No. 6 Air (Alto): But Who May Abide The Day Of His Coming?
No. 7 Chorus: And He Shall Purify
No. 8 Recitative (Alto): Behold, A Virgin Shall Conceive
No. 9 Air (Alto) And Chorus: O Thou That Tellest GoodTidings To Zion
No. 10 Recitative (Bass): For Behold, Darkness Shall Cover The Earth
No. 11 Air (Bass): The People That Walked In Darkness
No. 12 Chorus: For Unto Us A Child Is Born
No. 13 Pifa (Pastoral Symphony)
No. 14a Recitative (Soprano): There Were Shepherds Abiding In The Field/No. 14b And Lo, The Angel Of The Lord Came Upon Them
No. 15 Recitative (Soprano): And The Angel Said Unto Them
No. 16 Recitative (Soprano): And Suddenly There Was With The Angel
No. 17 Chorus: Glory To God
No. 18 Air (Soprano): Rejoice Greatly, O Daughter Of Zion
No. 19 Recitative (Alto): Then Shall The Eyes Of The Blind
No. 20 Air (Alto): He Shall Feed His Flock - Air (Soprano): Come Unto Him
No. 21 Chorus: His Yoke Is Easy, And His Burden Is Light
No. 22 Chorus: Behold The Lamb Of God
No. 23 Air (Alto): He Is Despised
Track Listings (30) - Disc #2
No. 24 Chorus: Surely He Hath Borne Our Griefs
No. 25 Chorus: And With His Stripes We Are Healed
No. 26 Chorus: All We Like Sheep Have Gone Astray
No. 27 Recitative (Tenor): All They That See Him Laugh Him To Scorn
No. 28 Chorus: He Trusted In God
No. 29 Recitative (Tenor): Thy Rebuke Hath Broken His Heart
No. 30 Air (Tenor): Behold, And See If There Be Any Sorrow
No. 31 Recitative (Soprano): He Was Cut Off Out Of The Land Of The Living
No. 32 Air (Soprano): But Thou Didst Not Leave His Soul In Hell
No. 33 Chorus: Lift Up Your Heads, O Ye Gates
No. 34 Recitative (Tenor): Unto Which Of The Angels Said He At Any Time
No. 35 Chorus: Let All The Angels Of God Worship Him
No. 36 Air (Alto): Thou Art Gone Up On High
No. 37 Chorus: The Lord Gave The Word
No. 38 Air (Soprano): How Beautiful Are The Feet
No. 39 Chorus: Their Sound Is Gone Out
No. 40 Air (Bass): Why Do The Nations So Furiously Rage Together?
No. 41 Chorus: Let Us Break Their Bonds Asunder
No. 42 Recitative (Tenor): He That Dwelleth In Heaven
No. 43 Air (Tenor): Thou Shalt Break Them
No. 44 Chorus: Hallelujah
No. 45 Air (Soprano): I Know That My Redeemer Liveth
No. 46 Chorus: Since By Man Came Death
No. 47 Recitative (Bass): Behold, I Tell You A Mystery
No. 48 Air (Bass): The Trumpet Shall Sound
No. 49 Recitative (Alto): Then Shall Be Brought To Pass
No. 50 Duet (Alto And Tenor): O Death, Where Is Thy Sting?
No. 51 Chorus: But Thanks Be To God
No. 52 Air (Soprano): If God Be For Us
No. 53 Chorus: Worthy Is The Lamb That Was Slain
Every year brings a slew of new and reissued versions of this most beloved of Handel's works. This one first saw daylight in 1966, but lest you think it's outdated, this refurbished classic remains a source of listening pl... more »easure. Obviously, it cannot reflect the historically informed performance practices of today. But it is one of the pioneering precursors of contemporary style, with sustained forward momentum, dancing rhythms, and an orchestra slimmed down from the prevailing norms of the 1960s. The singing is fine, with special kudos to the high-flying soprano, Judith Raskin, along with Florence Kopleff, a true alto, and Richard Lewis, a premier Handelian of the period. It also has what all Robert Shaw choral recordings have: first-rate choral singing and an emotional immediacy that goes to the heart of the music's message. I had to tilt the balance control to the left to bring the stage picture into focus, but once that was done, pure bliss followed. --Dan Davis« less
Every year brings a slew of new and reissued versions of this most beloved of Handel's works. This one first saw daylight in 1966, but lest you think it's outdated, this refurbished classic remains a source of listening pleasure. Obviously, it cannot reflect the historically informed performance practices of today. But it is one of the pioneering precursors of contemporary style, with sustained forward momentum, dancing rhythms, and an orchestra slimmed down from the prevailing norms of the 1960s. The singing is fine, with special kudos to the high-flying soprano, Judith Raskin, along with Florence Kopleff, a true alto, and Richard Lewis, a premier Handelian of the period. It also has what all Robert Shaw choral recordings have: first-rate choral singing and an emotional immediacy that goes to the heart of the music's message. I had to tilt the balance control to the left to bring the stage picture into focus, but once that was done, pure bliss followed. --Dan Davis
CD Reviews
Finally!!!
A. Craig | Grand Junction,CO | 10/23/2004
(4 out of 5 stars)
"Finally RCA has released on Compact Disc Robert Shaw's first
recording of Handel's Oratorio Messiah. This is a classic
performance of this work. It stands head and shoulders above
both of the Sony (Columbia Masterworks)(Ormandy and Bernstein)
recordings from the same decade. It has something a number of
other Messiah recordings lack heart and soul and feeling, the
performers aren't just singing this work, they are participating
in it."
Finally on Compact Disc!
Paul Bunkerr | New London, CT USA | 11/29/2004
(5 out of 5 stars)
"This was the first recording of Messiah I ever purchased, back in 1966. This Shaw performance was a big deal back then, as it represented the first real "period" performance practice version with its scaled down instrumental and choral forces - compared to the overblown Ormandy version, for example. The original vinyl discs imparted a muted dynamic range as I recall, so this splendid digitally-remastered release is truly stunning compared to the original. Of particular note is the gorgeous vocal work of soporano Judith Raskin, one of the most beautiful voices to appear on any recording of Messiah, and contralto Florence Kopleff whose vocal agility and sheen are something to behold. This is one of the best modern instrument Messiahs available today."
HALLELUJAH!!!!!!!!!!!!!!!!!!
Irvin H. Murrell, Jr. | Graceville, Florida United States | 11/18/2004
(5 out of 5 stars)
"I SAW the Shaw Chorale perform this, 4/7/66, at Winthrop College, Rock Hill, SC. (They received a 15-minute standing ovation at the end.) This is the best Messiah recording to date,and will continue to be for many years to come."
Hallelujah!
G P Padillo | Portland, ME United States | 03/08/2005
(5 out of 5 stars)
"As a kid I begged and begged my parents for this recording (and what a weird kid I was). I wish they'd retained the original art work, but this was Messiah as I'd always dreamt it should be. Interestingly, this was the first time a recording attempted to duplicate what is (was) believed to be something resembling the original performances of Handel's masterpiece. The results were jarring and startling to those who'd known the piece as the massive work it had become.
Since then of course historically informed performances (HIP) have become almost commonplace and it seems like every year new recordings and versions of Messiah make their way into the market. With this in mind, it is fascinating to hear Shaw's tempi - considered by many at the time to be too fast.
The solo quartet is wonderful. Judith Raskine's clean, shimmering soprano delights and Florence Koploff is nothing but thrilling in "But who may abide the day of his coming" - her voice depicting a refiner's fire as no man had up til this point.
Shaw's tempi and phrasing are remarkable throughout and the recording remains something of a revelation.
To its finally being released on CD all I can say is Hallelujah!
This remains a remarkable performance and for it"
One of the most moving experiences
Likes regular stuff | New York, NY USA | 10/07/2006
(5 out of 5 stars)
"I remember listening to this recording as a child, from my father's collection in the 1960s. The LP set has been long lost, and I've spent 40 or so years looking for a satisfactory recording of the Messiah, to no avail. The only thing I remembered about this one was Shaw, and to my surprise I discovered it recently while searching on Amazon. This recording is a revelation and a beauty to behold. There is a purity and cleanliness, combined with fervor and urgency, that makes it a rare experience. The spare instrumentation is unforgiving, and intonation among the strings is sometimes wobbly, but this is a relief after the digitalized (fake) perfection of more modern recordings. The heaviness and miscasting of famous opera singers in the solo parts of other recordings of the Messiah have been unfortunate. In the Shaw recording, the orchestra and chorus are "right-sized" to the music and text. Most of all, the soloists live up to the music and the text. The contralto Florence Kopleff is especially moving, with minimal mannerisms and perfect diction; her performance here must be among the best in the classical repertoire, which makes it strange that she has left so few recordings. Listen to her "He was despised...." Soprano Judith Raskin's singing has an urgency and a wonder about it. Thomas Paul (bass) is equally moving in the substantial solos, as is Richard Lewis (tenor). With this recording of the Messiah, I feel like I've returned home."
Track Listings (23) - Disc #1