By Alan Blyth
Following the winning volumes of music on list, this booklet surveys the entire recordings of significant choral works from the Monteverdi Vespers to Britten's struggle Requiem. dialogue of some of the interpretations on checklist is preceded, in every one bankruptcy, by means of trained feedback of the paintings involved, including--where appropriate--a explanation of versions, revisions, and so forth. (all the various adjustments in Messiah are, for example, defined in detail). The insurance of recordings is exhaustive and its worth is better by means of a close discography, with updated numbers of every recording. every one contributor is an expert inside his or her professional sector and jointly, their insights and observations of major track critics make the ebook helpful to list creditors, track enthusiasts and a person with an curiosity in altering tastes and sorts of musical functionality. Alan Blyth, previously with the days (London) is now the song critic of The day-by-day Telegraph. he's at the editorial board of Opera, the editor of the three-volume Opera on list 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 info for Choral Music on Record
Of all the recorded performances, whether with period instruments or modern ones, whether 'authentic' or 'Romantic', there are but two in which the distinction that Bach draws between the singers of Chorus One and the singers of Chorus Two is followed at all consistently through the 'solos' and the 'choruses'. Both of those recordings are conducted by Nikolaus Harnoncourt. In the earlier of the two Harnoncourt sets, the first period-instrument set (2), the division of the solos between members of the two Choruses is adhered to almost exactly; apart from a substitute alto soloist in two numbers, 26 J.
There is a curious slackness about the turgid overall tactus that stands in sharp contrast to both his previous recordings and to the relentless vigour of Klemperer's taut but 41 TERI NOEL TOWE deliberate pacing. And now, for the first time, the pulse and tempo of the narrative are pushed and pulled relentlessly. As disappointing as it is, Richter's valedictory recording of the work has many strong points. Schreier is a laudable successor to Haefliger as the tenor soloist and the special clear, molten warmth of Janet Baker's voice brings a unique beauty to both 'Buss und Reu' and 'Erbarme Dich, mein Gott\ Richter, incidentally, accompanies the Evangelist from the harpsichord.
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.
Choral Music on Record by Alan Blyth