I find myself missing female voices in those parts of the score.  The orchestral forces here are also scaled down quite a bit, and in places you will notice the strings and woodwinds sound a bit thin.  The choir from Christ Church Cathedral sings movingly and lends a sacred tone to the affair.  The recorded sound is good, though perhaps lacking the last ounce of clarity and not quite as detailed as many of the other recordings on this list.  The soloists are a mixed bag.  The two sopranos, Emma Kirkby and Judith Nelson, are nothing short of amazing in my opinion and their contributions alone put this version near the top.  Both sing with a period sensibility, adding light touches and some embellishments, but always at the service of the music and text.  They both bring effortless sounding, angelic tones to their arias.  Tenor Paul Elliott brings a plaintive style with very little vibrato to his parts, which also matches the styles of Kirkby and Nelson.  I am not particularly fond of the other singers, contralto Carolyn Watkinson and bass David Thomas.  They are fine, but not as distinguished as the other soloists.  Despite a few reservations, you really should hear this recording.  It is still one of the best.      

Boston Baroque/Martin Pearlman (Telarc)

Pearlman’s Messiah from 1992 is also one of the best versions available.  You will also find it to be one of the swiftest versions, even for period instrument recordings.  The quartet of soloists is very good.  Special mention should be made of the outstanding soprano Karen Clift, her bright and clear voice bringing true joy to I know that my Redeemer liveth.  Tenor Bruce Fowler is good as well.  Victor Ledbetter on baritone is memorable, though his voice will not raise the dead like some others.  Catherine Robbin, the mezzo-soprano, is a notch more characterful than she is in the Gardiner version.  The Boston Baroque choir also deserves accolades, they are brilliant in their big numbers such as For unto us a child is born, Glory to God, Hallelujah.  Unlike some other period performances, Pearlman is able to draw playing of warmth and strength.  Some of the tempos feel a bit too fast, and occasionally I would have appreciated some more variance in the approach from Pearlman.  Having said that, there is no doubt this is a wonderful Messiah.  I find this to be a truly enjoyable recording.

Britten Sinfonia / Polyphony / Stephen Layton (Hyperion)

Last, but certainly not least, on our list of recommended Messiah recordings is one of my favorites.  The Britten Sinfonia, an independent chamber orchestra from the UK, and the choral group Polyphony are led by Stephen Layton in one of the most beautiful performances that I have heard.  I have enjoyed this recording since the first time I heard it several years ago.  The recording boasts outstanding soloists as well with soprano Julia Doyle, countertenor Iestyn Davies, tenor Allan Clayton, and bass Andrew Foster-Williams.  The Britten Sinfonia uses modern instruments but with a historically informed performance style, meaning you get very little vibrato but still have a bit more sheen on the sound.  The tempos are quick, but well-judged, and the solemnity of the theme is respected.  The recording was made at St. John’s Church, Smith Square, London just before Christmas in 2008.  Although the orchestral and choral forces are not large, there is a full and satisfying sound.  Julia Doyle has a breathtakingly beautiful voice, tenor Allan Clayton is direct and effective without being too showy, and bass Andrew Foster-Williams is excellent in his numbers.  Countertenor Iestyn Davies deserves special mention, because for me he is the star of this performance.  29 years of age at the time of this recording, he sings with purity, beauty, and thoughtfulness.  His tone is commanding yet gentle.  Taking on the alto and/or contralto parts, for me Davies is simply unsurpassed in both his interpretation and his tone.  The major choral numbers are thrillingly done, and at the end everything just feels right.  A tremendous accomplishment.

Other fine recordings you may wish to sample include those by The English Concert with Trevor Pinnock (Archiv 1988), The Academy of Ancient Music with Edward Higginbottom (Naxos 2006), the English Chamber Orchestra with Raymond Leppard (Philips/Warner 1976), the Gabrieli Consort and Players with Paul McCreesh (Archiv 1997), the English Chamber Orchestra with Johannes Somary (Vanguard and other labels, 1970), and The Philadelphia Orchestra with Eugene Ormandy (CBS/Columbia/Sony 1959).

As always, thanks for reading. Look for the next post when we will cover J.S. Bach’s monumental Mass in B Minor. See you then!

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Notes:  

Golding, Robin (1966). Handel’s “Messiah” – A Sacred Oratotio?  Philips Silver Line Classics liner notes. Pp. 6-10.

Neff, Teresa M.  (2015). Messiah:  A Boston Tradition.  Handel & Haydn Society Program Notes, 2015-2016 Season.  Pp. 21-25.